taste, and as such is instructive. English people, on the whole, have
had too much common sense to allow their musical interests to be
distorted by the war. It is true that modern German music is no longer
heard, and that the names of modern French, Russian, and Italian
composers figure largely on the programmes. But it is probably also
true that the accident of the war has merely helped to consolidate
a tendency that was apparent some time before. Brahms was never a
composer for the man in the street. What the ordinary man wants in
music is a clear-cut tune, a vigorous rhythm, and an exciting volume
of sound. He gets these in _William Tell_ and _L'Arlésienne_. In the
presence of these and other old favourites we are all ordinary men.
They are the things which the man in the street enjoys at a first
hearing, the things which the cultivated musician never ceases to
enjoy. It is through such music that the average man has gradually
learned to enjoy Beethoven's Symphonies and the Brandenburg Concertos,
for they too possess those essential qualities.
On the other hand, there is a very large section of the public which
demands a more sensuous and emotional type of music. The emotion which
these people seek is not necessarily erotic, nor is it consciously
religious, though the prelude to _Tristan_ and Handel's _Largo_ (with
harp and organ) are among the works which appeal to them most. It was
they who made the popularity of Tchaikovsky and Richard Strauss, and it
is they who will establish the popularity of Scriabin. Together with
this desire for sensuous emotion there is often combined a delight in
curious and amusing orchestral effects. This was another factor in the
enjoyment of Strauss, and it can be satisfied not only in such works as
Scriabin's _Prometheus_, but in Sir Henry Wood's ingenious orchestral
transcriptions of Moussorgsky. Brahms has always been too difficult of
understanding for the _William Tell_ public, and too austere for what
one may call the "wallowers." He is hardly a composer for the Promenade
Concerts at all; the _Requiem_, the chamber music, and the songs are
his best works, and those can always be heard in their proper places.
The complaint is frequently made that the music of the modern English
composers is crowded out, not so much by foreign contemporaries as
by the classics. New works by English composers are played once, it
is said, but never again. Yet even if we leave out Elgar, as being a
classic as surely established as Saint-Saëns, there are several English
works which are played over and over again. Sullivan's _In Memoriam_ is
one of those which might well be laid on the shelf; but like Walford
Davies' _Solemn Melody_ it brings in the organ, and to many English
people music of this kind would appear to offer all the spiritual
advantages of church-going without its discomforts, intellectual or
physical. Besides these there are Mackenzie's _Benedictus_ and Edward
German's _Henry VIII._ dances, as well as various pieces by Balfour
Gardiner and Percy Grainger, which undoubtedly possess those desirable
qualities of tune, rhythm, and a jolly noise. In one case Sir Henry
Wood has managed to add the attractions both of organ and _batterie de
cuisine_, thus combining mirth with devotion.
It is perhaps because a Promenade audience is so kind and so
undiscriminating that these concerts have become the recognized trial
ground for new works. This year's novelties have been, on the whole,
of little interest. Malipiero's second set of _Impressioni dal Vero_
was the most original, Roger Quilter's _Children's Overture_ the most
attractive.
The want of discrimination shown by the audience is most apparent in
the case of the vocal and instrumental soloists. A few years ago, it
is related, the students of the Paris Conservatoire used to make a
hostile demonstration against every concerto on the ground that the
concerto was of its nature a bad form of art. There are indeed a fair
number of musicians in this country who in private conversation will
confess to much the same opinion. Generally, however, if pressed, they
will make four or five exceptions, such as the favourite concertos of
Mozart and Beethoven, together with Schumann's and the B flat concerto
of Brahms. As regards the rest, they at least afford proof of the good
manners inculcated at our music schools. The more recent ones, such as
those of Rachmaninov and Tcherepnin, are no better than the others.
That of Delius alone stands out as a work of real beauty. The real
disfigurement of the Promenade Concerts is provided by the singers.
