Music and the Benefit Performance in Eighteenth-Century Britain - Title page

pp iii-iii

Copyright page

pp iv-iv

Contents

pp v-vi

Figures

pp vii-vii

Tables

pp viii-viii

Music Examples

pp ix-ix

Notes on Contributors

pp x-xiii

Acknowledgements

pp xiv-xiv

Abbreviations

pp xv-xvi

Introduction

pp 1-20

Part I - Musical Benefits in the London Theatre: Networks and Repertories

pp 21-102

1 - Risks and Rewards: Benefits and Their Financial Impact on Actors, Authors, Singers, and Other Musicians in London, c. 1690–1730

pp 23-38

2 - With Several Entertainments of Singing and Dancing: London Theatre Benefits, 1700–1725

pp 39-59

3 - Concertos ‘upon the Stage’ in Early Hanoverian London: The Instrumental Counterpart to Opera Seria

pp 60-82

4 - Cobblers, Country Fairs, and Cross-Dressing: Benefits and the Development of Ballad Opera

pp 83-102

Part II - Beyond London: Mimicry or Originality?

pp 103-142

5 - Benefit Concerts in the North of England: More Than Just Musical Entertainment

pp 105-123

6 - Amateur Music-Making, Theatre Performances, and Benefit Concerts in Edinburgh

pp 124-142

Part III - Benefits and Public Image

pp 143-184

7 - English Music in Benefit Concerts: Henry Purcell and the Next Generation

pp 145-161

8 - Strategies of Performance: Benefits, Professional Singers, and Italian Opera in the Early Eighteenth Century

pp 162-184

Part IV - Charity Benefits

pp 185-220

9 - The Mercer’s Hospital Charity Services: Music and Charity in Eighteenth-Century Dublin

pp 187-201

10 - English Oratorio and Charity Benefits in Mid-Eighteenth-Century London

pp 202-220

Part V - The Role of the Audience

pp 221-264

11 - Encountering ‘The Most Extraordinary Prodigy’: Meeting Master Mozart in Georgian London

pp 223-241

12 - Benefits: cui bono?

pp 242-264

Select Bibliography

pp 265-276

Index of Musical Works

pp 277-279