Thomas Howell Jones, ‘The Statute Fair’, c.1830 © The Trustees of the British Museum. The image shows a busy fair scene, with people dancing in the foreground, accompanied by musicians that include a man playing panpipes and a drum.

References to British Dance Instrumentation 1830s

Iconography

Thomas Howell Jones, ‘The Statute Fair’, c.1830, British Museum https://www.britishmuseum.org/collection/object/P_1948-0214-864

Thomas Allom, The Ball, c.1830s, British Museum https://www.britishmuseum.org/collection/object/P_1937-0526-2

The Mess.rs Lowe’s Selection of Dance Music, Arranged for the Piano Forte by M.r John Thomson, Professor of Music, Edin.r (and) Respectfully dedicated to their Pupils (Edinburgh: Mess.rs Lowe, [1830?]), volume gathered by Joseph Lowe, Houghton Library, Harvard University, Theatre Collection http://id.lib.harvard.edu/alma/990141251920203941/catalog A different copy of the score is available via https://archive.org/details/Shand6/page/n3/mode/2up

Henry Heath, ‘Omnium-Gatherum. Second Series No. 1.’ (London: Charles Tilt, c. 1831), British Museum https://www.britishmuseum.org/collection/object/P_2013-7069-10

Robert Seymour (attr.) after George Cruikshank, ‘The Cats’ Quadrille’ (London: William Spooner, c. 1833), British Museum https://www.britishmuseum.org/collection/object/P_1982-U-841

Charles Hunt after William Summers, Tregear’s Black Jokes, being a Series of Laughable Caricatures on the March of Manners Amongst the Blacks (London: G.S. Tregear, 1834), Yale Center for British Art, Paul Mellon Collection https://collections.britishart.yale.edu/catalog/orbis:3747219

  • ‘The Route’

  • ‘The Breaking Up’

  • ‘The First Lesson’

George Cruikshank, ‘First Steps’, in Cruikshank’s My Sketch Book, vol. 6 (London: George Cruikshank, 1 December 1834), British Museum https://www.britishmuseum.org/collection/object/P_1859-0316-532

George Cruikshank, illustrations in The Comic Almanack an Ephemeris in Jest and Earnest, Containing Merry Tales, Humorous Poetry, Quips, and Oddities (London: Charles Tilt, 1835), British Museum https://www.britishmuseum.org/collection/object/P_1978-U-1171

John Grant, The Penny Wedding (London: Grant and Co., 1836), Wikimedia Commons

George Cruikshank, illustrations in Charles Dickens, Sketches by Boz: Illustrative of Every-Day Life, and Every-Day People (London: John Macrone, 1836)

Thomas Howell Jones (?), ‘Portraits of Madame Vestris and Mr Charles Mathews. A Scene in the Farce of “One Hour; or, the Carnival Ball,” as performed at the Olympic Theatre. (N.o1. of Theatrical Portraits.)’ (London: Bell, 1 May 1836), British Museum https://www.britishmuseum.org/collection/object/P_1927-1126-1-13-12

George Cruikshank, ‘Marcel’s last Minuet’, illustration in Bentley’s Miscellany, vol. 4, p. 397 (London: Richard Bentley, 1838), British Museum https://www.britishmuseum.org/collection/object/P_1865-1111-2819

George Cruikshank, ‘January. – New Year’s Eve’, illustrations in The Comic Almanack an Ephemeris in Jest and Earnest, Containing Merry Tales, Humorous Poetry, Quips, and Oddities (London: Charles Tilt, 1838), British Museum https://www.britishmuseum.org/collection/object/P_1978-U-1400

George Cruikshank, ‘Vanity Fair’ (London: Fisher, Son & Co., 1838), British Museum https://www.britishmuseum.org/collection/object/P_1978-U-1366

John (‘HB’) Doyle, ‘A Ball-Room Scene’, printed by Alfred Ducôte (London: Thomas McLean, 3 July 1838), National Portrait Gallery, London https://www.npg.org.uk/collections/search/portrait/mw226815/A-Ball-Room-Scene

Joseph Nash, ‘Banquetting Hall, Haddon, Derbyshire’ in The Mansions of England in the Olden Time (London: T. McLean, 1839), HathiTrust Digital Library, Getty Research Institute https://hdl.handle.net/2027/gri.ark:/13960/t3613n216?urlappend=%3Bseq=59

 

Documentary Sources

R. Hill, A Guide to the Ball Room, containing a Selection of the most Fashionable Quadrilles, Waltzes, Country Dances, and Gallopades (Lincoln: W. Brooke and Sons, 1830)

