Until Sir Henry Wood proved the contrary, the idea of presenting symphonies and other high-cla.s.s music at a Promenade Concert with a view to attract paying audiences, appeared not only absolutely hopeless, but positively fanatical.

Up to that time promenade concerts were a.s.sociated in the minds of musical people, with the methods of Jullien, Riviere and their imitators. They took place in the huge theatres of Covent Garden or Drury Lane. The stage was removed, and the ground floor converted into an immense promenade, in the centre of which was built a platform, and upon it was imposed tier upon tier in the style of a Roman amphitheatre, to receive, in addition to the ordinary orchestra, the military bands that were occasionally called upon to carry out the weird ideas the management had conceived. Of these, the most famous and popular was known as the "Army Quadrilles." In order to give effect to it, several of these bands were put in different places on the highest story of the building, and had to march down in succession from their lofty position and gradually converge on the platform and, in combination, produce the amount of sound and provide the spectacular effect that was considered essential to success. All the time this long process was in execution, the conductor, with jewelled baton in hand and the limelight focused on him, was strongly in evidence, and little wonder that he sank into his capacious, brilliantly upholstered chair at the end of it, so exhausted as hardly to be able to acknowledge the plaudits that were showered on him! At every possible place on each floor of the theatre, a bar was placed for the supply of alcoholic drinks, and what with the combined fumes of alcohol and tobacco, the atmosphere was of a description more allied to that of a Baccha.n.a.lian orgie than to any possible function relating to art.

In later years, it is true, the conditions were improved, even to the point that such a musician as Sir Arthur Sullivan was induced to lend the weight of his influence to bring about a state of things more consonant with the dignity of music, but he soon withdrew and thus tacitly admitted failure. What, then, had happened to hold out a promise of better results?

Why, evidently, the seed sown by the Philharmonic Society, Richter, Manns and Halle, although much may have fallen on barren soil, other had fallen on good ground and was bringing forth good fruit.

So, at least, must have thought Sir Henry Wood, or he had scarcely ventured on his daring mission of appeal to the general public with such a programme. He courageously staked his all and worthily won.

It is now sixteen years ago that he made his memorable venture. It is only those who know the difficulties, financial and other, in carrying out such a scheme, can adequately estimate what courage, energy and foresight were needed, to say nothing of great musical gifts, to bring about a result so astonishing as that to which the world is witness to-day.

In place of the many bra.s.s bands and "Army Quadrilles," we see a programme consisting of the works of Beethoven, and instead of the jewelled baton, the alcoholic atmosphere and the focused limelight, a programme is presented that not many years ago would have been regarded, even by music lovers, as cla.s.sical to the point of severity. The days of Aladdin are evidently capable of duplication!

Nothing more is needed to prove what a vast change has been brought about in the taste of the ma.s.ses in regard to music, and it is a matter of thankfulness that its consummation has been so greatly accelerated by an Englishman, owing nothing to foreign education.

The establishment by Sir Henry Wood of the Queen's Hall Symphony Concerts, and the great and permanent success attained by them, naturally led to the striving of others to emulate him. The first result was the formation of the London Symphony Orchestra, the majority of whose members, it may be remarked, were originally in Sir Henry Wood's band. Difficulties arose as to the employment of deputies by the older and better known players, who were, naturally enough, reluctant to give up such engagements as the great provincial festivals, and others of serious importance, afforded. The inability to arrive at an agreement caused about fifty members to recede from the orchestra and form one of their own, which they did with the active sympathy and help of Dr.

Richter, who conducted their first public performance on June 4th, 1904.

An interesting feature of the scheme inaugurated by the management was the invitation to different celebrated conductors to conduct one or more of the series of concerts decided on. This idea was, undoubtedly, a happy one, and proved a complete success. The curiosity of the public was evidently stimulated by a galaxy of men that included Richter, Elgar, Nikisch, Henschel, Safanof, and Colonne. And well it might be!

In his interesting "History of the London Symphony Orchestra, Ltd.," Mr.

F. Gilbert Webb, the well-known critic, writes: "Such a procession of famous conductors is unique in the history of English orchestras."

