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Writings - Lectures and Articles. The following contains the text of a series of lectures (given in 1876) and articles (published in 1881), presented by Linday Sloper on the subject of "Music in England: Past, Present and Future." Lecture 1: Music in England - Past, Present and Future. Alexandra Palace. - A course of lectures on music, by Sir Julius Benedict, Mr. Lindsay Sloper, and Mr. Frederick Archer, will be given in the new lecture room of the palace on Wednesdays at half-past two o'clock, to commence on May 17. Mr. Lindsay Sloper, it is announced, will give the first lecture of the course, the subject being "Music in England - Past, Present, and Future." This and the subsequent lectures will be copiously illustrated. (Morning Post, Thursday, 11 May 1876.) ALEXANDRA PALACE.-The first of the course of lectures on music in the new lecture theatre at the Alexandra Palace was given yesterday by Mr Lindsay Sloper, who read an admirable paper on "Music In England, Past, Present and Future." In the illustration of this subject, Mr. Sloper was assisted by Madame Cave Ashton, Miss Adela Vernon, Miss Jenny Meenan, Mr. J. Cummings, Mr. J. H. Pearson, Mr. Wilford Morgan, and Mr. Maybrick; and these illustrations, with Mr. Sloper's pianoforte accompaniment, afforded much gratification to a select audience. On Wednesday next Mr. Sloper will lecture on "Thoroughness and Work in Music; and Sir Julius Benedict will follow with lectures on the works of Weber and Mendelssohn. Succeeded as these will be by Mr. Frederic Archer's lectures on "Beethoven " and " Popular Music," the school of music at the Alexandra Palace appears to have a very favourable prospect. (Daily News, Thursday, 18 May 1876.) MR. LINDSAY SLOPER ON MUSIC PAST AND PRESENT. On Wednesday, the 17th inst., the first of a series oi six lectures on music, was given in the new lecture room of the Alexandra Palace, the lectures being in connection with the company's proposed School of Art, Science, and Literature. The lecture room is spacious enough for the present object, and is admirably adapted to give effect to the voice of the lecturer and the vocal and instrumental illustrations introduced. The lecture on the 17th was by Mr. Lindsay Sloper, who is a professor of the pianoforte in the company's school, and who on this occasion addressed his audience "On Music in England, Past, Present, and Future." The following is the text of the lecture :- The most distinguished musical critic in England - himself a composer of great merit - on being asked by me some years ago to take part in a Quarterly Art Journal which I then purposed establishing, declined to do so, giving as his reason, that music - one of the greatest enjoyments when listened to - became insufferably tedious when written or talked about. I immediately saw the truth of his aphorism, and since then have entirely desisted from the former, and the latter also when possible, inasmuch as in society I abstain from introducing it into conversation. The remark of my friend is to a certain degree applicable to all Arts, but not to the same extent, - for in describing a painting or sculpture, you can appeal to its fidelity to nature, of the beauties of which all - according to their innate sense of what is lovely - have internal consciousness ; and even in speaking of architecture, it is easy to rouse a sense of fitness as to the arrangements - or of grandeur in the conception - in most minds. But how fares it with music? Unless we enter into a maze of technicalities, which may account to the educated musician, but not to the partially or wholly uneducated amateur, for the delight received, our talking is not only in vain, but immeasurably tiresome. With the amount of kind assistance which I am receiving from many of my most highly considered sisters and brethren to-day, (whose performances, I am assured, will give you the greatest pleasure), and holding the views I have enunciated, you will, I feel, understand that my address to you must be of the most sketchy nature. Indeed, the ambitious title which it has received would, if fully justified, require accommodation in this new lecture hall, somewhat similar to that supplied to the travellers by the Pacific Railway - for seven days would barely suffice to exhaust the subject of the history, fortunes, and vicissitudes of music in England - especially with copious illustrations. Nevertheless, within the limits of the time at my disposal, I hope to give you a faint outline of what such a gigantic lecture would be ; to lay bare some of my own feelings, and to guide this meeting - with its kind attention - to some intelligent conclusions with regard to the subject under consideration. Of course, I must begin with the very trite assertion that we are not regarded as a musical nation. This - so often asserted, and so often controverted - has germs of both truth and error. True it is, that we have not produced such a bede-roll of glorious composers as Germany, Italy, and France ; true it is, that in certain qualities, such as absence of a strong feeling for rhythm, so especially marked amongst the Sclavonic races, we are as a nation to a certain extent deficient. But I am speaking of music in England - not of England, - and I have only to show you that from an early age in the history of the art, down to the present time, the English people have not only held no mean position amongst the creators and executants of the art, but have shown an amount of sympathy and enthusiasm for its exponents, - if I may so express myself, a receptivity for its influence, - that we may fairly claim to rank amongst its votaries, and this view is gradually gaining ground abroad, whence I have just returned. Before plunging medias res, I will further preface the few remarks I have to make to you by saying that I purpose to offer a very scanty outline of the past musical history of England, to dwell at greater length on the present artistic condition of the country, which has surely more interest for this generation, and which theme will naturally lead me to the consideration of the