Concert life and the music trade in Edinburgh, c.1780 - c.1830

A brief introduction outlines the social and economic changes during the period with reference to Scotland and its capital city, and alludes to the increasing importance of music within contemporary society. This is followed by six chapters, each concerned with a particular area of musical activity. CHAPTER I: A survey of concert life, beginning with the demise of the Edinburgh Musical Society. Subsequent attempts to promote concerts on a regular basis are examined. The impact of large-scale Musical Festivals and visits by celebrity performers is outlined. Reasons for the lack of consistent support for public concerts are suggested. CHAPTER II: The growth in the market for music instruction is assessed through the three principal areas of demand: instruction for amateurs who performed in the home; instruction for those wishing to participate in public concerts; and choral instruction for performance either in church or the concert hall. CHAPTER III: A study of Edinburgh's music shops: the growth in their number and their changing location; their proprietors and the roles they served; the number of employees and their function; and the prerequisites for establishing a business. CHAPTER IV: An examination of instrumental sales, beginning with an outline of the various methods by which retailers selected their stock in London. The trade in imported pianos is examined in detail. Sale-s of other instruments and the second-hand market are briefly discussed. CHAPTER V: A survey of the trade in printed music, beginning with trading links with London. Music publishing in Edinburgh is then discussed; a brief survey of the city's engravers is followed by an assessment of the various publications of vocal music and works for piano. The significance of local composers is examined. CHAPTER VI: The development of piano making in the city is assessed in five phases: harpsichord and spinet makers; the first generation of piano makers; the activities of two large-scale manufacturers, notably Muir, Wood & Co.; the second generation of large-scale manufacturers and their decline; the revival of the industry. The question of the true provenance of Edinburgh-labelled pianos is considered and comparisons with London firms are made. In conclusion, the dramatic increase in demand for goods and services relating to domestic music-making in Edinburgh and the reasons for it are contrasted with the general pattern of decline in support for public concerts. The relationship between London and Edinburgh is highlighted, and the principal social function of music in the Scottish capital during the period is affirmed