rmation music-Purcell and the Augustan age of English music-Acts of Reformation period-Present system of musical education-Principal schools of music-Lack of national character in English music-Sugges

uence-Costa and the high pitch-Recognition of great foreign musicians-The new schoo

A

pment. To the monks of medi?val times must be ascribed the glory of the greatest achievemen

eresting to think that the impress of religion, which music received in those long-ag

ion greater, perhaps, than that to which any sister art has had to submit, it is still triumphantl

have either been dedicated to the services of Christianity or

ells, still, many must have been the joyful emotions evoked in the minds of other of their occupants,

eling of ecstacy when the first harmonious

, it must have seemed like a revelation of Heaven itself, and we may fain hope that many a Nunc dim

s the precursor of harmony and counterpo

ternately. They were placed on opposite sides of the choir, as may be seen in Catholic

above or below. Afterwards, the chanting of them together indicated the first advance towards harmony-that is to say, a combin

es of notes against another. Thus while one side would be chanting a series of long notes, the other wou

pment may be associated the origi

nd it is difficult to suggest, with any conv

within sight of historical accuracy. It is easy to realise what a stimulus to musical invention this must have p

he people, mostly serfs as they were, looked to the monasteries for such amenities of life as were possible in those days, the progress in music was confined to those e

rs, and thus came into existence that body of organists and composers who for many centuries upheld the stand

hat up to this time England ow

ng were wanting to prove the extraordinary genius the monks had exhibited in teaching the profoundest myst

d English pre-Reformation

was a gentleman of the Chapel-Royal, subsequen

eth, the feelings of both these monarchs towards the Reformation were, doubtless, more political than religious, and to this

c, seeing that to the genius of Tallis was added that of Byrd and Orlando G

e long decline that resulted in th

tended to

rmance; the ruthless destruction of all that could appeal to the sense of the beautiful in the minds of the people, of the altars with their gorgeous adornments, or the stained windows with their picturesque representations of moving incidents in the life of C

ing of it naturally became a matter of small importance, and thus, outside the cathedral cities which sheltered the few remaining educated English musicians, such teaching as could be procured was supplied by persons supplementing their ea

ES

institution of this kind are so obvious that one need only specify a choice of subjects with an expert to teach each, a permanent orchestra for the practice and interpretation of

prefix "Royal" used in common with many and various kinds of societies, has no very precise significance, while the ter

ctuating fortune, and it was not until the principalship of Sir Stern

the Academy for many yea

sician, who would doubtless have proved a successful administrat

s disposal, and the results were, as might be expected-otherwise than satisfactory. This era has, happily

tional Training School of Music, which had come into existence largely through the exertions of the Duke of Edinburgh i

e post of principal, furnished the occasion to found the larger and more important c

ted Kingdom and the Dominions beyond the seas. The realisation of such a project would have been impossible, had it not been

ough it is premature to speak with any assurance on the point yet, it may well be hoped that the results in the furthering of the formation of a truly British school of music will be co

teaching staff is largely co

managed by a committee of expert business men belonging to that body, who give their services gratuitously, and prizes of mon

t instruction within the reach of those unable to meet the

udy left to the student, and no conditions insisted upon, other

have been gratifying, even to that eminent body with w

ng of certain subjects is made compulsory, and a skilfully-planned course of study laid down, it does not in the least modify the original intentions of the Corporation, since the adoption of it is purely v

teaching staff is a large one, wi

be said that they fairly conform to the types already described, the on

ariety, is as redolent of the country it emanates from as that of France or Russia? Why is it that until the recent uprising of the new English school of composers headed by Sir Edward Elgar, owing nothing to foreign teaching either

ntatas, and symphonies produced during that period have never been heard again since their first and two or three subsequent performances. They may, with truth, be said to have died of their own drear lifelessness. The explanation seems to be perfectly simple. Underlying it all

able years of their lives there, but they have come back imbued with the spirit and technique of its music and, with the zeal

hemselves perfectly indifferent to the imitations, however well disguised they proved to be. They came to the conclusion that their country was not sufficie

to expect any original effort from the native composer, but went a step further, a natural one perhaps, and argu

condition of things th

ns. They bring with them their own national instincts and characteristics, and, obviously, the greater their

"to draw their inspiration from their own country, their own literature, a

three masters of different nationalities, leaving our schools yearly, and who consequently spread broad-cast the mixed impressions they have received. Not only is the influence undesirable, but this constant augmentation of the already congested state of the profession

shewn by an illuminating story told in a pamphlet published a little while

enerally, towards music and musicians, it is necessary to go

mental effort than a calling which could be treated as serious or even moral. Its use was banished from the churches, and it is recorded of Cromwell that on one occasion he entered a cathedral with a squad of soldiers while a service was being held, and or

Restoration it came, accompanied, unhappily, by

try of the Stuart dynasty, settled down to a period if of less fanaticism, a not less fatal indifference to and contempt for music

had attracted a large number of musicians f

f gratification. It is evident that the native musician, whose training had been mainly directed to essentially d

en the vogue in France and Germany, their headquarters being respectively the Haym

ons headed by young nobles, and occasional collisions between them led to scenes of rioting and even bloodshed, reminiscent of the ancient feuds between the house

difference t

dledum and

in broken health and with impoverished means he retired to a Continental health resort. This, however, was but

he means of regaining his former ascendency, and, happily for the world a

hich not only had an untold influence on the musical instinct of the English people, but wa

m to crown his career in a blaze of glory. This proved to be a resurgence of the old-time love of music amongst the masses, th

r ordinary conditions, would eagerly seize an opportunity

elped to exorcise the sullen disposition towards anything

England but the world over, it must be admitted that the

ercised in its favour, but this overwhelming display of genius in a field in which he had hitherto regarded himself as unas

