A Short History of English Music

In place of the many brass bands and "Army Quadrilles," we see a programme consisting of the works of Beethoven, and instead of the jewelled bâton, the alcoholic atmosphere and the focused limelight, a programme is presented that not many years ago would have been regarded, even by music lovers, as classical to the point of severity. The days of Aladdin are evidently capable of duplication!

Nothing more is needed to prove what a vast change has been brought about in the taste of the masses in regard to music, and it is a matter of thankfulness that its consummation has been so greatly accelerated by an Englishman, owing nothing to foreign education.

The establishment by Sir Henry Wood of the Queen's Hall Symphony Concerts, and the great and permanent success attained by them, naturally led to the striving of others to emulate him. The first result was the formation of the London Symphony Orchestra, the majority of whose members, it may be remarked, were originally in Sir Henry Wood's band. Difficulties arose as to the employment of deputies by the older and better known players, who were, naturally enough, reluctant to give up such engagements as the great provincial festivals, and others of serious importance, afforded. The inability to arrive at an agreement caused about fifty members to recede from the orchestra and form one of their own, which they did with the active sympathy and help of Dr. Richter, who conducted their first public performance on June 4th, 1904.

An interesting feature of the scheme inaugurated by the management was the invitation to different celebrated conductors to conduct one or more of the series of concerts decided on. This idea was, undoubtedly, a happy one, and proved a complete success. The curiosity of the public was evidently stimulated by a galaxy of men that included Richter, Elgar, Nikisch, Henschel, Safanof, and Colonne. And well it might be!

In his interesting "History of the London Symphony Orchestra, Ltd.," Mr. F. Gilbert Webb, the well-known critic, writes: "Such a procession of famous conductors is unique in the history of English orchestras."

I am inclined to think, however, that it would be extremely difficult to carry on so complicated a policy, for it would be often impossible to make the arrangements of such men fit in with dates that are, and obviously must be, more or less arbitrarily fixed by the proprietors of the halls in which the concerts are given.

At any rate, the experience of the players has been one of keen enjoyment, and one of the most prominent among them, Mr. T. E. Wotton, in writing to me, alludes to some of the performances as "veritable revelations."

The next organisation to enter the field of competition was "The New Symphony Orchestra."

Here again a decisive and direct policy was determined upon, a leading idea being that the orchestra, from first to last, should consist, solely, of Englishmen.

The happy idea of inviting Mr. Landon Ronald to assume the conductorship has been fraught with consequences of the highest importance, and the success of the movement has long been placed beyond the region of doubt.

Perhaps the most important engagement, up to the present time, that has accrued to it, is that of the Sunday concerts at the Royal Albert Hall. These concerts have, undoubtedly, been a great success, and have not only been a source of financial gain to the orchestra, but a much-needed attraction to that building, the vast size of which renders it suitable for none other than occasions of special interest.

These concerts do not, however, by any means absorb their energies, as the advertising columns of the daily papers shew. Their services are in constant request, and everything tends to their permanency as a living body.

As of the preceding ones, it may be said that this band practically consists of solo players of high excellence.

Before concluding this chapter it may be desirable to call attention to the many amateur bands that have sprung into existence in recent years, as this is, undoubtedly, a feature of peculiar significance, and one that has had no little influence in spreading a knowledge of orchestral music in circles that would otherwise probably have not been reached. Their principal members are generally veterans who, in early life, gave up much of their spare time in gaining sufficient skill on their respective instruments to become fairly competent performers, and it is to such as these, and their enthusiasm, that the existence of these bodies and the good done by them, is due.

It is about forty years since the movement may be said to have begun, when the cult of the orchestra was either non-existent or in the embryo. The requirements for membership were not exacting, it is true, but it must be remembered that the facilities for the acquisition of even these, were far different in those days to the existing ones of to-day. It is easy, then, to imagine the amount of time, money and energy that must have been necessarily devoted to preserve their vitality.

This is eminently true of one of the most prominent of them, the Royal Amateur Orchestral Society. But for the exertions of H.R.H. the late Duke of Edinburgh (afterwards Duke of Coburg), the late Mr. Jas. Ramsay Dow, the late Mr. George Mount, Mr. Herbert W. Symes, Mr. Leonard Beddome and others, it is safe to say that the organisation would have collapsed long ago in the early years of its career. Fortunately, however, the skill and determination they brought to bear upon it, not only averted the catastrophe that seemed often impending, but made its continued prosperity little more than a matter of adequate and prescient direction.

For many years Mr. Jas. Ramsay Dow was not only the honorary secretary, but the principal flute player in the band, during which time Mr. George Mount was conductor. Upon the death of the former, Mr. Henry M. Morris succeeded him, and upon his retirement Mr. Hermann Schmettau accepted and still, happily, retains the position. Mr. Arthur W. Payne is the able conductor.

