A Short History Of English Music Part 13

Removed from the centralised cosmopolitanism of London, many of them had a chance of giving expression to their thoughts in music not characterised by foreign idiom.

If the fine work of such men as Hubert Parry, Edward Elgar, Granville Bantock, Walford Davies, William Wallace, Joseph Holbrook, and others of the new British school does not convince the country of the fatuity of perpetuating the state of things existing at present, nothing will, and we must accept the fact that the idea of foreign supremacy in every branch of musical work, is so engrained in the blood of the "man in the street" as to be absolutely ineradicable.

But I do not believe it.

One hardly dares to question the sanity of a nation, even on so elusive a subject as music.

To-day, even, we can see the Dawn: the Penumbra is vanis.h.i.+ng.

Not long ago it was considered essential that a singer of any exceptional merit should go to Italy to "_finish_"--or _be_ finished, as the case might be. Not only so, but it was often thought necessary to Italianise the Anglo-Saxon name, and this was occasionally done with grotesque result!

In some cases the possessor of so characteristic a name, say, as Smith (Miss Smith might be a "discovery" by some knowing person and promptly packed off to the "land of song")--after a stay of a year or two in Italy, emerges from that country, having adopted, with a profound sense of the genius of Latin languages, the name of Smith-_ona_.

The fact that such great singers as Sims Reeves and Charles Santley went to Italy and achieved great success there, has, no doubt, been a fruitful source of attraction to the country; but of the many thousands who have followed their example, how many have returned with the least promise of emulating in ever so faint a degree their ill.u.s.trious careers?

No Englishmen, a.s.suredly.

A few years ago I had the pleasure to spend a day in the company of that great singer, the late Signor Tamagno.

In the course of conversation he expressed the opinion that the old school of Italian singing which had produced so many artists of such extraordinary merit, was practically dead, and that he was the only living exponent to carry on its traditions. As he was speaking in French, I give his actual words in a foot-note.[23]

Without venturing to subscribe to such a p.r.o.nouncement, I think it is worth while recording. Whilst admitting that Italy occasionally produces singers that electrify the world, such as Madame Tettrazzini and Signor Caruso, I think that a little consideration will convince anyone that the majority of great singers in modern times has emanated from the northern races.[24]

In a memorable address given recently by Madame Melba to the students of the Guildhall School of Music, on which occasion I was fortunate enough to be present, that great singer insisted on the importance of _diction_, and expressed the opinion that in this respect young English singers had much to learn. One is obliged to recognise the justice of the rebuke, but I think that, at least, a partial explanation may be ventured.

In ill.u.s.tration Madame Melba instanced many words that were constantly maltreated, and among them was that of _love_.

This irresistibly brought to my mind an incident that occurred many years ago. When I was, as a boy, acting as accompanist in the studio of a celebrated foreign singing master, an English lady was having a lesson and was singing an English song in which she had to articulate this very word. Suddenly there came a clapping of hands and a voice called out, "No, no, dat will not do. Ze word is--" and I give the p.r.o.nunciation as nearly as letters will permit--"'loaf.'"

As soon as the lady had gone and we were left alone, I said, "But, maestro, that lady sang the word as it is p.r.o.nounced in English." The retort came instantly: "Dat is so? Den it _ought_ to be as I say it."

This aspersion on the intellectual intelligence of the Anglo-Saxon race struck me as decidedly amusing.

On a quite different occasion I was present at a function in the course of which another foreign singing master was called upon to make a speech. I was, it is true, seated at a considerable distance from him, could not see him, and had not the slightest idea who he was. After listening carefully for some time, I turned to my table companion and said, "Could you tell me who is speaking, and what the language is?" He shrugged his shoulders and replied: "Upon my word I can't." We afterwards learnt that the language spoken was--Englis.h.!.+

I think that the most unsophisticated of my readers, if I have any, will be able to draw his own deductions.

It is at least reasonable to ask why the more virile northerner should subjugate his personality and national characteristics to those of a southern race of different climate, different morals, and different physique. Let us consider for a moment the sister art of painting.

It is quite unnecessary to extol the glories of the British school.

Can you possibly imagine Turner, Hogarth, Gainsborough and Reynolds sitting down and quietly acquiescing, when a set of foreign painters came over to England and addressed them in such terms as these: "You English have lost, if you ever possessed it, the art of painting. We are going to stay over here and shew that we are your superiors, and you will have to submit quietly while we are taking time to do it?"

I, at least, would not like to have been a member of _that_ deputation in case Turner and Hogarth were present. Yet this is not an unfair ill.u.s.tration of what English musicians have submitted to.

