Haydn's visit const.i.tuted an epoch in the history of music in England, for it served to stimulate and give impetus to the interest in abstract orchestral music, which was. .h.i.therto either absolutely wanting or quite latent. This interest was, happily, either created or aroused, and soon culminated in the founding of the Philharmonic Society.

To this Society England owes a debt she can never repay, for it is only through the unselfish devotion of its members, that the regular presentation of cla.s.sical orchestral music was, for very many years rendered possible. In the first place the reasonable supposition must be borne in mind that only a limited number of people would be found sufficiently interested in the subject to give it financial support, and thus the inevitable question of ways and means would be ever present and, indeed, even to this day it still confronts the directors who are, and have been from the first, entirely unpaid. In fact, if the truth were told it would reveal many sacrifices, sometimes no mean ones either, made by musicians in order to keep the lamp of orchestral music burning in this country. A high ideal was aimed at, and nothing meretricious or unworthy was suffered to detract from the dignity of the performances.

At the beginning it must be admitted, the directors found it necessary to "temper the wind to the shorn lamb" by offering to their patrons other attractions beside the purely orchestral, so they engaged instrumentalists to play chamber music, while one or two singers also helped to vary the programmes. It was not long, however, before chamber music was discarded. From that day to this, the concerts have never changed in character. Under all circ.u.mstances, whether of success or depression, nothing but the cult of the great cla.s.sics was regarded as the essential feature of the aims of the Society. Its history is, a.s.suredly, a fascinating one, not only on account of the intimate a.s.sociation with the greatest composers of the nineteenth century and the wonderful galaxy of genius which has made offerings at its shrine, but of the record of courage and determination which illumines it.

In order to appreciate at its true significance the present popularity of orchestral music, it must be remembered that only a comparatively short time ago, there were but few performances given, and that even these did not attract sufficient people to pay the expenses, unless under special and occasional circ.u.mstances.

It was then, under such disheartening conditions, that the Philharmonic continued to live and carry on its work in the highest interests of art, and although its light may have been at times somewhat obscured by contemporary brilliancy, its story is one of which not only the Society, but the nation at large may be justifiably proud.

As an interesting commentary on the change that has come over musical taste in England, it may be mentioned that Mendelssohn conducted one season and Wagner another: the former was the most successful in the history of the Society, and the latter the most disastrous.

Cherubini, Spohr, Weber, Mendelssohn and Gounod, amongst many others, wrote works especially for it, and, above all, Beethoven's colossal and immortal Ninth Symphony is denoted by an asterisk in Grove's dictionary, as having been similarly composed.

In recent years one of the greatest events not only in its own history, but in the history of British music, was the first performance at the Queen's Hall in London, of Sir Edward Elgar's first Violin Concerto on the 10th of November, in the year 1910.

Played by Herr Kreisler and conducted by the composer, it achieved an instantaneous success with which nothing can compare since the first performance of the similar work of Mendelssohn's in 1844.

Its appearance was, indeed, epoch-making. It is gratifying to think that it aroused, among the general public, an interest in the Society and its history that had long been wanting, and with the arrival of its centenary year, 1912, together with the many new works promised, it may be confidently hoped that new life and vigour will be instilled into this admirable inst.i.tution.

For Mendelssohn, the Society cherishes a special regard, and no wonder, since his interest in it and affection for it were so constantly in evidence, and were of such practical value in raising its artistic and financial status. In each visit that he payed to this country, in 1829, 1842, 1844, and the last in 1847, he either conducted or played for the Society and, indeed, retained to the end of his life the keenest and most unselfish wishes for its welfare.

Of the distinguished British musicians whose names are indelibly a.s.sociated with the history of the Society must be mentioned, among others, Sir Sterndale Bennett (conductor), Sir Arthur Sullivan (conductor), Sir Hubert Parry, Sir Alexander Mackenzie (conductor), Sir Charles Stanford, and Sir Frederick Cowen (conductor).

During the past two decades or longer, the Society has been fortunate enough to have as its leading officials Mr. Frances...o...b..rger,[25] a distinguished musician whose whole life has been devoted to high ideals, and Dr. W. H. c.u.mmings, without whose valuable a.s.sistance it is doubtful whether the Society could have successfully resisted certain years of trial and stress.

It is unnecessary to further insist on the great services rendered to the country by the Philharmonic Society.

If we wish to find the cause or causes which brought about the change amongst the ma.s.ses, from absolute indifference to orchestral music to the present enthusiasm for it, I think we may begin by noting the gradual growth of an appreciation of the music of Wagner, especially among those whose means had enabled them to attend presentations of his works in Germany. It was, I think, to a number of these fortunate individuals, aided by the enthusiastic Schultz-Curtius, that we owe the appearance of Wagner and the memorable Wagner Festival at the Royal Albert Hall, which he, in conjunction with Herr Richter, conducted in the year 1877. The enthusiasm aroused by the marvellous music and the revelation of the wonderful powers of Richter as a conductor, soon led to the establishment of the Richter Concerts, and we may, I believe, regard this as an epoch, as the birth of the new spirit that was so speedily to alter the whole aspect of things musical in this country.

