Timeline of World History TIMELINE OF WORLD HISTORY



1800 - 1899
1800-09 1810-19 1820-29 1830-39 1840-49 1850-59 1860-69 1870-79 1880-89 1890-99
1800 1810 1820 1830 1840 1850 1860 1870 1880 1890
1801 1811 1821 1831 1841 1851 1861 1871 1881 1891
1802 1812 1822 1832 1842 1852 1862 1872 1882 1892
1803 1813 1823 1833 1843 1853 1863 1873 1883 1893
1804 1814 1824 1834 1844 1854 1864 1874 1884 1894
1805 1815 1825 1835 1845 1855 1865 1875 1885 1895
1806 1816 1826 1836 1846 1856 1866 1876 1886 1896
1807 1817 1827 1837 1847 1857 1867 1877 1887 1897
1808 1818 1828 1838 1848 1858 1868 1878 1888 1898
1809 1819 1829 1839 1849 1859 1869 1879 1889 1899
  BACK-1812 Part II NEXT-1813 Part I    
FitzGerald Edward
1810 - 1819
History at a Glance
1810 Part I
Marie Louise, Duchess of Parma
Edict of Fontainebleau
First Republic of Venezuela
Mexican War of Independence
Argentine War of Independence
Colombian Declaration of Independence
Foolish Fatherland
Chilean War of Independence
Bolivian war of independence
Charles XIV John
Invasion of Guadeloupe
Cavour Camillo
1810 Part II
Cumberland Presbyterian Church
Montalembert Charles
Musset Alfred
Scott: "The Lady of the Lake"
Goya: "The Disasters of War"
The Nazarenes
Beethoven: "Egmont"
Chopin Frederic
Chopin - Nocturne Op.9 No.2
Frederic Chopin
Nicolai Otto
Nicolai - The Merry Wives of Windsor - Overture
Otto Nicolai
Rossini: "La Cambiale di Matrimonio"
Schumann Robert
Schumann - Piano sonata n.1 op.11
Robert Schumann
Spurzheim Johann Gaspar
Hahnemann Samuel
Girard Philippe
Humboldt University of Berlin
Krupp Friedrich Carl
Barnum Phineas Taylor
1811 Part I
George IV
Battle of the Danube
Massacre of the Mamelukes at Cairo
Napoleon Francois-Joseph Charles
Battle of Fuentes de Onoro
Paraguay independent of Spain
Venezuelan War of Independence
Peruvian War of Independence
San Martin Jose
Battle of Las Piedras
Artigas Jose Gervagio
Invasion of Java
Battle of Tippecanoe
1811 Part II
Bottiger Karl August
Niebuhr Barthold Georg
University of Oslo
Jane Austen: "Sense and Sensibility"
Stowe Harriet Beecher
Friedrich de la Motte-Fouque: "Undine"
Gautier Theophile
Goethe: "Aus meinem Leben: Dichtung und Wahrheit"
Gutzkow Karl
Thackeray William Makepeace
Dupre Jules
Jules Dupre
Ingres: "Jupiter and Thetis"
Thomas Lawrence: Portrait of Benjamin West
Thorvaldsen: "Procession of Alexander the Great"
1811 Part III
Liszt Franz
Franz Liszt - Liebestraum - Love Dream
Franz Liszt
Prague Conservatoire
Carl Maria von Weber: "Abu Hassan"
Avogadro Amedeo
Great Comet of 1811
Bunsen Robert
Poisson Simeon-Denis
Manning Thomas
Berblinger Albrecht Ludwig
1812 Part I
French invasion of Russia
Battle of Borodino
Kutuzov Mikhail
Malet Claude-François
Perceval Spencer
1812 Part II
War of 1812
Battle of Salamanca
Siege of Burgos
Battle of Tordesillas
Hegel: "Science of Logic"
Jewish emancipation
Browning Robert
Robert Browning 
"Dramatic Romances"
"The Pied Piper of Hamelin"
The Brothers Grimm: "Fairy Tales"
Lord Byron: "Childe Harold's Pilgrimage"
Dickens Charles
Charles Dickens
"Great Expectations"
Theatre Royal Drury Lane
Goncharov Ivan Aleksandrovich
Smiles Samuel
Krasinski Zygmunt
Kraszewski Joseph Ignatius
1812 Part III
Elgin Marbles
Rousseau Theodore
Theodore Rousseau
Pforr Franz
Franz Pforr
Beethoven: Symphonies No. 7 (Op. 92)
Encounter between Beethoven and Goethe at Teplitz
Beethoven: Symphonies No. 8 (Op. 93)
Flotow Friedrich
Friedrich von Flotow: Piano Concerto No. 2
Friedrich von Flotow
Gesellschaft der Musikfreunde, Vienna
Burckhardt Johann Ludwig
Krupp Alfred
Red River Settlement, Manitoba, Canada
Hampden Clubs
1813 Part I
German Campaign 1813–1814
Battle of Dresden
Battle of Lutzen
Battle of the Katzbach
Battle of Leipzig
Battle of York
Battle of Fort George
Capture of USS Chesapeake
Battle of Crysler's Farm
Capture of Fort Niagara
Battle of Buffalo
Battle of Vitoria
Siege of San Sebastian
First Serbian Uprising
1813 Part II
Herbart Johann Friedrich
Kierkegaard Soren
Schopenhauer: "On the Fourfold Root of the Principle of Sufficient Reason"
Colby College, Maine
The Baptist Union of Great Britain
Jane Austen: "Pride and Prejudice"
Buchner Georg
Byron: "The Giaour"
Hebbel Friedrich
Ludwig Otto
Shelley: "Queen Mab"
Turner: "Frosty Morning"
London Philharmonic Society
Rossini: "L'ltaliana in Algeri"
Verdi Giuseppe
Anna Netrebko "Final Scene" La traviata
Giuseppe Verdi
Wagner Richard
Richard Wagner - Ride Of The Valkyries
Richard Wagner
Campbell John
Blaxland Gregory
Across the Blue Mountains
Lord Thomas
1814 Part I
1814 campaign in France
Six Days Campaign
Battle of Champaubert
Battle of Montmirail
Battle of Chateau-Thierry
Battle of Vauchamps
Battle of Orthez
Treaty of Chaumont
Battle of Arcis-sur-Aube
Battle of Paris
Battle of Toulouse
Treaty of Fontainebleau
Treaty of Paris
Congress of Vienna
Napoleon's exile to Elba
1814 Part II
Christian VIII
