Interview by Brenda S. Cox
“no one can be really esteemed accomplished [without] a thorough knowledge of music, singing, drawing, dancing, and the modern languages”–Pride and Prejudice
Jane Austen and Company, who have given us many fascinating series of talks, have been focusing on Austen and music this year. We asked Inger Brodey, Eric Bontempo, and Susan Ellen Ford to tell us more about that.
JAW: Thanks for joining us, Inger, Eric, and Susan. I understand that the three of you are directing the Jane Austen & Company program. Jane Austen & Co has been doing a series on Music and the Regency this year. Readers can watch and listen to the recordings here. Can you tell us about that?
Eric:
Sure! Music making and music appreciation could be complicated—even contested—activities during the late eighteenth and early nineteenth centuries. In 2025, Jane Austen & Co. wanted to look at aspects of public and domestic music in the Regency period, and zero in on Jane Austen’s own musical experience. Back in February, we kicked things off with Jeff Nigro’s talk on “Georgian Fangirls” and the influence that Italian castrati had on Regency Music in England. Then, Gillian Dooley discussed music in Austen’s life and work, including some of what Austen would have played and sang. Kathryn Libin moved our series outward to women and musical education during this period. In April, Laura Klein discussed the evolution of keyboard music during this period and considered the music Austen was practicing when she was writing.
This fall, we’ve added three more events to the series. Lidia Chang from Colorado College gave an insightful talk on “Frivolity, Foppery, and the English Gentleman at Music.” And just two weeks ago, Jeanice Brooks from the University of Southampton delighted us with her talk exploring how music making shaped perceptions of people and lands far beyond the British home. The grand finale of the series came in late November when Penelope Appleyard and Jonathan Delbridge revealed the new song they have commissioned, recorded, and released to celebrate Jane Austen’s 250th Anniversary.
JAW: Tell us a little about one of those recorded events that our readers might enjoy listening to.
Eric: I think our grand finale to “Music and the Regency” is definitely worth watching. The 90-minute episode has a little bit of everything: Penelope Appleyard and Jonathan Delbridge performed live, and you can watch their stunning renditions of songs that Jane Austen loved and copied down in her family’s music books. They performed “Robin Adair” and a “Song for Burns” before delighting us with their recently commissioned setting of Austen’s teenage poem “Ode to Pity.”
In between performances, they walked us through the historical context of these songs, the musical instrument being played by Jonathan, and their connection to Jane Austen and her novels. It was fascinating, and if you watch until the end, you’ll notice that the audience Q&A kept the momentum going!
JAW: What are a few interesting things that you personally have learned from that series?
Susan: One of my favorite episodes was the interview with Lidia Chang. She taught me a great deal about music and gender. I was interested to hear about how seldom amateur men would perform music, compared to women. She also drew connections to the few examples from the novels where men perform for private audiences.
JAW: What will the next series be?
Susan: Jane Austen & Company is launching a brand new series focusing on Jane Austen’s “Unsung Characters.” We are envisioning a series of presentations that explores Austen’s minor characters and the un-thought-of connections that may tie them together. We will be announcing the list of speakers and presentations soon!
JAW: A few months ago I reviewed your lovely new site, Jane Austen’s Desk. How is that going?
Inger: Yes, we were very grateful for your review! Since then, we have added a few things to Jane Austen’s Desk. Most importantly, we’ve added a new traveller: Eliza De Feuillide, Austen’s first cousin and sister-in-law. We included a new hand-drawn portrait of her and programmed in most of her travels during Austen’s lifetime. We really wanted another female traveller, along with Fanny Palmer Austen, to indicate what we are calling Austen’s “vicarious travels.” We are countering the image of Austen living a sheltered existence by showing visual, interactive representations of how much her correspondents travelled, giving her vivid, second-hand experience of diverse regions of the world.
Susan: In honor of our new holiday campaign to raise funds, we also added some professionally recorded Christmas music, performed by Laura Klein on a period harpsicord, and some holiday greenery. Have you seen them yet? (You have to ignore, momentarily, the unseasonable weather for March 30.)
JAW: I understand you are raising money for adding music to that site. What are you hoping to add? How will that enrich the site?
Inger: Music was key to Jane Austen’s creative process. As you know, in her years at Chawton Cottage, she got up early in the mornings to play her pianoforte and compose her thoughts. This Kickstarter will raise the funds necessary to give tribute to the specific music Austen knew, loved, and transcribed by hand. We will add interactive tools with access to this music to our free website, making it come alive for all kinds of Janeites. The music will be performed by professional performers on historical instruments. We will provide historic illustrations, information about composers and specific pieces, and crisp images of Austen’s own sheet music.
An exciting part of the plan is to link the mentions of music in the novels to recordings by Laura Klein, and vice versa. So when you read about Mary Crawford playing a glee, for example, you can play an example and learn about what glees are. It’s an important dimension of our plan to show how the many different parts of Austen’s lived experience come together in her masterful novels.
JAW: That sounds fantastic, Inger. Why do you need to raise the money with a Kickstarter?
Inger: The design and building of our site has been primarily funded by two “Digital Projects for the Public” grants from the National Endowment for the Humanities. We were hoping for the largest, phase 3 grant in this line, but the whole program has been cancelled at the NEH, so we are forced to look elsewhere for our funding. What we really need is a patroness!
JAW: Lady Catherine de Bourgh, take note. Or perhaps someone who has “more true enjoyment of music” than she does, or “better natural taste”! How can our readers contribute, if they wish?
Inger: Our Kickstarter campaign is at: https://www.kickstarter.com/projects/janeaustencoll/adding-music-to-jane-austens-desk. On that site there are also two videos: one about our team that is making Jane Austen’s Desk and the other about the goals of our project. Kickstarter campaigns are all or nothing, so if we don’t meet our target by December 28th, then we don’t receive any of the promised funding! It’s a little nerve-wracking!
JAW: We very much hope you get all your need! Readers and music lovers, here’s an opportunity to contribute. Inger, Eric, and Susan, thanks for all your hard work to make so much great material available to us in such a fun way. (I vote that you do embroidery next 😊, but the music, “a very innocent diversion,” will be delightful!)
Brenda S. Cox is the author of Fashionable Goodness: Christianity in Jane Austen’s England. She also blogs at Faith, Science, Joy, and Jane Austen.
Strictly speaking the oficial Regency lasted from 1811 to 1820, but the author, Ian Mortimer, takes the reader on a journey to Great Britain – England, Wales and Scotland – from 1789 to 1830, a time period that is in line with most other historians, literary critics and antiques experts.
After reading this book, I had a comprehensive overview of the Regency era and recommend it to anyone interested in this period. Amazon Kindle edition (See cover to the right) offers a sample of the book’s Introduction, and Chapters 1 & 2 in full.
Dr Ian Mortimer has been described by The Times newspaper as ‘the most remarkable medieval historian of our time’. He is best known as the author of The Time Traveller’s Guides: to Medieval England (2008); to Elizabethan England (2012); to Restoration Britain (2017); and to Regency Britain (2020). He is a Fellow of the Royal Historical Society and a Fellow of the Society of Antiquaries, and has published research in academic journals touching on every century from the twelfth to the twentieth. For more information, see 
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