One might have supposed that a public which had enjoyed a _scena_
of Wagner or Verdi would refuse to tolerate the vapid domesticities
of the second half of the programme. But, alas! it is probably this
very domesticity that evokes the applause. The promenaders will
admire Isolde's Death Scene or _Eri tu_, but they must worship at a
distance. When they hear the other stuff they know that it is something
which they themselves can sing successfully in their own suburban
drawing-rooms. Sir Henry Wood was once heard to express the hope that
some day there might be a Promenade Concert in London every night of
the year. Could that hope ever be realized it would be the noblest
monument to the man who for our generation at least has created the
Promenade Concerts. But must there always be those songs? They are
symbols of bondage to commercial interests.
* * * * *
After five years of absence Busoni has returned to England, and his
recital at the Wigmore Hall on October 15th showed that his playing
has lost none of its former strength and vitality, whilst it has
undoubtedly gained in dignity and serenity. His audience consisted
mainly of musicians, and his programme was evidently intended for
serious and cultivated listeners. He began with the first prelude and
fugue from Bach's _Forty-Eight_, producing a wonderful effect at the
end of the fugue by a continuous haze of pedal, through which the
counterpoint yet stood out with perfect clearness. His reading of the
_Goldberg Variations_ was startling, both in its quality of tone and
in its departures from the text. But it was clear that there was a
considered reason for everything that was done, and as a commentary
on Bach the performance was of singular interest. Busoni was at his
best in Beethoven's _Hammerklaviev_ sonata. It is probably the most
difficult work in all the literature of the pianoforte. When Busoni
plays one does not take technical difficulties into account; but
this sonata is both supremely difficult to understand and supremely
difficult to interpret to an audience. To grasp its vastness of
conception and to present it without the least appearance of struggle
in perfect balance of poetry and philosophy is a task which Busoni
alone of living pianists can accomplish. It was evident from the
behaviour of the audience after the end of the sonata that they all
realised how in comparison with Busoni most other pianists, despite
their admirable qualities, are very small fry.
EDWARD J. DENT.
BIBLIOGRAPHIES OF MODERN AUTHORS[4]
[4] In this section we propose to give monthly skeleton
lists of the works of modern authors: where feasible
of contributors to the issue current.
THOMAS HARDY
[_Poetical works only. Full information as to all his writings may be
obtained from the bibliographies by A. P. Webb and H. Danielson._]
COLLECTED POEMS. Macmillan. 1919.
[This volume and that containing _The Dynasts_, mentioned below, give a
full collection of Mr. Hardy's work in verse. The Wessex and Mellstock
editions of his complete works include his poems in several volumes.]
SELECTED POEMS. Macmillan. 1916.
[In the Golden Treasury Series.]
WESSEX POEMS. Macmillan. 1898.
[This volume contains illustrations in pen and ink by the author.]
POEMS OF PAST AND PRESENT. Macmillan. 1901.
THE DYNASTS. Macmillan. Part I., 1903. Part II., 1906. Part III., 1908.
[Now published in one volume.]
TIME'S LAUGHING STOCKS. Macmillan. 1909.
SATIRES OF CIRCUMSTANCE, with miscellaneous pieces. Macmillan. 1914.
MOMENTS OF VISION. Macmillan. 1917.
[Certain poems and small collections have been published in very small
editions, mainly by CLEMENT K. SHORTER. These include _Song of the
Soldiers_ (1914), _When I Weakly Knew_ (1916), _In Time of the Breaking
of Nations_ (1916), _The Fiddler's Story_ (1917), _Call to National
Service_ (1917), and _Domicilium_ (1918).]
WALTER DE LA MARE
_Verse_
SONGS OF CHILDHOOD. Longmans. 1902.
[Reissued in Longmans' Pocket Library.]
POEMS. Murray. 1906.
A CHILD'S DAY. Verses to pictures. Constable. 1911.
THE LISTENERS AND OTHER POEMS. Constable. 1912.
PEACOCK PIE. Constable. 1913.
[Reissued with pictures by HEATH ROBINSON.]
THE SUNKEN GARDEN. Beaumont. 1918.
[A limited edition de luxe.]
MOTLEY AND OTHER POEMS. Constable. 1918.
[Embodies the whole of the material in the last-named.]
_Prose_
HENRY BROCKEN. Murray. 1904.
THE THREE MULLA MULGARS. Duckworth. 1910.
THE RETURN. Arnold. 1910.
