A Short History Of English Music Part 18

Happily for England such a man was, before long, destined to appear.

The nineteenth century had witnessed a monotonous succession of oratorios by English composers, written on such lines as this system would naturally indicate.

They were characterised by earnestness and scholastic efficiency, but of the essence of vitality they were absolutely bereft.

"THE DREAM OF GERONTIUS."

For some years previous to 1900, it had become evident that a star of great magnitude was rising in the firmament of English music.

Succeeding years had witnessed productions from the pen of Sir Edward Elgar that commanded, perhaps, more admiration than any other feeling.

They were virile in their mode of expression, original and daring in method. They produced rather the sensation of expectancy than the sense of complete fulfilment.

The day, however, was fast nearing when his genius was to burst forth in all its splendour, and, with one great and epoch-making work, restore England to its ancient place in the world of music.

If Sir Edward Elgar had no other t.i.tle to fame, the fact that he brought Cardinal Newman's inspired poem into universal knowledge would have been sufficient to make his name memorable. It is an extraordinary fact that until the production of this oratorio, the poem, magnificent as it was known to be to the few, was scarcely familiar to one educated Englishman in ten. The explanation is not difficult to find.

The tremendous sensation that John Henry Newman evoked by severing himself from the English Church, is a matter of history, and the bitter feelings it engendered were little likely to be a.s.suaged by the publication of a work of such exalted genius, in which Catholic doctrines are portrayed in majestic and fascinating splendour.

As a matter of fact, Cardinal Newman's writings were practically ignored by the reading public until his famous "Apologia" brought them into universal demand.

To deal with such a theme as "The Dream of Gerontius" on equal terms with the author, required on the part of the composer, immense resources of skill, and an imagination capable of responding to calls of the most exacting nature.

To say that Sir Edward Elgar succeeded in his great endeavour is to say less than the truth. He did more. By intense devotional music he aided the author in the inspired effort to lift the veil, and reveal, if ever so obscurely, those glories of which holy men have dreamed unceasingly since the dread day of the Crucifixion.

It is permissable to doubt if in the whole realm of sacred music, anything more approaching sublimity has been penned by the musician, than the setting of the n.o.ble hymn, "Praise to the Holiest in the Heights."

The whole work dwells in an atmosphere of ecstatic emotion, and words seem strangely inadequate to convey a true impression of its n.o.bility.

The world at large has recognized its supreme merit, and nowhere has this been more eloquently acknowledged than by the great German composer, Herr Richard Strauss, on the occasion of its performance at the Rhine Festival in 1902.

It was hardly to be expected that a work so complex in character and so different from anything hitherto presented in England, should be at once understood and its great qualities immediately grasped.

Hence, on the occasion of the first performance at Birmingham, it scarcely realized the success that those who knew its unique value had expected. Little time, however, was to elapse before English music lovers came to a just appreciation, and its popularity to-day is not only a sign of enduring qualities, but of the immense advance in musical perception that has characterised recent years in the country. There had been signs, many and ominous, of a waning interest in oratorio. The number of works that had any real hold of, or power of attraction for the people in general, were few. The failure of so many new ones to realize the expectations that had been aroused in the public mind before their production, was making an effect that was, in every sense, deplorable; but, happily, "The Dream of Gerontius" came in time to stem the current of popular feeling, and to add an additional l.u.s.tre to the history of oratorio in England.

CHAPTER VIII

OPERA IN ENGLAND

Italy, the birth-place of opera--Purcell and opera--English people and opera--Charles II. and his court--Italian opera--Its popularity--Managers and great singers--Royal Opera--Dr.

Richter--Opera in English--Dr. Richter and English singers--Mr.

Thomas Beecham and opera in English--Alfred Bunn and his efforts--"Bohemian Girl"--Louisa Pyne and William Harrison--The Pyne family--G. A. Macfarren--Carl Rosa Company--His distinguished artists--Madame Valleria and Mr. Ludwig--British composers and opera--Goring Thomas' "Esmeralda"--Lack of national feeling--Mr.

