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'[[File:BBC Proms at the Royal Albert Hall -26July2008-2rpc.jpg|thumb|300px|right|The [[Royal Albert Hall]] in London. A major venue for classical and other forms of music.]] '''Classical music of the United Kingdom''' bitch please aken in this article to mean [[classical music]] in the sense elsewhere defined, of formally composed and written music of [[chamber music|chamber]], [[concert]] and [[church music|church]] type as distinct from [[popular music|popular]], [[traditional music|traditional]], or [[folk music]]. The term in this sense emerged in the early 19th century, not long after the [[United Kingdom of Great Britain and Ireland]] came into existence in 1801. Composed music in these islands can be traced in musical notation back to the 13th century, with earlier origins. It has never existed in isolation from European music, but has often developed in distinctively insular ways within an international framework. Inheriting the European classical forms of the 18th century (above all, in Britain, from the example of Handel), patronage and the academy and university establishment of musical performance and training in the United Kingdom during the 19th century saw a great expansion. Similar developments occurred in the other expanding states of Europe (including Russia) and their empires. Within this international growth the traditions of composition and performance centred in the United Kingdom, including the various cultural strands drawn from its different provinces, have continued to evolve in distinctive ways through the work of many famous composers. ==Early and Baroque music== {{main|Early music of the British Isles|Baroque music of the British Isles}} [[Image:Haendel.jpg|thumb|right|thumb|[[George Frideric Handel]] was a leading figure of early 18th-century British music.]] Music in the British Isles, from the earliest recorded times until the [[Baroque]] and the rise of recognisably modern [[classical music]], was a diverse and rich culture, including sacred and secular music and ranging from the popular to the elite.<ref>R. McKitterick, C. T. Allmand, T. Reuter, D. Abulafia, P. Fouracre, J. Simon, C. Riley-Smith, M. Jones, eds, ''The New Cambridge Medieval History: C. 1415- C. 1500'' (Cambridge University Press, 1995), p. 319.</ref> Each of the major nations of [[England]], [[Ireland]], [[Scotland]] and [[Wales]] retained unique forms of music and of instrumentation, but British music was highly influenced by continental developments, while British composers made an important contribution to many of the major movements in early music in Europe, including the [[polyphony]] of the [[Ars Nova]] and laid some of the foundations of later national and international classical music.<ref>W. Lovelock, ''A Concise History of Music'' (Frederick Ungar, 1953), p. 57.</ref> Musicians from the British Isles also developed some distinctive forms of music, including [[Celtic chant]], the [[Contenance Angloise]], the [[rota (music)|rota]], polyphonic votive [[antiphon]]s and the [[Carol (music)|carol]] in the [[medieval music|medieval]] era and English [[madrigal (music)|madrigal]]s, [[lute]] [[air (music)|ayres]] and [[masques]] in the [[Renaissance music|Renaissance]] era, which led particularly to [[English language opera]] developed in the early [[Baroque music|Baroque]] period.<ref>R. H. Fritze and W. Baxter Robison, ''Historical dictionary of late medieval England, 1272-1485'' (Greenwood, 2002), p. 363; G. H. Cowling, ''Music on the Shakespearian Stage'' (Cambridge University Press, 2008), p. 6.</ref> The dominant figure in classical music in the later baroque era, and beyond, was the German-born [[George Frideric Handel]] (1685–1759). ==Early nineteenth century== With the [[Act of Union 1800]] passed by both the [[Parliament of Great Britain]] and the [[Parliament of Ireland]], the [[United Kingdom of Great Britain and Ireland]] was formed, and it becomes possible to speak of classical music in the United Kingdom.