I am inclined to think, however, that it would be extremely difficult to carry on so complicated a policy, for it would be often impossible to make the arrangements of such men fit in with dates that are, and obviously must be, more or less arbitrarily fixed by the proprietors of the halls in which the concerts are given.

At any rate, the experience of the players has been one of keen enjoyment, and one of the most prominent among them, Mr. T. E. Wotton, in writing to me, alludes to some of the performances as "veritable revelations."

The next organisation to enter the field of compet.i.tion was "The New Symphony Orchestra."

Here again a decisive and direct policy was determined upon, a leading idea being that the orchestra, from first to last, should consist, solely, of Englishmen.

The happy idea of inviting Mr. Landon Ronald to a.s.sume the conductorship has been fraught with consequences of the highest importance, and the success of the movement has long been placed beyond the region of doubt.

Perhaps the most important engagement, up to the present time, that has accrued to it, is that of the Sunday concerts at the Royal Albert Hall.

These concerts have, undoubtedly, been a great success, and have not only been a source of financial gain to the orchestra, but a much-needed attraction to that building, the vast size of which renders it suitable for none other than occasions of special interest.

These concerts do not, however, by any means absorb their energies, as the advertising columns of the daily papers shew. Their services are in constant request, and everything tends to their permanency as a living body.

As of the preceding ones, it may be said that this band practically consists of solo players of high excellence.

Before concluding this chapter it may be desirable to call attention to the many amateur bands that have sprung into existence in recent years, as this is, undoubtedly, a feature of peculiar significance, and one that has had no little influence in spreading a knowledge of orchestral music in circles that would otherwise probably have not been reached.

Their princ.i.p.al members are generally veterans who, in early life, gave up much of their spare time in gaining sufficient skill on their respective instruments to become fairly competent performers, and it is to such as these, and their enthusiasm, that the existence of these bodies and the good done by them, is due.

It is about forty years since the movement may be said to have begun, when the cult of the orchestra was either non-existent or in the embryo.

The requirements for membership were not exacting, it is true, but it must be remembered that the facilities for the acquisition of even these, were far different in those days to the existing ones of to-day.

It is easy, then, to imagine the amount of time, money and energy that must have been necessarily devoted to preserve their vitality.

This is eminently true of one of the most prominent of them, the Royal Amateur Orchestral Society. But for the exertions of H.R.H. the late Duke of Edinburgh (afterwards Duke of Coburg), the late Mr. Jas. Ramsay Dow, the late Mr. George Mount, Mr. Herbert W. Symes, Mr. Leonard Beddome and others, it is safe to say that the organisation would have collapsed long ago in the early years of its career. Fortunately, however, the skill and determination they brought to bear upon it, not only averted the catastrophe that seemed often impending, but made its continued prosperity little more than a matter of adequate and prescient direction.

For many years Mr. Jas. Ramsay Dow was not only the honorary secretary, but the princ.i.p.al flute player in the band, during which time Mr. George Mount was conductor. Upon the death of the former, Mr. Henry M. Morris succeeded him, and upon his retirement Mr. Hermann Schmettau accepted and still, happily, retains the position. Mr. Arthur W. Payne is the able conductor.

The initial difficulties of these older societies were mainly twofold, the finding of a sufficient number of more or less adequate players, and the money necessary to finance them. The latter, of course, involved the constant search after subscribers and the paying audiences that so persistently eluded their efforts. The music performed at the concerts was restricted both by the limitations of the technical resources of the players, and the taste of such people as could be drawn to listen to it.

In process of time, and by dint of perseverance, these limitations were, more or less, overcome, and as the performances improved, so increasing audiences were attracted to more pretentious efforts.

Even after twenty-five years' patient work the general public remained indifferent, in the most part, to their claims to recognition, and it is only within the last few years that it has dawned on the average music lover that there could be any real merit in the playing of amateur orchestras. At the time of my early a.s.sociation with one of them, not only were the audiences confined mainly to friends of the players, but the performances were looked at askance by critic and professional musician alike. No prominent virtuoso would dream of playing a concerto or similar piece in conjunction with it, and on the appearance of such a one at a concert, the accompaniments were invariably played on the piano.

