Classical music of the United Kingdom of the Dublin Choral Society in 1837, the Irish Academy of Music in 1848 (which was to be granted a royal charter in 1872); and the Royal Choral Institute in 1851 under such figures as Sir Robert Prescot. In the earlier part of the century the British singers Michael Kelly, Nancy Storace and John Braham were prominent and by their example sustained the international opera and oratorio works of Handel, Haydn, Mozart and their successors in the British arena. Braham, whose career thoroughly spanned the opera stage and concert platform, established a tradition in public recital which was continued by
Music of Scotland in the eighteenth century is also evidence of adoption of the European-style fiddle. There were numerous publications of traditional tunes in the period, particularly when the oppression of secular music and dancing by the kirk began to ease between about 1715 and 1725. In the late eighteenth century the music of the Highland bagpipes began a revival, particularly the ceòl mór (the great music), which had developed for ceremonial purposes for the Gaelic aristocracy from the seventeenth century. The Italian style of classical music was probably first brought to Scotland by the cellist and composer Lorenzo Bocchi, who travelled to Scotland in the 1720s.