“Quadrille Dancing affords a most interesting and animating amusement to a family party of four or more persons, in a winter’s evening: a piano forte and a performer on it are now found in most families – no expence is then created for music; and to parents and other friends the sight must afford a considerable gratification.” [p. 32]

 

Letter from Isabella Howard (Viscountess Andover and 17th Countess of Suffolk) to Henrietta Howard (3rd Countess of Carnarvon), 5 August 1830, 75M91/L4/30, Hampshire archives

“We have had an unusually fatiguing day, for in addition to the unceasing “civilities” Mr Calhin arrived from Arundel accompanied (do you understand my small pun?) by one big & three little Fiddles. the piano was moved out on the Lawn, & we were [?] desired to dance – As soon as I had gone my rounds & persuaded one Couple to stand up, the next sat down, & so on – till at last in despair, Harry, warmed by his success at Cricket, begged for a Galoppe, after the usual solicitations, “Can you Galop” Oh I’m sure you can &…, 6 unfortunate people were selected…and off we set to, a sort of Jig – but in spite of our utmost exertions, it was like dancing on soap, we only put ourselves out of breath, & spoiled our shoes, so to my great satisfaction this “melancholy mirth” was soon given up”

 

Morning Post 31 January 1831
BRIGHTON, SUNDAY, JAN. 30. – GRAND ENTERTAINMENT AT THE PALACE

“This splendid fete, understood to be in celebration of the Birth-day of the Duke of SUSSEX, and which had been the leading topic of conversation for some weeks, took place at their Majesties’ Naval Palace on Friday night…At half-past nine o’clock the Grand Music Room, used as the Ball Room, put forth its attraction, and dancing commenced, with a Band on a magnificent scale, including NADAUD, of the Italian Opera, who led COLLINET and NIBBS, and nearly forty others. Quadrilles, Waltzes, Gallopes, and Mazourkas, followed…”

 

Brighton Gazette 20 January 1831

FASHIONABLE PARTIES.

“Monday. – Mrs Burke, Grand Parade, a quadrille party. Marchant presided at the piano.

Tuesday. – Duke & Duchess of St Albans, a select quadrille party…Kirchner was in attendance, as pianist.

This Evening. – Mr Mrs and Miss Bouwens, 3, Bloomsbury Place, will give a ball on an extensive scale. Kirchner will attend, as pianist.

Mr. Michau, who has the management of the music for the King’s grand ball, has engaged Kirchner, with all those persons who attend at Almacks, and many others, to play with Colinet [sic] and Musard, who are coming from Paris for the occasion.”

 

Morning Post 25 March 1831

ALMACK’S GRAND BALL.

“COLLINET and MUSARD continued to excite the admiration of all present by their truly original performance. Another new set of Quadrilles was introduced, called Les Pas de Taglioni, in which the flageolet and the trumpet unite in a most pleasing manner. Nothing could be more lively than their new Gallopades and Waltzes.”

 

Morning Post 11 May 1831

THE QUEEN’S SECOND STATE BALL.

“Her MAJESTY gave her Second State Ball on Monday evening, at the Palace at St. James’s…The arrangements for the entertainment were the same as for the first Ball; the Ball Room and Throne Room were set apart from dancing…in the former room the Quadrille Band was led by COLLINET and MUSARD, and included Messrs. NADAUD, OURY, ELLA, TOLBEQUE, WATKINS, ROUSSELOT, ANFOSSI, RAE TULLY, and BARRE. WEIPPERT’s Quadrille Band was in the latter room”

 

Preston Chronicle 31 March 1832

PRESTON ASSEMBLIES.

“THE THIRD AND FOURTH ASSEMBLIES, (The last of the series,) WILL TAKE PLACE On TUESDAY the 24th, and THURSDAY the 26th days of APRIL next, AT THE EXCHANGE, IN LUNE-STREET…HORABIN’S BAND will be in Attendance.

                                                    LEADER…………..MR. HORABIN.

                      First Violin  } The                                         Clarionet Mr. JOHNSON.

                      Second do. } Messrs.                                  First Horn Mr. HOGG.

                      Harp            } HORRABIN.                           Second do. Mr. PARKER

                      Flageolet     }                                                Violoncello Mr. SMITH.

                                              Double Bass Mr. SHORROCK.”

 

Morning Chronicle 24 June 1833

HER MAJESTY’S STATE BALL.

“In the Throne Room, Weippert’s band, in addition to all the new music of the season, performed two entirely new sets of quadrilles…Collinet’s Band in the Ball Room was composed of 30 performers, selected from the King’s Theatre.”

 

Morning Post 2 May 1834

ALMACK’S GRAND BALL.