Not only the enthralling fascination of the music, but the striking personality of the conductor, who seemed to inspire the orchestra with his own genius, cast such a spell over the audiences and aroused such frantic enthusiasm, that no one who attended the early concerts can ever forget the sensations they inspired.

The success achieved in London naturally resulted in a call to the great provincial cities, and thus Richter had the gratification not only of doing great service to his idolised master, but also to England, that had so quickly learnt to appreciate him.

If anyone could doubt the extraordinary fascination that Wagner's music wields over the ma.s.ses, a single visit to a Promenade Concert on a Wagner night should easily dispel it.

For over forty years the Philharmonic Society stood practically alone in any serious efforts on behalf of orchestral music. Eventually, however, another champion entered the lists, and valiantly did he bear himself.

This was no other than the late Herr August (afterwards Sir August) Manns, who in 1855 was appointed director of the music at the Crystal Palace.

To appreciate the difficulties he had to encounter, one must know that when he appeared on the scene, he found a wretched bra.s.s band installed there; no concert room, no proper platform for the performers, and the music, such as it was, had to be played to the accompaniment of popping corks, shrieking engines, and all the mult.i.tudinous noises one can imagine in such a vast place of entertainment. However, he was no ordinary man.[26] He was energetic, determined, and courageous, and whilst being generally genial and even persuasive in manner, he was also undoubtedly of a somewhat combative nature. This was shown some years later when he took exception to a criticism of Mr. Bernard Shaw, and drew from him a characteristic letter in which musical critics are described as divided into "two sorts, musicians who are no writers, and writers who are no musicians," and cla.s.ses himself among the latter.

The first thing that Manns set himself to do was to replace the bra.s.s band by an ordinary orchestra. In this he was ultimately successful, although only after a severe struggle with the Palace authorities, who, even including the late Sir George Grove, inclined to the opinion that a string orchestra was unsuitable to the building. Events justified his judgment, and he ultimately succeeded in evolving, out of an absolute chaos, the famous band and the celebrated Sat.u.r.day Concerts.

That he did an enormous amount of good during his many years of strenuous work is unquestionable, but it must be acknowledged that the position of the Palace, being so far from London, made the concerts as an inst.i.tution more or less parochial. The majority of those attending them was mainly composed of local subscribers and their families, while the London element largely consisted of professional musicians or others having business connection with music in various ways. The free list would be, therefore, largely in evidence, and not calculated to ensure the stability of such an expensive enterprise.

As communication between London and Sydenham became more easy, it began to be observed that the local residents were taking advantage of it in ever increasing numbers, to seek the more varied attractions of the Metropolis, with the inevitable result of decreasing subscriptions and gradually diminishing audiences.

When the collapse came at last it caused widespread regret, and there was a unanimous feeling that Manns had well earned the highest mark of recognition that could be bestowed on him. Let us hope that he looked upon his knighthood as an adequate reward for his services.

Splendid, however, as was the work done, it cannot be said that the concerts ever touched the imagination of the English people as those of Richter did, nor can it be claimed for them that, as regards the people generally, they were in any sense epoch-making. They were too remote from the ma.s.ses, and the necessary expenditure of time and money made the attendance of the middle-cla.s.s Londoner a matter of superfluous luxury. Hence the number who were able to benefit by them was limited.

Of these, it will be willingly admitted, English composers were by far the most prominent.

If there were but few of their works that have been able to stand the test of time, the fault was not that of Manns, but simply, they died through lacking the essence of vitality. It will, nevertheless, ever redound to his honour and to his happy memory, that if only a few of the English works he produced had sufficient vitality to live in these more strenuous days, he, at least, gave the prominent native composers a chance, and to his efforts many of them owe the position to which they have since attained, and English art has been enriched by works that otherwise would probably, have never seen the light.

The first object of Manns, however, when he had at length come into possession of the orchestra he had so st.u.r.dily striven for, was to perform and popularise cla.s.sics that were then unknown, and to bring into existence a body of supporters of sufficient importance to justify the large expenditure involved. He would thus not only satisfy his directors, but carry out a work worthy of the earliest traditions of the Palace.

When he arrived in England the music of Schubert and Schumann was practically unknown. Here was a great opportunity, and with the aid of his friend, Sir George Grove, he took advantage of it, and literally played and preached them into such popularity, that their names soon became as familiar on concert programmes as that of Mendelssohn himself.

