GENERAL SURVEY
Facilities for hearing music--Opera an exception--Sir Henry
Wood--Dream of Gerontius--Sir Frederick Bridge--Ballad
concerts--Ballad singers--Madame Clara Butt and Mr. Kennerly
Rumford--Chamber music--Mr. Arthur Chappell and the Monday Popular
Concerts--Salome--Question of the censor--Recognition of merit in
distinguished musicians--Examination craze--Government enquiry
suggested--Musical criticism--Disadvantages of anonymity--The great
Festivals--Costa and the Handel Festival--Brass Band Contests and
the North of England--Music halls of the past--Theatre of Varieties
to-day--English composers--A suggestion--Closing words.
England, to-day, is second to no country in the world as regards
facilities for hearing good music, under conditions that are both
favourable and tending to attract even the least ardent devotees.
The exception must, however, be candidly made of opera, which, at
present under ideal circumstances is offered at Covent Garden theatre,
it is true, but at a price that is quite beyond the means of the average
individual, and then only during a few months that constitute the London
"Season."
It would be premature to write of the experiment now being made by Mr.
Hammerstein, interesting as it is, but it is one that calls for
sympathy, and the willing aid of all lovers of opera.
It is certain that the opportunities of hearing orchestral music now
presented to Londoners, are on a scale that would have made their
forefathers pale with amazement.
To Sir Henry Wood this is largely due.
His achievements, to which allusion is made in another chapter, not only
opened the eyes of those gifted with a true sense of the trend of
events, but furnished the occasion that permitted of the indication, on
the part of the dwellers in the metropolis, to seize with eagerness on
the boon offered to them, not only under conditions that were artistic
in the best sense of the word, but at a cost that need not affright
those least blessed with worldly endowment.
This applies, of course, more particularly to the Promenade concerts,
which are given nightly at the Queen's Hall in London, for two months or
more during the late summer and autumn, and conducted by Sir Henry Wood.
The London Symphony Orchestra, the New Symphony Orchestra, and last, but
by no means least, that venerable society, the Philharmonic, give
concerts, both winter and summer; those of the last-named being confined
to London, while the two former place their services at the disposition
of the country at large.
On the subject of concerts in general, it is not necessary to dwell at
length. If London is in advance of the provinces in respect of her
orchestras, the north and midlands are immensely in advance of the
metropolis as regards their choirs, there being none in the south to
compare with the Festival-choirs of Leeds, Birmingham, Sheffield or
Bradford. It is to the great English Festivals that we must look for
stability in the position of oratorio, for it must be admitted, there
have been obvious signs, at least in the south, of fading interest; the
popularity of concert arrangements of popular operas, as evidenced by
their continual use at the concerts of our choral societies, being,
perhaps, the most significant sign.
The stimulus afforded by the periodical great provincial music
Festivals--the excitement provided by the prolonged preparations that
are necessary, being a healthy accessory--goes to keep the interest
alive in this noble form of art, not only in the immediate vicinity, but
far and wide of the cities in which they take place.
The appearance of "The Dream of Gerontius," and the hold it took on the
imagination of the people (the picturesque combination of genius in the
persons of Cardinal Newman and Sir Edward Elgar, being a feature of
striking interest) went to arrest what was, unquestionably, a
disquieting tendency.
A tribute to the splendid work of Sir Frederick Bridge and the Royal
Choral Society at the Albert Hall is, however, due, not only on account
of the merit of the performances, but to the consistently high standard
that is maintained in the selection of works for representation.
Oratorio, and oratorio in its noblest embodiment being the ever-present
consideration.
[Illustration: _Photo._ _Elliott and Fry._
SIR EDWARD ELGAR.
_Face 246._]
The concerts that make the most direct, simple, and probably most
successful appeal to the masses, are those devoted to ballads. They
are universal throughout the country, and from the Royal Albert Hall, to
the concert-room on the pier of the smallest sea-side resort, are always
in evidence.
