page_title: Music of Scotland in the nineteenth century
section_title: Classical music
hierarchical_section_title: Music of Scotland in the nineteenth century / Classical music
caption_attribution_description: Depicted person: Hamish Maccunn
context_page_description: Music of Scotland in the nineteenth century includes all forms of music production in the period, in Scotland or by Scottish people.
  The nineteenth century saw the reintroduction of accompanied music into the Church of Scotland. Organs began to be added to churches in large numbers and by the end of the century, roughly a third of Church of Scotland, over 80 per cent of kirks, had both organs and choirs. Similarly, in the Episcopalian Church the influence of the Oxford Movement and links with the Anglican Church led to the introduction of more traditional services, and by 1900 surpliced choirs and musical services were the norm. The Free Church that broke away from the kirk in 1843 in the Great Disruption, was more conservative over music, and organs were not permitted until 1883. Hymns were first introduced in the United Presbyterian Church in the 1850s. The visit of American Evangelists Ira D. Sankey, and Dwight L. Moody to Edinburgh and Glasgow in 1874–75 helped popularise accompanied church music in Scotland.
context_section_description: The tradition of European concert music in Scotland, which had been established in the eighteenth century faltered towards the end of the century. The Edinburgh Musical Society gave its last concert in 1798 and was wound up in 1801, with its concert hall sold off to become a Baptist church.
  From the mid-nineteenth century classical music began a revival in Scotland, aided by the visits of Frédéric Chopin (1810–49) and Felix Mendelssohn (1809–47) in the 1840s. Mendelssohn was probably the most influential composer of his era and visited Britain ten times, for a total of twenty months, from 1829. Scotland inspired two of his most famous works, the overture Fingal's Cave (also known as the Hebrides Overture) and the Scottish Symphony (Symphony No. 3). On his last visit to England in 1847, he conducted his own Scottish Symphony with the Philharmonic Orchestra before Queen Victoria and Prince Albert. Max Bruch (1838–1920) composed the Scottish Fantasy (1880) for violin and orchestra, which includes an arrangement of the tune "Hey Tuttie Tatie", best known for its use in the song "Scots Wha Hae" by Burns.
  Major composers included of the national school that developed in the late nineteenth century included Alexander Mackenzie (1847–1935), William Wallace (1860–1940), Learmont Drysdale (1866–1909) and Hamish MacCunn (1868–1916). Mackenzie, who studied in Germany and Italy and mixed Scottish themes with German Romanticism, is best known for his three Scottish Rhapsodies (1879–80, 1911), Pibroch for violin and orchestra (1889) and the Scottish Concerto for piano (1897), all involving Scottish themes and folk melodies. Wallace's work included an overture, In Praise of Scottish Poesie (1894). Drysdale's work often dealt with Scottish themes, including the overture Tam O’ Shanter (1890), the cantata The Kelpie (1891). MacCunn's overture The Land of the Mountain and the Flood (1887), his Six Scotch Dances (1896), his operas Jeanie Deans (1894) and Dairmid (1897) and choral works on Scottish subjects have been described by I. G. C. Hutchison as the musical equivalent of the Scots Baronial castles of Abbotsford and Balmoral. Similarly, McEwen's Pibroch (1889), Border Ballads (1908) and Solway Symphony (1911) incorporated traditional Scottish folk melodies.
  In the late part of the century performers emerged who gained international reputations. These included the pianist Frederic Lamond (1868–1948), and singers Mary Garden (1874–1967) and Joseph Hislop (1884–1977). The Scottish Orchestra was founded in 1891 and the Glasgow Athenaeum in 1893.
caption: Hamish MacCunn, one of the key composers of the Romantic movement in Scotland
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