Bakunin Mikhail
Battle of Chippawa
Burning of Washington
Battle of Plattsburgh
Treaty of Ghent
Anglo-Nepalese War of 1814–16
First Anglican bishop in Calcutta
Motley John Lothrop
1814 Part III
Jane Austen: "Mansfield Park"
Byron: "The Corsair"
Edmund Kean's Shylock
Lermontov Mikhail
Mikhail Lermontov
"Death of the Poet"
"The Demon
Walter Scott: "Waverley"
Williav Wordsworth: "The Excursion"
Adelbert von Chamisso: "Peter Schlemihl"
Goya: "The Second of May 1808"
Goya: "The Third of May 1808"
Ingres: "Grande Odalisque"
Millet Jean Francois
Jean Francois Millet
Orfila Mathieu Joseph Bonaventure
Industrial printing presses
Lord's Cricket Ground
1815 Part I
Battle of New Orleans
Hundred Days
Neapolitan War
Battle of Waterloo
Napoleon's surrender
Second Peace of Paris
Ney Michel
1815 Part II
Corn Law
Bismarck Otto
Spanish Invasion of New Granada in 1815–1816
Basel Mission
Beranger Pierre
Byron: "Hebrew Melodies"
Geibel Emanuel
Hoffmann: "Die Elixiere des Teufels"
Scott: "Guy Mannering"
Trollope Anthony
Anthony Trollope 
"Barchester Towers"
Wordsworth: "White Doe of Rylstone"
1815 Part III
Goya: "La Tauromaquia"
Menzel Adolf
Adolf Menzel
Turner: "Crossing the Brook"
Franz Robert
Robert Franz - Oh Wert thou in the Cauld Blast
Robert Franz
Kjerulf Halfdan
Halfdan Kjerulf - Spring Song
Halfdan Kjerulf
Robert Volkmann - Cello Concerto in A minor
Robert Volkmann
Davy lamp
Fresnel Augustin-Jean
Prout William
Prout's hypothesis
Steam battery "Demologos", or "Fulton"
Nations in Arms
Nations in Arms
Apothecaries Act
McAdam John Loudon
Robertson Allan
Eruption of Sumbawa Volcano
1816 Part I
Maria I, Queen of Portugal
John VI of Portugal
Argentine War of Independence
Argentine Declaration of Independence
Federal Convention
American Bible Society
Gobineau Joseph Arthur
Karamzin Nikolai
1816 Part II
Jane Austen: "Emma"
Bronte Charlotte
Charlotte Bronte
"Jane Eyre"
Byron: "The Siege of Corinth"
Freytag Gustav
Derzhavin Gavrila
Leigh Hunt: "The Story of Rimini"
Shelley: "Alastor"
Goya: "The Duke of Osuna"
Rossini: "Barbiere di Siviglia"
Spohr: "Faust"
Brewster David
Laennec Rene-Theophile-Hyacinthe
Siemens Werner
Cobbett William
Froebel Friedrich
1817 Part I
Habeas Corpus Suspension Act
Wartburg Festival
Second Serbian Uprising (1815-1817)
Third Anglo-Maratha War 1817-1818
Bockh August
Hegel: "Encyclopedia of the Philosophical Sciences"
Llorente Juan Antonio
Mommsen Theodor
David Ricardo: "Principles of Political Economy and Taxation"
Byron: "Manfred"
Thomas Moore: "Lalla Rookh"
Storm Theodor
Thoreau Henry David
1817 Part II
Constable: "Flatford Mill"
Daubigny Charles
Charles Daubigny
Thorvaldsen: Ganymede Waters Zeus as an Eagle
Leech John
John Leech
Watts George Frederic
George Frederic Watts
Rossini: "La Gazza ladra"
Rossini: "Cenerentola"
Ritter Carl
Long Stephen Harriman
"Blackwood's Magazine"
"The Scotsman"
Waterloo Bridge
1818 Part I
Chilean Declaration of Independence
Bavarian constitution proclaimed
Treaty of 1818
Dobrovsky Josef
Froude James Anthony
Marx Karl
Karl Marx
"Manifesto of the Communist Party"
- Marxism
Friedrich Engels
First International
1818 Part II
Byron: "Don Juan"
Keats: "Endymion"
Peacock: "Nightmare Abbey"
Walter Scott: "Heart of Midlothian"
Shelley Mary
Mary Shelley "Frankenstein"
Mary Wollstonecraft Shelley 
"Frankenstein; or, The Modern Prometheus"
Turgenev Ivan
1818 Part III
Burckhardt Jakob
Fohr Carl Philipp
Karl Philipp Fohr
Donizetti: "Enrico, Conte di Borgogna"
Gounod Charles
Gounod - Ave Maria
Charles Gounod
"Stille Nacht, heilige Nacht"
Rossini: "Mose in Egitto"
Bessel Friedrich Wilhelm
Encke Johann Franz
Oxley John
British Admiralty Expeditions
Scoresby William
Phipps Constantine Henry
Buchan David
Parry William Edward
Ross James Clark
Order of Saint Michael and Saint George
Raiffeisen Friedrich Wilhelm
1819 Part I
Founding of modern Singapore
Queen Victoria
Victorian Era
Peterloo Massacre
Albert, Prince Consort
Jakob Grimm: "German Grammar"
Hermes Georg
Schopenhauer: "Die Welt als Wille und Vorstellung"
Sismondi Jean
Wilson Horace Hayman
1819 Part II
Byron: "Mazeppa"
Eliot George
George Eliot 
"Silas Marner"
Fontane Theodor
Howe Julia Ward
Keats: "Hyperion"
Keller Gottfried
Kotzebue August
Lowell James Russell
Shelley: "The Cenci"
Whitman Walt
Walt Whitman
"Leaves of Grass"
Washington Irving: "Rip van Winkle"
1819 Part III
Courbet Gustave
Gustave Courbet
Theodore Gericault: "The Raft of the Medusa"
Ruskin John
Thorvaldsen: "Lion of Lucerne"
Turner: "Childe Harold's Pilgrimage"
Museo del Prado
Chasseriau Theodore
Theodore Chasseriau
Offenbach Jacques
Offenbach - Barcarole
Jacques Offenbach
Schumann Clara
Mitscherlich Eilhard
Oersted Hans Christian
Central Asia Exploration
Moorcroft William
First Sightings of the Antarctic Continent
Bransfield Edward
Weddell James
Bellingshausen Thaddeus
Burlington Arcade, Piccadilly, London