Although series of them on an elaborate scale are given in every
important town in the kingdom, perhaps those at the Albert Hall and
Queen's Hall, in London, under the respective directions of the renowned
firms of Boosey & Co., and Chappell & Co. (Mr. William Boosey, director)
are the most universally known, and they may be justly regarded as
typical of such entertainment at their best. There is not the slightest
doubt that, as regards the standard of artistic taste, this class of
concert has in recent years made great progress. It is not long ago that
songs without the slightest pretence to any musical value attained to
immense popularity, and when a scream at the end of one of them, on a
note known as high F, would draw volumes of applause on the panting and
highly gratified singer.
Happily those days are either numbered, or in the quick course of
becoming so.
To-day songs of great beauty are being constantly produced, and
appreciated at their true worth. The art, too, of ballad-singing has
immensely improved, as those whose memories can carry them back thirty
years gratefully recognise, when they hear such past-masters of their
craft as Madame Clara Butt and Mr. Kennerley Rumford.
The song writers who have attained to the greatest popularity in
England, are mainly English--men and women.
The cult of classical chamber music is not one that appeals very
strongly to the average English music-lover; it is rather to the
enthusiast or the foreigner, that its purveyors must appeal for support.
But that there are large numbers of both these classes in London is
proved by the success with which the late Mr. Arthur Chappell carried on
for so many years, those celebrated concerts known as the Monday and
Saturday "Pops."
Since those days, the golden days of chamber music, so far as England is
concerned--the days of Madame Norman-Neruda, Joachim, Piatti, Madame
Schumann and Charles Hall['e]--its interests have been mainly watched
over in London by the historic firm of John Broadwood and Sons.
That the standard of taste in every branch of music has risen enormously
in this country during the past few years none will be found to deny;
but, nevertheless, I cannot regard without suspicion the apparent
outbursts of enthusiasm, on the part of the average English opera-goer,
for such a work as Richard Strauss's "Salome"; they appear to me
altogether artificially contrived.
That the critic, saturated with music at its highest development should
hail with joy a work so well calculated to act as a stimulus to his
highly-tried faculties, I can quite understand, but, that the
less-trained intellect of the average opera-goer could grasp, with any
appreciable understanding, at a first or second hearing, the
tremendously complex music that is here presented, is quite beyond
comprehension, or credence.
Yet foreign newspapers reported that the music was received in England
with extraordinary enthusiasm. One may be, I think, justified in
doubting the value of the sources from which the information was
derived. In many instances the music of Richard Strauss has been claimed
to be an advance on that of Richard Wagner.
I do not think that one in a thousand English musicians would admit the
claim.
The question of the censor has been much in evidence of late, and it is
not to be wondered at, seeing the eminence of many of those in
opposition to the continuance of the office, that public opinion has
been shaken in its old-time confidence in his decisions. So far as music
is concerned I think there is little of which one may with reason
complain.
It would be absurd to expect from any official, however distinguished,
the gift of infallibility. When "Samson et Dalila" was inhibited, there
was undoubted reason in cavilling at the decision, for, after all, the
story is one that might be taken from heathen mythology, and has no
religious significance whatever.
With "Salome" the case is quite different. The poem by Oscar Wilde, was
founded on an incident recorded in the New Testament. This fact in
itself was quite sufficient to make the censor hesitate to permit its
public performance, knowing, as he would, that it was calculated to
wound the feelings of, and arouse justified resentment among, thousands
of religious people in England. After all, England is a Christian
country, although London does not declare the fact in its highest
manifestation. Viewing the trend of events to-day, the sense of unrest,
the prevalent feeling of doubt and uncertainty, and the craving for
excitement satisfied in however questionable a manner, I think the
existence of an official who has the power to cry "halt!" in the
important matter of stage performances, is a thing for which we should
be profoundly grateful.