<ref>H. Kearney, ''The British Isles, a History of Four Nations'' (Cambridge: Cambridge University Press, 2006), p. 214.</ref> This was also the period when classical music began to be recognised as an important element of British and Irish culture and to be placed on a more organised basis that could match some of the developments seen in continental Europe. Music in this period has been seen as dominated by continental trends and composers. ===Major foundations=== In 1813 the London [[Royal Philharmonic Society|Philharmonic Society]] was established, which played an important role in the development of musical life in the kingdom. Founders included Sir [[George Thomas Smart|George Smart]], [[Johann Baptist Cramer]], [[Muzio Clementi]], William Ayrton (musical director of the [[Her Majesty's Theatre|King's Theatre]]), [[William Shield]], [[Henry Bishop (composer)|Henry Bishop]], [[Thomas Attwood]] (composer and organist of [[St Paul's Cathedral]], and teacher of [[John Goss (composer)|John Goss]]), [[Johann Peter Salomon]] and [[Vincent Novello]]. Under their aegis an annual programme of concerts of international calibre was established. The Society was a commissioning patron of [[Ludwig van Beethoven|Beethoven]]'s [[Symphony No. 9 (Beethoven)|Choral Symphony (No. 9)]].<ref>C. Ehrlich, ''First philharmonic: a history of the Royal Philharmonic Society'' (Oxford: Oxford University Press, 1995), pp. 1-36.</ref> Musical training was placed on a newly professional footing by the creation in 1822 of the [[Royal Academy of Music]], which received a royal charter in 1830, which attempted to train British musicians to the same standards as those of the continent.<ref>D. A. Rohr, ''The Careers of British Musicians, 1750-1850: a Profession of Artisans (Cambridge: Cambridge University Press, 2001), pp. 79-80.</ref> Its first principal was the oratorio composer Dr [[William Crotch]] (1745–1847), and the first tutor of piano was [[Cipriani Potter]] (1792–1871). Potter was the first London performer of [[Wolfgang Amadeus Mozart|Mozart]] and Beethoven concerti. He wrote nine symphonies and four piano concerti and as principal from 1832-59 was highly influential in the development of British music and the profession of musician.<ref>T. M. Ellsworth and S. Wollenberg, eds, ''The Piano in Nineteenth-century British Culture: Instruments, Performers and Repertoire'' (Aldershot: Ashgate Publishing, Ltd., 2007), p. 3.</ref> The significance of classical music in Ireland, and to a degree its place in conflicting British and Irish identities, was signalled by the foundation of the Dublin Choral Society in 1837, the [[Royal Irish Academy of Music|Irish Academy of Music]] in 1848 (which was to be granted a royal charter in 1872); and the Royal Choral Institute in 1851 under such figures as Sir Robert Prescot.<ref>M. McCarthy. ''Passing it on: the transmission of music in Irish culture'' (Cork: Cork University Press, 1999), p. 47-8.</ref> ===Performers and composers=== [[File:John field.jpg|thumb|200px|right|[[John Field (composer)|John Field, c. 1820]]]] In the earlier part of the century the British singers [[Michael Kelly (tenor)|Michael Kelly]], [[Nancy Storace]] and [[John Braham]] were prominent and by their example sustained the international opera and oratorio works of [[George Frideric Handel|Handel]], [[Joseph Haydn|Haydn]], [[Wolfgang Amadeus Mozart|Mozart]] and their successors in the British arena.<ref>A. Steptoe, ed., ''The Mozart-Da Ponte operas: the cultural and musical background to Le nozze di Figaro, Don Giovanni, and Così fan tutte'' (Oxford: Oxford University Press, 1990), p. 148.</ref> Braham, whose career thoroughly spanned the opera stage and concert platform, established a tradition in public recital which was continued by his successors down into the early 20th century.<ref>P. Gordon, ''Musical visitors to Britain'', (London: Routledge, 2005), pp. 253-5.