STERNDAL

preciation of his genius-The German impress-His return to England-Life-long association with Royal Academy of Music-Bennett as pianist-Institutes cham

English musicians, he came of a family long associated with the music of the Church; seve

ame acquainted with, and as later events proved, influenced by, the ancient school of English ecclesiastica

the Royal Academy of Music in London, which was then a young institution in which the pupils were not only ta

m from a centre where all the surroundings were English-English thought, influence, music and all that goes to mark nationa

spirit of the ancient school, and this he certainly accomplished to some extent at Cambridge: the fact

nce of thought that Bennett's music often displays, and which one likes to think may be owing to his Cambridge days, it must be ad

ined great popularity, was composed one afternoon when the other students were absent on a holiday excursion. Their delight when, on their return they heard The Barcarole, as it was called, was so great that, as the late Dr. Steggall, for many

is shown by the eulogistic way in which the for

are peculiarly open to exterior impressions, and going at an age of mental expansion and enthusiasm, everything that happened seems only natural. Blind ourselves, as one willingly would, the fact must be admitted that the German impress rema

appointed a Professor of Music at the Royal Academy of Music about this time, and was associa

, became the main occupation of his life. His e

ago by a celebrated pianoforte teacher, that his technique, in exa

e classical masterpieces of this form of music for about twelve years. It was his enthusiasm alone that account

too refined and his tast

in his outlook. For instance, he could not tolerate Chopin's music, and, as

y received in high quarters, which naturally aroused public interest in them, militated against his success, and so, feeling that the conditions were unequal, he withdrew from the arena. He was especially great as a player of Bach's music,

cinating one, for he aroused even passionate attachment in many of his pupils, and it has often

nd original in style, the lovely sketches, "Lake," "Millstr

a, "May Queen," at the Leeds Festival, with great success. It contains much delightful music, and, like other of his works, the comparative neglect into which

cts. It is, however, characterised by nobility of thought, religious feeling, and perfect grace of expression. Although seldom

"Paradise and the Peri"-and his pianoforte concertos in F and D mino

siasm for the works of the great master was a leading characteristic of his

harmonic Society in 1856, and Principa

of Cambridge University in 1856, and

gn Sterndale Bennett's definit

bted, and he seems to form, together with Samuel Sebastian Wesle

S R

acready-Reeves in Italy-Triumphs in that country-First appearance in oratorio-Doubts expressed as to his probable success-

October 21st, 1822. His genius as a child was early evident. At an age when the average boy is found playi

r energies to the development of the voice alone, Sims Reeves, from his earliest y

ent, that he became a th

his career, this point m

and any opinion that he might put forward was entitled to respect, not only from th

trumentality of a foreign, cosmopolitan musician, he had the weight behind him, not only of a distinguished singer,

nfluence, is not a matter for surprise. In that Victorian period,

ngers, his earliest successes were made in opera. His "first appearance on any st

acready, the theatrical monarch of those days, and whose

at those gifted with any sense of perception, could easily see, indicate

e artistic and managerial temperament; both, probably, at their highest expression. Macready insisted that the singer should address his adjuration to the warriors whom he wa

oice thrown at the audience, and threatening looks at the "supers," who were amazed at such an exhibition of liber

less, fined him ￡5

moment recognised

he Continent, and went to Paris. After a short stay there, he proceeded to Italy, where, afte

amations, and his tour through the Italian cities was a triumphant progress. On his return to England, he

a, as "Edgardo." Berlioz was conducting, and wrote thus: "Reeves has a beautiful vo

48, at Exeter Hall, in Handel's "Judas Maccabeus." All doubts

that he could succeed, to an equal degree, in gaining the affections of the

of "Sound an alarm," a scene of enthusiasm occurred that h

mark on h

opularity became immense. At every great music festival his appearance was regarded as a necessity, and, until his final refusal to sing at the artificial pit

down to his beautiful place at Norwood, to play over the music written for him, in a forthcoming production. He heard it through, and then said, "My de

ne, all those who knew Sullivan's

ic, and it is only just to say that he deserved the distinction, being as

AN-NERUDA (

nic concert, being ten years old-Tour in Russia-Arrives in Paris-Arouses enthusiasm-Second visit to London-Memorable consequences-Association with Popular Concert

er precocious genius reads, even to-day, as something akin to the marvellous. When she was about four years of age, her father, as the l