It must be borne in mind that the position of those responsible for
giving advice on such delicate questions, must be extremely difficult,
and therefore commands from all who are capable of taking an
unprejudiced view, sympathetic consideration.
One of these, the official recognition of merit in distinguished
musicians, is, probably, not one of the easiest to deal with, and this,
perhaps, explains to the man in the street some of the amazing decisions
(one would almost hazard the thought of sardonic humour in some harassed
courtier as the mainspring) that have at times, been arrived at. For
instance, it may be observed that, whereas many Englishmen--professors
of universities, administrators of great schools of music, historians of
mark, and authors of theoretical books of immense importance--have been
passed by, foreign composers of music that has not the slightest claim
to serious consideration, have been the recipients of honours
equivalent to those awarded to a General, on the conclusion of a
successful campaign.
A prominent feature of present musical life in England, and one that has
only come into existence in recent years, is the amazing passion for
examinations that has seized on old and young alike, all over the
country. That the influence is largely for good will, I think, be
generally admitted, but that there are objections, and grave ones too, I
shall speedily show.
The craving to be able to put some mysterious-looking letters after
their name, has become a positive mania among those whose occupation,
mainly, is that of teaching music in its humbler spheres. The result is
that institutions of all kinds, good, bad, indifferent or altogether
worthless, have been springing up all over the country with a view to
satisfy this longing and, _inter alia_, take benefit by the fees that
are willingly paid by the applicants, who may be said, veritably, to be
numbered in thousands.
I am afraid they little know, poor people, how absolutely indifferent
the public have gradually become to this matter of certificates of
efficiency. People, in fact, have become so accustomed nowadays to see a
whole string of letters after a person's name, which in ninety cases out
of a hundred have no significance to them whatever, that, beyond
flattering the vanity of the individual, the use of letters authorised
by these self-appointed institutions has no effect. The least educated
could hardly be deceived by them.
That certificates from such places as the Royal College of Music,
Trinity College, or the Royal Academy of Music are valuable to the young
teacher, there is not the slightest doubt, but that the fact of similar
ones being positively showered on young people from one end of the land
to the other must, unless something is done, soon darken the prestige
and lower the value of even these, I think there can be little question.
A government enquiry into the whole question is decidedly needed, for it
must be remembered that the general public have neither time nor
inclination to solve the intricate question of the relative value or
importance of the letters placed after the names of such crowds of
people in these days, and, naturally, harm must accrue to those who have
passed legitimate examinations and obtained recognised degrees that are
witness to their competence.
That examinations by approved persons are both desirable and even
necessary it is needless to insist on.
In the years immediately following on 1880, I held the position of
senior teacher in a school of considerable importance, and, becoming
sensible of the solemn farce of annual examinations by teachers of their
own pupils, that had been the custom of many years past, I suggested to
the authorities that they should engage an examiner from one of the
principal institutions. I was, accordingly, desired to go to the Royal
Academy of Music and see whether that body would entertain the
proposition.
I was informed that there was no machinery for such purposes, but that
the matter would be placed before the committee. In the event, the late
Mr. Walter Macfarren came down. In the following year, I approached the
Royal College of Music, with the same object in view, and had an
interesting interview with the late Sir George Grove.
He expressed himself as being highly interested in the idea, announced
his intention to accede to the request, and asked if I had any
preference as to the member of his staff he should select. I replied
that the school authorities would prefer to leave the question,
absolutely, to his discretion.
We were fortunate enough to have the services of Mr. (now Dr.) Eaton
Faning placed at our disposition. The result was all that could be
desired, as the prestige of these great institutions would, naturally,
presage.
I mention these facts merely to illustrate the extraordinary rapidity
with which the examinational system has spread over the country.
If the true advance of the spirit of music in England correlate with the
energy that is displayed in this particular direction, one can only be
thankful for the evidence it presents, even though incidents in
connection with it may justly give occasional cause for uneasiness.