s complete, and was exercised with an intolerance of native effort that seems inconceivable to us to-day. Not only did he occupy the principal official posts, but nearly every other of

tians. This grotesque situation was put an end to as recently as 1908, when Sir Henry Wood was appointed. This ascendency, encouraged by the wealthy classes and contemptuously ignored by the general public, could but have a withering effect on native talent, and its parasitical influence undo

e undoubtedly wielded whilst living in London. His great ability as a performer on the violin, together with his skill as a writer for the instrume

ballad-like simplicity, which was well calculated to please the untutored ear. Even so robust a personality as Samuel Sebastian Wesley temporarily fell under the spell, though not for long, and afterwards, as if it were an act of expiation,

l intelligence must h

oratorios, "Eli" and "Naaman," works in which you may seek for and fail to find a redeeming feature. Commonplace in idea, blatant in orchestration, theatrical in

be said, without hesitation, that his cantata, "The Woman of Samaria," contains music with which nothing that Costa and many others similarly exploited, wrote, could for a moment compare. To what extent indifference

e they will show some consideration for the memory of William Sterndale Bennett. It was with sincere pleasure that many observed the inclusio

did it and the occasion which prompted it. Enough has been said to shew how complete fo

has taken two hundred years to accomplish. Only by patience and sustained effort in the direction of mak

as it stands to-day. That a nation with four or five hundred years' musical history behind it should yet be in fore

utely convincing, that they can hold their own in any

the Midlands teem with me

ive the greatest hope for the future. The fascination of a capital city and the apparently limitless opportunities for advancement naturally attract the consciously gifted young musician. He ex

ign, and if he enters one of the principal schools, he finds himself in a centre whence those influences largely radiate. If he elects to stay th

ions on the capabilities of these foreign teachers. Indeed, it would be a work

rtray the work of such men as Oscar Beringer

is beside

ssume, that what gave rise to it was a dearth of sufficiently competent Englishmen, and that the mission entrusted to the foreigner was to train the students up to his own high standard. Well, has he succeeded aft

there are still no native musicians fit to hold these important pos

ly capable of sustaining the prestige of any institution, were once the chance accorded them. One can only suppose

int of view that de

the kingdom, thus feeding the already congested state of the musical profession, and yet at the same time, bolting and barring the door against thei

availed ourselves of your services as an unpaid teacher, thus acknowledging your capabilities, but we are sorry to be unable to give

nge. The specious argument that the demand justifies the means may be and probably is adduced. To this, I say that what is applicable to one w

honourable retirement of the foreign master, an Englishman should be appointed in his place, and

t if he has done no particular good, he has done no particular harm, except in a collect

hemselves under the necessity of supplying instruments for the Army bands, and being informed that these must be tuned alike to a definite pitch-a question to them, probably, of the

itish musicians at this period, were such men as Sir Ste

used to sing to it, and some of the leading conductors declined to use it, the confusion that has resulted may be easily realised. Its adoption, however, by the Italian Opera and Philharmon

he leading orchestras in the country,[21] thus isolating the numerous choral societies in the provinces, who are necessitated to seek the aid

nce have been, and continue

pportunities for doing mischief; he has had imitators, it is

men of just average ability, who have made such reputations as they possess in this country, and are, in mo

I do not think, for a moment, that English opinion on the relative merits of the native and foreign musician as teacher is so

s have afforded opportunities that he has not been slow to take advantage of. It would not be difficult to refer to many re

en are not a match for the foreigner, who uses it with surprising effect on the unsuspecting public. It is c

g with public performance,

, Kreisler, and Paderewski, I absolutely fail to see equal merit in the many foreign artists who are so extravagantly advertis

an like Mr. W. H. Squire with those of such exponents of their respective schools as Se?or Casals

he kind, and the day should be past when every alien musician endowed with long hair and a pallid complexion is

s is not the case. There has been no time in the centuries since Purcell's death destitute of some living representative of the old English

istics in their music, the majority of them have been reared in our cathedr

d only cite a few of them: Atwood, Pierson, Goss, Sterndale Bennett, Arthur Sullivan

many of them had a chance of giving expression to thei

ish 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

not bel

he sanity of a nation, even on

see the Dawn: the P

aly to "finish"-or be finished, as the case might be. Not only so, but it was often thought nec

e knowing person and promptly packed off to the "land of song")-after a stay of a year or two in Italy, emerges

s, no doubt, been a fruitful source of attraction to the country; but of the many thousands who have followed their ex

shmen, a

spend a day in the company of that g

duced so many artists of such extraordinary merit, was practically dead, and that he was the only living ex

asionally produces singers that electrify the world, such as Madame Tettrazzini and Signor Caruso, I think that a little con

gh to be present, that great singer insisted on the importance of diction, and expressed the opinion that in this respect young English singer

many words that were constantly maltr

reign 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 cam

aestro, that lady sang the word as it is pronounced in English." The

intelligence of the Anglo-Saxon r

nsiderable 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, "Coul

d of my readers, if I have any, will

ality and national characteristics to those of a southern race of different climate, differ

y to extol the glories

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

tion in case Turner and Hogarth were present. Yet this is not an

endelssohn though

evrient, dated Milan, J

recognise one good voice among it, but they are all vile and roar like quacks at a fair.... No German can have an idea o

ars by the Ministry, in order that he may study Italian mus

ault is seeking to Italianise themselves, whilst what our nort

of the

am: "To draw their inspiration from their own country, their own literature

CLU

anches of musical art, the time has come whe

ears of foreign tutelage is not one

TNO

tude of the country. His adoption of the French pitch, known as the "diapason normale," was

on: Impressions of

enne est une chose du passé, dont je

Patey, Sims Reeves, Jean de Reszke, Charles Santley and Edouard de Reszke. Added to these, the g