eam of Gerontius-Sir Frederick Bridge-Ballad concerts-Ballad sing

n craze-Government enquiry suggested-Musical criticism-Disadvantages of anonymity-The great Festivals-Costa and the Handel Festival-Bras

facilities for hearing good music, under conditions that are both

es is offered at Covent Garden theatre, it is true, but at a price that is quite beyond the means

e by Mr. Hammerstein, interesting as it is, but it is one that

ral music now presented to Londoners, are on a scale th

Wood this i

nished the occasion that permitted of the indication, on the part of the dwellers in the metropolis, to seize with eagerness on the boon offered to them,

hich are given nightly at the Queen's Hall in London, for two months or

able society, the Philharmonic, give concerts, both winter and summer; those of the last-named being c

here being none in the south to compare with the Festival-choirs of Leeds, Birmingham, Sheffield or Bradford. It is to the great English Festivals that we must look for stability in the position of oratorio, for it must be admitted, there hav

onged preparations that are necessary, being a healthy accessory-goes to keep the interest alive in this nob

(the picturesque combination of genius in the persons of Cardinal Newman and Sir Edward Elgar, bei

not only on account of the merit of the performances, but to the consistently high standard that is maintained in the sel

Elliott

dward

, are those devoted to ballads. They are universal throughout the country, and from the Royal Alb

ey, director) are the most universally known, and they may be justly regarded as typical of such entertainment at their best. There is not the slightest doubt that, as regards the standard of artistic taste, this class of concert has in recent years made great prog

her numbered, or in the qu

, of ballad-singing has immensely improved, as those whose memories can carry them back thirty years grateful

to the greatest popularity in Engla

the foreigner, that its purveyors must appeal for support. But that there are large numbers of both these classes in London is proved by the s

s of Madame Norman-Neruda, Joachim, Piatti, Madame Schumann and Charles Hallé-its interest

e found to deny; but, nevertheless, I cannot regard without suspicion the apparent outbursts of enthusiasm, on the part of the

ghly-tried faculties, I can quite understand, but, that the less-trained intellect of the average opera-goer could grasp, with any appreciable

may be, I think, justified in doubting the value of the sources from which the information was derived.

a thousand English musici

many of those in opposition to the continuance of the office, that public opinion has been shaken in its old-time co

Samson et Dalila" was inhibited, there was undoubted reason in cavilling at the decision, for, after all

the feelings of, and arouse justified resentment among, thousands of religious people in England. After all, England is a Christian country, although London does not declare the fact in its highest manifestation. Viewing the trend of events to-day, the sense of unrest, the prevale

on such delicate questions, must be extremely difficult, and therefore commands

mour in some harassed courtier as the mainspring) that have at times, been arrived at. For instance, it may be observed that, whereas many Englishmen-professors of universities, administrators of great schools of music, historians of mark, and authors of theore

amazing passion for examinations that has seized on old and young alike, all over the country. That the influence is large

c in its humbler spheres. The result is that institutions of all kinds, good, bad, indifferent or altogether worthless, have been springing up all over the country with a

ome so accustomed nowadays to see a whole string of letters after a person's name, which in ninety cases out of a hundred have no significance to them whatever, that, beyond

acher, there is not the slightest doubt, but that the fact of similar ones being positively showered on young people from one end of the land

to solve the intricate question of the relative value or importance of the letters placed after the names of such crowds of people in these days, an

ons are both desirable and even ne

of annual examinations by teachers of their own pupils, that had been the custom of many years past, I suggested to the authorities that they should engage an examin

mmittee. In the event, the late Mr. Walter Macfarren came down. In the following year, I approached the Royal C

he request, and asked if I had any preference as to the member of his staff he should select. I rep

ning placed at our disposition. The result was all that could be desire

he extraordinary rapidity with which the exa

played in this particular direction, one can only be thankful for the evidence it presents,

proof of increasing interest on the part of the public in everything to do

h the subject was thought sufficient to meet all requirements, the leading journals

be said that one of the most satisfactory features in modern musical life is its general fairness

