Background


   Before addressing the specific aspects surrounding the 18th-century performer-audience relationship, let us begin by gathering some brief background information about the beginnings of public concert life, which exploded in England in the 18th century. Though there had been a great deal of music in English restoration theatre and of course also ad hoc music in pubs and other public spaces, before the 1700’s the majority of “high art” music was being presented in court, in church as part of services, and for private concerts for the extreme elite. The 18th century gave rise to the public concert, and with it the “rage for music”1. Participation in concert life as an audience member was an important sign of status and integral way of keeping up with society.

 

   The first major public concerts documented were run by John Banister at Whitefriars music school in London in 16722. The concerts took place in Banister’s house and were advertised in the London Gazette on December 30, 1672. 

 

These are to give notice, That at Mr. John Banister’s house (now called the Musick School) over against the George Tavern in Whyte Fryers, this present Monday will be Musick performed by excellent Masters, beginning precisely at 4 of the clock in the afternoon, and every afternoon for the future, precisely at the same hour.3

 

This was the first time that any member or society could pay money to attend a concert of only music and the proponderance of concerts and their popularity grew from here.