prospect before us. Antiquarian lectures, whether instrumental, and illustrated by spinet and harpsichord, or vocal, with numerous selections from the works of the old madrigal writers, have been, and are, numerous enough; but critical, and partly educational addresses are more infrequent, and offer to the lecturer a less trodden field. It is a singular, but not less well known fact, that in all countries, geniuses have rarely shone separately ; that there has almost always existed a bright constellation, contemporaneously irradiating every department of art, literature, and science ; and that these glorious eras have generally been followed, if not by total stagnation, still by degeneracy in each. Thus you who do not know it, may care to hear that at the date when Shakespeare, Bacon, and Ben Jonson lived, music was receiving more attention in England than in any country, with the exception, perhaps, of Italy; that, a little later on, our writers of madrigals, then the popular form of secular compositions, ranked at least with those of Italy : and that even in music for the church, we progressed pari passu with the Italians. The glorious name of Orlando Gibbons, who lived in the reign of James 1st, with many others of less note will at once occur to every musical student of the past, and be a source of pride to England: and dating from his life-time, recalling also the name of Purcell (1689) to you, and reminding you cursorily of the long list of English musical composers, both sacred and secular, which is crowned by Handel's lustre, I need not say then that there seems no antecedent reason why we should sink below the level of other nations in musical excellence. You will of course observe, I claim to class Handel's name amongst our writers ; for, by long residence in this country, and almost all his works having been written for performance here, he became completely (as I believe he was legally) a naturalized Englishman. You will understand that I am speaking of music in, not of, England, and that we may be credited with, at least, having done honour not only to Handel in his day, but - subsequently - to Haydn, who wrote many symphonies for this country ; to Mozart, who visited us, and to Beethoven, whose latest anxieties, if not penury, were alleviated by a commission from the Philharmonic Society, flourishing then as I am happy to say now. To terminate this digression, I will call your attention to a few of the choicest specimens of the music written during that long interval. You will note that the music over this range of years, consisted mainly of madrigals, glees (to be entirely distinguished from the modern part songs), music for the service of the church, operas, and oratorios. I purpose to call on my kind friends to sing first a lovely specimen of the madrigal, "Flow, O my tears," by John Benet, written in 1599, followed by the glee, "Ye spotted snakes," written by Stevens, who flourished in the last century. Service music, highly as we may esteem ours, as that of the national church does not seem to me fitted for performance out of it. Of this class of composition therefore, I propose to offer no illustration. The opera of the day (for I do not consider the little musical dramas and farces with occasional songs as operas), was chiefly represented by Handel, Storace, and Bononcini, whose name only lives on account of the ridiculous feud which arose between his followers and those of Handel, similar to that between the Gluckists and Piccinists in France. I shall make no excerpt from any of Handel's operas, for their style does not materially differ from that of his oratorios ; and indeed many of the airs would be familiar to you as allied to sacred words, and grafted on to the latter works. Of course, it is impossible to render any of his immortal choruses, however much we may consider any one of my assistants here, equal - to parody an Algebraical term - to x or an unknown quantity of ordinary chorus singers. However, Madame Cave-Ashton will favour us with the song by Handel, recit. "If I give the honour due," air, "Let me wander," when I will follow with one of the same composer's clavecin works, entitled Aria with variations. The era which we now close was followed by the development of instrumental music, if not by the greater manifestation of the creative power by English musicians. The names that will at once occur to you are those of Haydn, Mozart, and Beethoven ; the first the father of, and the two latter, his worthy successors in perfecting the symphony, the highest form of pure music. In most instances contemporaneously with these great masters, we had, to the older amongst us the well remembered executants, Clementi, Dussek, Cramer, Stibelt, Hummel, and Moscheles, (the latter, my revered master, who was then very young, has not long passed from us.) I refer now to pianists only, though we had a goodly array of performers on other instruments, and our singers, Braham, Incledon, Bartleman, Mrs. Billington, Miss Stevens, and others were world-renowned. As I said, in composers we were comparatively poor. The only names that at once strike me are those of John Field, who passed his life principally in Russia, and of John Frederick Pinto, who died too young to make his mark. Those were the halcyon days for musicians; the eminent ones were so scarce that the public was at their feet, and there were none of the emulation, heart-burnings, perhaps ultimate discouragements which are now the lot of professors. I remember an anecdote once told me by the celebrated John Cramer, that at the date when he, Dussek, and Steibelt, divided the whole of the cream of the pianoforte teaching amongst them, they one morning, early, met simultaneously in Lincolns-Inn Fields, then a fashionable neighbourhood. The coincidence appeared to them so singular, that they resolved to take advantage of a fine day to have a pleasant outing together, regardless of all pupils and engagements awaiting them. I am afraid the influence of the warm sun, if we now took advantage of it similarly, would rapidly dissolve our connexion. I purpose to play to you a short nocturne