n this little daughter, he possessed a treasure, and one th

was justified, eve

woman-violinist was not only foreign to public instinct,

was taken by her father to play before a great Church dignitary, not only to gain his patron

so blessed should play ever to His Eternal Glory." Her progress was so astonishing that her fath

was phenomenal, and soon all Europe

of Germany, and arrived in London in May, 1849. On June 11th she appeared at a Philharmo

ich she was received i

tained vivid memories. Many were happy, some lugubrious, and the one she most cher

arance at one of the Pasdeloup concerts-the most important organisation of the kind in

ifficult to

equally remarkable, a constitution that defied fatigue, and an enthusiasm that

t powers were displayed, at this ti

career. She came to play at a Philharmonic concert, but was prevailed upon to stay through the summer, so that she should inaugurate, in the autumn, a new era in the history of the "Popular Concerts"-an ins

cing. The fact that a woman was seen "leading" a quartet of performers that embrac

e violin soon became fashionable in a girl's hands,

tions that were often discouraging and sometimes forbidding, that a woman c

and of cold demeanour, as she undoubtedly was, in any direction that her sane judgment po

think, intellectuality. She could not, it

y appropriate one would have b

in England, devoting the spring and winter to the Chappell, Hallé, Philharmonic and other importa

ncessant, and that hers was, soon, a familiar figure on every concert platform throughout the length and breadth of the country. It is n

red the progress of the train. They arrived at the place of their destination an hour after the time appointed for the concert. The s

explanations to the patiently waiting audience. It was not necess

ncert progressed the unpleasant experience soon faded from her mind. Unhappily, however, an attack of bronchitis was t

esidence in England, through her marriage with Sir Charles Hallé in 1888) was, notwithstanding outw

beautiful and touching festival. It was then that she gave full vent to a nature that teemed with kindness and generosity. Few who were privileged to see it could forget the suppressed excitem

ntly returned from America, where I had a

d Lady Hallé, and more boisterous expressions from my friends, Ludwig and W

it." This, of course, we did. It contained a Swedish gold coin, and a sheet of notepaper on which

e character of a truly great and noble woman, that would be little susp

ant recipient of appeals for advice from young aspirants,

al. The last years of her life were, unhappily, darkened by the deaths of her two sons;

of the notable women who indicated a new career for her sex. But she did

HARLE

er concerts-Personal friendships made in Paris-Arrival in England-Settles in Manchester-Establishes subscription chamber concerts-His first great venture-Manchester concerts-Associat

view, the most interesting personality. He was a man of culture, and his varied experiences in many countries, which he sometimes would describe

that he would find there rivals as formidable as Chopin, Liszt and Thalberg. This did not deter him. He had been used to playing in public from infancy, had known nothing but success; his pianoforte playing as a c

Conservatoire, took the greatest interest in the young German pianist, whom he constantly invited to his house, and never seemed to tire of hearing

e astonishing ignorance of German music, even that

h the express intention of introducing the best of German classics of this description, he not only quickly gained

se until 1848, when the revolution forced him to

endship of Chopin, Georges Sand, Listz, Thalberg, and others of great fame, but there, too, he met Richard Wag

y prized, and which was destined to last a life-time-that of Stephen Heller, perhaps the most

chamber concerts, on the same lines as those he had established so successfully in Paris; the subscriptions were eagerly taken up by his compatriots, and it was not long before th

no means satisfied either his ambitions

r and Bath-in which city he once thought of taki

orchestra in Manchester, to be followed, so soon

erts," later to become known, and wide

masterpiece after another find its way to Manchester, to meet the reception that only these northern enthusiasts know how to accord. To them, whether it were

s the act of his life that was fraught with the most lasting consequences,

hter was, an interregnum passed o

f time, annual features in the musical events of every town of importance throughout the country. Sir Charles Hallé had an absolute genius for organisation, as the many and great undertakings, so successfully carried through, and so permane

ally, rather than in the direction of emotion. This was, doubtless, the reason that g

rigidly and unyieldingly classical, there is no room for doubt. His sympathies were not, as

er believed in an En

oldiers, great poets, great statesmen, but-musi

hat he would have changed his views on the subject; but, a

her in sympathy, and I should think that same conservatism, woul

e, and his health right up to the end was won

ape trouble with your nerves. What with the incessant hurrying to catch trains--" He interrupted me with, "Ah, but you see, I never do that. I make