But that there are other and striking indications that afford
indubitable proof of increasing interest on the part of the public in
everything to do with music in England, the public press of the country
conclusively proves.
It may be safely said that where, thirty years ago, one short paragraph
dealing with the subject was thought sufficient to meet all
requirements, the leading journals of to-day devote two or three whole
columns to satisfy the demands of their readers.
In this connection, the subject of musical criticism naturally obtrudes
itself, and it may at once be said that one of the most satisfactory
features in modern musical life is its general fairness, and the entire
absence of savagery that was so prominent a feature in it in days of not
long ago.
To read the effusions of so fine an old musician and writer as J. W.
Davidson, simply makes one feel stupefied. Wagner was to him as nothing
but typical of the Evil One. Chopin was nearly as bad, and the language
he used concerning them both is calculated to make one's hair stand on
end.
Those were days when the old order was just beginning to give place to
the new, and the critics of the old school fought for their principles
with a tenacity, and even ferocity, that can only excite admiration, if
tempered with surprise, in these times of laxity of purpose.
But, after all, they were genial souls at heart, and the words written
to-day were, evidently, expected to be forgotten to-morrow.
For example: many years ago, when quite a boy, I had the pleasure to
spend an evening in the company of one of them, then an old man. He was
pleasant, communicative and evidently fond of indulging in
reminiscences. In the course of the conversation, I said, "I can never
understand what caused you to write so virulently about ----" He
interrupted me with "Did I? I don't remember." This was staggering,
since I had often been told of the sensation his articles caused at the
time. It irresistibly brought back to my mind, and I recall it with all
reverence, that wonderful sketch by Anatole France, of Pontius Pilate,
in his old age at Bai[ae]: "J['e]sus?... J['e]sus de Nazareth?... Je ne
rappelle pas." They were days of hard striking, with the confident
expectation of receiving a like return.
In the case of Chopin, his nature was altogether too sensitive to enter
upon warfare of this kind. He simply suffered. With Wagner, it was
entirely different. His nature was combative, his pen vitriolic, and he
was a skilled controversialist. No critic ever entered into conflict
with him without carrying away distinct evidence of the fray.
It must be said in justice, that whatever the vehemence of expression,
or the open and unabashed hatred of the ideas he condemned, the critic
of those days avowed himself, and stood out, fearlessly, to meet any
reprisals that his words might subject him to.
In this I say frankly my sympathy goes out to him. To-day, it must be
conceded, that musical criticism is on a distinctly higher plane. But,
while cordially admitting the inspiring and thought-compelling material
that constantly emanates from the pens of the distinguished men who
represent the foremost journals of London and the great provincial
cities, one has got to record the fact that the pall of anonymity is
over it all.
From every point of view this seems most regrettable. It is as unfair to
the critic who writes, as to the public that reads.
The signed article not only adds weight to the views expressed, but
enhances, and most justly, the reputation of the writer, through the
publicity it extends to his name.
As things are at present, the public are kept entirely in the dark as to
the authorship of the criticism they read, and, therefore, have no means
of knowing what precise importance need be attached to it.
It may be written by the eminent and experienced chief musical
representative of the journal, or some callow youth making his first
efforts in a difficult, and, it must be admitted, often a very thankless
occupation.
The public know nothing. I think, however, that among the immense
majority of readers, whatever may be put forward, is usually accepted as
the reasoned view of the paper in which it appears.
It is then, obviously unfair to public and critic alike, and if to them,
what is to be said of the person criticised? He is the one who suffers
most, and, what is more, has no means of retaliation.
Judged from any point of view, anonymity in criticism, seems to me to be
absolutely indefensible.
The question is an old one, I admit, but it is none the less serious
for that, and comes readily to the pen and the memory.
That the critic, in the long run, is in the ascendant will be granted,
but when he, in the person of Lord Brougham, attacked Byron, or through
some less powerful channel, attacked Keats, thereby bringing down the
magnificently expressed scorn of Percy Bysshe Shelley, he did not come
off with his accustomed success.