by Field. I shall not play anything by Beethoven, as Mr. Frederick Archer will lecture on his works during the present course ; and are not his sonatas at all your fingers' ends, besides which, cannot you repair to St. James' Hall, where my friend, Charles Hallé is with his usual courage and high qualities, wading through the whole thirty-two, reminding one of nothing so much as the performances of the noted American Weston, and suggesting that these recitals, amidst Mr. Hallé's other occupations, may possibly have the invigorating qualities of the cocoa-leaf absorbed by the pedestrian. Miss Adele Vernon will afterwards oblige us with "Love has Eyes," by Sir Henry Bishop, whose life was passed on the Border-Land between the past and present epochs, and with that I shall terminate the present portion of my address. I am now approaching the most difficult and delicate part of my subject. You will at once understand that while I shall endeavour to pass in review the principal musical events of this generation, and the names of those who have taken leading parts in them, and while I shall not shrink from pointing out their characteristics, I cannot attempt criticism on my contemporaries still less comparative criticism. I trust I shall give no offence, and hurt no susceptibilities ; indeed were it not that I am anxious to enquire whether, to use an Americanism, we have "taken the right turning" on our road to the future, and that it will have a distinct bearing on my second lecture, in which I shall endeavour to point out how that safe and rapid progress to the desired goal may be attained, I should have left this part of my subject alone. In entering somewhat more fully into modern music, and musical appreciation than I could do in that of the past, I will first premise that I must include the names of some of those who now, unhappily for their art, have past from us, - such as Balfe, Loder, Mendelssohn, Sterndale Bennett, Cipriani Potter, and Wallace, - but whose exertions have not only been woven inextricably with those of present workers, but whose very faces are in the remembrance of most of us. Further, I think it will be convenient to divide the subject into several heads, each indicating a special branch of composition ; and subsequently speaking of the musical associations which stimulate the efforts of the artist, whether creative or executive, and the amount of critical appreciation, or pleasure, more or less genuine exhibited by audiences. The obvious subdivisions will be : 1. Oratorio. 2. Opera. 3. Symphony and Overture. 4. Cantata (Secular). 5. Piano-forte Music. 6. Part Songs. 7. Ballads. There has been, within the last quarter, or little more, of the present century, remarkable activity in all these branches, excepting perhaps the symphonic and the operatic, the stagnation in the latter being explained by the want of an arena in which the compositions can be heard. Taking Oratorio first; we have had notable instances in which high capacity and even genius has been exhibited. Mendelssohn's "St. Paul and Elijah," Sir M. Costa's "Eli and Naaman," St. Julius Benedict's "St. Peter," Sir Sterndale Bennett's "Woman of Samaria," Arthur Sullivan's "Prodigal Son," and "Light of the World," and others by Spohr, Molique, &c., &c., are all works that reflect lustre not only on their composers, but also on the country which has provided the executive means and the pecuniary support for their production. We hear also of many important works in the laboratory of distinguished musicians' brains, which will be shortly forthcoming. As I told you, I was not able to enter into any comparative estimate of the value of those works ; I shall merely call on our friends to give us some culled specimens of the principal, amongst them :- "The Lord is risen," Miss Julia Meenan (Sullivan) ; "If with all your hearts," (Elijah), Mr. Wolfe Morgan (Mendelssohn) ; Song, "O, House of Jacob," (St. Peter), Mr. Pearson (Benedict) ; "Lord, turn thine eye in mercy on thy child," (Naaman), Miss Vernon (Costa). All these works abound also in choral movements of great beauty and erudition. I have not given an example of Sir S. Bennett's sacred style, because we hope later on to have the pleasure of hearing a short but entire work from the pen of our lamented musician. To pass to Opera : Balfe has been at once one of the prolific, and one of the most popular of our English writers. His facility was something remarkable. I have sat by his side whilst he was composing the overture to one of his operas, which had to be copied out, rehearsed, and performed the next evening, and he persisted, in spite of remonstrances on my part, to converse all the evening. To his rapidity in work many have attributed the possible want of depth in his music : but I doubt very much if it would have been better had he expended more thought over it. The ideas flowed from his brain like the ink from his pen. Sir Julius Benedict, the late Vincent Wallace, and Professor Macfarren have been also arduous labourers in the same field ; and it must be remembered that the first-named produced many early operas in Italy. For the past few years no new opera of important dimensions occurs to me ; but several lighter works by writers, amongst whom Sullivan and F. Clay are conspicuous, have been prosecuted with great success. I can only invite you to listen to a very beautiful duett by Sir J. Benedict, from the "Lily of Killarney," "The Camp, &c.," (Mr. Pearson and Mr. Maybrick.) As I have before said, though many brilliant and thoughtful concert overtures have been produced, there have been very few symphonies. Sir J. Benedict and Mr. A. Sullivan having however presented us with highly appreciated works, we are not without indications of better things in future ; witness the large number of competitors for Prizes who answered to the liberal invitation of the Directors of the Palace the other day. Secular cantatas also have been a highly favourite form of composition, and the names of many by Benedict, Bennett, Randegger, and our young and gifted countrymen, F. Cowan and J. F. Barnett, will occur to you. With regard to