D'Oyly Carte--Royal English opera--"Ivanhoe"--Eugene Oudin--Remarkable cast of singers--Difficulties attached to opera in English--State aid--Is it to be expected?--Musical comedy--Its popularity--A successful manager--Basis of the plea for State aid--A suggestion.

Opera, as we know it to-day, is a creation subsequent to the Reformation. Like oratorio, the country of its birth was Italy, and similarly, its origin was connected with the miracle plays of the ancient Church. On its introduction to England, Purcell, with his restless genius, was quick to perceive the possibilities it opened out to the imaginative musician, and it was not long before he was testing his powers in the new field of labour. Unhappily, however, his life was too short to permit him to make any effective appeal on its behalf to the English people, and it soon became looked upon by them, simply, as a diversion of a foreign court or the amus.e.m.e.nt of an aristocracy, with either of whom they were in little sympathy. So far as the ma.s.ses of people are concerned, nothing has happened since those days, to materially alter the situation.

Opera remains a source of entertainment to the wealthy, or a luxury to the middle-cla.s.ses. In early Puritan times it was regarded with particular horror, but as time pa.s.sed, it became rather to be looked upon with indifference, since it so evidently made little impression on the common people. It is not difficult to suggest a cause for the hostility with which it was early regarded. Opera came, first, prominently into notice in the reign of Charles II., and as he was a great patron of all foreign inventions, he naturally bestowed his patronage, and probably ostentatiously, on this one. Thus it would be a.s.sociated in the minds of the people with the hideous immorality of that wretched monarch and his court.

At any rate, to them it was a foreign inst.i.tution, and, to all intents and purposes, it has so remained to this day. There is little to wonder at in this. If the reign of Charles II. was sufficient to determine the people to get rid of the Stuart dynasty at any price, there is nothing surprising in the comparatively unimportant fact, that they became prejudiced against any new form of foreign amus.e.m.e.nt to which he and his court accorded princely support. He was alien in blood, in tastes and sympathies, and was utterly cynical in his ways of showing it.

The performances were mainly given in Italian, a language understood by but few, even of the wealthy cla.s.ses, but, as ever, so soon as it became the fashion and the "right thing" to support it, success was a.s.sured. It is not an excess of language to say the conditions that obtain to-day are not far removed from those of the times described. Italian opera has been for centuries the most fashionable and exclusive source of amus.e.m.e.nt in the metropolis, and far beyond the reach of the ma.s.ses.

By the time Handel arrived in London, it had secured a position that promised a permanent hold on fashionable society. It was not long before Handel challenged Italian supremacy, by taking a theatre, and establishing a rival enterprise; "Italian" opera of his own composition being the great source of attraction. He was, for some years entirely successful, but eventually he abandoned the field to his Italian compet.i.tors.

The nineteenth century saw Italian opera in England at the height of its glory. In the early part, the world was thrilled by such singers as Sontag and Malibran, but perhaps the most brilliant period of its ascendancy began with the managements of Smith, Gye and Mapleson. The wealth of great singers these three had at their command, is a matter for pure amazement. To think of being able to "cast" Mozart's "Don Giovanni" with the soprano parts alone, filled by Therese Tietjens, Adelina Patti and Christine Nilsson!

It is out of the question to attempt to give anything approaching a list of the singers they had at their call. A few of the names will be sufficient to give a fairly adequate idea; Guiligni, Mario, Sims Reeves, Niccolini, Santley and Lablache being among them.

The "Royal Italian Opera" as it was, for long called, culminated in splendour and success under the management of the late Sir Augustus Harris. His achievements, being so recent, will be well within public recollection, but it is worthy to recall the triumphs of those supreme artists, Madame Melba and the brothers De Reszke, made during his memorable reign at Covent Garden.

Operas by Italian composers had long ceased to be the sole or even princ.i.p.al, attraction presented; the French school having become more prominent, and above all, the mighty influence exercised by Wagner, making the frequent presentations of his works a matter of inevitability.