Let us see what Mendelssohn thought on the subject.

In a letter to Edward Devrient, dated Milan, July 13, 1831, he writes:

"You can have no conception of an Italian chorus. As I was supposed to be in the land of music, I thought I would try and recognise one good voice among it, but they are all vile and roar like quacks at a fair....

No German can have an idea of what it is here--that is to say, no real German; for such a one as I met here is as much a real German as cheese and beer.

"Fancy, Devrient, the fellow's expenses are paid for two years by the Ministry, in order that he may study Italian music, and on his return teach the Italian method of singing....

"Alas, you have no conception of these horrors.... The great fault is seeking to Italianise themselves, whilst what our northern nature has given them is the best and only good they have."

Enough of the subject.

Let us simply recall again the words of Sir Edward Elgar, spoken at Birmingham: "To draw their inspiration from their own country, their own literature and their own climate. Only by doing so could they arrive at an English art."

CONCLUSION

Everything points to the fact that in all branches of musical art, the time has come when England should work out her own salvation.

The result of a hundred and fifty years of foreign tutelage is not one of which any nation need be proud.

FOOTNOTES:

[21] The lead taken by Sir Henry Wood in this matter is one of his many claims to the grat.i.tude 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'ancienne ecole de chant Italienne est une chose du pa.s.se, dont je suis le seul et dernier representant.

[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 a.s.sociated with the works of Wagner--all give colour to the idea.

CHAPTER VI

PROGRESS OF ORCHESTRAL MUSIC

Former indifference to orchestral music in England--Handel and his orchestra--Difference in character to the modern--Haydn's visit--Its great influence--Philharmonic Society--Great services to England--Celebrated foreign composers identified with its history--Mendelssohn and Wagner--Richter and Wagner festival at Royal Albert Hall--Richter Concerts--Influence on public taste--August Manns and Crystal Palace Concerts--Sir George Grove and the programmes--Sir Charles Halle and Manchester--The Manchester (afterwards Halle) Concerts--Influence on music in the North and Midlands--Sir Henry J. Wood and Promenade Concerts--Reformation in character--His establishment of Symphony Concerts--Unique service to British music--London Symphony Orchestra--Mr. Landon Ronald and the New Symphony Orchestra--The Royal Amateur and other amateur orchestral societies--The good work done.

One of the most striking features in the recent development of musical progress in England is the somewhat sudden rise into popularity of orchestral music. One might almost say that as regards this form of art, the vast majority of English people were at one time as dead to any appreciation of it, as their descendants to-day, are alive to its value, and eager to take every opportunity to extend their knowledge of it.

Until the Philharmonic Society was founded by a few enthusiasts in 1813, there was no permanent orchestra devoted to the performances of abstract music in the country. Such bands as there were, consisted of small bodies of performers whose duties were princ.i.p.ally confined to the playing of accompaniments, and were generally found in the theatre.

For especial occasions, such as the appearance of a celebrated foreign composer, singer or player, an orchestra would be temporarily formed, and many of the best musicians of the day would gladly volunteer their services to do honour to the distinguished visitor.

I forbear to speak of Handel in this connection, since the band he required bore little or no approximation to the modern orchestra, and was used, generally, in conjunction with the organ, in the production of his operas or oratorios. The orchestra, as we know it to-day, is of altogether a later date. However, the popularity and frequent performances of his oratorios doubtless proved a great factor in arousing interest in the instrumental playing connected with them, and thus laid the seed that was to bear such golden fruit in the near future.

Handel died in 1759, and there is little to record of special interest, until the arrival of Haydn in 1791. With this event may be a.s.sociated the birth of the modern orchestra, in this country. That which Handel had employed seems amazing to modern ideas. To think of a band that contains as many oboes as violins is enough to take one's breath away, without insisting on other quaint details; yet up to Haydn's visit this was what musical people were accustomed to.

The revolution he brought about, the great increase in the number of stringed instruments, the limitation of the number of oboes to two, and the many other changes of a like nature, may seem at first rather startling; a little consideration, however, may perhaps suggest a quite simple explanation. In those days it was customary for the great n.o.bles of central Europe to keep a resident band in their palaces, and it is only reasonable to think that instruments of less piercing tone than that of the oboe, would be preferred for _salon_ performances. Haydn had been in the service of Prince Esterhazy for thirty years, had written most of his music for performance in the palace, and thus when he came to London at the instigation of Saloman, a Jewish concert agent, he naturally introduced this new type of orchestra which, with the occasional addition of novel instruments, has remained to the present day.