pianoforte music, I cannot speak so hopefully; but I will not fail to refer to one who had been amongst the most promising of our pianoforte writers, and who passed away very young and long ago, F. E. Bache, and to recommend his elegant pieces to you. That, as a rule, pianoforte writers do not endeavour to aim at a higher standard (of course there are honourable exceptions) is, I am bound to say, the fault of the public. And now I shall address a little lecture to the young ladies here, which I shall resume perhaps at greater length in the concluding part of my address and dilate on again next week. Composers have not all philosophy enough to live to write, they must write to live, and to do this their works must sell. Publishers will tell you that it is of little use to offer to their customers works which are difficult to play, OR TO READ ; and they must all be cast in the same mould. A very distinguished foreign writer told me many years ago, that a London publisher, having commissioned him to write six pianoforte pieces, called on him the next day with a parcel of compositions (save the mark !) by one of the most popular writers of the day, saying, "I want you to write me something like this." The bundle of music found its way speedily down stairs, and the publisher followed very shortly after. That works of the distinction of Chopin's, Hiller's, and later on, of Brahms and Rubinstein, have a good market, proves nothing. These pieces are constantly played by the best public performers, and the dilettanti. The crowd hears them, and buys them, if they cannot play them. Do let me beg of you present to understand that if a piece or a song does not immediately appeal to their sympathies, the fault may be theirs ; you would not like a poem or a novel if you could not read it. Songs have not yet so degenerated : and why? Because they are being constantly rendered by competent vocalists. Yet I am bound to say that though our best modern ballads rise considerably above those of thirty years ago, there is a tendency amongst authors who have caught the ear of the public to multiply them ad infinitum, to their manifest deterioration. And here I must digress. It has been reproached to our composers that they submit too much to the dominating influence of some master-mind abroad. Within my life-time this has been most conspicuous. While the great Mendelssohn's talent was moulded by his study of, and enthusiasm for Bach, his influence over young England was equally enormous, and it was, I believe, to a certain extent enervating, as it stifled original thought. Since then, no composer has ever wielded such an influence here, and changed the current of musical thought, so much as Gounod. One of our leading writers will forgive me for saying that this is especially apparent in his works - his earliest most beautiful work was essentially Mendelssohnian, whereas many of his later pieces might have been signed "Gounod." Besides, it is in the display of harmonic combinations, the result of Gounod's life, the earlier portion of which was devoted to sacred and service, as the latter to secular music, that his influence on others is strangely remarked. This influence is particularly noticeable in the modern ballads, most of which, charming as they are, are of one pattern. A favourite type is about 16 bars in a minor key, followed by an equal number or more in a major key ; that is the rate. In many cases the first part of one might be tacked on to the second part of another, without any apparent disturbance of the composition. This reminds me of a ludicrous incident that occurred to me a few years back in Boston, U.S. I had to accompany the eminent singer, Miss C. L. Kellogg at a concert. She had forgotten her music, which was "a forsi e a duo" from the Traviata, and asked me if I could accompany it by heart. I said confidently, "Yes :" so, without rehearsal, we proceeded on the platform. I got admirably through the slow movement in F minor, and then started off in what I conceived to be the Cabalator. Miss Kellogg not commencing, I turned round and found her gazing at me with amused astonishment. "Why," said she, you are playing the 'Trovatore.'" With this I shall desist, requesting Master Meenan to sing "The Drummer Boy," Madame Sainton-Dolby ; Mr. Morgan, "Tell me, shall my Love be mine," W. Morgan ; Madame C. Ashton, "The Distant Shore," Sullivan ; Mr. Maybrick, "Nancy Lee," (which has the true ring of Dibdin), C. Adams. Having thus cursorily disposed of the musical productions in this country, let me now turn to the societies by which they are nurtured, and the audiences who reap the benefit of their influences, and, it is hoped, garner in a considerable amount of pleasure therefrom. I shall allude to the societies only, since the benefit concerts, now greatly reduced in number, have no real influence on Art, and only further the interest or the reputation of the concert-giver. Time was when no Professor who aspired to position - myself amongst the number - would dream of giving a concert without a competent orchestra, and often chorus. But owing to the rising tide of the societies, such concerts proved a perennial source of loss : and now no private individual gives an orchestral concert unless he have a new work to produce, or, as with the laudable enthusiasm the other day of Mr. Walter Bache, one of the chief apostles of the so-called Music of the Future, the concert be given to enforce a doctrine. It is needless to enumerate the many musical organizations to which I refer; the chiefest among which are, of course, the Philharmonic Society for Orchestral Music, the Sacred Harmonic Society for Oratorio the Musical Union and Monday Popular Concerts for Chamber Music, and Mr. Leslie's Choir for Madrigals, Glees, and Part Songs. It is owing to the seniority of these, and the admirable manner in which they are conducted, that I particularly specify them, not out of disrespect to the many other societies, who fulfil their duty very excellently. Then we have the Great Musical Festivals, the Directors of which give commission for important musical works to the best available