feel stupefied. Wagner was to him as nothing but typical of the Evil One. Chopin was nearly as b

tics of the old school fought for their principles with a tenacity, and even ferocity, that

eart, and the words written to-day were, ev

an never understand what caused you to write so virulently about --" He interrupted me with "Did I? I don't remember." This was staggering, since I had often been told of the sensation his articles caused at the time. It irresistibly brought back to my mind, and

ered. With Wagner, it was entirely different. His nature was combative, his pen vitriolic, and he was a skilled c

d unabashed hatred of the ideas he condemned, the critic of those days avowed himself

ile cordially admitting the inspiring and thought-compelling material that constantly emanates from the pens of the distinguished men who repre

regrettable. It is as unfair to the criti

ressed, but enhances, and most justly, the reputation of

s to the authorship of the criticism they read, and, therefore, have

ative of the journal, or some callow youth making his first efforts in a

se majority of readers, whatever may be put forward, is usually

o them, what is to be said of the person criticised? He is the on

nonymity in criticism, seems to

it is none the less serious for that, and

Brougham, attacked Byron, or through some less powerful channel, attacked Keats, thereby bringing down t

, could similar results be certain of arrival. At any rate we owe to them Byron's "English Bards and Scotch Reviewers," the fi

regrettable. I have in my possession two issues of a prominent London paper. They contain critical notices of a certain orchestral work. In the first, it is written of in terms of high appreciation, among others, the wor

ity in his colleagues, rather than critical acumen. If the idea is

ly, of various races; from the highly-cultured leading critic of the great daily journals, down to the co

e strangely-moving panorama of music, as it faces us all to-day. People who live in serene atmospheres may not real

on you seek. They provide the composer with the most perfect means that human effort can devise, to render his ideals into actual effect. They give the sol

at are the very life and soul of the others. This festival cannot, I think, be, in any sense, interpreted as a sign of advance in the art of music, on the part of the English people. It certainly provides th

ands of people, whose only musical experience it often p

and an orchestra of appalling size, the brass instruments (mostly called into requisition by Costa, and having no place in Handel's original scores),

the picturesque combination of such masses of people would naturally appeal to the imagination of su

he present day, it is only a matter of justice to relate, and to the great conductor who was

e doubts openly expressed as to the capability of

eedily put an end to any uneasiness on the subject. Since his decease

among the masses of wage-earners, particularly in the northern counties of England, is the popula

watch, not only the whole-hearted enthusiasm with which the players throw themselves into their wo

of Association football, is in doubt. While not claiming for them too high a position as artistic manifestations, it can only be regarded with a sense

o require considerable technical skill on the part of the players. It does not call for much consideration to realize the sustained endeavour necessary to meet such

ty Theatres, surely, can offer it, and, on a scale that, perhaps, could not be equalled in any other direction. It seems only yesterday that such a thi

represent an incident that actually took place in one of the Indian Frontier wars. In a charge by a Scottish regimen

coveted distinction in the British Army.... Yet in order to attract the morbid cu

days, together with the type of manager such performances indicate, is a thing of the past. Instead of offering attractions to the lowes

to be seen, and the Drama and the Variety Theatre are in complete agreement,

Elgar is found conducting one of his own compositions at the Coliseum. This must certainly be

en expressed by a few prominent writers in the Press, I think it will be generally agreed that

s eyes to them as one would, cannot be ign

isastrous, but I am afraid it has been a fa

ther enhances the reputation of the one, nor impedes the upward progress of the other. The ostentatious patronage of the fo

hstanding the raptures some writers have indulged in, simp

ay, is a matter of heart-felt congratulation, and one that gives rise to

before long be still greater, as adverse influen

wever, a sense of cohes

might be held under the presidency of Sir Hubert Parry or Sir Edward Elgar, with a view to propagate authori

nglish Church music, and the national folk-music in which Englan

phony based on national melodies, and instinct with the spirit of the people. Will not some of t

bids fair to be so again, in the highest a

days of irresponsible gaiety can never return, she may wel

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