</ref> [[Arias]] or [[ballads]] from the English opera became concert standards in recital. The Irish composer and virtuoso [[pianist]] [[John Field (composer)|John Field]] (1782–1837) was highly influential in his style of playing, inventing the [[nocturne]] and he is thought to have been an inspiration to [[Robert Schumann|Schumann]], [[Frédéric Chopin|Chopin]] and [[Franz Liszt|Liszt]].<ref>S. Sadie and A. Latham, ''The Cambridge Music Guide'' (Cambridge: Cambridge University Press, 1990), p. 328.</ref> Perhaps the most influential composer of the first half of the 19th century was the German [[Felix Mendelssohn]], who visited Britain ten times for a total of twenty months from 1829. He won a strong following through the Philharmonic Society, sufficient for him to make a deep impression on British musical life. Not only did he compose and perform, but he also edited for British publishers the first critical editions of [[oratorio]]s of Handel and of the [[organ (music)|organ]] music of J. S. Bach. Scotland inspired two of his most famous works, the overture ''[[Hebrides Overture|Fingal's Cave]]'' (also known as the ''Hebrides Overture'') and the ''[[Symphony No. 3 (Mendelssohn)|Scottish Symphony]]'' (Symphony No. 3). His oratorio ''[[Elijah (oratorio)|Elijah]]'' was premièred in [[Birmingham]] at the [[Birmingham Triennial Music Festival|Triennial Music Festival]] on August 26, 1846. On his last visit to England in 1847 he was the soloist in [[Ludwig van Beethoven|Beethoven]]'s [[Piano Concerto No. 4 (Beethoven)|Piano Concerto No. 4]] and conducted his own ''Scottish'' Symphony with the Philharmonic Orchestra before [[Queen Victoria]] and [[Prince Albert]].<ref>D. Conway, '"Short, Dark and Jewish-Looking": Felix Mendelssohn in Britain', ''The Jewish Year Book'' (2009), ed. S. Massil, p. xviii.</ref> A number of British piano students of promise were sent to the [[Felix Mendelssohn College of Music and Theatre|Leipzig Conservatory]] established by Mendelssohn.<ref>T. M. Ellsworth and S. Wollenberg, ''The piano in nineteenth-century British culture: instruments, performers and repertoire'' (Aldershot: Ashgate, 2007), p. 4.</ref> ==British musical renaissance 1860-1918== Classical music has been seen as undergoing a fundamental shift in focus and importance from the second half of the 19th century, as it began to search for a distinctive national identity or identities and played an increasing role in British cultural life.<ref>R. A. Stradling and M. Hughes, ''The English Musical Renaissance, 1860-1940: Construction and Deconstruction'' (London: Taylor & Francis, 1993).</ref> ===Performers and composers=== Native singers shared the dramatic stage with international stars in Italian and German opera, notably [[Clara Novello]], [[Helen Lemmens-Sherrington]], [[Sims Reeves]] and [[Charles Santley]].<ref>C. Hartley and S. Leckey, ''A Historical Dictionary of British Women'' (London: Routledge, 2nd edn., 2003), p. 275.</ref> After 1856 the Swedish born [[Jenny Lind]], perhaps the most internationally renowned singer of the era, settled permanently in England, continuing to perform and teach.<ref>{{cite DNB12|wstitle=Goldschmidt, Otto|volume=2|page=124}}</ref> Among the most important figures in British classical music in this period was Sir [[William Sterndale Bennett]]. A RAM pupil of Potter's, he was a pianist, composer and conductor who for eleven years took control of the Philharmonic Society baton.<ref>P. Horton, "William Sterndale Bennett, composer and pianist", in T. M. Ellsworth and S. Wollenberg, eds, ''The piano in nineteenth-century British Culture: Instruments, Performers and Repertoire'' (Aldershot: Ashgate, 2007), pp. 119-48.</ref> [[Lucy Anderson]] and her pupil [[Arabella Goddard]], with Franklin Taylor, were leading native mid-Victorian pianists.<ref>T. M. Ellsworth, "Victorian pianists as concert artists: the case of Arabella Godard", in T. M. Ellsworth and S. Wollenberg, eds., ''The Piano in Nineteenth-Century British Culture: Instruments, Performers and Repertoire'' (Aldershot: Ashgate, 2007), p. 153.