The dropping of the word "Italian," in the t.i.tle of the inst.i.tution, was simply a matter of expedience, "Royal Opera" being more in accord with the work achieved, and the spirit of the times. Since the accession to power of the Directorate which now rules the fortunes of the historic house, perhaps the most memorable of its many claims to grat.i.tude has been the manner in which Wagner's immortal work, "Der Ring des Nibelungen," has been given, under the direction of Dr. Richter. Every possible accessory of splendour, efficient mounting, the finest cast of Wagnerian singers obtainable, an orchestra that could not be excelled, has been placed at the disposition of the great conductor.

The result of such enterprise has not only been to increase its already great prestige, but to bring within the cultured circles of the true lovers of Wagner, many thousands who had, otherwise, remained outside.

Taking any single season as a characteristic one, it may be truly said that it offers a fair and varied representation of the tastes and predilections of its wealthy and cosmopolitan patrons.

That the "Royal Opera" is, in any sense, national in character, is not claimed for it, but what it does set out to do, is done in a manner that leaves criticism in abeyance.

A feature in the performances of late years, that has been a matter of gratification, is the frequent appearance of English-speaking singers and their p.r.o.nounced success; that of Madame Kirkby-Lunn being, perhaps, the most notable.

When we come to the consideration of opera in English, or "English Opera," there is, unfortunately, a very different tale to tell. Before commencing to narrate, as briefly as possible, the salient features of its history, I should like to refer to two events which demand recognition, but which, however interesting, as they undoubtedly were, were ephemeral, if not in effect, at least in existence as living forces.

When Hans Richter undertook to conduct a series of performances of Wagner's greatest works with English singers as exponents,[28] he not only gave effect to the belief that was in him, of their capabilities, but he gave one more proof, and it was a supreme one, of his love for, and grat.i.tude to the country that had so deeply appreciated him.

It was, looking at it from any point of view, splendid, but when viewed in the light of the expenditure of nervous energy it must have entailed, it was simply heroic. At an age when he was ent.i.tled to rest, more even, than most great workers, he entered upon the task with no view to gain for himself or his prestige--that was impossible--but, apparently, with an idea of paying what he may have thought a debt, to the country with which he had been so long a.s.sociated. At any rate, whatever the motive, it was a n.o.ble act, and his name will live long in the memory of those who are interested in English music, and can appreciate a n.o.ble and unselfish career.

The courageous attempt of Mr. Thomas Beecham to give prolonged seasons of opera in English, and his astonishingly fine performances of the extremely intricate works of Richard Strauss, deserve grateful recognition, and it is a matter of regret that the public support he received was not sufficient to allow of the continuance of his efforts.

His representations were on a scale of efficiency that London had not seen for a great many years, and this fact, although satisfactory in itself, only gives food to the thought that there are not, as yet, unfortunately, sufficient lovers of opera among the ma.s.ses, to make such seasons possible, without considerable financial loss to those who venture on them.

From earliest times there have ever been enthusiasts who ardently desired to found a school of English opera, or, at least, give the English people a chance to acquire an intelligent appreciation of that form of art, through the medium of their own language and their own people.

Perhaps the first man to grapple with the subject, and attain, to an appreciable extent, any abiding success, was Alfred Bunn, who was born towards the close of the eighteenth century, and became lessee of Drury Lane theatre in 1834.

That there was any enthusiasm shown, when he ventured on a season of English opera, there is little evidence to prove. However, he was an enthusiast and, if not a poet judged by the standard of Percy Bysshe Sh.e.l.ley, he had sufficient literary ability to write the libretto for Balfe's "Bohemian Girl," and thus furnish that composer with the means of producing a work, which, whatever may be thought of it to-day by the cultivated amateur, obtained a hold on the English people, and still retains it, such as no similar one has ever succeeded in effecting.

One would think that he would have been justified in expecting sympathetic encouragement in his endeavour on behalf of native art.

There is no trace of it.

On the contrary, he seems to have been gifted with a veritable genius for evoking, somehow or other, perfect cyclones of abuse and opposition.