ABSTRACT
The position of French music in British culture was transformed between 1830 and 1914. Starting from virtual non-existence and widespread disparagement, by the Edwardian decade French music occupied a major place in British concert halls and theatres. The extent to which individual agency was exercised and distinctive (that is, whether it was pioneering or duplicated by others) varied greatly; certain individuals showed especial autonomy and were prime movers in bringing new French music to Britain. The diversity of critical views and audience bases makes summarising the British reception of French music challenging. The ‘academy’ (here, music professionals whose primary role was teaching at senior levels) also tried to influence wider views. Placing French art music in London between 1900 and 1914 in the broader context of the immense diversity of aesthetics and styles provided from across Europe would further contextualise and develop understanding of its reception.