</ref> ===Growth of venues and orchestras=== [[File:Royal Opera House and ballerina.jpg|thumbnail|250px|The Royal Opera House, Bow Street frontage, with Enzo Plazzotta's statue 'Young Dancer' in the foreground]] This century saw the trend towards larger orchestras and correspondingly larger musical venues, permitting public concerts for mass audiences. [[The Crystal Palace]] concerts were inaugurated in 1855, with [[August Manns]] as the principal conductor and the Handel Triennial Festival, an older institution involving massed choirs before vast audiences, was transferred there.<ref>M. Musgrave, ''The Musical Life of the Crystal Palace'' (Cambridge: Cambridge University Press, 1995), pp. 67-81.</ref> [[Covent Garden]]'s [[Royal Opera House]] was opened in 1858, on the site of an earlier theatre and the [[Royal Albert Hall]] was built in 1878.<ref>M. Kilburn, ''London's Theatres'' (New Holland Publishers, 2002), p. 112.</ref> Orchestras which were founded in this period included the [[Royal Liverpool Philharmonic|Royal Liverpool Philharmonic Orchestra]] (1840),<ref name="M. Randel, 2003 p. 292">D. M. Randel, ''The Harvard Dictionary of Music'' (Harvard University Press, 2003), p. 292.</ref> the [[The Hallé|Hallé Orchestra]] at [[Manchester]] under Sir [[Charles Hallé]] (1858),<ref>[[Michael Kennedy (music critic)|M. Kennedy]], ''The Hallé, 1858-1983: a History of the Orchestra'' (Manchester: Manchester University Press, 1982).</ref> and the Scottish Orchestra (1891), now the [[Royal Scottish National Orchestra]].<ref>C. Harvie, ''No gods and precious few heroes: Twentieth-century Scotland'' (Edinburgh: Edinburgh University Press, 3rd edn., 1998), p. 137.</ref> ===English language opera=== {{Main|Opera in English}} One of the notable features of the mid-19th century is the revival of a tradition of English language opera. [[Arthur Sullivan]], a pupil of Goss, came to public attention in the 1860s with [[William Shakespeare|Shakespeare]] [[incidental music]], ''[[The Tempest (Sullivan)|The Tempest]]'' (1862), ''[[The Merchant of Venice]]'' (1871), his ''[[Symphony in E, Irish|Irish Symphony]]'' (1863–66) and ''[[Overture In C (In Memoriam)|In Memoriam]]''.<ref name="M. Ainger, 2002">M. Ainger, ''Gilbert and Sullivan: a dual biography'' (Oxford: Oxford University Press, 2002).</ref> The period 1835-1865 saw the height of popularity for the Irish born [[Michael Balfe]] (1808–70), composer of ''[[The Bohemian Girl]]'' (1843),<ref>W. Tyldesley, ''Michael William Balfe: his life and his English operas'' (Aldershot: Ashgate, 2003).</ref> the operas of [[John Pyke Hullah]] (1812–84),<ref>F. M. L. Thompson, ''The University of London and the world of learning, 1836-1986'' (Continuum, 1990), pp. 184-5.</ref> and the earlier English operas of German-born Sir [[Julius Benedict]] (1804–85), including his best-known, ''[[The Lily of Killarney]]'' (1862).<ref>R. A. Streatfeild. ''The Opera'' (BiblioBazaar, LLC, 2007), p. 223.</ref> ''[[Maritana]]'' (1845) was the most famous and ballad-rich of the Irish born [[William Vincent Wallace]]'s operas.<ref>V. B. Lawrence and G. T. Strong, ''Reverberations, 1850-1856'' (Chicago IL: University of Chicago Press, 1995), p. 541.</ref> The operas of [[Frederic Clay]] (1838–89) were among the most popular of the period, including ''[[Ages Ago]]'' (1869), ''[[The Gentleman in Black]]'' (1870) and ''[[Happy Arcadia]]'' (1872), all written with [[W. S. Gilbert]] (1836–1911).<ref>M. Ainger, ''Gilbert and Sullivan: a dual biography'' (Oxford: Oxford University Press, 2002), pp. 83-4.</ref> The [[Savoy opera]] collaborations between Gilbert and Sullivan began in 1875 with ''[[Trial by Jury]]''. They were in the British light opera tradition with spoken dialogue. They reached their heyday in the 1880s with ''[[The Pirates of Penzance]]'' (1880), and ''[[The Gondoliers]]'' (1889), and concluded in 1896 with ''[[The Grand Duke]]''. They had rivals like [[Alfred Cellier]]'s (1844–91) ''[[Dorothy (opera)|Dorothy]]'' (1886) and ''[[The Mountebanks]]'' (1892), but were the most successful operas of the era and have been among the most frequently revived.