composers who otherwise could not afford time for their production. It is true that in some cases the remuneration has been nil and in others, the honoraria have been handed over by affluent composers to the charities, for the benefit of which the festivals have been instituted; still, I say, these grand meetings have done more than anything to elevate the practice and the high position amongst arts, of music. All this is well, but now for the audiences. The institutions of which I speak are all supported by daily-augmenting listeners ; and tickets for them are as eagerly competed for as invitations to some garden party at which a royal personage or an eastern potentate is expected to be present. Opinions differ, in degree only, I hope, about the progress of real musical taste in this country, on which the whole question of musical progress hinges. The burden of proof rests with those who contend that the large audiences who support these institutions are attracted there by earnest musical sympathy with the highest forms of art. Is there nothing in following the lead of criticism ? or the fashion of the day? Once establish the dictum that it is the intellectual, or the right thing, or the fashionable thing to do, and with our gregarious nature we flock together, without always consulting our "heart of hearts." I contend that before public influence can really assist and advance the beautiful in art, two things are necessary : high and thorough education, on which subject I have to address you next week, and sincerity, on which subject I purpose to make my few concluding remarks, which may surprise you as coming from one who has always claimed to be considered, at least in sympathy, a classical musician. In the first place, avoid the bigotry of shallow-minded pedants ; remember that as there is genius in a picture by Michael Angelo, or in one by Hogarth or Ostadi, in a poem of Milton, and, in its degree, a buffoonery, often containing the deepest pathos, by one of our or of the American humourists, so there is merit in every branch of music which is the best of its kind ; and while striving to understand (which is necessary to enjoy) the highest forms, yield yourselves to the enjoyment of the particular class of music that really appeals to your tastes and excites your feelings, sincerely. A waltz by Strauss is a thousand times more preferable to an indifferent sonata, and I confess to enjoying it heartily. But you must even in such a case sift the best of its kind from the bad, and this can only be done by education. Avoid the cuckoo-cry of fashion, and, once more, cultivate sincerity. More than one piece has come into vogue lately. Why? Not that individually one would much like it, but because by the all-permeating voice of fashion "awfully lovely " has been pronounced (the verdict commencing with the highest grades of society and gradually extending to the lowest). A few words on a subject much discussed by the musical world, and I have done. That subject is the music of the modern German school, for which many of its votaries are anxiously striving to obtain the highest admiration of the musical public, and into which to divert the channel of musical thought. My previous remarks will, I hope, have shown you that I am not illiberal ; and I bow before the genius of Wagner and Liszt, also of Brahms, Raff, and Rubinstein, though the last three do not so distinctively belong to the new school. But I think it will be a sad day for music in England when its students abandon the traditions of pure music as handed down to us by Beethoven, Mozart, and Mendelssohn, for the exposition of what has been aptly called programme-music. It has been the claim of music to stand first among arts because of its independence of externals. While it can be emotional, it need not be - and it degrades itself by becoming - imitative or descriptive. Then also, when a composer is obliged - as I think from his feebleness - to attempt musically to depict some external phenomena, he has a right to explain what otherwise might have been unintelligible; but when a critic endeavours to fathom the intentions of a great master, such an attempt is impertinence. I remember once having read or heard that the opening bars of one of Beethoven's loveliest sonatas were intended as a double knock at a door. Shade of the great master! How much more realistic the double knock on the actual door would have been! Of course I except from the above remarks the admirable analytical programmes of Davison, Bennett, and Grove. I have now, in reference to the preceding observations, one more word to say. I have spoken of Wagner, who is certainly now the most conspicuous musician of the age ; and, depend upon it, no man attains such a position without commanding merit. But, while I humbly disagree with his theories, he is, I think, erroneously and unfairly criticised here, possibly in ignorance of his explanatory works. He is not ambitious to be judged as a pure musician, he thinks all arts should co-operate in a great work, and he is himself poet, dramatist, composer, scenic designer, if not artist and master chorographist all in one. For none of these component functions does he claim supremacy ; but in many articles on the opera of "Lohengrin," so successful last year, it is criticised not as a whole, but from a purely musical point of view, as if it were a new opera by Bellini, which should abound in lovely melodies of the conventional type, and which I must confess do not bear examination from a dramatic point of view. Chorus singers will often stand ten minutes before the foot-lights singing "Let us haste away," which will naturally elicit from one "who hath not music in his soul," - " Why don't they go ?" Now as you may want to haste away, I shall conclude for to-day, thanking you for your attention. But before parting we purpose to attempt the Bennett Exhibition Ode, as being a peculiarly appropriate selection for performance in this building, the lineal successor of the Exhibition building of 18-, for the opening of which it was composed. (Musical standard, Saturday, 27 May 1876.) Lecture 2: Thoroughness and Work in Music. Alexandra Palace. - The second of the series of lectures on music was delivered, on Wednesday, by Mr Lindsay Sloper, who devoted his attention to the importance of "thoroughness in work," as connected with the study of this branch of art. The word "thorough, " Mr Sloper said, was a favourite with him; and he deplored nothing more than the absence of thoroughness in teaching, whether of music or any other art. He contrasted the manner in which professors in England merely supplement their income by teaching, whereas in France and Belgium music is taught scientifically by professors who seldom appear in public. Mr Sloper dwelt strongly on the necessity of co-operation between teacher and pupil. Patience, perseverance, confidence in the teacher's skill, and strict obedience to his instructions were necessary from the pupil; and it was the duty of the teacher to possess an earnest desire for the success of his pupils, patience, method, and control of temper. It was also essential that he should not be hampered, as he too often was, by the interference of parents. The lecture was illustrated by some admirable pianoforte music, performed by ladies and gentlemen, pupils of Mr Sloper. (The Musical World, Saturday, 27 May 1876.) MR. LINDSAY SLOPER'S LECTURES ON MUSIC, PAST, PRESENT, AND FUTURE. The following is the text of Mr. Sloper's second Lecture in the above subject, delivered at the Alexandra Palace School of Music :- Towards the conclusion of my last address to you, I dwelt especially on the urgent need of thorough musical education, as being essential for the intelligent appreciation of the best forms of art, and therefore furthering its advancement in this country. Thorough is a favourite word with me - as it has been the motto of more than one eminent man in England - and it is the absence of thoroughness in musical teaching, and, I may say, in most teaching here, that I deplore, and on this subject I wish to say a few words to-day. Why the English race, who rank as the most sincere and earnest of students, should lack the art of teaching, I do not attempt to explain ; and I only hope that the new chairs of education the first of which has been established at Edinburgh, will work a revolution in this respect. In the word "thoroughness " in study, I include two capacities : earnest intelligence on the part of the teacher and the same on the part of the pupil. Perhaps one of the causes of the imperfect musical teaching in this country is that the art of instruction is not looked upon as a separate vocation : that eminent artists, whose heart is entirely devoted to their public performances, only supplement their income by giving lessons. In France, Belgium, and Germany - the head-quarters of the best musical instruction - the case is quite different. Taking, as an instance, the Conservatoire of Paris ; the principal teachers of the pianoforte there are Marmontil and Le Couppey, neither of whom, admirable players though they may be for all I know, has made a public appearance for the last twenty-five or thirty years. Teaching is their forte, they not only look upon it as a source of profit, but seek to cultivate the intelligence and develope the capacity of their pupils by scientific methods. Public performance they leave to the Plantés, the Ritters, &c. of the day. Pray understand that in the cultivation of any branch of study, two must earnestly co-operate - teacher and pupil - the first must contribute a methodical system of teaching, modified, in some degree, by the temperament of the pupil ; while the latter must bring patience, perseverance, and strict obedience to the task. In dealing with the somewhat delicate and difficult subject on which I have undertaken to address you, I think it will be convenient to consider it under two aspects : 1st, the duties of the teacher ; 2ndly, the interests of the pupil. The teacher, then, should surely be possessed of an earnest desire to promote the progress of his pupil - a definite method to impart - and the most complete control of temper. Supposing all these qualities to exist I must confess that the teacher's action is often hampered by a third person, whom I must introduce on the scene : the parent. The impatience of the latter to arrive at some tangible result of the child's study is one of the greatest difficulties besetting the path of the professor. Why, when in learning drawing, the pupil is content to make lines, more or less straight, or deformed noses, and abnormal eyes ; or in studying a language, to recite nouns and verbs, scarcely so interesting as a novel, and yet in music, wants at once to play a tune, I cannot explain, but I think the parent is often to blame for this. The teacher, then, should be inflexible. Whatever method he may adopt, must be strictly enforced : and I am sure, in most cases, the results will be finally appreciated. In teaching the pianoforte, there are two systems - I use the word advisedly, in contradistinction to that desultory and perfunctory teaching so prevalent - which two systems I will broadly characterize as the French and the German. In France, the pupil, for one year at least goes through a course of solfeggi ; that is, he becomes practically acquainted by the assistance of the voice with the notation, time, and theory of the art. In Germany, the masters are apt to exercise the fingers mechanically before even teaching the notes. If I should be asked to express an opinion on the two methods, I should pronounce in favour of the former for older, of the latter for younger pupils, whose intelligence may not be sufficiently developed to understand the technicalities of the study. But, observe, in neither system is there any intention to produce immediate results ; all the teachers aim at is to lay a solid foundation of musical acquirement, either theoretical or mechanical, leaving to the future the manifestations of proficiency, which shall be the certain fruit of solid study. The teacher then must be methodical and patient ; but, furthermore, must take pleasure in his work. I do not wish to lay claim to any special aptitude for my