Gesellschaft der Musikfreunde in Wien. First Concert 1812 Alexander's Feast
YEAR BY YEAR:  1800 - 1899
1812 Part III
Elgin Marbles

Elgin Marbles, collection of ancient Greek sculptures and architectural details in the British Museum, London, where they are now called the Parthenon Sculptures. The objects were removed from the Parthenon at Athens and from other ancient buildings and shipped to England by arrangement of Thomas Bruce, 7th Lord Elgin, who was British ambassador to the Ottoman Empire (1799–1803). The removal created a storm of controversy that exemplified questions about the ownership of cultural artifacts and the return of antiquities to their places of origin.


Elgin Marbles British Museum
Elgin was a lover of art and antiquities. By his own account, he was concerned about damage being done to important artworks in the temples of Greece, then under Ottoman sway. Fearing that they would eventually be destroyed because of Turkish indifference, he asked permission of the Sublime Porte to have artists measure, sketch, and copy important pieces of sculpture and architectural detail for posterity. At length the request was granted—along with the authority “to take away any pieces of stone with old inscriptions or figures thereon.”

Elgin then began selecting a vast store of the treasures for shipment to England. Among these were friezes, pediment sculptures, and fragmented statues from the cella (interior chamber) walls of the Parthenon; the northeast column, an anta capital, blocks of wall crown (crown molding), including architrave and cornice, and a caryatid from the Erechtheum (a temple of Athena); and various other antiquities from Athens, Attica, and other sites.

  A series of shipments took the treasures to England in 1802–12 with but one mishap—HMS Mentor sank in a storm off the Greek isle of Cythera in 1804, but the entire cargo was recovered.
Elgin left the embassy in 1803 and arrived in England in 1806. The collection remained private for the next 10 years.

An outcry arose over the affair, and Elgin was assailed for rapacity, vandalism, and dishonesty in hauling the Grecian treasures to London. Lord Byron and many others attacked Elgin’s actions in print. A select committee of Parliament was established to examine the sculpture and the possibility of acquiring it for Britain.

In 1810 Elgin published a defense of his actions that silenced most of his detractors.
The final shipment of the Elgin Marbles reached London in 1812, and in 1816 the entire collection was acquired from Elgin by the crown for the sum of £35,000, about half of Elgin’s costs.


Elgin Marbles east pediment
The Greek government has frequently demanded the return of the marbles, but the British Museum—claiming among other reasons that it has saved the marbles from certain damage and deterioration—has not acceded, and the issue remains controversial. The New Acropolis Museum in Athens, which is adjacent to the ancient site, was completed in 2008; a large space in the museum is devoted to the Parthenon, and the pieces removed by Elgin are represented by veiled plaster casts.

Encyclopædia Britannica


Horsemen, detail of a frieze from the Parthenon at Athens; one of the Elgin Marbles in the British Museum, London.

Female figures, interpreted as (left to right) Hestia, Dione, and her daughter Aphrodite, or (right to left) Thalassa (the Sea) in the lap of Gaia (the Earth), and an unknown figure; section of a pediment from the Parthenon at Athens, part of a collection now sometimes known as the Elgin Marbles; in the British Museum, London.
  Art in Pompeii & Herculaneum
Archaic Vase Painting
Ancient Greek Sculpture
Lysippos - Praxiteles
Rousseau Theodore

Théodore Rousseau, in full Pierre-Étienne-Théodore Rousseau (born April 15, 1812, Paris, France—died December 22, 1867, Barbizon), French painter who was a leader of the Barbizon school of landscape painters. His direct observation of nature made him an important figure in the development of landscape painting.


Théodore Rousseau
  Rousseau, the son of a tailor, began to paint at age 14. In the 1820s he began to paint out-of-doors directly from nature, a novel procedure at that time.

Although his teachers were in the Neoclassical tradition, Rousseau based his style on extensive study of the 17th-century Dutch landscape painters and the work of such English contemporaries as Richard Parkes Bonington and John Constable. His early landscapes portray nature as a wild and undisciplined force and gained the admiration of many of France’s leading Romantic painters and writers.

In 1831 Rousseau began to exhibit regularly at the French Salon. But in 1836 his Descent of the Cattle (c. 1834) was rejected by the jury, as were all his entries during the next seven years. Despite the Salon’s censure, his reputation continued to grow.

Rousseau first visited the Fontainebleau area in 1833 and, in the following decade, finally settled in the village of Barbizon, where he worked with a group of landscape painters, including Jean-François Millet, Jules Dupré, Narcisse-Virgile Diaz de La Peña, and Charles-François Daubigny. Their artistic goals were similar, and they became known collectively as the Barbizon school.

During this period Rousseau produced such tranquil pastorals as Under the Birches, Evening (1842–44), reflecting the influence of Constable.

After the Revolution of 1848, the Salon briefly relaxed its standards, and Rousseau finally received official recognition as a major figure in French landscape painting. His works were well represented in the Universal Exposition of 1855, and he became president of the fine-arts jury for the Universal Exposition of 1867. Rousseau’s paintings represent in part a reaction against the calmly idealized landscapes of Neoclassicism. His small, highly textured brushstrokes presaged those of the Impressionists.

Encyclopædia Britannica


Théodore Rousseau. Landscape with Poplars
Theodore Rousseau
  Neoclassicism and Romanticism
Realism, Impressionism and
Pforr Franz

Franz Pforr (5 April 1788 – 16 June 1812) was a painter of the German Nazarene movement.


Portrait by Johann Friedrich Overbeck, 1810.
  He was born in Frankfurt am Main. He received his earliest training from his father, the painter Johann Georg Pforr (1745–98), and his uncle, the art professor and first inspector of the painting gallery in Kassel, Johann Heinrich Tischbein the younger (1742–1808).

While studying at the Vienna academy, Pforr moved in 1810 to Rome in company of other students, including Johann Friedrich Overbeck, Ludwig Vogel and Johann Konrad Hottinger.

Looking for lost spirituality in their art, they lived at the abandoned monastery of San Isidoro.

Pforr didn't have the chance to live long enough to see his art acknowledged. He died of tuberculosis in Albano Laziale, Rome at age 24.

Encyclopædia Britannica

Franz Pforr
  Neoclassicism and Romanticism
Realism, Impressionism and
Beethoven: Symphonies No. 7 (Op. 9)

The Symphony No. 7 in A major, Op. 92, is a symphony in four movements composed by Ludwig van Beethoven (Beethoven Ludwig) between 1811 and 1812, while improving his health in the Bohemian spa town of Teplice. The work is dedicated to Count Moritz von Fries.

At its première, Beethoven was noted as remarking that it was one of his best works. The second movement, Allegretto, was the most popular movement and had to be encored. The instant popularity of the Allegretto resulted in its frequent performance separate from the complete symphony.
The work was premiered with Beethoven himself conducting in Vienna on 8 December 1813 at a charity concert for soldiers wounded in the Battle of Hanau.

In Beethoven's address to the participants, the motives are openly named: "We are moved by nothing but pure patriotism and the joyful sacrifice of our powers for those who have sacrificed so much for us."

The program also included the patriotic work Wellington's Victory exalting the victory of the British over Napoleon's France.