The initial difficulties of these older societies were mainly twofold, the finding of a sufficient number of more or less adequate players, and the money necessary to finance them. The latter, of course, involved the constant search after subscribers and the paying audiences that so persistently eluded their efforts. The music performed at the concerts was restricted both by the limitations of the technical resources of the players, and the taste of such people as could be drawn to listen to it. In process of time, and by dint of perseverance, these limitations were, more or less, overcome, and as the performances improved, so increasing audiences were attracted to more pretentious efforts.

Even after twenty-five years' patient work the general public remained indifferent, in the most part, to their claims to recognition, and it is only within the last few years that it has dawned on the average music lover that there could be any real merit in the playing of amateur orchestras. At the time of my early association with one of them, not only were the audiences confined mainly to friends of the players, but the performances were looked at askance by critic and professional musician alike. No prominent virtuoso would dream of playing a concerto or similar piece in conjunction with it, and on the appearance of such a one at a concert, the accompaniments were invariably played on the piano.

Eventually patience and combined effort on the part of all, were effective in so far bringing about a change that the appearance of eminent artists, and their playing of concerted works, became a regular feature of the concerts, and numerous letters I have at various times received, testify to their appreciation of the efficiency of the work done by the band. Similar results have doubtless, been experienced by most of the more prominent of these orchestras throughout the country.

But while cordially admitting the progress made by them, it must be recognised that the difference between the performance of an amateur band, however worthy, and that of a modern professional orchestra must ever remain abysmal.

This will be easily understood when it is remembered that while most members of the latter are not only expert players, but educated musicians, the amateur, on the other hand, is more often than not, a player of humble attainment, whose knowledge of music, limited by the small amount of time that can be devoted to the subject, is necessarily superficial.

It is not to be questioned that there are many exceptions, many indeed whose knowledge of music is deep and whose performing ability is exceptional, judged by any standard, but of such, the number is, and must naturally be, extremely limited. This lack of musical education leads at times to incidents that, though sometimes distressful, are occasionally diverting.

It is distressing when an amateur band, while fully capable of playing music that demands nothing more than ordinary technical ability, is swayed by a wild enthusiasm for performing works that even Sir Henry Wood will give many rehearsals to prepare.

The diverting incident is provided, for instance, when, say, a double-bass player, who is not blessed with a superabundant sense of humour or much education, brings you the bass parts of two symphonies, and lays down the law as to the relative artistic merit of the works on such evidence as the parts provide – at the same time, with no excess of delicacy, intimating his complete indifference to any opinion you may have on the subject, even though you may happen to have a fairly adequate knowledge of the full score.

Notwithstanding this, let us hasten to say that there is a great and useful work always lying at hand for the amateur to accomplish, and we venture to indicate it. It would seem, judging by the programmes of our most celebrated orchestras, that the existence of a great amount of the most splendid music ever written, is in danger of being either forgotten or ignored, and it is to this their attention might well be turned. Beyond the fact of its being seldom or never heard, a great deal of it makes so much less demand on the technique of the individual player than that of Tschaikovsky, Brahms, Elgar, Strauss, and others, whose works absorb attention to-day, that it offers the double advantage of novelty and less difficulty in presentation.

Surely there must be a public left to appreciate the symphonies of Schumann, Schubert, Mendelssohn, Gade, Raff and Goldmark among the moderns, to say nothing of Haydn and Mozart, and these are only a few of the many that might be named.

Of works of less size but equally worthy of attention there is practically no limit.

Nevertheless, a generous recognition of the good work done by amateur players all over the country should be accorded. By their efforts they have given many thousands of people a chance of hearing music that otherwise might never have been brought home to them, and in doing this they have done worthily for the cause of the progress of orchestral music in England.

CHAPTER VII

ORATORIO IN ENGLAND

Influence of oratorio in England – Commonwealth period and effect on music – Italy original home of oratorio – Origin of the word – Similarity to opera in early stage – Handel – Absurdity of claiming him as an Englishman – Italy has greater claims – Handel's versatility – Early oratorios – "Messiah" – King George III. and the "Hallelujah" chorus – Greatness of the oratorio – Its hold on the people – Effect on the religious feelings of the country – Joseph Haydn – "The Creation" – Its immediate popularity – Reasons for it – Its claims to greatness – Bach – Mendelssohn his greatest disciple – "Elijah" – Its amazing reception at Birmingham – Its continued popularity in England – Spohr – "Last Judgment" – Ephemeral popularity – Reasons – Samuel Sebastian Wesley – "Redemption" and "Golden Legend" – Many years of great popularity – Hallé and English music – Wrong method of teaching – "Dream of Gerontius," and conclusion.

Of all forms of music, that which has long appealed most deeply to the English people is, without question, the oratorio.