vocation ; but I will say that I have often been met by a smile of incredulity when I have asserted that I like teaching. I have derived no greater pleasure from music than hearing pupils of mine who have rewarded my pains-taking, and justified my method. No applause which might be awarded to me after a public performance could yield me similar gratification ; and, I believe, this is the case abroad. Such men as Wieck (Mad. Schumann's father), Reinecke, and then those two honoured names I have mentioned, Marmontel and Le Couppey, are proud of their pupils, whose merits reflect lustre on them - I have already said that a good master must be themselves inflexible, and must not admit of interference. Of the ludicrous forms in which the latter occur, I could speak from experience. No one would accuse me of a disregard for time ; yet pupils are apt from being enjoined to count, to adopt counting so much as a habit, that they cannot play without it. I once lost a pupil after the first lesson because I recommended her not to count in a piece, each bar containing eight equal notes, which it was impossible to play out of time. I was supposed not to approve of counting. Many are the difficulties with which we have to contend. Amongst others which have crossed my path, I have been accused of giving dance music to my pupils, such music being the lovely, intellectual, poetical waltzes of Chopin and Heller. If I had given them the allemandes, bourées, gavottes, sarabandes, chaconnes, courantes, menuets, &c. (all dance measures) of Handel or Bach, it would have been strictly classical, and all right. I do not know that I have any more to say about teachers, excepting to bear my unfeigned testimony to the excellence of ladies as such. They are possessed, in a much greater degree than ourselves, of conscientiousness and patience; besides which, they bring to their task a singleness of purpose, (having no public duties, in most cases, to perform), which is, in itself, the highest qualification. When they are lacking, it is in knowledge ; but I am bound to say, that many of the best pupils I have had, came to me from lady teachers, or perhaps from some obscure country master, who had his "heart in his work." One essential quality in a good lesson is this : the pupil must leave with a definite understanding of the work to be done during the ensuing week. I am accustomed within the last five minutes of the hour to recapitulate, by the aid of a good memory, all the corrections I have made, and the advice I have given on that day. The pupil carries these admonitions home, and a great saving of time and labour is effected. Secondly, errors need not and never should be made ; it is but a poor, blundering system to allow mistakes, and then correct them. Let due reflection be used, and this fatal practice will be avoided. Thirdly, a master should never tell anything to a pupil which he or she can find out without assistance ; such as correction of notes, or miscalculation of time. This I have found a most invaluable precept. And now I will address my remarks, which must be of greater length, to the students. I have not attempted to detract from the responsibility of the master ; therefore I may ask for an equal amount of earnestness on your side. As method, patience, industry, and pleasurable interest are necessary in him, so they are in you. You must, in the first place, come to your master with perfect confidence in his skill, and obedience to his recommendations. If your progress is not, apparently, so rapid as you would - somewhat unreasonably - wish, do not murmur ; but believe in the assurance of satisfactory results. I, naturally, shall speak of the pianoforte alone, but I am confident my precepts would apply to any other study. I suppose that you are commencing. Do not chafe at those purely mechanical exercises - so strongly insisted on in Germany - which not only strengthen your fingers and render them supple, but give you a delicate touch, and a good position to your hand. Later on, practise the scales, not in a hurried or slovenly manner, but with deliberation, due to their importance as guides to fingering, and "indices " to all keys in which you may have to play ; and, later still, pay the strictest attention to the fingering which your careful teacher may mark for you. This, to my mind, is one of the most important topics coming under my notice to-day. I hope you will not think I am degrading my art in saying that the correct rendering of a musical work is, to a considerable extent, mechanical. It is purely a question of habit - habit of the fingers - and I will illustrate this by saying that pieces I played 30 years ago, when I practised touch, I could play equally well now : whereas I would not attempt, without previous study, a piece I played for the first time last year. Now, to acquire a habit, two things are necessary ; to do the same thing often, at short intervals, and in the same way. You must therefore divide your pieces into small portions; practise each slowly till you have learned it, and always with the same fingering : and be your practising time half-an-hour, one hour, or two hours, never get up till you have accomplished something. I have often astonished pupils who have been helplessly floundering about a piece, by counting the numbers of bars, and asking if they could not, perhaps, accomplish eight bars in one day, by which process the whole would be finished in a week. It is really lamentable to reflect upon the amount of time expended on music, and the infinitesimal results produced. In the first place, it is considered an essential in a young lady's education, irrespectively of her talent or taste. I feel I am not commercially prudent in hazarding this remark. Secondly, she is imperfectly taught at the first, when the best teaching is required ; and thirdly, from, may I say a little vanity, fanned by the teacher, in the last stage, the most unsatisfactory performances are to be heard. All this from two causes : the first from not asking yourselves if you really like music sufficiently to bring hearty and earnest work to its study ; the second, from