1 Actually first performed in December 1813 and published in 1816. There is no significant orchestral work by Beethoven completed in 1815.Google Scholar

2 Bramwell Tovey, ‘The Conductor as Artistic Director’, The Cambridge Companion to Conducting, ed. José Antonio Bowen (Cambridge, 2003), 205–19 (p. 208).Google Scholar

3 Quoted by Simon Channing, ‘Training the Orchestral Musician’, The Cambridge Companion to the Orchestra, 180–93 (p. 187).Google Scholar

4 London (1862), Paris (1867), Vienna (1873). As Cynthia Adams Hoover observes in her entry on ‘Steinway’ in The New Grove Dictionary of Music and Musicians (2nd edn, London, 2001), xxiv, 344–6 (p. 345), ‘The piano used by Paderewski [on his 1892–3 tour] was basically the fully-developed concert grand of the 20th century.‘Google Scholar

5 Christoph Wolff, Johann Sebastian Bach: The Learned Musician (New York and London, 2000), 232.Google Scholar

6 Andrew Parrott, The Essential Bach Choir (Woodbridge, 2000), 117.Google Scholar

7 Spitzer and Zaslaw point out (p. 72) that by 1718 French court records refer to ‘the twenty-four violins in ordinary’.Google Scholar

8 Spitzer and Zaslaw, The Birth of the Orchestra, 236–7. See also Samantha Owens, ‘The Württemberg Hofkapelle c.1680–1721‘ (Ph.D. dissertation, Victoria University of Wellington, 1995), 392–3, 467ff.Google Scholar

9 See especially Adam Carse, The Orchestra from Beethoven to Berlioz (Cambridge, 1940) and The Orchestra in the XVIIIth Century (Cambridge, 1948).Google Scholar

10 Christopher Hogwood, Handel (London, 1984), 237.Google Scholar

11 Quoted by Philip, Performing Music in the Age of Recording, 69.Google Scholar

12 See R. Larry Todd, ‘Orchestral Texture and the Art of Orchestration’, The Orchestra: Origins and Transformations, ed. Joan Peyser (New York, 1986), 193–227 (p. 203).Google Scholar

13 Allgemeine musikalische Zeitung, 13 (September 1811), 643–4, lists the programme for the two days as follows: ‘On the first day Beethoven's great Symphony no. 2 in D major was performed, together with a Scena and aria from Titus [sic] by Mozart (sung by Frau von Heygendorf), Concerto for two violins by Spohr (played by Spohr and Matthāi), Overture to Zauberflöte by Mozart, Duet by Nasolini (sung by Frau von Heygendorf and Herr Stromeyer), Clarinet Concerto by Spohr (played by Herr Hermstedt), Prelude on the organ (by Herr Fischer), Hymn by Mozart. On the second day, Haydn's Creation’ (my translation). The concerts were directed by Louis Spohr. Clive Brown, Louis Spohr: A Critical Biography (Cambridge, 1984), 62, describes the 1810 Frankenhausen festival as ‘one of the earliest instances of the sort of middle-class festivals which were to become so distinctive a feature of German musical life during the nineteenth century’.Google Scholar

14 It is not clear from which concert these figures are taken. There seem to have been five Beethoven concerts in the Redoutensaal that year: 2 January, 27 February, 29 November, 2 December, 25 December.Google Scholar

15 Beethoven, Werke, II/i, ed. Hans-Werner Küthen (Munich, 1974), 123 (my translation).Google Scholar

16 See Ralph P. Locke, ‘Paris: Centre of Intellectual Ferment’, The Early Romantic Era, Between Revolutions: 1789 and 1848, ed. Alexander Ringer (London, 1990), 32–83.Google Scholar

17 Georges Kastner, Cours d'instrumentation considéré sous les rapports poëtiques et philosophiques de l'art à l'usage des jeunes compositeurs (Paris, [1839]), 4.Google Scholar

18 Quoted by Philip, Performing Music, 9.Google Scholar

19 Ibid, 15.Google Scholar

20 Ibid., 71–2.Google Scholar

21 Ibid., 19.Google Scholar

22 George Kastner, Traité général d'instrumentation (Paris, 1836), 62–3.Google Scholar

23 Ibid., 47.Google Scholar

24 Kastner, Supplément au traité général d'instrumentation (Paris, 1842), 28.Google Scholar

25 Quoted by Macdonald, Berlioz's Orchestration Treatise, xviii.Google Scholar

26 Arnold Schoenberg, Theory of Harmony, trans. Roy E. Carter (London and Boston, 1978), 421–2. Despite having described this as having ‘the appearance of a futuristic fantasy and is probably just that’, Schoenberg had already experimented with the concept in Farben (1909), the second of his Five Orchestral Pieces.Google Scholar

27 Ibid., 418.Google Scholar

28 Igor Stravinsky and Robert Craft, Conversations with Igor Stravinsky (London, 1959), 28–30.Google Scholar

29 See also Tim Carter and Erik Levi the elevation of the symphony as the most important orchestral genre also served to hasten the emergence of a museum repertory based upon the musical canon of the Great German composers from Haydn to Brahms' (p. 12); ‘… the symphony orchestra has remaned one of the most implacable guardians of a museum culture’ (p. 18). On p. 235 Robert Saxton remarks on Otto Klemperer's musical/orchestral interests as going ‘beyond a museum mentality’. I have written at more length on the musical museum metaphor in History, Imagination and the Performance of Music (Woodbridge, 2003), 75–7, 147–9, and passim.Google Scholar

30 Carl Dahlhaus, The Foundations of Music History (Cambridge, 1983), 4.Google Scholar

31 For more on this, see my History, Imagination and the Performance of Music, 164–5.Google Scholar

32 See The Cambridge Companion to the Orchestra, ed. Lawson, 20, and 253. The fear that when the present group of pensioners die off there will be nobody left to listen to orchestral music has been around for as long as the modern professional orchestra itself. One of the speakers at the Association of British Orchestras' conference in Liverpool in 2003 quoted a 1913 Musical Times article expressing concern at the ageing audiences at orchestral concerts. Market research repeatedly demonstrates the limitations of this view. It is, of course, true that the middle-aged and elderly are a very visible segment of symphonic audiences. But most of these do not have continuous subscriber histories going back to their youth. There is a period when financial and family commitments take many people out of concert-going. The challenge for the marketing departments is to fertilize a desire to make symphonic concerts one of the key pleasures of late middle age.Google Scholar

33 William Weber, ‘The Rise of the Classical Repertoire in Nineteenth-Century Orchestral Concerts’, The Orchestra, ed. Peyser, 361–85 (p. 374).Google Scholar

34 Figure 1 is constructed from Weber's figures, which are in turn derived from Dörffel, Geschichte der Gewandhausconcerte zu Leipzig (1881–4).Google Scholar

35 Johannes Brahms: The Herzogenberg Correspondence, ed. Max Kalbeck, trans. Hannah Bryant (London, 1909), 151. The other works on the programme were the Piano Concerto no. 1, op. 15, and the Haydn Variations, op. 56a.Google Scholar

36 Lydia Goehr, The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music (Oxford, 1992), 113.Google Scholar

37 J. Peter Burkholder, ‘The Twentieth Century and the Orchestra as Museum’, The Orchestra, ed. Peyser, 409–32.Google Scholar

38 Burkholder, ‘The Twentieth Century and the Orchestra as Museum’, 421.Google Scholar

39 For more on performers who supposedly suppress any emotional response in their pursuit of authenticity, see my History, Imagination and the Performance of Music, 145ff.Google Scholar