For it they entertain not only affection but, and with good reason, gratitude.

The oratorio became, as it were, a city of refuge to them. Within its walls they sought shelter from the grim and forbidding austerity to which Puritanism had doomed them.

To what an extent music had been banned by the intolerant and fanatic spirit of the times, is shown by one fact which is almost picturesque in its weirdness. When, on the Restoration, boys who could sing were wanted for the choirs of the Chapels Royal, none could be found! The treble parts of the music had to be played on cornets or similar instruments. Music had been banished from the home as well as the Church, and this astonishing fact proves with what profound results.

What years of silence those, during the Commonwealth, must have been. It makes one shudder to think of it. What an infancy for those born during those dark days. So completely had all ear for music been, apparently, lost, that it took some years of training before any children could be fitted to take their places in these choirs. The effect of those terrible years was destined to remain, as may be seen by the number of people who may be found in England to-day, possessed of no ear for music whatever.

Oratorio was to prove, in after years, the means of reconciliation between the art of music and the English people. Divested of the taint of frivolity with which, with good reason, they had for so long associated it, music was once more presented to them as the ally of religion. How eagerly they grasped the olive branch held out to them, will be seen later on.

Oratorio doubtless sprang from the mystery plays of the Middle Ages, and its inception arose in Italy at the beginning of the seventeenth century. The earliest specimens would, naturally, have little resemblance to the great creations of two centuries later, but to the genius of the early Italians we owe its birth. It is seen in embryo as early as the fifteenth century or even before, but perhaps the first work known to us, that definitely shows affinity to oratorio is Emilio's "Rappresentazione," which was first performed in the church of the Oratorians, S. Maria, in Vallicella, in the year 1600. A great advance on it is shown in the works of Carissimi, and still more in those of his illustrious pupil, Scarlatti. The development was carried on by Pergolesi, Jomelli, and Stradella, whose "S. John the Baptist" was for long probably the most celebrated of the oratorios in primitive form.

The origin of the word "oratorio" is derived from S. Filippo Neri, who founded the Order of the Oratory in 1577. As its name implies, the first duty of the members was prayer, but what probably brought about the institution, was the humane desire to give shelter to the many thousands of pilgrims who flocked to Rome in various stages of destitution. Each shelter he established, became a religious home – called oratorium – in which services were held, with the sanction of the Pope, the one condition being that the celebration of the Eucharist was forbidden.

In these services music had a prominent place, and there is abundant evidence to prove that scenes from the sacred writings were illustrated both by singing and acting.

For instance, at the production of Emilio's "Rappresentazione," in the oratory of Santa Maria, not only were the arts of music and acting requisitioned, but the additional aid of costumes, scenery and dancing. Such a work, with chorus, solo and recitative alternating, became known as oratorio. There is little doubt that this is the true origin of the word.

As oratorio developed, however, all extraneous aid was dispensed with, and music allied to sacred words were the sole constituents. As we have seen, oratorio in its early stages was essentially the same as opera, except that it was confined to religious subjects. It is interesting to compare their respective developments. The one was religious, the other not; one gradually restricting, the other appropriating the aid of other arts; the one steadfast in its appeal to religious fervour, the other restless in effort, by all means within reach, to augment its power of sensuous attraction.

In the case of oratorio, the process has culminated in the production of Elgar's "Dream of Gerontius," in that of opera, Wagner's "Tristan and Isolde."

It is to the genius of Handel that England is ever indebted for the immense service of once more bringing music into the lives of her people.

On his first visit he had used this tremendous power to amuse a dissolute aristocracy and the cosmopolitan hordes that the Restoration attracted to London, by producing "Italian" opera of his own composing, and introducing the most celebrated Italian singers of the day.

For a time this policy was a complete success, and he amassed a considerable fortune, but eventually he lost the greater part of it and, broken in health and spirit, he retired to a Continental health resort, to re-invigorate his tired constitution.

It was on his last, and what proved to be practically permanent, visit to England that he commenced the memorable series of works that proved of such vital consequence to this country. There can be little doubt that it is the sense of the immense indebtedness of England to this wonderful man, that has led many people to claim him as an Englishman. With every respect for the feeling that prompts it, nothing could be further removed from fact. A long residence in the country no more makes him an Englishman, proud as we should be if he were, than it does the criminal alien who has been so much in evidence of late years.

Indeed, if any country other than his own, had any basis for claiming him, it seems to me it would be Italy.

He lived there in his early years; thoroughly mastered her schools of both sacred and operatic music, the knowledge of which, in after years, was of such incalculable value to him, and acquired such a command of the language, that he was able to speak and compose music to it as if he were, veritably, a native of the country.

Now, when he came to England he was a musician perfectly equipped. There was, certainly, no one who could teach him anything, and all that one can say is, that having a mind extraordinarily receptive, he would be quick to grasp and turn to advantage any new influence with which he might be brought into contact.

