ABSTRACT
The stylistic breadth of French repertory presented between 1901 and 1914 was unprecedented, reflecting both its own diversity and the interest, especially in London, of concert promoters and audiences in new music from across Europe. Social function and obligation were as significant as passionate enthusiasm but the practical effect in terms of music disseminated remains. The positive symbolism of the Entente Cordiale created a supportive atmosphere that shrewder cultural agents exploited effectively. The ‘modern French school’ was used regularly to refer to composers whose music arrived after 1900 and covered various styles and aesthetics. While French theatre music became less popular, concert music prospered. In London, following the abandonment of Crystal Palace’s regular orchestral concerts in 1900 and Manns’s consequent retirement, Queen’s Hall became the principal venue for orchestral music.