“Two new sets of Spanish quadrilles with the castanets were exceedingly well performed by COLLINET’s band, and much admired; also a new set, called Les Fleurs Printanieres, Venice, Naples, and La Prison d’Edinbourg, and several new waltzes and galopades.”

 

Morning Post 12 May 1834

HER MAJESTY’S STATE BALL.

“WEIPPERT’s band were stationed in the Throne Room, and played for the first dance an entire new set of quadrilles…COLLINET’s full band of 30 performers were in Queen Anne’s Room. Amongst the favourite dances during the night were the quadrilles Le Crise du Matin, Les Espagnols (with the castanets), and an entire new set called Les Echos, which (by desire) were repeated several times.”

Note that similar repertoire was performed by Collinet’s band (including the castanets) at a juvenile ball held by the Queen at St. James’s Palace (see Morning Post 2 June 1834)

 

Morning Post 4 October 1834

THE FESTIVITIES AT WENTWORTH PARK.

“This magnificent celebration, in honour of Viscount Milton attaining his majority, which took place on Tuesday last, more than realized all the high expectations that had been entertained respecting it by the resident Nobility and Gentry of one of the most extensive districts of the empire…The saloon was radiant beyond description. Seven thousand azure-coloured lamps were carried along the projecting cornices of the gallery which surrounds it…On the north side a platform had been erected for Weippert’s full orchestra of twenty-one performers, opposite to which an amphitheatre of rare exotics was disposed…”

 

York Herald 4 October 1834

“The skilful band of Weippert, which had been summoned from London for the occasion, and consisted of nearly thirty performers, was placed in the Ball-Room, and formed an orchestra worthy of the opera itself.”

 

The Court Journal: Gazette of the Fashionable World 25 April 1835

“Mr Collinet, the celebrated flageolet player, is arrived in town from Paris, with his superior quadrille band. Proposals have been made to him to perform solos at some of the forthcoming fashionable Concerts, which we have no doubt will prove a great source of attraction. The talented Mr Bandouin, leader of the orchestras at the balls at the Court of France, has accompanied Mr Collinet to lead his orchestra this season, which will perform on Thursday next at Almack’s.” [p. 265]

 

The Court Journal: Gazette of the Fashionable World 2 May 1835

“The first ball at Almack’s took place on Thursday evening…At eleven o’clock dancing commenced to Collinet’s full band, with Musard’s new set of quadrilles, Le Danois, followed by a new waltz, Les delices de Vienne. Musard’s I Puritani, from Bellini’s last new opera, was performed afterwards and greatly admired. The band was most ably led by Mr Bandouin, director of the balls at the Court of France, and of whose compositions some very delightful quadrilles and galops were played in the course of the evening. Mr Collinet’s flageolet was, as usual, exquisite, and, in fact, the ensemble of this very excellent band richly merits the praise it always meet [sic] with.” [p. 278]

 

Morning Post 1 January 1836

MRS. CAMAC’S BALL.

“Mrs. Camac gave a splendid ball and supper at her spacious marine residence at Hastings, on Monday, December 28, to about 200 persons…Mr. John Weippert attended on this occasion with his band from London, and, besides the melodious sounds of his own harp, introduced a new instrument in his band, which pleased much.”

 

Southampton Herald 23 January 1836

THE HAMBLEDON HUNT BALL.

“A Grand Fancy Dress Ball was given by the gallant Nimrods of the Hambledon Hunt to the ladies residing within its limits, on Thursday, at the Royal Victoria Archery Rooms…Weippert with a fine band (ten in all) played during the evening all the newest music in his well-known splendid style.”

 

The Standard 16 May 1836

COURT CIRCULAR.

“The Queen gave a State Ball at St. James’s on Friday evening…Mr. Collinet’s band, consisting of performers of the first talent, amongst whom were Messrs. Nadaud, Tolbecque, Barret, Remy, and others from the King’s Theatre, played during the evening Muzard’s [sic] new quadrilles “Micheline,” “Les Deux Reines,” “L’éclair,”; the new waltzes, “Les Souvenirs de la Savaye,” and “der Trohninn mein Ziel,” and the celebrated galop of “Benowsky,” which were much admired. The new instrument which Mr. Collinet introduces in some of the quadrilles was exceedingly effective, and blended beautifully with Mr. Barret’s oboe. Mr. Barret’s playing excited great admiration. Weippert’s band, in the grand ball-room, consisted of 30 performers”

 

Morning Post 26 May 1836

HER MAJESTY’S STATE BALL.

