A Short History of English Music

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.

Dvořák 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.

1

A country that has taken its music at the hands of the foreigner for three centuries can scarcely be called musical.

2

In its original meaning, the term implied a cheerful and righteously joyful sense of living. Its popular significance after three centuries of Puritanism, rather inclines to alcoholic elation.

3

The leading note is a semi-tone lower than the keynote, and is essential to the modern scales, both major and minor.

4

More familiarly known as shawn.

5

"Short Apologies of the School of Abuse," London.

6

The word ballad comes from Ballare, to dance.

7

"Shakespeare in Music." Louis C. Elson. L. C. Page & Co., Boston.

8

Cockle hat and staff were distinguishing marks of a pilgrim.

9

It may be mentioned that there are numerous variations of these, as of all traditional melodies.

10

Burton: "Anatomy of Melancholy," 1621.

11

William Chappell's "Music of the Olden Time."

12

"That will draw three souls out of one weaver" is a line of peculiar interest.

Although it shows a distinct lack of reverence, it is quite typical of the spirit of the time. The "weavers" were mostly Calvinist refugees settled on the East Coast, whose austere manners and mode of life made them a constant source of ridicule to the people among whom they had taken shelter.

The imperious will of the Tudor monarchs had, hitherto, prevented the dissemination of Calvinism in England, and so, to the boisterous, happy-go-lucky temperament of the Elizabethan Englishman, the ostentation of religious phraseology, added, probably, to their quaint pronunciation of the language, made them at once a butt of scorn and contempt.

The expression used, too, by the clown "By'r lady" shows that Protestantism had as yet made little inroad on the life of the people. It is worthy of note that it was from this part of England sailed the first batch of emigrants to the new world in the "Mayflower," now immortalised in history.

13

A canon is a form of composition in which a melody is started by one voice and followed by another, one or more bars later (or even less) in strict imitation of it.

14

Novello & Co.

15

Since the above was written I read in the Evening News, November 24, 1911, the following words from a lecture delivered by the Dean of St. Paul's:

"In its present state" (the Church of England) "it was the product of a political compromise, which was so framed as to include Catholics who would renounce the Pope, and Puritans who were not anarchistic on principle. It was officially Protestant and disliked the name. Ever since the Reformation the reformed churches had been in a state of uncertainty, like a Dotheboys Hall after it had expelled its Squeers, full of earnestness and deep conviction, but undecided as to what kind of church they wanted, how it ought to be governed, what the conditions of membership ought to be and where the seat of authority should reside."

16

A cadence is the end of a musical phrase.

17

A tablet to his memory in Westminster records, in touching language, that he "has gone to that Blessed Place, where only his harmony can be exceeded."

18

He died of consumption.

19

There is a conflict of authorities on this point, but it may be taken for granted that he was but little, if any, older at the time.

20

It may be noted here that the excitement caused, during the South African war, by the relief of Mafeking, was not so unprecedented in our history as was generally supposed.

21

The lead taken by Sir Henry Wood in this matter is one of his many claims to the gratitude of the country. His adoption of the French pitch, known as the "diapason normale," was an act of supreme importance, as tending to bring England in line with the rest of Europe.

22

"Music in London: Impressions of a Stranger" (p. 11).

23

L'ançienne école de chant Italienne est une chose du passé, dont je suis le seul et dernier représentant.

24

To cite a few names that come most readily to the mind – Jenny Lind, Christine Nilsson, Madame Patey, Sims Reeves, Jean de Reszke, Charles Santley and Edouard de Reszke. Added to these, the great German singers, inseparably associated with the works of Wagner – all give colour to the idea.

25

Mr. Berger has retired since this was written, and has been succeeded by the eminent British composer, Mr. William Wallace.

26

See H. Saxe Wyndham's interesting and instructive "August Manns and the Crystal Palace Concerts."

27

Now Sir Henry Wood.

28

Not long before this greatest of Conductors retired, he directed a performance of "Der Ring" under these conditions.

29

The date, February the 9th, 1912.

30

This remark does not, of course, apply to such performances as those given by Dr. Richter or Mr. Thomas Beecham, which were purely temporary in their nature.

31

"Life of Sims Reeves," by Sutherland Edwards.

32

In this connection, these words might well be translated, if not quite literally, as "I dislike common-place people."

33

Shortly before his death, waking from a period of torpor, he recognised one of his faithful servants sitting at his bed-side crying. "Don't cry," he said. "I am quite happy, knowing I shall soon see my dear mother again."

34

He was a sufferer from periodical attacks of severe pain throughout his life.