<ref name="M. Ainger, 2002"/> ===Religious and mythical works=== [[File:SirWilliamSterndaleBennett.jpg|thumb|right|Sir [[William Sterndale Bennett]] in 1861]] In the later 19th century there was an increasing appetite for large scale works that covered epic, biblical and mythical themes. This was reflected in the topics of operas, cantatas and oratorios, often utilising British poems and novels. These included choral works like [[William Sterndale Bennett]]'s ''The May Queen'' (1858),<ref>G. P. Upton, ''The Standard Oratorios'' (BiblioBazaar, LLC, 2008), p. 46.</ref> [[Ebenezer Prout]]'s ''Hereward'' and ''King Alfred''<ref>W. L. Hubbard, ''The American History and Encyclopedia of Music: Musical Biographies Part Two'' (Kessinger, 2005), p. 176.</ref> and [[cantata]]s like Sullivan and Henry Fothergill Chorley's ''[[The Masque at Kenilworth]]'' (1864),<ref>D. Shrock, ''Choral Repertoire'' (Oxford: Oxford University Press, 2009), p. 532.</ref> John Francis Barnett's ''Ancient Mariner'' (1867)<ref>Michael Musgrave, ''The musical life of the Crystal Palace'' (Cambridge: Cambridge University Press, 1995), pp. 107-8.</ref> and [[Frederic Hymen Cowen]]'s ''The Rose Maiden'' (1870) and ''Harold'' (1895).<ref>D. M. Randel, ''The Harvard Biographical Dictionary of Music'' (Harvard University Press, 1996), p. 184.</ref> Similar trends can be seen in operas such as [[George Alexander Macfarren]]'s ''Robin Hood'' (1860), Sullivan's ''Ivanhoe'' (1891) and in the operas of [[Arthur Goring Thomas]], which included ''[[Esmeralda (opera)|Esmeralda]]'' (1883) and ''Nadeshda'' (1885).<ref>R. Beale, ''Charles Hallé: a Musical Life'' (Aldershot: Ashgate, 2007), p. 128.</ref><ref>D. J. Grout, ''A Short History of Opera'' (Columbia University Press, 2nd edn, 1965), p. 488.</ref> The works of Handel, Mendelssohn and Spohr continued to be a major part of the British musical repertoire but there was an increasing emphasis on religious drama. The Italian-born Sir [[Michael Costa (conductor)|Michael Costa]]'s ''Eli'' (1855) and ''Naaman'' (1864)<ref name="M. Randel, 2003 p. 292"/> set the pace for the later development in the works of Sullivan, including ''[[The Martyr of Antioch]]'' (1880) ''The Light of the World'' (1873), and ''[[The Golden Legend (cantata)|The Golden Legend]]'' (1886), [[John Liptrot Hatton]]'s ''Hezekiah'' (1877), [[Joseph Barnby]]'s ''Rebekah'' (1870), [[William Cusins]]'s ''Gideon'' (1871), [[Alfred R. Gaul]]'s ''The Holy City'' (1882), [[Charles Gounod]]'s ''Redemption'' (1882) and ''Mors et Vita'' (1885) (produced expressly for the British public), and Sir [[John Stainer]]'s [[The Crucifixion (Stainer)|''The Crucifixion'']] (1887).<ref>H. E. Smither, ''A History of the Oratorio: the Oratorio in the Nineteenth and Twentieth Centuries'' (UNC Press, 2000), p. 311.</ref> Arguably the last of the great English Victorian composers to emerge was [[Edward Elgar]] (1857–1934), who during the 1890s produced his ''Caractacus'' and ''King Olaf'' cantatas, the ''[[Enigma Variations]]'' in 1899, and the revolutionary ''[[The Dream of Gerontius|Dream of Gerontius]]'' in 1900.<ref>J. N. Moore, ''Edward Elgar: a Creative Life'' (Oxford: Oxford University Press, 1999).</ref> ===Late nineteenth-century foundations=== Between 1880 and 1887 the London [[Guildhall School of Music and Drama|Guildhall School of Music]] was established.<ref name="M. Hughes, 1993 p. 47">R. A. Stradling and M. Hughes, ''The English Musical Renaissance, 1860-1940: Construction and Deconstruction'' (London: Taylor & Francis, 1993), p. 47.</ref> The [[Royal College of Music]], originating in a training school under Arthur Sullivan, was founded (1882–83) under Sir [[George Grove]].<ref name="M. Hughes, 1993 p. 47"/> [[Proms|The Queen's Hall Promenade Concerts]], led by Sir [[Henry Joseph Wood|Henry Wood]] were founded in 1895.