| After a flurry of activity at the Restoration of Charles II in 1660, music at the British court is thought to have steadily declined to 1800. At the same time, public patronage of music increased as theaters abounded, experiments with opera took place, concerts in special concert rooms began, and music at the pleasure gardens thrived. King George II of England and his family were interested in music, but the concept of court patronage was changing in England. The court's support of music was not limited to private performances, nor were court musicians forbidden to hold positions outside the court. This study, based on court documents (mainly at the Public Record Office, London), contemporary newspapers, memoirs, and letters, describes the administrative substance of the court's musical establishments, the court musicians who were outside those establishments, the consequences of court patronage for the musicians involved. Handel's relationship to the court, and the Royal Family's hand in musical affairs.;The alleged appointment of George Frideric Handel as composer to the Chapel Royal in 1723 appears, in the context of the court documentation overall, to have been an aborted attempt to appoint to a foreign-born citizen to a court position despite the clear provisions of the Act of Settlement of 1701. Handel did not receive the emoluments that such an appointee would have, nor did he appear on subsequent lists of Chapel Royal placeholders.;The two main musical establishments at court, the Chapel Royal (mainly vocal) and the King's Band of Music (instrumental), were effectively administered throughout the reign. New compositions were written for them (notably by Maurice Greene, William Boyce, and Handel), salaries were paid on time, those holding the positions were qualified musicians, and many performances are documented. Other musicians active at court included military musicians, instrument builders and tuners, and music teachers. Musicians derived a steady income and other benefits from the court, but also actively participated in music away from court.;George II and Queen Caroline were instrumental in the hiring of Handel as Kapellmeister at Hanover, but paid less attention to music after George became King in 1727. Frederick, Prince of Wales, had the time and some inclination, but not the money, to be a major patron of music. Princess Anne was musically talented, but married and left England in 1734. |