experience not only of this, but of another remark

wn him, when on a Sunday morning he had no pressing work that called for his attention, to devote his time to the making of a score of a str

se this as a very super

rforming, at Manchester, a little known, in fact, entirely neglected, oratorio

cepted with keen pleasure, anticipating as actually

n front of the train. Directly he saw me, he motioned to the guard, who unlocked the door of a reserved compartment, which we immediately entered. It had been

both so absorbed, that neither of us noticed the fact, and it was only after w

office for conducting business correspondence-that he had little opportunity for playing games, so, with c

e found ourselves in Manchester. It was, certainly

at of the "Messiah," "Israel in Egypt" or "Judas Maccabeus," seemed rather uninteresting, the magnificent singing of the choir a

I never saw him on any other occasion so obviously moved as he was that night. His love of the music of Handel wa

you think of it?" I replied, "Sir Charles, it was perfectly splendid, and, if not a liberty, may I say, that your conducting was simply ma

k in the carr

long and-arduous." However, on arriving at his home, he soon rega

f it was simply the result of philosophical reflection, or some incident

on to catch a train to the north, with a band rehearsal and concert before me. My carriage suddenly stopped, and, looking out to see what was the matter, I found that, owing to some work on the road, we

stantly facing you, it was, as Sam Weller said to Mr. Pic

fraid, the early hours of the morning, when an old domestic entering the room, on some pretext or another, Sir Charles who was just commencing, "However, ther

The feat was not a considerable one, but the zest with which he threw himself into the effort, the absolutely boyish joy he exhibited, was a thing that I can never forget. He d

kable man. Judged from any standpoint, he appe

Hans Von Bülow, he is to be regarded as o

ow, a matter of accident. But it is equally certain that wherever fate had decided that his lot should be cast, his name would

THUR S

ch and one of them-A house of noted hospitality-Association with Gilbert and D'Oyly Carte-First result-The Savoy operas-"Ivanhoe"-His powers of work-The oratorios-The "Ma

humour that enabled him to look out on the world with invariable cheerfulness, he passed his days in an atmosphere of

erience years of struggle or strenuous work, before they

Arthur S

m to subject their favourite to an

rsal favourite, and as a student at Leipzig, he p

mpositions, one of which proved to be a veritable torch that was destined to l

ssohn scholarship, so there was no difficulty in arranging for its performance. This took p

thur S

the enthusiasm it aroused seems not a little in excess of its merits-considerable as they were. He became,

upon him." Fortunately it did not spoil h

compose in a manner calculated to catch the public ear, and thus, while making an income sufficient for his needs, still have time to devote himself to more serious efforts. That he successful

is the advance in musical education-that compared with songs that achieve great popularity to-day, like those

achievement in this form of art, written at a later period, was "The Lost Chord," which not only attained world-

while sitting at the bed

st that promised to bring any really substant

umber of cats, on hearing a man singing "meat me once again," as it was rendered. The caricature was neither clever nor in good taste, but it was a serious thing fo

different from the brilliant

referred to the wit and humour of W. S. Gilber

ivan was bo

nction with W. S. Gilbert, the extravaganza, "Trial by Jury." He had made tentative efforts, on two or three occasion, of a similar kind,

r generation as Miss Kate Terry), and it was at their house that these pieces were first presented. On the occasion of this particular performance, the late Mr D'Oyly Carte was present, and to his happy idea

nced popularity, but it convinced the public that a new force had arisen in the theatre-world and, gradually, it attracted a sufficient following to permit of 175 consecutive performances. Incidentally, it may be mentione

eal ship were given; performances solely by negroes, and in fact, of every kind that ingenuity or excitement could suggest, were common features in the extraordinary craze it aroused. "H.M.S. Pinafore" was succeeded by "The Pirates of Penzance," "Patience" (during the run of which it was transferred to the Savoy Theatre, meanwhile built by Mr. D'Oyly Carte), and the many others with names that are too familiar to need recounting. It may, perhaps be permissible to say that of them all, the two of m

was not complete, I think that the circumstances with which its career was indissolubly connected, go a long way to

ary, was accorded to the composer, since its even temporary withdrawal would have involved the closing of the newly-built o