From whatever point of view one may look, it is certain that the name of August Manns will go down in the history of English music as one of its foremost champions.

German to the core himself (he only naturalised himself when he had lived here over forty years), he had a natural broad-mindedness that gradually enabled him to see things somewhat from the point of view of the country that had sheltered him, and he did his best--and it was n.o.ble--for its interests as he comprehended them.

The next great pioneer of orchestral music that we shall deal with is the late Sir Charles Halle.

What Manns was doing in the South, Halle was doing not less effectively, and on a larger scale, in the North.

Less eclectic in his tastes than Manns, his efforts were severely limited to the propagation of strictly cla.s.sical music. In English music, or, perhaps we should say, music written by Englishmen, he never had or pretended to have, the slightest interest, and for many years no British composer's name could be seen on his programmes. From this rigid cla.s.sicalism he never swerved, unless his successful efforts to popularise Berlioz may be so considered.

He arrived in England in 1848, and soon settled in Manchester, where his strong personality immediately made itself felt, the first result being his appointment as conductor of the "Gentlemen's Concerts" in 1849.

The next and most important feature in his career, from our immediate point of view, was his establishing the "Manchester Concerts," which later became known as the "Halle Concerts," in 1857.

From that time until he died, about forty years later, he practically devoted his life to his famous orchestra and no less famous choir, and it is certain that Halle did, in those years, more than any dozen others for the cause of music in the North and Midlands.

The repertoire of his band may be justly said to embrace the whole gamut of the cla.s.sic and cla.s.sic-romantic schools. He could scarcely be called a whole-hearted Wagnerian, but his mind was so receptive even to the last, that however antagonistic to his own feelings some of the latest developments in orchestral music proved to be, he submitted willingly to what he saw to be the inevitable tendency of the times, and formed his programmes in accordance with them, provided always that his ideal standard was maintained.

In 1848 there were but few orchestras in the provinces, and these, judged from Halle's standpoint, were very bad, that of the "Gentlemen's Concerts" being one of them. He accepted the conductorship with the greatest reluctance, and only on the understanding that his power should be unlimited to do what he thought necessary to remodel it.

In fact, his early experience with it was so painful to him, and his dread of conducting the concerts so great, that he nearly abandoned the idea of settling in Manchester. However, the directors were far-seeing men, and, happily, largely through their efforts, Halle was saved for the North.

It must, however, be said that had it not been for the support he received from the German community, it would not have been possible for him to remain, but through their efforts he not only quickly acquired a large teaching connection, but was able to establish his cla.s.sical Chamber Concerts on a satisfactory financial basis. It is interesting to note that four-fifths of the subscribers were fellow-countrymen.

The important question of an adequate income for the support of his family having been thus settled, he was left with a mind delivered from that source of anxiety, and able to devote itself to the cause he had at heart. The field open to him was, Heaven knows, extensive enough.

At that time the English people, even of the more educated cla.s.ses, had little or no appreciation of purely abstract music, their sympathies being confined more or less to oratorios and ballads. However, Halle set himself to educate them, and history tells how he succeeded.

He was no believer in violent methods, as the programme of his first orchestral concert shows, but, while dearly indicating the direction in which he intended to go, was wise enough not to frighten away those who were willing to test their power of appreciation of this, to them, new experience. Hence, although the programme was mainly cla.s.sical, he included a selection from Verdi's "Il Trovatore," doubtless with the familiar melodies played, in the manner of Jullien, on instruments such as the euphonium and cornet. In this way he pursued the wise course of gradually attracting the people towards a higher form of art.

On this historic occasion the Beethoven Symphony, No. 1, Weber's overture, "Der Freyschutz," and his concert-stuck for piano and orchestra, were the princ.i.p.al works given, Halle being the pianist in the last-named. Primitive as this reads to-day, it caused tremors in the minds of the _cognoscenti_, and many were the doubts expressed as to the possibility of success for the undertaking.

Nevertheless, Halle proved that his faith was justified, and thus began the concerts that were later to attract the attention of musical Europe, and culminate in their being recognised as one of the most important musical organisations in the world.

It will ever redound to the glory of Manchester that it was the birthplace of the awakening of the North of England to its own tremendous potentialities as a crusading force in the cause of music.

If we think for one moment of the great, new and original, national school of composers that the North and the Midlands have been mainly instrumental in bringing into existence, we shall be better able to judge and more properly appreciate the work that Sir Charles Halle accomplished.

What may be called, I think, the last phase in the struggle of the orchestra to gain its present ascendancy in England was the momentous appearance of Mr. Henry J. Wood[27] on the scene, and the establishing first of his Promenade Concerts in 1895, and then his Symphony Concerts in 1897, at the Queen's Hall in London.