The criticisms were ephemeral, the replies immortal. One may venture
upon a wish that more such offences should be perpetrated, could similar
results be certain of arrival. At any rate we owe to them Byron's
"English Bards and Scotch Reviewers," the first work which revealed his
genius to the world, and made himself conscious of it, and the still
greater "Adonais," of Shelley.
In the rush and flurry of musical events to-day, it is naturally
impossible for one representative of a paper to record, much less
criticise them, and this fact often leads to things that, if inevitable,
are none the less regrettable. I have in my possession two issues of a
prominent London paper. They contain critical notices of a certain
orchestral work. In the first, it is written of in terms of high
appreciation, among others, the word "remarkable" being applied to it.
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 pass it.
It would often appear as if the modern editor valued literary ability in
his colleagues, rather than critical acumen. 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 gratitude, 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 brass 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 masses
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 masses of wage-earners,
particularly in the northern counties of England, is the popularity of
brass-band contests, it being borne in mind that all the performers
belong to that class.
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 Association 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 classical,
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
competitors.
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 assured 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 noble 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]['a]k 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 noblest 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 noble art restored to her.
In that firm faith, I close these pages.
INDEX
A
PAGE
Albani, Madame 238
Amateur Bands 144
Antiphony 94
"Army Quadrilles" 140
B
Bach Society, established 206
Balfe's "Bohemian Girl" 182, 183, 196
Balfe's "Rose of Castille" 184
Ballads 23, 247
Ball, John 43
"Basoche" 192
Beecham, Mr. Thomas 181
Benedict's "Lily of Killarney" 184
Bennett, Mr. Joseph 196
Bennett, Sir William Sterndale 99, 110, 201
Beringer, Oscar 112
Birmingham 112
Birmingham Choir 245
Bizet's "Carmen" 195
"Blest Pair of Sirens" 102
Blow, Dr. John 64
Bodda-Pyne, Madame 184
Boosey & Co., Messrs 247
Boyce, William 88
Bradford Choir 246
Brass Band Contests 260
Bridge, Sir Frederick 246
Broadwood & Sons, Messrs 248
Bunn, Alfred 182
Burns, Georgina 187
Buononcini 83, 106
Butt, Madame Clara 247
Byrd 6, 39, 43, 53
C
Calvinism and Music 69
Calvin, John 76
Carl Rosa 186
Carte, Mr. D'Oyly 189
Casals, Se[~n]or 118
Catch 37
Cathedrals and Music 118
Censor, The 249
Certificates 252
Chappell & Co., Messrs. 247
Chappell, Mr. Arthur 248
Charles II. and Opera 177
Choirs, Provincial 245
Chopin 254, 255
Church and Drama 4
Church and Music 2, 68
Church Music 264
Clive, Mr. Franklin 192
Comic Operas 193
Composers, Early English 47
Composers, Status of 18
Costa, Sir Michael 110, 115, 259
Counterpoint 95
Cowen, Sir Frederick 260
Criticism, Anonymous 256
Crotty, Leslie 187
Crystal Palace Concerts 132
D
Dance Music 21, 27
