Classical music of the United Kingdom
Classical music of the United Kingdom is taken in this article to mean classical music in the sense elsewhere defined, of formally composed and written music of chamber, concert and church type as distinct from popular, 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.
Twentieth century[edit]
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.[47]
In what was now the United Kingdom of Great Britain and Northern Ireland, the outstanding composers of the century included William Walton, Benjamin Britten, Michael Tippett, Lennox Berkeley, and Havergal Brian. 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 that of Queen Elizabeth II.[48] 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 (1951), as well the instrumental compositions Nocturnal after John Dowland for guitar (1964).[49][50] 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.[51]
Festivals and venues[edit]
The United Kingdom is host to many major orchestras, 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.