In the end, it cannot be denied that the spirit of German music practically obliterated it, and, while acknowledging the independence of thought that Bennett's music often displays, and which one likes to think may be owing to his Cambridge days, it must be admitted that its similarity in style to that of, above all, Mendelssohn's, detracts from the value that it would otherwise possess.

He remained at the Academy for several years, during which he wrote, among other things of note, two or three pianoforte concertos, the most popular, although not the best, being the one in F. It is related that one of its movements, which attained 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 years Organist of Lincoln's Inn Chapel told me, they carried him in triumph round the concert-room on their shoulders. In 1836 he went to Leipzig to continue his studies, and there came under the immediate influence of Schumann and Mendelssohn.

That his abilities met with sincere appreciation is shown by the eulogistic way in which the former wrote of him in a musical journal he edited.

That Bennett's stay in Leipzig was a successful and even delightful experience, there is no room to doubt; it is, though, open to question whether it did not, to some extent, denationalize him as a musician. Men of his temperament and genius, 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 remained indelibly stamped on him during his whole life-time. It must in justice be remembered that when he was removed from Cambridge, at the age of ten, all essentially English thought, so far as music is concerned, became as a thing of the past.

He returned to England to remain permanently, after a second visit to Leipzig, in 1842. He was appointed a Professor of Music at the Royal Academy of Music about this time, and was a.s.sociated with that inst.i.tution, where his memory is held in just veneration, until he died in 1875.

His work there, in conjunction with composition, became the main occupation of his life. His energies were not, however, wholly confined to it.

He was a pianist of the first order. Indeed, I was told, many years ago by a celebrated pianoforte teacher, that his technique, in exact.i.tude, compared favourably even with that of Mendelssohn himself.

Soon after his final settling in London, he commenced a series of chamber concerts, and continued to present the cla.s.sical masterpieces of this form of music for about twelve years. It was his enthusiasm alone that accounts for this fact, not public support, for that, he may be said never to have received, to any appreciable extent.

His style was, perhaps, too refined and his tastes too rigidly cla.s.sical.

In this respect he was, if one may be permitted to say so, somewhat narrow in his outlook. For instance, he could not tolerate Chopin's music, and, as one of them told me, would not permit his pupils to play it in his presence.

He was of a retiring disposition, and the arts of public advertising were as objectionable to him, as they appear to be acceptable to many performers to-day. Again, the rivalry of eminent foreign musicians and the conspicuous patronage they 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, to which he was intensely attached, and it may be at once admitted that he was entirely lacking in that emotional temperament, which seems to appeal so strongly to the feminine atmosphere that so frequently pervades the public concert-room.

He was essentially a player who most appealed to musicians. His personality must have been a fascinating one, for he aroused even pa.s.sionate attachment in many of his pupils, and it has often been a source of interest to hear grey-headed men talk of his memory in the language of a lover.

His pianoforte music contains much that is both beautiful and original in style, the lovely sketches, "Lake," "Millstream" and "Fountain,"

being the best known and most popular.

The more important chamber compositions include a sestet for piano and strings, a trio, and a sonata for violincello and piano. In 1855, he produced his cantata, "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 it has fallen, seems perfectly extraordinary. Nine years were to elapse before his great work, "The Woman of Samaria," was to appear at the Birmingham Festival.

If it created no great sensation at the time, that may be accounted for by the fact that he studiously avoided sensational effects. It is, however, characterised by n.o.bility of thought, religious feeling, and perfect grace of expression. Although seldom performed as a whole, the touching quartet, "G.o.d is a Spirit," is in general use, and remains a model of beauty and simplicity.

This work, together with his overtures--especially the "Naiades" and "Paradise and the Peri"--and his pianoforte concertos in F and D minor, are the chief compositions on which his fame will princ.i.p.ally rest.

Sterndale Bennett founded the Bach Society in 1849. His extraordinary enthusiasm for the works of the great master was a leading characteristic of his life, and was doubtless stimulated by Mendelssohn during his Leipzig days.

He was appointed conductor of the Philharmonic Society in 1856, and Princ.i.p.al of the Royal Academy of Music in 1866.

He was elected to the chair of music of Cambridge University in 1856, and was knighted by Queen Victoria in 1871.

It is difficult as yet to a.s.sign Sterndale Bennett's definite place in the history of music.

His genius, if not of the order that sways mult.i.tudes, was undoubted, and he seems to form, together with Samuel Sebastian Wesley, the connecting link between Henry Purcell and Sir Edward Elgar.

SIMS REEVES

Birth--His precocity--His musicianly attributes--His protest against the "high pitch"--Sims Reeves in opera--a.s.sociation with Macready--Reeves in Italy--Triumphs in that country--First appearance in oratorio--Doubts expressed as to his probable success--Scene of enthusiasm after "Sound an alarm"--The greatest interpreter of Handel--His idiosyncrasies--His high standard of art.