“The Queen gave a state ball (the second this season) at St. James’s Palace on Tuesday (the anniversary of the Princess Victoria’s birthday)…Weippert’s full band of thirty performers were stationed in this room [Queen Anne’s room]…The following new music was performed by Weippert’s band during the evening: - The Leiningen, Saxe Coburg, and Nassau Waltzes; and Quadrilles from Les Huguenots, Benyowski, Briganti, and Elixir d’Amour. The celebrated vocal galloppe was repeated three times by special desire. In the Throne Room Mr. Collinet’s band, from the King’s Theatre, executed Musard’s new music.”

 

Cheltenham Looker-On 28 May 1836

COURT GOSSIP. St. James’s, May 26th, 1836

“The Princess danced a great deal during the evening. Among the novelties was introduced a vocal Galoppe, about half the Band singing a chorus at intervals during the dance. This was repeated three or four times, it had such a charming effect.”

 

Morning Post 25 June 1836

GRAND FANCY DRESS BALL.

“Last night the most splendid fete of the season took place at the Hanover-square Rooms, under Royal and distinguished patronage, for the benefit of the Royal Academy of Music…A flight of steps lead from the body of the room into the orchestra, where seats for about a hundred persons were prepared, at the back of which, and in front of the organ, Weippert’s band, consisting of forty-five performers, was stationed…Some very pretty waltzes, composed by Lord Burghersh, were performed, and greatly admired; and in the course of the evening “The Prince of Orange’s Waltz” and several sets of new quadrilles were played; also “The Vocal Gallope,” the effect of which is exceedingly good, for while the band plays those who perform on the stringed instruments sing the harmony of the common chord and that of the dominant, merely pronouncing “La, la, la,” &c., marking the time with their voices.”

 

Sherborne Mercury 2 January 1837

DORSET AND SOMERSET.

“The Sherborne Annual Ball was held at the Assembly Room, on Friday last, and was attended by about 120 of the èlite…Dancing was kept up with uninterrupted vivacity to the strains of Upjohn’s excellent band, until four o’clock on the following morning, and the quadrille, waltz, and gallope rivalled each other in quick and animating succession. The vocal gallope, sang at one period of the night, accompanied by the instrumental band, was full and effective, and afforded a very pleasing variation and harmonised concert.”

The GRAND BALL AND SUPPER AT BICTON

“One of the greatest attractions of the evening – indeed a novelty which had not before been enjoyed in the county was the introduction of Weippert’s band, from London, assisted by the celebrated Clarionet, Horn and Trombone Musicians from the Marine Band at Plymouth. It is impossible to describe the brilliant effect of this superlative band in the execution of the Quadrilles and Waltzes; and when the Vocal Gallope was given, it delighted and astonished every one; it was repeated by permission of Lady Rolle several times during the evening.”

 

Woolmer’s Exeter and Plymouth Gazette 14 January 1837

“Mr. MASON’S Ball, on Tuesday evening, as was expected under such high and distinguished patronage, drew together nearly three hundred of the rank, beauty, and fashion of the city and county. About half-past ten dancing commenced, to the enlivening sounds of an excellent and select band, ably led by Mr. Reynolds, member of the Bath Philharmonic Society; assisted by Messrs. Mason, R. Mason of Plymouth, and Mr. Old of Totnes. In addition to the latest arrangements from the compositions of Auber, Bellini, Donizetti, and Johann Strauss, several sets of Quadrilles, Waltzes, and Galops, composed by Mr. Hervey, the celebrated performer on the Clarionet, presented an entire novelty. – They are arranged for two Clarionets, two Cornets a Piston, and Flageolet Obligato, with full orchestra accompaniments. – The solo parts were beautifully performed by Messrs. Hervey, Jarratts (late of Weippart’s [sic]), members of the Bath Philharmonic Society; and Mr. Stockham (late of Weippart’s [sic]), Master of the Marine Band. Mr. Mason introduced the celebrated Railroad Waltz, composed by Strauss, dedicated to Lady Rolle; and Weippart’s [sic] arrangements of the Vocal Galop, were by desire repeated.”

 

John Bull 24 April 1837

“Holford House, Regent’s Park, the splendid residence of James Holford, Esq., was thrown open to the fashionable world on Monday night. The spacious saloon, the admiration of the company, was appropriated for dancing, which was kept up till a late hour to the unrivalled strains of Weippert. The well-known effects of Mesdames Blasis, Antony, Signor Puzzi, &c. added to the evening’s entertainment”

 

Morning Post 26 May 1837

STATE BALL AT ST. JAMES’S PALACE.

