A Short History Of English Music Part 27

In the second, it is alluded to in language that makes one wonder not only that an educated gentleman could find it in him to put pen to, but that a sub-editor could be found to pa.s.s it.

It would often appear as if the modern editor valued literary ability in his colleagues, rather than critical ac.u.men. If the idea is a correct one, it would largely account for such inconsistencies.

So large a body must necessarily include men of varied powers, varied educational endowments, and, probably, of various races; from the highly-cultured leading critic of the great daily journals, down to the cosmopolitan writer, whose other occupations seem strangely inconsistent with the exercise of so fine an art.

The grat.i.tude, however, of all English musicians should go out to the eminent men who, daily, portray so vividly the strangely-moving panorama of music, as it faces us all to-day. People who live in serene atmospheres may not realize their work at its true value, but that it is of powerful and far-reaching influence, there is no room for doubt.

The great festivals of England are among the most important features in the musical history of the country. Their influence is for good in whatever direction you seek. They provide the composer with the most perfect means that human effort can devise, to render his ideals into actual effect. They give the soloist every incentive to the highest efforts. They create that subtle atmosphere which inspires chorus, orchestra, conductor and all, to supreme achievement.

I do not include the Handel festival among them. The peculiar characteristics that go to mark its unique position in the world of English musical history, are decidedly antagonistic to the artistic ideals that are the very life and soul of the others. This festival cannot, I think, be, in any sense, interpreted as a sign of advance in the art of music, on the part of the English people. It certainly provides the pleasurable excitement of a week in the metropolis, interspersed with music, to the many hundreds of enthusiastic choral singers who flock to the Crystal Palace from, practically, every part of the country.

This, added to the fact that it attracts countless thousands of people, whose only musical experience it often proves to be, certainly proclaims it as an agency for good.

But, judging it solely from an artistic point of view, and with no desire to use undue emphasis, the amalgamation of a chorus numbered by thousands, and an orchestra of appalling size, the bra.s.s instruments (mostly called into requisition by Costa, and having no place in Handel's original scores), and those of percussion being in terrible evidence--cannot, as it seems to me, be regarded in any other light than the simple glorification of noise.

That there was an element of genius in the original conception of the idea is not to be denied, and the picturesque combination of such ma.s.ses of people would naturally appeal to the imagination of such a man as Sir Michael Costa, gifted as he was, with a sense of things on a grand and imposing scale.

Of the success that attended the festivals from the beginning, and has been conspicuous to the present day, it is only a matter of justice to relate, and to the great conductor who was for so many years its embodiment, such a tribute as the fact involves, is unquestionably due.

Indeed, after his death, many and ominous were the doubts openly expressed as to the capability of any other musician to take his place with success.

However, the late Sir August Manns, who was elected to succeed him, speedily put an end to any uneasiness on the subject. Since his decease Sir Frederick Cowen has, with equal success, carried on the traditions.

A feature of special interest, in that it affords convincing proof of the love of music existing among the ma.s.ses of wage-earners, particularly in the northern counties of England, is the popularity of bra.s.s-band contests, it being borne in mind that all the performers belong to that cla.s.s.

The final exhibitions generally take place at the Crystal Palace, and it is an inspiring sight to watch, not only the whole-hearted enthusiasm with which the players throw themselves into their work, but the equal excitement of their respective followers who flock to the south to witness them.

It is safe to say that the decisions of the examiners are awaited with as breathless interest, as is displayed while the result of the final cup-tie, of a.s.sociation football, is in doubt. While not claiming for them too high a position as artistic manifestations, it can only be regarded with a sense of true admiration, that the comparatively little time that their arduous occupations leave at their disposal, is spent by the men to such a purpose.

The pieces chosen for performance are, frequently, not only cla.s.sical, and thereby demanding high qualifications of fine discernment, but of sufficient difficulty to require considerable technical skill on the part of the players. It does not call for much consideration to realize the sustained endeavour necessary to meet such requirements. Enthusiasm tempered by a refinement that is extraordinary, all things being considered, characterises the best efforts of the successful compet.i.tors.

If evidence were wanted to prove the ever upward trend in everything that has to do with art, one of the most striking features of the times, the Variety Theatres, surely, can offer it, and, on a scale that, perhaps, could not be equalled in any other direction. It seems only yesterday that such a thing as the following quotation narrates, took place in one of them. Although I did not witness it, I well remember the indignant outcry it called forth.

"As an indication of the vulgar and repulsive, I recall a performance given in one of these halls which was said to represent an incident that actually took place in one of the Indian Frontier wars. In a charge by a Scottish regiment, the Piper, while sounding it, was dangerously wounded, but continued to play until his regiment was lost to sight.

"For this act of valour he received the decoration of the Victoria Cross, the most coveted distinction in the British Army.... Yet in order to attract the morbid curiosity of the crowd, this scene was enacted with every attempt at verisimilitude."

It is impossible to think of such a disgusting spectacle taking place in one of these theatres to-day. The music hall of those not remote days, together with the type of manager such performances indicate, is a thing of the past. Instead of offering attractions to the lowest tastes, the authorities frequently appeal to the highest, and invariably only to those which the average individual may honestly indulge.

The greatest actors and actresses of every country in the world are constantly to be seen, and the Drama and the Variety Theatre are in complete agreement, instead of, as formerly, contemptuous on one side, and resentful on the other.

So far as music is concerned the change is equally marked, as may be realized when Sir Edward Elgar is found conducting one of his own compositions at the Coliseum. This must certainly be regarded as an epoch in the history of music in England, as well as that of the Variety Theatre.

Although unable to take the roseate view of the position of native music in England that is often expressed by a few prominent writers in the Press, I think it will be generally agreed that there are many signs, at once indicative of hopefulness and, already, great and a.s.sured progress.

There are others, however, that, shut one's eyes to them as one would, cannot be ignored, and are, certainly, less satisfactory.

Disunion among any communion is generally disastrous, but I am afraid it has been a fatal fact in the history of English musicians.

The writing, for instance, of a parody by one, of the work of another, seems to me to be a policy of sheer negation. It neither enhances the reputation of the one, nor impedes the upward progress of the other. The ostentatious patronage of the foreign, at the expense of the equally skilled native, musician, is again a sign that does not induce a feeling of hopefulness.

To create a national school of English music which, notwithstanding the raptures some writers have indulged in, simply does not exist, a policy of a definite nature is needed.

That there exists a band of brilliant and original English composers to-day, is a matter of heart-felt congratulation, and one that gives rise to hopes that, but a few years ago only, would scarcely have been justified.

That their influence is already great and will, before long be still greater, as adverse influences lose their power, is a matter of thankfulness.

At the present time, however, a sense of cohesion seems to be lacking.

One might express a fervent wish that a series of conferences, the members restricted to English composers, might be held under the presidency of Sir Hubert Parry or Sir Edward Elgar, with a view to propagate authoritative advice to those in whose hands the training of the future generation of English composers is entrusted.

There is, surely, much to go upon. The n.o.ble school of ancient English Church music, and the national folk-music in which England is exceptionally rich, form a firm foundation on which to build.

Dvo[vr]ak indicated the lines on which to found an American school of composition, by writing a symphony based on national melodies, and instinct with the spirit of the people. Will not some of the young English composers, in their days of youth and enthusiasm, emulate so splendid an example?

England was musical once upon a time; and bids fair to be so again, in the highest and n.o.blest sense that the word can convey.

England was "merrie," once upon a time; and, if the early days of irresponsible gaiety can never return, she may well be happy in the prospect of a n.o.ble art restored to her.

In that firm faith, I close these pages.