<ref>R. A. Stradling and M. Hughes, ''The English Musical Renaissance, 1860-1940: Construction and Deconstruction'' (London: Taylor & Francis, 1993), p. 46.</ref> A member of teaching staff at the RCM from 1884 and director from 1894 until his death was Sir [[Hubert Parry]] (1848–1918), who used it as a platform for creativity and a reformation of British music. His own works included the cantatas ''Prometheus Unbound'' (1880) and ''King Saul'' (1894), and four symphonies, among them the ''English'' (1889).<ref>J. Dibble, ''C. Hubert H. Parry: His Life and Music'' (Oxford: Oxford University Press, 1998).</ref> His great contemporary was the Irish-born Sir [[Charles Villiers Stanford]] (1852–1924), who was professor of composition at the RCM from 1883; conductor of The Bach Choir from 1886 to 1902; was professor of music at Cambridge from 1887 and conductor of the Leeds Philharmonic Society (1897–1909), and of the Leeds Festival (1901 to 1910).<ref>J. Dibble. ''Charles Villiers Stanford: man and musician'' (Oxford: Oxford University Press, 2002).</ref> These figures had a profound effect on a generation of composers that included [[Gustav Holst]] and [[Ralph Vaughan Williams]]. ===National or pastoral school=== [[File:Jelka Rosen und Frederick Delius 1929.jpg|thumb|200px|right|[[Frederick Delius]] in 1929]] A notable feature of the late 19th century and early 20th century was the creation of an English national or pastoral school of classical music. This paralleled similar developments in most European countries, for instance in the music of [[Bedřich Smetana|Smetana]], [[Antonín Dvořák|Dvořák]], [[Edvard Grieg|Grieg]], [[Franz Liszt|Liszt]], [[Richard Wagner|Wagner]], [[Carl Nielsen|Nielsen]] and [[Jean Sibelius|Sibelius]].<ref>[[Peter van der Merwe (musicologist)|van der Merwe, Peter]], ''Roots of the classical: the popular origins of western music'' (Oxford: Oxford University Press, 2004), p. 361.</ref> The movement was particularly influenced by the [[British folk revival]] through the work of figures such as [[Sabine Baring-Gould]] and [[Cecil Sharp]]. Examples include the Australian [[Percy Grainger]]'s ''[[Molly on the Shore]]'' (1907), [[Frederick Delius]]' ''[[Brigg Fair]]'' (1908), and [[Ralph Vaughan Williams]]' ''[[English Folk Song Suite]]'' (1923) for brass band, as well as subtler references to folk themes in other works including the works of [[Arnold Bax]], [[George Butterworth]], [[Gustav Holst]], [[Samuel Coleridge-Taylor]] and [[John Ireland (composer)|John Ireland]].<ref>B. Sweers, ''Electric Folk: The Changing Face of English Traditional Music'' (Oxford: Oxford University Press, 2005), p. 47.</ref> Similar developments could be seen in Scotland in the work of [[Alexander Mackenzie (composer)|Sir Alexander Mackenzie]], who celebrated his native Scotland in three ''Scottish Rhapsodies'' for orchestra (1880–81, 1911), and in various concerted works for piano or violin and orchestra composed during the 1880s and 1890s.<ref>J. N. Moore, ''Edward Elgar: a Creative Life'' (Oxford: Oxford University Press, 1999), p. 91.</ref> Similarly, [[John Blackwood McEwen|John McEwen]]'s ''Pibroch'' (1889), ''Border Ballads'' (1908) and ''Solway Symphony'' (1911) also incorporated traditional Scottish folk melodies.<ref>M. Gardiner, ''Modern Scottish Culture'' (Edinburgh: Edinburgh University Press, 2005), p. 196.</ref> ==Twentieth century== Under the [[Anglo-Irish Treaty]] of 1921, twenty-six of [[Ireland]]'s thirty-two counties, including the city of [[Dublin]], were formally separated from the [[United Kingdom]]. While the two countries continued to share a classical music heritage, they would now develop on different lines.<ref>M. McCarthy. ''Passing it on: the transmission of music in Irish culture'' (Cork: Cork University Press, 1999), pp. 108-9.