Thus, he was certainly affected by Purcell's music, which he probably became acquainted with for the first time. The evidence of this is perfectly clear and convincing.

On the other hand, he never mastered the English language, notwithstanding the many years he lived here. His pronunciation was terrible, and that he often failed to comprehend the relative force of the words of a sentence when setting them to music, the early editions of his oratorios prove conclusively. Yet so impatient of criticism was he, that, did his librettist suggest an alteration, the unhappy man usually provoked a storm from which he was only too happy to escape.

This little weakness, however, counts for nothing in comparison with his splendid integrity and noble independence of character. The latter is especially notable, seeing how eager most musicians were at that period, to secure the patronage of great personages.

He was imperious in temper and, perhaps, aggressively conscious of his powers; but he was generous to a degree, when his means allowed it, and many are the existing institutions which have good reason to call him blessed.

Handel has often been accused, and with some justice, of laying violent hands on anything he came across in the way of musical ideas that he could convert to his own use. Whether large conceptions leading to unknown possibilities, or a simple tune to be converted to immediate use, he seemed to avail himself of them with the freedom of an autocrat.

The minds of the just may be saddened by the reflection, but there is little doubt that the world at large has every reason to be thankful. When he made the momentous resolution to devote himself to the composition of oratorio, his early experience in Italy and the knowledge he gained there, can but have been of enormous service to him. How thoroughly he had absorbed the Italian spirit and technique is, in his earlier works more particularly, evident, and that he appreciated Italian melody is equally shown by the frequency with which he annexed it.

It has often been pointed out how dissimilar his earliest sacred music is from his so-called English oratorios. Naturally. The former was written when a boy and before he had gained his Italian experience. His oratorios were not begun until he was, at least, fifty years of age. He had then been in the position to become acquainted with the great English school of ecclesiastical music, and the combination of his early German training, his absorption of the Italian school and his connection with this, seems to be quite sufficient to explain the fact. Indeed, it does not require much critical acumen to detect each influence at work in his oratorios.

That he distanced everything that preceded him is, of course, needless to say, but that his work often shows signs of this spirit of opportunism, the most enthusiastic of his admirers, and these are countless, will admit.

What led Handel to devote himself to the composition of sacred music?

Had he, at last, gauged the true inwardness of the spirit of the people among whom he had elected to live the rest of his days?

Had he come to realise that, so far as they were concerned, he might go on writing operas until the crack of doom, without affecting them in the least? His genius was eclectic. He could write Italian music to delight the Italians, German music to satisfy the Germans, and now, was he determined to reach the soul of the people, rather than continue to cater for the amusement of a comparatively few wealthy dwellers in the metropolis? Who can tell?

That he was a man of any deep religious feeling, there had been up to this time, little to indicate. In character he was pugnacious, assertive, and intolerant of the least opposition. For years his life had been spent in continual strife, and the result had been far from commensurate with the wealth of genius and energy he had expended.

Now he was embarking on an enterprise in which he would have no rivals, and which offered as great a scope for his powers as that which he had relinquished. Well, whatever it was that decided him, the world has reason to be thankful for the momentous decision.

In any case, to attempt to explain the ways of genius is, generally, time hopelessly lost.

His first oratorios were devoted to subjects from the Old Testament. In manner and expression, they are quite like his operas. The arias might, indeed, be exchanged without any perceptible difference; the choruses, however, are on a grander scale.

So far as the English people were concerned, their attraction lay in the fact of being associated with Biblical incidents, and thus making it possible to go and hear them, without any suspicion of irreligious motive. This first and great result was of immense import, for it laid the seeds that were, later, to bring forth such good fruit.

As regards their religious message, they might just as well have been written, great as they are, and stupendous in the case of "Israel in Egypt," for a pagan festival. Nevertheless, the great work was in progress, the great mission in course of fulfilment. It may be said that they were like S. John the Baptist, in that they were the forerunners of that which was to be, for the English people at least, the greatest glory in Christendom, in the sense of religious music.

THE "MESSIAH."

It was on April 13th, 1742, that the immortal and epoch-making work, the "Messiah," was produced in Dublin. Its success was immediate, and the effect produced by it extraordinary. Repetitions of the performance were demanded, and its fame spread with such rapidity that the excitement was intense on the occasion of its first representation in London on March 23, 1743.

The audience embraced the highest personages in the realm, from the King downwards, and as the performance progressed, so did the excitement, which culminated during the singing of the "Hallelujah" chorus, by the people, headed by the King, springing to their feet and remaining standing until the end.

The "Messiah" may be said to have crowned the work that the earlier oratorios had begun. Henceforth the English people were to see, as their ancestors had before them, that music was not only great as an art, but that it could be both an aid and inspiration to religion.