Davies, Mr. Ben 187, 192
Davidson, Mr. J. W 254
De Reszke, The Brothers 179
"Der Ring des Nibelungen" 179
Diction, Importance of 121
"Don Giovanni" 178
Douland 39
Drama and the Church 4
Dvo[vr]['a]k 264
E
Education, Musical 93
Edwardes, Mr. George 194
Elgar, Sir Edward 199, 262
Elgar's, Sir Edward, advice 104
"Elijah" 163
Elizabeth, Queen, and Music 2, 29, 31
England, Opera in 176
English Music, Sources of 11
English Opera 180
"Esmeralda" 188
Examinations 251
F
Faning, Dr. Eaton 253
Festivals 258
"Flying Dutchman" 187
Ford, Thomas 40
Foreign Influence 29
Foreign Teachers in England 103
French School of Opera 179
G
Games and Music 22
Gaylord, Julia 187
Gerardy, M. 118
German Music 103
Gibbons, Orlando 6, 9, 39, 43, 57
Glee 37
Gounod's "Faust" 195
Grove, Sir George 100, 253
Guildhall School of Music 100
Guiligni 179
Gye 178
H
Hall[e'], Lady 211
Hall[e'], Sir Charles 136, 218, 248
Hammerstein, Mr. 196, 199
Handel 83, 106, 153
Handel and Opera 178
Handel Festival 258
Harmony 95
Harrison, Mr. William 183
Harris, Sir Augustus 179
Haydn and the Orchestra 126
Henry VIII. and Music 33
Hersee, Miss Rose 186
Hill, Miss Lucille 192
I
Instrumental Music 43
Instruments, Early 13
Instruments, Musical 43
Italian Chorus and Mendelssohn 123
Italian Opera 176
Italian Singers 120
Italian Training 120
"Ivanhoe" 190
J
Jackson, William 90
Joachim 248
Jullien 140
K
Kent 90
Kirkby-Lunn, Madame 180
L
Lablache 179
Leeds Choir 245
London Symphony Orchestra 245
Ludwig, William 187
M
Maas, Joseph 187
Macfarren, Mr. Walter 253
Macfarren, Sir G. A. 99, 185
Macintyre, Miss Margaret 192
Mackenzie, Sir Alexander C. 99, 185
Madrigal 37
Malibran 178
Manchester 112, 139
Manns, Sir Augustus 132, 260
Mapleson 178
Mario 179
Masque, the 34
McGuckin, Mr. Barton 187
Melba, Madame 179, 121
Mendelssohn's Violin Concerto 195
"Merrie," When England was 29
Messager, Andr[e'] 192
"Messiah," The 158
Minstrels, Early 18
Moss, Mr. Hugh 191
Monks and Music 6
Moody-Manners Company 186
"Morning Hymn" 42
"Morning Post," Quotation from 196
Morris Dance 21
Musical Comedies 193
N
New Symphony Orchestra 143, 245
Niccolini 179
Nilsson, Christine 178
Norman-Neruda, Madame 211, 248
Notation 12
Novello & Co., Messrs. 90
O
Opera, English 180
Opera, Essentials for Success 197
Opera, History of 176
Opera in England 176
Opera, State Aid for 193
Oratorio in England 150
Orchestral Music 125
Orchestral Music in London 245
Organ, An, in Sixth Century 44
Organ, Development of the 45
Oudin, Eug[e']ne 191
P
Palestrina 6
Palliser, Miss Esther 192
Parepa, Madame 186
Parry, Sir Hubert 100
"Parthenia" 27, 28
Patti, Adelina 178
Philharmonic Society, The 125, 245
"Philip Vanderdecken" 187
Piatti 248
Pitch fixed by Costa 115
Players, Strolling 2
"Pops" 248
Promenade Concerts 139
Purcell 9, 45, 60
Purcell and Opera 176
Puritanism 29, 69
Puritans, The, and Opera 177
Pyne, George, and James Kendrick 184
Pyne-Harrison Company, The 184
Pyne, Minto 184
Pyne, Miss Louisa 183
R
Reeves, Sims 179, 207
Reformation, Effect on Music 2
Restoration, The, and Music 80
Richter Concerts 131
Richter, Dr. 179, 180
Rivi[e']re 140
"Robin Hood" 185
Ronald, Mr. Landon 101, 144
Round 37
Royal Academy of Music 98
Royal Amateur Orchestral Society 145
Royal Choral Society 246
Royal College of Music 99
Royal Italian Opera 179
Rumford, Mr. Kennerley 247
S
Salmond, Mr. Norman 192
"Salome" 248, 249
"Samson et Dalila" 249