</ref> In what was now the United Kingdom of Great Britain and Northern Ireland, the outstanding composers of the century included [[William Walton]] and [[Benjamin Britten]]. Their individual approaches to music and its part in the national identity differed significantly. Walton's work featured fanfares and patriotic themes, including the ceremonial marches ''Crown Imperial'', written for the [[coronation of King George VI and Queen Elizabeth]], and ''Orb and Sceptre'', for [[coronation of Queen Elizabeth II|that of Queen Elizabeth II]].<ref>M. Kennedy, ''Portrait of Walton'' (Oxford: Oxford University Press, 1989).</ref> Britten, on the other hand, made a conscious effort to set himself apart from the English musical mainstream, which he regarded as complacent, insular and amateurish. His works included the operas ''[[Peter Grimes]]'' (1945), and ''[[Billy Budd (opera)|Billy Budd]]'' (1951), as well the instrumental compositions ''Nocturnal after John Dowland for guitar'' (1964).<ref>D. Matthews, ''Britten'' (Haus Publishing, 2003).</ref><ref>J. R. Doctor, ''The BBC and ultra-modern music, 1922-1936: shaping a nation's tastes'' (Cambridge: Cambridge University Press, 1999).</ref> It is arguable that this trend may have contributed to the revival of interest in [[early music]] which has been led, in Britain, by such figures as [[Arnold Dolmetsch]] and [[David Munrow]].<ref>T. Knighton and D. Fallows, ''Companion to Medieval and Renaissance Music'' (University of California Press, 1997), p. 428.</ref> ==Twenty-first century== [[File:Royal-coll-mus-lond.jpg|right|150px|thumb|The Royal College of Music from [[Prince Consort Road]], [[London]]]]In the present era, classical music in Britain must contend and co-exist with a dominant culture of [[popular music]]. Specialist music education at establishments such as the [[Royal Academy of Music]], [[Royal College of Music]], [[Royal Scottish Academy of Music and Drama]], [[Royal Northern College of Music]], [[Birmingham Conservatoire]] and [[Guildhall School of Music]],<ref name=Sheerman2007p246/> [[Trinity Laban Conservatoire of Music and Dance]]{{Citation needed|date=April 2015}} and the Royal Welsh College of Music & Drama as well as within British Universities provide world-class music teaching to gifted classical musicians.<ref name=Sheerman2007p246>B. Sheerman, ed., ''The future sustainability of the higher education sector: international aspects, eighth report of session 2006-07, Vol. 2: Oral and written evidence'' (London: HM The Stationery Office, 2007), p. 346.</ref> Notable modern composers include: [[Peter Maxwell Davies]], [[Julian Anderson]], [[Harrison Birtwistle]], [[George Benjamin (composer)|George Benjamin]], [[Thomas Ades]], [[Oliver Knussen]], [[James MacMillan (composer)|James MacMillan]] and at a more popular level [[Andrew Lloyd Webber]], represent very different strands of composition within UK classical music.<ref name=Clark&Staines2001>D. Clark and J. Staines, ''Classical music: the rough guide'' (London: Rough Guides, 2001).</ref> ==Festivals and venues== The United Kingdom is host to many major [[orchestra]]s, festivals and venues. The [[Royal Philharmonic Society]] (founded 1813) and "[[The Proms]]" have presented annual music programmes of international status since the early 19th century. The [[Aldeburgh Festival]], founded by Benjamin Britten is another annual musical event of international status. ==Timeline== {{Timeline of classical music of the United Kingdom}} ==Notes== {{reflist|2}} ==See also== * [[Classical music]] ==References== *Peter Gammond (1996), ''The Encyclopedia of Classical Music'' Salamander Books, ISBN 0-86101-400-6 *[[Percy Scholes|Percy A. Scholes]] (1970), ''The Oxford Companion to Music'', Tenth Edition, Oxford University press. ==External links== *[http://www.cl.cam.ac.uk/users/mn200/music/composers.html Classical composer biographies at University of Cambridge] *[http://www.bl.uk/reshelp/findhelprestype/sound/classmusic/classical.html The British Library Sound Archive — Classical music] {{UK music}} {{DEFAULTSORT:Classical Music Of The United Kingdom}} [[Category:Classical music in the United Kingdom|*]] [[Category:Cultural history of the United Kingdom]]'