The orchestra was led by Beethoven's friend Ignaz Schuppanzigh and included some of the finest musicians of the day: violinist Louis Spohr, Johann Nepomuk Hummel, Giacomo Meyerbeer, Antonio Salieri, bassoonist Anton Romberg, and the Italian double bass virtuoso Domenico Dragonetti, whom Beethoven himself described as playing "with great fire and expressive power". It is also said that the Italian guitar virtuoso Mauro Giuliani played cello at the premiere.

The piece was very well received, and the second movement, the Allegretto, had to be encored immediately.

Spohr made particular mention of Beethoven's antics on the rostrum ("as a sforzando occurred, he tore his arms with a great vehemence asunder ... at the entrance of a forte he jumped in the air"), and the concert was repeated due to its immense success.

The symphony is scored for 2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns in A (E and D in the inner movements), 2 trumpets in D, timpani, and strings.

The Seventh Symphony is in four movements:

Poco sostenuto – Vivace
Presto – Assai meno presto (trio)
Allegro con brio

Performance time lasts approximately 40 minutes. The work as a whole is known for its use of rhythmic devices suggestive of a dance, such as dotted rhythm and repeated rhythmic figures. It is also tonally subtle, making use of the tensions between the key centres of A, C and F. For instance, the first movement is in A major but has repeated episodes in C major and F major. In addition, the second movement is in A minor with episodes in A major, and the third movement, a scherzo, is in F major.

First movement
The first movement starts with a long, expanded introduction marked Poco sostenuto that is noted for its long ascending scales and a cascading series of applied dominants that facilitates modulations to C major and F major. From the last episode in F major, the movement transitions to Vivace through a series of no fewer than sixty-one repetitions of the note E. The Vivace is in sonata form, and is dominated by lively dance-like rhythms (such as dotted rhythms), sudden dynamic changes, and abrupt modulations. In particular, the development section opens in C major and contains extensive episodes in F major. The movement finishes with a long coda, which starts similarly as the development section. The coda contains a famous twenty-bar passage consisting of a two-bar motif repeated ten times to the background a four octave deep Pedal point of an E. The critic and composer Carl Maria von Weber is said to have pronounced Beethoven "fit for a madhouse" after hearing this passage.

Second movement
The second movement in A minor has a tempo marking of Allegretto (a little lively), making it slow only in comparison to the other three movements. This movement was encored at the premiere and has remained popular since. The ostinato (repeated rhythmic figure) of a quarter note, two eighth notes and two quarter notes is heard repeatedly. This movement is structured in a double variation form. The movement begins with the main melody played by the violas and cellos. This melody is then played by the second violins while the violas and cellos play a second, but equally important melody, a melody described by George Grove as "a string of beauties hand-in-hand". Then, the first violins take the first melody while the second violins take the second. This progression culminates with the wind section playing the first melody while the first violin plays the second. After this climax, the music changes from A minor to A major as the clarinets take a calmer melody to the background of light triplets played by the violins. This section ends thirty-seven bars later with a quick descent of the strings on an A minor scale, and the first melody is resumed and elaborated upon in a strict fugato.

Third movement
The third movement is a scherzo in F major and trio in D major. Here, the trio (based on an Austrian pilgrims' hymn) is played twice rather than once. This expansion of the usual A–B–A structure of ternary form into A–B–A–B–A was quite common in other works of Beethoven of this period, such as his Fourth Symphony and String Quartet Op. 59 No. 2.

  Fourth movement
The last movement is in sonata form, the coda of which contains an example, rare in Beethoven's music, of the dynamic marking ƒƒƒ (called forte fortissimo or fortississimo).
Donald Tovey, writing in his Essays in Musical Analysis, commented on this movement's "Bacchic fury" and many other writers have commented on its whirling dance-energy: the main theme vaguely resembles Beethoven's arrangement of the Irish folk-song "Save me from the grave and wise", No. 8 of his Twelve Irish Folk Songs, WoO 154.

Critics and listeners have often felt stirred or inspired by the Seventh Symphony. For instance, one program-note author writes:

... the final movement zips along at an irrepressible pace that threatens to sweep the entire orchestra off its feet and around the theater, caught up in the sheer joy of performing one of the most perfect symphonies ever written.

Composer and music author Antony Hopkins says of the symphony:

The Seventh Symphony perhaps more than any of the others gives us a feeling of true spontaneity; the notes seem to fly off the page as we are borne along on a floodtide of inspired invention. Beethoven himself spoke of it fondly as "one of my best works". Who are we to dispute his judgment?

Another admirer, Richard Wagner, referring to the lively rhythms which permeate the work, called it the "apotheosis of the dance".

On the other hand, admiration for the work has not been universal. Friedrich Wieck, who was present during rehearsals, said that the consensus, among musicians and laymen alike, was that Beethoven must have composed the symphony in a drunken state. Carl Maria von Weber considered the chromatic bass line in the coda of the first movement evidence that Beethoven was "ripe for the madhouse", and the conductor Thomas Beecham commented on the third movement: "What can you do with it? It's like a lot of yaks jumping about."

From Wikipedia, the free encyclopedia

Beethoven: Symphony No.7 in A major - Christian Thielemann

i. Poco sostenuto -- Vivace
ii. Allegretto
iii. Presto -- Assai meno presto (trio)
iv. Allegro con brio

Wiener Philharmoniker
Christian Thielemann

Wiener Musikverein, 2010

Encounter between Beethoven and Goethe at Teplitz

It was in the spa town of Teplitz (known today as Bad Teplice in the Czech Republic) that Beethoven began composing his famous Seventh Symphony. While there, in 1812, he met the poet Johann von Goethe.

Although Beethoven greatly admired Goethe's work, the two men did not get on. Their personalities and attitudes about various issues differed greatly. One example is their view of royalty. Goethe respected the imperial family while Beethoven, apparently, did not:

Goethe wrote to his wife that Beethoven had "an absolutely uncontrolled personality"; Beethoven wrote to his publisher that Goethe delighted far too much in the court atmosphere.

On one occasion the two men were walking in the park immediately behind the castle in the centre of Teplitz. Goethe suddenly noticed that the Empress was walking with her retinue on the other side of the park. He hurried over, insisting Beethoven come with him.

Goethe positioned himself in front of the Empress and as she passed executed a deep bow. Beethoven pushed his top hat firmly on the back of his head, crossed his arms and strode past the Empress, intentionally snubbing her.

  Goethe was appalled, and their friendship was irretrievably damaged.

Later in his life Beethoven wrote to Goethe, hoping to rekindle their relationship. Goethe did not reply. The two men did not meet again.

Despite what could be considered impertinence toward the Empress, in 1812, Beethoven received a gift from her not long after. It was significant enough for him to mention it in a January 14, 1815 letter to Herr Kauka:

Farewell! I cannot write another syllable; such things exhaust me. May your friendship accelerate this affair! - if it ends badly, then I must leave Vienna, because I could not possibly live on my income, for here things have come to such a pass that everything has risen to the highest price, and that price must be paid. The two last concerts I gave cost me 1,508 florins, and had it not been for the Empress's munificent present I should scarcely have derived any profit whatever.