“A State Ball was given at St. James’s Palace on Wednesday night in commemoration of the birthday of the Princess Victoria…During the evening Weippert’s band, of thirty-five performers, stationed in the principal Ball Room, performed new music from Norma, Malek Adel, the “Royal Victoria Serenade Quadrilles,” and also the “Huguenots,” “Austrian,” “Cachuca,” and “Vienna” waltzes, with great effect. In the Throne Room the waltzes were followed by the “Royal Kent Quadrilles,” a new set, composed by Mr. Adams expressly for the occasion. The orchestra in this room was ably led by Mr. Remy, of the King’s Theatre, and comprised several members of that establishment, as well as others selected from the Philharmonic Concerts.”

 

The Globe and Traveller 2 June 1837

The GRAND SPITALFIELDS BALL.

“This magnificent ball took place last night at the King’s Theatre…The stage was appropriated to a spacious orchestra, containing Weippert’s band of 65 musicians, behind which were arranged ancient banners, armour, and antique implements of war… The following quadrilles were danced in the course of the evening, viz., those arranged from the operas of Scaramuccia, Norma, and the Postillion; also “I Quadrille di Pompei,” with the Vienna and Dresden waltzes, and the “National Galope,” introducing “God save the King.”…That exquisite Irish melody, “The Girls we left behind us” ran throughout the quadrille music of the evening like a meteor, and, played as it was occasionally with a bell accompaniment, came on the ear with all the refreshing delight of the purest simplicity.”

 

James Grant, The Great Metropolis, vol. 1, second series (London: Saunders and Otley, 1837)

“Dancing commences at eleven. Either Weippert or Collinet then strikes up his band. From that moment till four o’clock, there is no repose for the poor fiddlers: they, indeed, are the only mortals to be pitied there.” [p. 31]

Opening lines from “An Almack’s Gallopade”:

“Now Weippert’s harp each youthful breast inspires,

A space is clear’d, the dancers take their ground,

Each dancing beau claims her he most admires –

With pleasure here all youthful hearts rebound.” [p. 37]

“Some idea will be formed of one of these balls by the following account of the closing one in July last, drawn up by a gentleman who has witnessed many such splendid scenes…At 11 o’clock, dancing commenced to the music of Collinet’s fine quadrille band, led by Nedaud, and including Tolbecque, Remy, Rhode, Hatton, &c., from the King’s Theatre.” [pp. 43 & 45]

 

Charles Dickens, "Public Life of Mr Tulrumble", Bentley's Miscellany, vol. 1 (London: Richard Bentley, 1837)

“The next day, the Jolly Boatmen got the licence, and the next night, old Nicholas and Ned Twigger's wife led off a dance to the music of the fiddle and tambourine, the tone of which seemed mightily improved by a little rest, for they never had played so merrily before.” [p. 63]

 

An Essay on the Art of Dancing, Viewed in Connection with Physical Education (London: Calkin and Budd, 1838)

“As those “shoutings, and rompings,” which are so strongly recommended for young ladies, cannot often be enjoyed in this country in the open air, on account of the variableness of our climate...and as those “outbursts of animal pleasure,” are not considered altogether decorous within doors; might not some advantage be derived by young females during a course of education, if they were to practice dancing every day to the music of their own voices?...If then easy melodies adapted to dancing were harmonized, and each pupil at the time of dancing were to take a part, according to the quality of her voice, would not a double benefit accrue from this plan?” [pp. 31-32]

 

Manchester Times and Lancashire and Cheshire Examiner 16 March 1839

STALYBRIDGE

“One of the most brilliant entertainments recently given in this neighbourhood, was a ball held in the Town Hall of Stalybridge…Horobin’s [sic] full band of ten, which we do not hesitate to pronounce equal to that of Strauss or Weippart [sic], sustained their high reputation, and almost excelled themselves. Some of the airs were executed with a degree of taste, spirit and precision which would have done credit to her Majesty’s private band at Windsor or Buckingham palace.”

 

Morning Post 18 June 1839

STATE BALL AT BUCKINGHAM PALACE.

“The Queen’s Royal quadrille and waltz band, led by Weippert, was stationed in the throne room, and performed several times, by desire, the new vocal quadrilles, entitled “The Queen of England,” also an entirely new set of waltzes “The Danube;” the latter composed expressly for the occasion. In the yellow ball room were stationed the band of the Quadrille Institute”

 

London Courier and Evening Gazette 23 December 1839

“The West Essex Archery Ball took place on Friday last at Harlow Bush, and was kept up with great spirit. The fine band of the Quadrille Institution performed on this occasion some entirely new music (the solo parts by Messrs. Patey, Macfarlane, Champion, and J.A. Ireland), which elicited much approbation from the company assembled”

Accessed: 21-11-2024