W. H. DAVIES
_Verse_
COLLECTED POEMS. With a portrait by W. ROTHENSTEIN. Fifield. 1916.
[This volume contains a selection of what the author considered the
best of his poems up to that date.]
THE SOUL'S DESTROYER. Alston Rivers. 1907.
[This book was published in the Contemporary Poets' Series, after a
privately published issue by the author from the Marshalsea. It has
since been reissued by Mr. Fifield.]
NEW POEMS. Elkin Mathews. 1907.
NATURE POEMS AND OTHERS. Fifield. 1908.
FAREWELL TO POESY. Fifield. 1910.
SONGS OF JOY. Fifield. 1911.
FOLIAGE. Elkin Mathews. 1913.
THE BIRD OF PARADISE. Methuen. 1914.
CHILD LOVERS. Fifield. 1916.
RAPTURES. Beaumont. 1918.
[A limited edition de luxe.]
FORTY NEW POEMS. Fifield. 1918.
[Contains the poems in the last entry and ten additional pieces.]
_Prose_
THE AUTOBIOGRAPHY OF A SUPER-TRAMP. Fifield. 1908.
[With an introduction by Bernard Shaw.]
BEGGARS. Fifield. 1909.
A WEAK WOMAN. Fifield. 1911.
[A novel.]
THE TRUE TRAVELLER. Fifield. 1912.
NATURE. Batsford. 1913.
[An essay in the Fellowship Books.]
A POET'S PILGRIMAGE. Melrose. 1918.
RUPERT BROOKE
_Verse_
THE COLLECTED POEMS OF RUPERT BROOKE. With a memoir by EDWARD MARSH.
Sidgwick & Jackson. 1918.
[The memoir was separately printed by the same publishers in the same
year.]
SELECTED POEMS. Sidgwick & Jackson. 1917.
* * * * *
POEMS. Sidgwick & Jackson. 1911.
[This, Brooke's first book, has gone into an enormous number of
editions, and the first is so scarce as to cost £4 or more in the
second-hand market.]
1914 AND OTHER POEMS. Sidgwick & Jackson. 1915.
[This appeared with a portrait shortly after Brooke's death.]
THE OLD VICARAGE, GRANTCHESTER. Sidgwick & Jackson. 1916.
[A poem from the last volume, separately published.]
_Prose_
LETTERS FROM AMERICA. With a preface by HENRY JAMES. Sidgwick &
Jackson. 1916.
[James's preface was the last of his published writings. The letters
originally appeared in the _Westminster Gazette_; one or two stray
papers are added.]
JOHN WEBSTER AND THE ELIZABETHAN DRAMA. Sidgwick & Jackson. 1916.
[Brooke's fellowship thesis at King's. There exists in the British
Museum in typescript an essay that Brooke wrote in 1910 for the Harness
Prize. The subject is _Puritanism as represented or referred to in the
Early English Drama up to 1642_.]
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IDEALISM. By WILLIAM WALKER, A.K.C., Rector of Pattiswick. Heath
Cranton. 3_s._ 6_d._ net.
THE SECRET OF HAPPINESS, or Salvation through Growth. By EDMOND
HOLMES. Constable. 12_s._ 6_d._
THE LONDON
MERCURY
_Editor_--J. C. SQUIRE _Assistant-Editor_--EDWARD SHANKS
Vol. I No. 2 December 1919
EDITORIAL NOTES
Our last notes in this place were written "in the dark." We sketched,
in a general way, our attitude, our intentions, and our hopes whilst
we were still without more evidence than our private enquiries could
produce as to the degree of confidence that our proposals would inspire
and the amount of support that we should receive. We are now more fully
informed; and we may honestly say that, although our expectations were
not, perhaps, coloured by an excessive diffidence, they have been more
than realised.
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The extraordinarily cordial reception given us, both by critics in
the Press and by our readers, has proved that there is a demand for a
paper on the lines which we have laid down, and that our first number
was regarded as a satisfactory beginning. We must express our profound
gratitude to those--there are hundreds--who have written to us in terms
of unqualified appreciation and benevolence, and to the reviewers,
whose kindness is more encouraging than they probably know. It now
remains for us to attempt to live up to the promises we have made.
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