ABSTRACT
On the face of it, London in the Edwardian era offered limitless possibilities for new musicians to make their way into the music profession. A glance at the Saturday edition of the Daily Telegraph reveals on the front page an abundance of concerts and a significant growth in venues. There were simply far too many concerts for a market to sustain, not least in view of such competing attractions as opera, theatre, music hall and the early cinema. London critics had bemoaned the over-profusion of concerts for decades, but it reached an unsustainable climax in the Edwardian decade. The most immediate platform for professional advancement was provided through family connections. Some prominent musicians even emerged from this world. Some soloists went straight into professional success and security. The performer with the most obvious path to stardom was Myra Hess, but it was perhaps the slowest in realisation, due in part to the relatively conservative nature of her branding and programming.