able criticisms brought against it was its demonstrably unevenness in merit. Any musician with the least critical faculty would recognise its truth. For instance, the second sc

tter of fact, he once told me that the scene spoilt the act which, it may b

his opinion, I may mention that he made an important alteration, in the short time at his disposal, before it went to Berlin

d by the popular "Ho! Jolly Jenkin." In this connection, I will at once say that Sir Arthur Sullivan, himself, anticipated this objection, as the following words will show. It was typical of him, when he had an important work

stant a watchman of

nducting, after the evening performance, to take away any pages of the score that might be completed. I generally arrived about midnight. On one occasion, as I entered his study, he said to me, "I want you to hear something," and went to the piano

ng to attempt another setting bef

ould, that it should be retained. I don't suggest that this, in any way, affected

ghly competent critics have affirmed, some of the

in the castle of Torquilstone (with both these characters the composer was in in

his career that did not result in the complete and absolute

incontrovertible that he attained his great fame in the concert-room, and, moreover, through

f immaturity may be occasionally detected, the music shews the firm grasp he had on the technique of composition, and t

t augured well for his future efforts in this region, which he had ev

be said, at a time of great physical suffering-his oratorio, "The Light of the World," a work on much larger lines than its predecessor, was given to the public as the principa

m being an advance on, it lacked the admitted promise of "The Prodigal Son"; w

That "The Light of the World" contains much that is beautiful is not denied, but that it contains some that nearly

nrecorded much that is both interesting and important.[34] I content myself, therefore, with some r

he Leeds Festival in 1880. It was an even

ecided effect on the public mind, which was rapidly losing count of the other side of the versatile composer-tha

dmirers. Its reception was veritably triumphal, and at once re-a

s-once interrupted by the hauntingly beautiful, and purely original song, "The love-sick damsel"-immediately convinced them, not only that the composer was, in no sens

ement occurred that only those who witnessed it could adequately imagine. Of the many numbers that contributed to this result, those that most readily spring to the memory are the strenuous, and, again, highly original "Io P?an"; the charming "Come, Margarita, come"; and, above all, the one

on of "The Martyr of Antioch" must, I think,

and so, with abundant means and ample time at his disposal, he was able to enjoy, with complete serenity, any recreation or amusement that appealed to him. His happy temperament

une, until, when the calls for another work of serious importance from his pen began to assume an importu

he Leeds Festival of 1886, and accordingly, turning to the experienced skill of Mr. Joseph Bennett to

rican writer, Henry W. Longfellow, from which Mr. Bennett arranged his libretto, is full of picturesque and fanciful imagi

eed only say that they were masterly displays. A striking feature in the work, is the quaint and original manner in which the character of Lucifer is portrayed. The music, with which he is invariably accom

the soprano and contralto, "My Redeemer and my Lord," "Virgin w

yr of Antioch," was enthusiastic in the extreme. It has retained its popularity, and is u

hese productions, I might mention the names of Titiens, Trebelli, Al

c, for they ranged from the ?sthetic ones of literature and painting, to the more prosaic of racing and cards. Whatever hap

composition, nothing was allowed to int

process was, undoubtedly, an exhausting one, for it constantly happened that after the completion and production of such a one, a m

s spending a part of one winter with him, at his villa on the Mediterranean. During the whole time, I can only remember two occasions on which he spoke of it; the first initiated by him, the second by me. We were reading in the drawing-room one evening, after dinner, when he suddenly turned round to me, and said, "What do you say, Ernest,

n was of a very d

id, was not a form of recreation to which he was much addicted. The weather was gl

aid, "Sir Arthur, I should l

ll, if the amount is not quite beyond my res

favourite Savoy opera, and t

and then said, "I think I must

have won,"

continued, "I should not be surp

ing him, at the same time, a slip of paper, on

connection with the Savoy Theatre, one of which, I remem

or one of the operas, "Ruddygore." The author professed to see no objection to it, but eventual

e gratitude of his countrymen. In the sphere of ligh

iously gained the ear of the "man in the street." I am, of course, referring to those which make more frank appeal to the less culti

ere able to learn the lesson, that an English composer was capable of arousing their highest emotions, but, incidenta

TNO

ms Reeves," by S

ht well be translated, if not quite lite

d one of his faithful servants sitting at his bed-side crying. "Don't cry,"

periodical attacks of seve