This 1887 painting - "The Incident at Teplitz" by Carl Rohling -
depicts the famous encounter between Beethoven, Goethe and the imperial family.
Beethoven: Symphonies No. 8 (Op. 93)

The Symphony No. 8 in F Major, Op. 93 is a symphony in four movements composed by Ludwig van Beethoven (Beethoven Ludwig) in 1812. Beethoven fondly referred to it as "my little Symphony in F," distinguishing it from his Sixth Symphony, a longer work also in F.

The Eighth Symphony is generally light-hearted, though not lightweight, and in many places cheerfully loud, with many accented notes. Various passages in the symphony are heard by some listeners to be musical jokes. As with various other Beethoven works such as the Opus 27 piano sonatas, the symphony deviates from Classical tradition in making the last movement the weightiest of the four.
Composition and premiere
The work was begun in the summer of 1812, immediately after the completion of the Seventh Symphony.

At the time Beethoven was 41 years old. As Antony Hopkins has noted, the cheerful mood of the work betrays nothing of the grossly unpleasant events that were taking place in Beethoven's life at the time, which involved his interference in his brother Johann's love life. The work took Beethoven only four months to complete, and is, unlike many of his works, without dedication.

The premiere took place on 27 February 1814, at a concert in the Redoutensaal, Vienna, at which the Seventh Symphony (which had been premiered two months earlier) was also played. Beethoven was growing increasingly deaf at the time, but nevertheless led the premiere. Reportedly, "the orchestra largely ignored his ungainly gestures and followed the principal violinist instead."

When asked by his pupil Carl Czerny why the Eighth was less popular than the Seventh, Beethoven is said to have replied, "because the Eighth is so much better." A critic wrote that "the applause it received was not accompanied by that enthusiasm which distinguishes a work which gives universal delight; in short—as the Italians say—it did not create a furor." Beethoven was angered at this reception. George Bernard Shaw, in his capacity as a music critic, agreed with Beethoven's assessment of the work, writing that indeed, "In all subtler respects the Eighth is better [than the Seventh]." But other critics have been divided in their judgement.

The symphony is scored for 2 flutes, 2 oboes, 2 clarinets in B-flat, 2 bassoons, 2 horns in F- and B-flat (bass), 2 trumpets in F, timpani and strings.

The Eighth Symphony consists of four movements:

Allegro vivace e con brio
Allegretto scherzando
Tempo di Menuetto
Allegro vivace

It is approximately 26 minutes in duration.

First movement
This movement is in the home key of F major and is in fast 3/4 time. As with most of Beethoven's first movements of this period, it is written in sonata form, including a fairly substantial coda. As Antony Hopkins has noted, the movement is slightly unusual among Beethoven's works in that it reaches its dramatic climax not during the development section, but at the onset of the recapitulation. To this end, the concluding bars of the development form a huge crescendo, and the return of the opening bars is marked ƒƒƒ (fortississimo), which rarely appears in Beethoven's works, but has precedents in the 6th and 7th Symphonies. This extravagance is balanced, however, by the quiet closing measures of the movement.

The opening theme is in three sections of four bars each, with the pattern forte-piano-forte. At the onset of the recapitulation, the theme is made more emphatic by omitting the middle four bars.

Second movement.
There is a widespread belief that this movement is an affectionate parody of the metronome, which had only recently been invented (or more accurately, merely improved) by Beethoven's friend Johann Maelzel. Specifically the belief was that the movement was based on a canon called "Ta ta ta... Lieber Maelzel," WoO 162, said to have been improvised at a dinner party in Maelzel's honor in 1812. There is no evidence corroborating this story and it's likely that WoO 162 was not written by Beethoven but was constructed after-the-fact by Anton Schindler. A more likely inspiration was the similar rhythmic parody of Joseph Haydn's "Clock" Symphony.

The metronome-like parody starts at the very beginning of the movement with even staccato chords in 16th notes (semiquavers) played by the wind instruments, and a basic 16th-note rhythm continues fairly steadily through the piece. The tempo is unusually fast for a symphonic "slow movement." Richard Wagner has argued that the third movement was intended as the slow movement of this symphony and that the second should be played as a scherzo.

The key is B-flat major, the subdominant of F, and the organization is what Charles Rosen has called "slow movement sonata form"; that is, at the end of the exposition there is no development section, but only a simple modulation back to B-flat for the recapitulation; this also may be described as sonatina form.

The second subject includes a motif of very rapid 64th notes, suggesting perhaps a rapidly unwinding spring in a not-quite-perfected metronome. This motif is played by the whole orchestra at the end of the coda.

  Third movement
A nostalgic invocation of the old minuet, obsolete by the time this symphony was composed. (A similar nostalgic minuet appears in the Piano Sonata Opus 31 no. 3, from 1802). The style of Beethoven's minuet is not particularly close to its 18th century models, as it retains a rather coarse, thumping rhythm.

Thus, for example, after the initial upbeat Beethoven places the dynamic indication sforzando (sf) on each of the next five beats. This makes the minuet stylistically close to the other movements of the symphony, which likewise rely often on good-humored, thumping accents.

Like most minuets, this one is written in ternary form, with a contrasting trio section containing prized solos for horns and clarinet. The clarinet solo is of significant importance in that it was the first major example of a solo clarinet playing a written G6. Igor Stravinsky praised the "incomparable instrumental thought" shown in Beethoven's orchestration of the trio section.

Fourth movement
This is the most substantial movement, in a very fast tempo. It is written in a version of sonata rondo form in which the opening material reappears in three places: the start of the development section, the start of the recapitulation, and about halfway through the coda. This is the first symphonic movement in which the timpani are tuned in octaves, foreshadowing the similar octave-F tuning in the scherzo of the Ninth Symphony.

The fourth movement imitates the first in that the move to the second subject first adopts the "wrong" key, then moves to the normal key (exposition: dominant, recapitulation: tonic) after a few measures.

The coda is one of the most substantial and elaborate in all of Beethoven's works. The coda has two particularly striking events. The harmonically out-of-place loud C♯ that interrupts the main theme in the exposition and recapitulation finally gets an "explanation": it turns out to be the root of the dominant chord of the remote key of F♯ minor, and the main theme is loudly played in this key. A few measures later, there is a stunning modulation in which this key is "hammered down" by a semitone, arriving instantaneously at the home key of F major.

The symphony ends in good humor on a very long passage of loud tonic harmony. Tchaikovsky called this movement, "One of the greatest symphonic masterpieces of Beethoven."