Santley, Sir Charles 179, 186
Schumann, Madame 248
Secular Music of Thirteenth Century 20
"Senta" 187
Sheffield 112
Sheffield Choir 246
Smith 178
Sontag 178
Spohr 109
Squire, W. H. 118
Stanford, Sir Villiers 185
Straus, Richard 181, 248
State Aid for Opera 193
Sullivan, Sir Arthur 86, 190, 227
"Sumer is icumen in" 40
Sunday Concerts 144
Symphony Concerts 139
Symphony Orchestra, The London 142
T
Tallis 6, 9, 48, 96
"The Creation" 160
"The Dream of Gerontius" 173, 246
"The Golden Legend" 168
"The Last Judgment" 166
"The Redemption" 168
"The Silver Swan" 39
"The Woman of Samaria" 110
Thomas Arthur Goring 188
Tietjens, Therese 178
Turner, J. W. 186, 187
V
Valleria, Alwina 187
Variety Theatres 261
Violin, The 13
W
Wagner 179, 254, 255
Wagner Festival, The 131
Wallace's "Lurline" 184
Wallace's "Maritana" 183
Wesley, Samuel 91
Wesley, Samuel Sebastian 91, 184
Wilde, Oscar 249
Wolff, Johannes 112
Wood, Sir Henry 116, 139, 245
Y
York, Josephine 187
THE LONDON AND NORWICH PRESS, LTD., LONDON AND NORWICH
* * * * *
Transcriber's Notes
Changes to the text have been limited to typographical errors only and
are listed as follows:
Page 9: changed "Bryd" to "Byrd" (Of Byrd we have written.)
Page 45: changed "harpischord" to "harpsichord" (... harpsichord and
organ music, ...)
Page 58: changed comma to sentence-final period (... the great, but not
too amiable, Mr. William Byrd.)
Page 67: changed "Calvanistic" to "Calvinistic" (--Effect of Calvinistic
teaching--)
Page 70: changed "Calvanistic" to "Calvinistic" (... in those early
Calvinistic times ...)
Page 72: changed "Calvanist" to "Calvinist" (... the constant influx of
Calvinist refugees ...)
Page 72: changed "Calvanist" to "Calvinist" (... the spread of Calvinism
...)
Page 87: changed "eminates" to "emanates" (... the country from which it
emanates ...)
Page 105: changed "fanatacism" to "fanaticism" (... a period if of less
fanaticism, a not less fatal indifference ...)
Page 106: changed "unforgetable" to "unforgettable" (... words at once
typical of him, and unforgettable.)
Page 108: changed "continously" to "continuously" (... the influence of
the Court continuously exercised ...)
Page 108: removed comma after "during" (... in store for him during the
next hundred years.)
Page 120: changed two instances of "Reszk['e]" to "Reszke" (... Jean de
Reszke, Charles Santley and Edouard de Reszke.)
Page 169: changed "Protestanism" to "Protestantism" (... the feelings
and aspirations of German Protestantism.)
Page 176: changed "Ondin" to "Oudin" (--"Ivanhoe"--Eug[e']ne Oudin--)
Page 188: changed "chose" to "choose" (... and I will choose the one
that was, ...)
Page 196: changed "bann" to "ban" (... others would ban such operas
altogether, ...)
Page 216: changed "Halle's" to "Hall['e]'s" (... Ludwig and Waldemar
Neruda, Lady Hall['e]'s sons, ...)
Page 222: suspected typographical error "sane" may have been intended to
read "same" (... I should think that sane conservatism, would fairly
express his attitude ...)
Page 243: added missing opening quotation mark (He renamed it
"Rudd-i-gore.")
Page 251: changed "gradua-ally", where hypenated across lines, to
"gradually" (... how absolutely indifferent the public have gradually
become ...)
Page 270: changed "Eugene" to "Eug[e']ne" (Oudin, Eug[e']ne 191)
End of Project Gutenberg's A Short History of English Music, by Ernest Ford