ENGLAND (1800-1913).
The history of England during the Nineteenth century presents but
little disturbance at home, along lines calculated so to move mental
depths, as to produce complicated re-establishing forms in musical
rhythm. Labor troubles harassed the national thought in their usual
superficial manner, rarely causing the loss of a night’s sleep, or
the disturbance of appetite, and the many reforms in the interest of
trade, affected but slowly the depths of emotionalism. It has ever
been a noticeable fact, that impersonal or distant calamities but
slightly arouse the national emotions. People read and comment upon
the slaughter of women and children, and at the same time pleasurably
partake of a good dinner. The fact is, that emotions are not easily
aroused by distant stimuli, and people also respond with ever
decreasing force to unchanging present stimuli.
Present day labor agitations have already passed the boundaries of mild
stimulation, and are fast becoming emotional forces which are evidently
driving headlong into governmental change. Capitalism has run its
oppressive course, and for the near future a genuinely soul-tearing
agitation is preparing, which, if allowed to rip open the veins of the
nation, will produce the stimuli, that eventually will endow English
Music with a richness and depth, superior to that of any other country.
British emotions have been sleeping deeply under two centuries of mild
emotional stimuli, but when they do stretch their strong fibres for
action, then one may indeed tremble for the old systems of English
government; and then also the great musical triumphs of Belgium and
Germany may be surpassed. Considering the mental attitude of the
British community during the Nineteenth century, and at the present
day, it was to be expected that Balfe’s “Lurline” should represent
the nation’s rhythmic need up to 1870, and that the musical works of
Benedict (“The Lily of Killarney,” and the oratorios of “St. Peter”
and “St. Cecilia”), should have found popular appreciation up to
1885. But the composer who best illustrates England’s characteristic
activity,--that of colonization,--its military and political aspects,
the clean minded and religious attitude of Victoria’s rule, and the
general lightly disturbing characteristics of Nineteenth century
economic stimuli, was Sir Arthur Sullivan in his charming works, “The
Mikado,” “Pinafore,” “The Pirates of Penzance,” “Patience,” “The Yeoman
of the Guard,” “Iolanthe” and “The Sorcerer.” England did much in this
century to advance the culture of Music within her borders. The Royal
head was patron of such institutions as The Royal Academy of South
Kensington, The Royal College of Music, The Guildhall School of Music
and Trinity College. These are in general supported by government
grants, donations, and subscribing patrons.[31] The national faith is
still strongly expressed in the extensive cultivation of the oratorio,
while the secular ideal has not yet become sufficiently abnormal to
genuinely encourage Music of the present French and German schools.
This is probably because England’s emotions are not in need of such
representations, since they are still adequately reflected in the
lighter works of Italian genius, as expressed by Verdi[32] and in
her own lovely light operas. It seems more than a coincidence that
the Music of a country so marvellously reflects the character of the
economic stimuli of its period, as does Great Britain’s.
That England has a genuine care for the development of musical culture
in her realm is shown by the letter from the Board of Education,
Whitehall, London.[33]
FOOTNOTES:
[31] “American History and Encyclopedia of Music,” volume on Foreign
Music, p. 206.
[32] We leave out of account his “Falstaff.”
[33] See Appendix E.