Eventually patience and combined effort on the part of all, were effective in so far bringing about a change that the appearance of eminent artists, and their playing of concerted works, became a regular feature of the concerts, and numerous letters I have at various times received, testify to their appreciation of the efficiency of the work done by the band. Similar results have doubtless, been experienced by most of the more prominent of these orchestras throughout the country.

But while cordially admitting the progress made by them, it must be recognised that the difference between the performance of an amateur band, however worthy, and that of a modern professional orchestra must ever remain abysmal.

This will be easily understood when it is remembered that while most members of the latter are not only expert players, but educated musicians, the amateur, on the other hand, is more often than not, a player of humble attainment, whose knowledge of music, limited by the small amount of time that can be devoted to the subject, is necessarily superficial.

It is not to be questioned that there are many exceptions, many indeed whose knowledge of music is deep and whose performing ability is exceptional, judged by any standard, but of such, the number is, and must naturally be, extremely limited. This lack of musical education leads at times to incidents that, though sometimes distressful, are occasionally diverting.

It is distressing when an amateur band, while fully capable of playing music that demands nothing more than ordinary technical ability, is swayed by a wild enthusiasm for performing works that even Sir Henry Wood will give many rehearsals to prepare.

The diverting incident is provided, for instance, when, say, a double-ba.s.s player, who is not blessed with a superabundant sense of humour or much education, brings you the ba.s.s parts of two symphonies, and lays down the law as to the relative artistic merit of the works on such evidence as the parts provide--at the same time, with no excess of delicacy, intimating his complete indifference to any opinion you may have on the subject, even though you may happen to have a fairly adequate knowledge of the full score.

Notwithstanding this, let us hasten to say that there is a great and useful work always lying at hand for the amateur to accomplish, and we venture to indicate it. It would seem, judging by the programmes of our most celebrated orchestras, that the existence of a great amount of the most splendid music ever written, is in danger of being either forgotten or ignored, and it is to this their attention might well be turned.

Beyond the fact of its being seldom or never heard, a great deal of it makes so much less demand on the technique of the individual player than that of Tschaikovsky, Brahms, Elgar, Strauss, and others, whose works absorb attention to-day, that it offers the double advantage of novelty and less difficulty in presentation.

Surely there must be a public left to appreciate the symphonies of Schumann, Schubert, Mendelssohn, Gade, Raff and Goldmark among the moderns, to say nothing of Haydn and Mozart, and these are only a few of the many that might be named.

Of works of less size but equally worthy of attention there is practically no limit.

Nevertheless, a generous recognition of the good work done by amateur players all over the country should be accorded. By their efforts they have given many thousands of people a chance of hearing music that otherwise might never have been brought home to them, and in doing this they have done worthily for the cause of the progress of orchestral music in England.

FOOTNOTES:

[25] Mr. Berger has retired since this was written, and has been succeeded by the eminent British composer, Mr. William Wallace.

[26] See H. Saxe Wyndham's interesting and instructive "August Manns and the Crystal Palace Concerts."

[27] Now Sir Henry Wood.

CHAPTER VII

ORATORIO IN ENGLAND

Influence of oratorio in England--Commonwealth period and effect on music--Italy original home of oratorio--Origin of the word--Similarity to opera in early stage--Handel--Absurdity of claiming him as an Englishman--Italy has greater claims--Handel's versatility--Early oratorios--"Messiah"--King George III. and the "Hallelujah" chorus--Greatness of the oratorio--Its hold on the people--Effect on the religious feelings of the country--Joseph Haydn--"The Creation"--Its immediate popularity--Reasons for it--Its claims to greatness--Bach--Mendelssohn his greatest disciple--"Elijah"--Its amazing reception at Birmingham--Its continued popularity in England--Spohr--"Last Judgment"--Ephemeral popularity--Reasons--Samuel Sebastian Wesley--"Redemption" and "Golden Legend"--Many years of great popularity--Halle and English music--Wrong method of teaching--"Dream of Gerontius," and conclusion.

Of all forms of music, that which has long appealed most deeply to the English people is, without question, the oratorio.

For it they entertain not only affection but, and with good reason, grat.i.tude.