From Wikipedia, the free encyclopedia

Beethoven - Symphony No 8 in F major, Op 93 - Thielemann
Symphony No 8 in F major, Op 93

1 Allegro vivace e con brio
2 Allegretto scherzando
3 Tempo di Menuetto
4 Allegro vivace

Vienna Philharmonic Orchestra
Christian Thielemann, conductor

Ludwig van Beethoven
  Classical Music Timeline

Instruments Through the Ages

Classical Music History - Composers and Masterworks
Flotow Friedrich
Friedrich von Flotow, (born April 26, 1812, Teutendorf, near Lübeck, French Empire [now in Germany]—died Jan. 24, 1883, Darmstadt, Ger.), German composer, active mainly in France, who was best known for his opera Martha (1847).

Friedrich von Flotow
  Originally intended for a diplomatic career, from age 16 Flotow studied music in Paris with Anton Reicha.

Forced to leave Paris during the July Revolution of 1830, he went home but returned to Paris in 1831.

In 1837 he produced a first, brief version of the opera Alessandro Stradella, which later, in its complete form, enjoyed great success. In 1839 he collaborated with Albert Grisar and Auguste Pilati on Le Naufrage de la Méduse (“The Wreck of the Medusa”).

Between 1840 and 1878 he produced 19 light operas. Martha, composed to a German libretto and first performed in Vienna, was subsequently heard in translation in many European cities. One of its numbers, in the English version, is “The Last Rose of Summer.”

Appealing in its melodic charm, Martha won a lasting place in the operatic repertory. Flotow also wrote ballets for the court theatre at Schwerin, of which he was director from 1855 to 1862, and incidental music for William Shakespeare’s The Winter’s Tale.

Encyclopædia Britannica

Friedrich von Flotow: Piano Concerto No. 2
Homage to great Youtubers : HARMONICO101
Friedrich von Flotow (1812-1883) (Allemagne) : Piano Concerto No. 2 in A minor (1831)
Pianiste : Carl Petersson
Dir : Hans Peter Wieshev
Pilsen Philharmonic

1- Andantino -- Allegro -- Marziale più mosso (5.32)
2- Scherzo -- Vivace e leggieramente (2.52)
3- Adagio (5.56)
4- Rondo -- Allegretto -- Scherzando -- Maestoso -- Tempo I (3.36)

Friedrich von Flotow
  Classical Music Timeline

Instruments Through the Ages

Classical Music History - Composers and Masterworks
Gesellschaft der Musikfreunde, Vienna
The Gesellschaft der Musikfreunde in Wien (English: Society of Friends of the Music in Vienna, also known as the Musikverein, English: Music Association), was founded in 1812 by Joseph Sonnleithner, general secretary of the Court Theatre, Vienna, Austria.

Gesellschaft der Musikfreunde in Wien. First Concert 1812 Alexander's Feast
Its official charter, drafted in 1814, states that the purpose of the Society was to promote music in all its facets. In early 1818, Franz Schubert was rejected for membership in the Gesellschaft der Musikfreunde as a professional musician, something that might have furthered his musical career. The Society accomplished its goals by sponsoring concerts, founding the Vienna Conservatory in 1819, founding the Wiener Singverein in 1858, constructing the Musikverein building in 1870, and by systematically collecting and archiving noteworthy music-history documents.
  It is now one of the world's leading music archives.

The first music director was Carl Heissler, who was followed by Anton Rubinstein (appointed in 1871), and Johannes Brahms (appointed in 1872). Other notable music directors include Wilhelm Furtwängler and Herbert von Karajan. Membership in the Gesellschaft has included a who's who of notable 19th- and 20th-century musical figures, including composers, conductors, and instrumentalists.

From Wikipedia, the free encyclopedia

Swiss explorer J. L. Burckhardt discovers the Great Temple of Abu Simbel
Burckhardt Johann Ludwig

Johann Ludwig (also known as John Lewis, Jean Louis) Burckhardt (November 24, 1784 – October 15, 1817) was a Swiss traveller, geographer, and orientalist. He wrote his letters in French and signed Louis. He is best known for rediscovering the ruins of the city of Petra in Jordan.


Johann Ludwig Burckhardt
  Youth and early travels
Burckhardt was born in Lausanne. After studying in Leipzig and at the University of Göttingen he visited England in the summer of 1806, carrying a letter of introduction from the naturalist Johann Friedrich Blumenbach to Sir Joseph Banks, who, with the other members of the African Association, accepted his offer in 1809 to launch an expedition to discover the source of the River Niger. Upon acceptance Burckhardt planned to travel to the Levant in order to study Arabic, in the belief that his journey to Africa would be facilitated if he was accepted as a Muslim.

As preparation Burckhardt briefly studied Arabic at the University of Cambridge, and prepared for his rigorous career as an explorer by hiking bareheaded through the English countryside during a heatwave, subsisting on vegetables and water, and sleeping on the bare ground.

Burckhardt left England in March 1809 for Malta, whence he proceeded, in the following autumn, to Aleppo, Syria in order to perfect his Arabic and study Islamic Law.

In order to obtain a better knowledge of oriental life he disguised himself as a Muslim, and took the name of Sheikh Ibrahim Ibn Abdallah. There is some indication that he converted to Islam, although his family denies this.

After two years passed in the Levant he had thoroughly mastered Arabic, and had acquired such accurate knowledge of the Qur'an, and of the commentaries upon its religion and laws, that after a critical examination the most learned Muslims entertained no doubt of his being really what he professed to be, a learned doctor of their law.
Discoveries and death
During his residence in Syria, Burckhardt visited Palmyra, Damascus, Lebanon and made a series of other exploratory trips in the region. One of these trips, in what is now Jordan, resulted in his 'discovery' of the extensive and unique ruins of Al Khazneh in Petra which had been undiscovered for nearly a millennium. Unsatisfied with the magnitude of this discovery he was determined to carry on with his original aim to uncover the source of the River Niger. Thus he in 1812 went to Cairo with the intention of joining a caravan to Fezzan, in Libya.

Burckhardt temporarily abandoned this goal to travel up the Nile as far as Dar Mahass; and then, finding it impossible to penetrate westward, he made a journey through the Nubian desert in the character of a poor Syrian merchant, passing by Berber and Shendi to Suakin, on the Red Sea, whence he performed the pilgrimage to Mecca by way of Jidda. At Mecca he stayed three months and afterwards visited Medina. After enduring privations and sufferings of the severest kind, he returned to Cairo in June 1815 in a state of great exhaustion; but in the spring of 1816 he travelled to Mount Sinai, whence he returned to Cairo in June, and there again made preparations for his intended journey to Fezzan. Several hindrances prevented his pursuing this intention, and finally, in April 1817, when the long-expected caravan prepared to depart, he was seized by dysentery and died on 15 October. He had from time to time carefully transmitted to England his journals and notes, and a copious series of letters, so very few details of his journeys have been lost. He bequeathed his collection of 800 volumes of oriental manuscripts to the library of Cambridge University.

