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Religious institutions became a key training ground for the fellowship and discipline of the choral movement. A movement such as Methodism epitomized the alliance of singing and devotion. The value of choral worship was later realized in the new Victorian boarding schools, which played an important role, along with the writings of Haweis and others, in achieving a broader acceptance of music among the middle and upper classes and among boys in particular. Music was to be harnessed for its potential improving effects on the moral health of the individual and 99 100 See Russell (1997), 198 and 273.

The cultivation of instrumental music among amateurs remained the norm in Vienna into the 1850s, around the same time that a large number of lowerstatus amateurs were beginning to blur the distinction between themselves and professionals in public performance in Britain. 41 Without wishing to paint the Parisian scene as Utopian during this extremely unstable period in French history, it is significant that this balancing of amateur and professional musicians’ interests during the early nineteenth century coincided with the rise of pioneering and hugely influential instrumentalists of the French school, many of whom came to Britain in search of fame and fortune.

25 Ringer, ed. (1990) provides useful surveys of musical trends in various cultural centres during the early nineteenth century. There is also Rainbow (1990) on music education, Weber (1975) on social dynamics and the consumption of music and, of course, various useful entries in Grove 7. 21 14 INSTRUMENTAL TEACHING IN NINETEENTH-CENTURY BRITAIN to retain their significance for longer. Although London’s public ‘concert culture’ and professionalism were later emulated at similar levels elsewhere, ‘discriminating, or at least interested, continental audiences and managements’26 were already firmly established.

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