John Sims Reeves, one of the greatest tenor singers of whom the world has any record, was born in Kent on October 21st, 1822. His genius as a child was early evident. At an age when the average boy is found playing cricket on the village green, as should be, this one was playing the organ at a village church near by.

It is an interesting reflection that, whereas the majority of singers confine their energies to the development of the voice alone, Sims Reeves, from his earliest years, was bent on mastering the mysteries of music--such as harmony and counterpoint.

He succeeded to this extent, that he became a thoroughly sound musician.

In the consideration of his career, this point must ever be borne in mind.

Sims Reeves was not only a singer, but he was a fine and well-instructed musician, and any opinion that he might put forward was ent.i.tled to respect, not only from the singer's point of view, but that of a musician whose erudition was unquestionable.

So, when he raised his voice against the abominable pitch that had been introduced into the country through the instrumentality of a foreign, cosmopolitan musician, he had the weight behind him, not only of a distinguished singer, but of a musician perfectly able to maintain the position he had taken up, on grounds both reasonable and logical.

The fact that his opinion, however strongly put forward, had no influence, is not a matter for surprise. In that Victorian period, the English musician was practically an alien in his own country.

Although Sims Reeves was destined to become, perhaps, the greatest of oratorio singers, his earliest successes were made in opera. His "first appearance on any stage"[31] was at Newcastle, when he appeared as the "Gipsy Boy" in "Guy Mannering."

He was soon found, as would naturally arise, in London; Macready, the theatrical monarch of those days, and whose scene of operations was Drury Lane Theatre, attracting him.

Here, on the first occasion that presented itself, he made a success, that those gifted with any sense of perception, could easily see, indicated a great career, and the rising of a great sun in the firmament of music.

It was in Purcell's "King Arthur," and the particular number that was to make him famous was "Come, if you dare." In this connection, it is amusing to note the clashing of the artistic and managerial temperament; both, probably, at their highest expression. Macready insisted that the singer should address his adjuration to the warriors whom he was facing, with his back to the audience. The singer held an entirely opposite view, and wished to sing to the public. The fight was keen, and Sims Reeves apparently gave way.

On the night, however, he adopted an att.i.tude that was not foreseen; pacing the stage sideways, he sang with his voice thrown at the audience, and threatening looks at the "supers," who were amazed at such an exhibition of liberty, and made a success that was not only great, but a.s.sured the management of a satisfactory issue to the adventure.

Macready, nevertheless, fined him 5 for disobedience!

He was from this moment recognised as a great singer.

Strong, however, in the consciousness of unusual gifts, he determined to test his powers on the Continent, and went to Paris. After a short stay there, he proceeded to Italy, where, after a few lessons from Mazzucato, he made his appearance as "Edgardo" in "Lucia di Lammermoor."

His success was great. The Italians, who have an abnormal love of the tenor voice, received him with acclamations, and his tour through the Italian cities was a triumphant progress. On his return to England, he was received as an "Italian" singer, and doubts were expressed as to his ability to sing oratorio music.

His first appearance in England, after his foreign experiences, was, again, in opera, as "Edgardo." Berlioz was conducting, and wrote thus: "Reeves has a beautiful voice, and sings as well as it is possible to sing in this frightful English language."

His first appearance in oratorio was made on February 10th, 1848, at Exeter Hall, in Handel's "Judas Maccabeus." All doubts were soon allayed as to his ability to interpret Handel's music.

It had been generally expressed that his success in opera made it improbable that he could succeed, to an equal degree, in gaining the affections of the English people in oratorio, their most loved medium of expression in music.

His success was immediate and triumphant. At the conclusion of "Sound an alarm," a scene of enthusiasm occurred that had never, previously, been known at an oratorio performance.

It set a mark on his career.

From that moment he was recognised as the greatest interpreter of Handel; and from that pinnacle of fame no subsequent singer has been able to move him. His popularity became immense. At every great music festival his appearance was regarded as a necessity, and, until his final refusal to sing at the artificial pitch that had been introduced by Costa, his interpretations of all the great masterpieces of oratorio music were looked forward to as things of national interest.

Sims Reeves was a great singer, and like most great artists, had idiosyncrasies. On one occasion, Sir Arthur Sullivan (then Mr., and a young man) went 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 dear Arthur, the music is quite beautiful, but it would be difficult to say for what voice it was written." Certain pa.s.sages had to be revised to suit him.

That this would, naturally, be done, all those who knew Sullivan's character would easily understand.

Sims Reeves continued to be, for many years, the idol of the British public, and it is only just to say that he deserved the distinction, being as he was, a man of sterling character, and one whose ideals were ever high.