Discovery of Hittite or Anatolian hieroglyphs
In early 19th century, Burckhardt was the first to discover Hittite or Luwian hieroglyphic script at Hama in Syria. These hieroglyphs are now generally known as 'Anatolian'.

From Wikipedia, the free encyclopedia

see also: Islam's Holy Cities
see also: The Mystery of the Niger
Cuvier Georges: "Recherches sur les ossements fossiles de quadrupedes"

Georges Cuvier: "Recherches sur les ossements fossiles de quadrupedes"
Davy Humphry: "Elements of Chemical Philosophy"

Humphry Davy: "Elements of Chemical Philosophy"
Laplace Pierre-Simon: "Theorie analytique"

Laplace: "Theorie analytique"
Krupp Alfred

Alfred Krupp, byname The Cannon King, German Der Kanonenkönig (born April 26, 1812, Essen, grand duchy of Berg [now in Germany]—died July 14, 1887, Essen, Ger.), German industrialist noted for his development and worldwide sale of cast-steel cannon and other armaments. Under his direction the Krupp Works began the manufacture of ordnance (c. 1847).


Alfred Krupp
  His father, Friedrich Krupp, who had founded the dynasty’s firm in 1811, died in 1826, leaving to his son the secret of making high-quality cast steel, together with a small workshop in which production had come almost to a standstill. Taking full charge of the firm at the age of 14, Alfred soon extended production to include the manufacture of steel rolls. He designed and developed new machines, invented the spoon roll for making spoons and forks, and manufactured rolling mills for use in government mints. He won new customers, extended his firm’s purchases of raw materials, and secured funds to finance the expansion of his works. At the first world exhibition, the Great Exhibition, in London in 1851, he exhibited the largest steel ingot ever cast up to that time (4,300 pounds). It was with the advent of railways that the rise of the firm really began. At first, railway axles and springs of cast steel were the only products made in this field, but in 1852 Alfred Krupp manufactured the first seamless steel railway tire. Later he adopted three superimposed railway tires, the “three rings,” as the trademark of the firm. He was also the first to introduce the Bessemer and open-hearth steelmaking processes to Europe (1862 and 1869).

To prove the quality of his steel, Alfred Krupp turned to making cannons. Initially he could not sell his guns in Prussia, and the first orders came from Egypt (1856), Belgium (1861), and Russia (1863). As a result, however, of the performance of Krupp guns in the Franco-German War of 1870–71, the firm came to be called “the Arsenal of the Reich.” Alfred Krupp was in many ways the founder of modern warfare. At the time of his death he had armed 46 nations.

Recognizing early the human problems of industrialization, Alfred Krupp created a comprehensive welfare scheme for his workers. As early as 1836 he instituted a sickness and burial fund, and in 1855 he established a pension fund for retired and incapacitated workers. In 1861 he began to build housing settlements, hospitals, schools, and churches for his employees. His workers became fanatically loyal to him. He had started his steel plant with seven workers; at his death the enterprise was employing 21,000 persons.

Encyclopædia Britannica

Red River Settlement, Manitoba, Canada

The Red River Colony (or Selkirk Settlement) was a colonization project set up by Thomas Douglas, 5th Earl of Selkirk in 1811 on 300,000 square kilometres (120,000 sq mi) of land granted to him by the Hudson's Bay Company under what is referred to as the Selkirk Concession. The colony along the Red River of the North was never very successful. Changes during the development of Canada in the 19th century led to the colony's forming the basis of what is today Manitoba, although much of its original territory is now part of the United States.

The Selkirk Concession, also known as Selkirk's Grant, included the portions of Rupert's Land, or the watershed of Hudson Bay, bounded on the north by the line of 52° N latitude roughly from the Assiniboine River east to Lake Winnipegosis, then by the line of 52° 30′ N latitude from Lake Winnipegosis to Lake Winnipeg, and then by the Winnipeg River, Lake of the Woods and Rainy River; on the west roughly by the current boundary between Saskatchewan and Manitoba; and on the south by the (mostly very slight) rise of land marking the extent of the watershed. This covered portions of present-day southern Manitoba, northern Minnesota and eastern North Dakota, in addition to small parts of eastern Saskatchewan, northwestern Ontario and northeastern South Dakota.
Selkirk had become interested in the concept of settling the area after reading Alexander Mackenzie's 1801 book on his adventures in what is today the west of Canada. At the time, social upheaval in Scotland due to the introduction of sheep farming and the ensuing Highland and Lowland Clearances had left a number of Scots destitute. Selkirk was interested in giving them a chance at a better life in a new colony he called Assiniboia. He purchased a controlling interest in the Hudson's Bay Company and set up the land grant. His idea was to gain control of the area to take control of the West from the company's rivals, the Montreal-based North West Company. With a colony in place, the Métis trappers' supplying the North West's fur traders, the Nor'Westers, would be displaced, cutting them off from areas further west.

He sent out a small group of Scots to the area in 1811, but they were forced to pause for the winter in York Factory. When they finally arrived in 1812, they built Fort Douglas, but by the time it was done, the growing season was over. The settlers hastily set about hunting buffalo for food. When farming started the next spring, the results were less than expected. Selkirk had to ban anyone from taking food out of the colony. This may have been to ensure food for the colony, or a business move to cut off the Nor'Westers. Either way, the move touched off the Pemmican War. The Nor'Westers, who relied on pemmican supplied to them by local Métis, were so upset that they destroyed Fort Douglas and burned down all the buildings around it. The fort was later rebuilt and relations settled down for a time.

Red River Colony
Selkirk heard of the problems and sent out a new governor, Robert Semple, to take over. When he read a proclamation ordering the fighting to stop, the Battle of Seven Oaks broke out, Fort Douglas was destroyed for a second time, and the settlers were forced off their land. Selkirk then sent in a force of about 100 soldiers from the British Regiment de Meuron to enforce the peace and eventually become settlers themselves, while also capturing the Northwest outpost at Fort William. There, Selkirk arrested numerous significant managers of the North West Company including NWCo. Chief Director, William McGillvray. The actions left Selkirk almost bankrupt. The two companies were forced to merge in 1821, thus ending the problems for good.

The Treaty of 1818 set the boundary between the United States and British North America along the 49th parallel of north latitude from the Lake of the Woods to the "Stony Mountains" (now known as the Rocky Mountains). Thus, the southern portion of Selkirk's grant went to the United States.

The colony was never particularly successful agriculturally, but the lure of free land added new settlers every year.

In 1841 James Sinclair guided 200 settlers from the Red River Colony west in an attempt to retain the Columbia District for Britain. The party crossed the Rockies into the Columbia Valley, near present day Radium Hot Springs, British Columbia; then traveled south. Despite such efforts, Britain eventually ceded all claim to land south of the 49th parallel of latitude west of the Rockies to the United States as resolution to the Oregon boundary dispute.

By the 1850s, the Hudson's Bay Company lost interest in paying for the settlement. By the 1860s, the Métis outnumbered the Scots. This led to a second period of unrest in 1869 and 1870 called the Red River Rebellion, which led to the creation of Manitoba.


Red River cart train
Annexation proposed
At the end of the American Civil War, Americans were angry at the British support for the Confederacy, which Americans said had prolonged the war. One result was toleration of Fenian efforts to use the U.S. as a base to attack Canada. More serious was the demand for a huge payment to cover the damages caused, on the notion that British involvement had lengthened the war. Senator Charles Sumner, the chairman of the Senate Foreign Relations Committee, originally wanted to ask for $2 billion, or alternatively the ceding of all of Canada to the United States. When American Secretary of State William H. Seward negotiated the Alaska Purchase in 1867, he intended it as the first step in a comprehensive plan to gain control of the entire northwest Pacific Coast. Seward was a firm believer in Manifest Destiny, primarily for its commercial advantages to the U.S.

Seward expected British Columbia to seek annexation to the U.S. and thought Britain might accept this in exchange for the Alabama claims.
  Soon other elements endorsed annexation; their plan was to annex British Columbia, the Red River Colony (Manitoba), and Nova Scotia, in exchange for the dropping the damage claims. The idea reached a peak in the spring and summer of 1870, with American expansionists, Canadian separatists, and British anti-imperialists seemingly combining forces. The plan was dropped for multiple reasons. London continued to stall, American commercial and financial groups pressed Washington for a quick settlement of the dispute on a cash basis, growing Canadian nationalist sentiment in British Columbia called for staying inside the British Empire, Congress became preoccupied with Reconstruction, and most Americans showed little interest in territorial expansion. The "Alabama Claims" dispute went to international arbitration. In one of the first major cases of arbitration, the tribunal in 1872 supported the American claims and ordered Britain to pay $15.5 million. Britain paid and the episode ended in peaceful relations.

From Wikipedia, the free encyclopedia

Hampden Clubs
The Hampden Clubs were political campaigning and debating societies formed in England in the early 19th century as part of the Radical Movement. They were particularly concentrated in the Midlands and the northern counties, and were closely associated with the popular movements for social and political reform that arose in the years following the end of the Napoleonic wars. They were forced underground, and eventually disbanded, in the face of legislation and pressure from the authorities.
The original Hampden Club was formed in London in 1812. John Cartwright is generally regarded as the originator and founder, although evidence has been offered that Cartwright's friend Thomas Northmore actually initiated the clubs. Edward Blount (MP) was another founder member. Cartwright certainly dominated the movement from 1813 onwards. A former naval and militia officer with a long record of political activism, he toured northwest England to promote the idea of a forum for political debate among ordinary people . There had been no similar institutions since the London Corresponding Society, which had disbanded in 1794. The clubs were intended to bring together middle class moderates and lower class Radicals in the reform cause, and were named for John Hampden, an English Civil War Parliamentary leader.
In 1813 Cartwright was arrested in Huddersfield while promoting the Clubs. He made a further promotional tour in 1815.

The first Hampden Club outside London was formed in 1816 by William Fitton at Royton.
Other clubs in the north-west soon followed; in Middleton the radical weaver-poet Samuel Bamford started one. Other clubs were formed in Oldham, Manchester, Rochdale, Ashton-under-Lyne and Stockport.
John Cartwright is usually regarded as the founder of the Hampden Clubs
Club members paid a penny per week subscription, and usually met weekly for political discussion and debate. Radical pamphlets were read, and newspaper articles by prominent reformers like William Cobbett. Samuel Bamford describes the activities of club members in positive terms, emphasising them as a peaceful alternative to riot and destruction of property.
Hampden clubs were now established in many of our large towns, and the villages and districts around them.
Cobbett's books were printed in a cheap form; the labourers read them, and thenceforward became deliberate and systematic in their proceedings. Nor were there wanting men of their own class, to encourage and direct the new converts. The Sunday Schools of the preceding thirty years had produced many working men of sufficient talent to become readers, writers, and speakers in the village meetings for parliamentary reform. Some also were found to possess a rude poetic talent, which rendered their effusions popular, and bestowed an additional charm on their assemblages; and by such various means, anxious listeners at first, and then zealous proselytes, were drawn from the cottages of quiet nooks and dingles, to the weekly readings and discussions of the Hampden clubs.

In January 1817, regional Hampden Clubs and similar political debating societies sent 70 delegates to a convention at the Crown & Anchor tavern in Strand, London, well known as a meeting-place of radicals. The assembly was called by Cartwright and Jones Burdett, brother of Sir Francis Burdett. To avoid falling foul of the Seditious Societies Act, the convention met in public session and described itself as a gathering of deputies from petitioning communities, discussing how to achieve constitutional reform. The wording proposed by the Hampden Clubs' leadership included votes for all householders, electoral boundary reform and annual elections. However, the moderates were outvoted by those who favoured more radical reforms, and there were angry words from those who felt the Clubs' plans had been hijacked by others. The final resolutions of the meeting carried no reference to the Hampden Clubs. Reports of the meeting in The Times criticised both the meeting and its outcome, and accused the delegates of attempting to overthrow the Constitution.

  Suppression and dissolution
The clubs were regarded with suspicion by the authorities, which saw them as breeding grounds for the growing radicalism of the times.

On 9 February 1817 a secret Parliamentary Committee report concluded that the real object of the Hampden Clubs and similar institutions was to foment "an insurrection, so formidable from numbers, as by dint of physical strength to overpower all resistance".

The government began to introduce legislation, such as the Seditious Meetings Act 1817, and it became more difficult for political clubs to meet. For example, the Birmingham Hampden Club, founded in September 1816 and boasting 300 regular attendees by the following January, had a moderate ethos and publicly condemned violence after a local riot, but struggled to find venues as publicans were pressured not to pemit club meetings on their premises.

Private rooms were found, but by April 1817, in an atmosphere of suspicion and with the government spy and agent provocateur Oliver active in the city, regular club meetings were suspended.

In Manchester the movement's leaders were targeted by the city's deputy constable, Joseph Nadin, who arrested many of them, including Samuel Bamford, after the unrest of March 1817 and sent them to London in irons, where some spent months in prison before their release without charge. With the Hampden clubs stifled, the Lancashire leadership formed the Patriotic Union Society, and it was this body that called the 1819 public meeting for political reform that became the Peterloo Massacre.

From Wikipedia, the free encyclopedia


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