lack of method and industry on the part alike of master and pupil. I will relate to you a little anecdote to show what may be accomplished by will. Some years ago, a very intelligent lady was taking lessons of me, and a more impracticable pupil I never had. After many visits, during which I endeavoured to inforce the doctrines I have expounded to you, she turned abruptly round, and said "If I follow your advice for six weeks, do you think I shall be able to play?" She became one of the best pupils I ever had. And this leads me back to the immediate subject of my lecture, "Thoroughness in work." The lady of whom I have just spoken was by no means musically gifted. She was essentially an earnest, intelligent, and industrious worker. It is not the exceptionally talented musician who attains more than average perfection in the art of music. In schools where I have taught, whenever I have had an unusually satisfactory pupil, and when I have consequently expressed my gratification to the school-mistress, what has been the invariable reply? "She is equally satisfactory in all her studies." It is therefore that Thoroughness in work for which I contend on which you must rely. And is this not true of all work? Whether science, or language, or art, in any form, is being studied, - is it not singleness of purpose, earnestness, and above all, method, which have to be cultivated? A favourite rule of most men of mark is "do one thing at a time" - that is, bring your undivided attention to bear on the subject on which you are occupied. I have, in humble emulation of those whose examples I have quoted, done the same thing for years ; I never allow my thoughts to be distracted from one theme by other considerations, and I can assure you the work I am able to get through thereby is very considerable. Next to this undivided attention comes the methodical arrangement of work to be done. I am very loth to cite myself in illustration of my theories : but I can really assure you that the advantage of doing every portion of your daily work in its prescribed rotation is incalculable. I do not know, if I were to talk for hours, whether I could more strongly emphasize the few remarks I have made to you to-day. I hope to have explained clearly to you the views I entertain on musical education, and education in general. "Thoroughness" must be your motto, "thoroughness " must be your practice ; and the certain result will be an amount of excellence which will be an equal pleasure to yourself, and to your friends. [As an agreeable addendum to this short lecture, Mr. Sloper called upon a few of his pupils to play, as follows- Mr. Hackmann : Prelude and Fugue, F sharp major (Bach); Promenades d'un Solitaire (S. Heller). Miss Muschamp : Les Clochettes (Liszt). Miss Thompson : Marche de Nuit (Gottschalk) ; Mandolinata (L. Sloper). Mrs. Cunash : Impromptu in C sharp minor (Chopin). Miss Levy and Mr. Sloper: Diversions, Duetts (Sir Sterndale Bennett). Miss Staniforth and Miss Shiels : Mirella (Lindsay Sloper), and Prelude and Fugue in E minor (Mendelssohn)]. Of the merits of these pupils, you will form your own judgment. All I will say is that they have been - as their performances will evince - earnest, and thorough workers. And, pray, before concluding, allow me to make one very emphatic remark. I have not wished to convey to your minds that because a man is a fine performer, he is therefore a bad teacher, but that a man is not necessarily a good teacher because he is a fine performer. Teaching is a science, and till this axiom is generally accepted here, we cannot look for equally high manifestations of musical talent as are evinced by other nations. (Musical standard, Saturday, 3 June 1876.) Article 1: Music in England - Past and Present - Overview. MUSIC IN ENGLAND (- No. I). DEAR SIR, --Having received your kind permission to express my opinions on the condition of music and the musical profession in England, I avail myself of the opportunity and adopt the epistolary form, that you may not be held in any way responsible for the views I take, and, above all, that they may not be held to emanate from your respected musical critic, whose ideas may be quite adverse to mine. My object in writing this series of critical papers is to compare the present condition of music in England, and that of about thirty-five years ago, and to examine if there be any justification for the optimism that at present prevails with regard to musical progress. My contention is that the greater diffusion of music is mistaken for the progress of musical art and, in support of this postulate, I shall write in no captious spirit, but sincerely and modestly endeavour to counteract the self-sufficiency which, if not abandoned, will be destructive of real musical progress. Progress could only be really evinced by marked improvement in the quality of the performances by the production of more important compositions by greater intelligence on the part of audiences by the development of thoroughly-organised educational establishments by the higher quality of the works issued by publishers by the superior and self-respecting character of private concerts given by professors by the nature of musical entertainments in private houses, and the share taken therein by amateurs. It will be my endeavour to prove that in none of these respects have we advanced, if we have not retrograded, during the last thirty-five years, and I shall not wind up my strictures on the present without offering some practical recommendations for the future. I purpose to divide my observations under the following heads: 1 (To-day), a rough comparison of music in England thirty-five years ago and now 2, oratorio 3, opera 4, musical societies and organisations 5, benefit concerts 6, audiences 7, amateur music 8, composers 9, publishers 10, educational institutions; 11, private tuition; 12, suggestions for the attainment of real musical progress. Before entering on the first of the illustrations in support of my views (which, I am quite aware, are opposed to the expressed opinions of many eminent musicians, and must be subject to the logic of facts) I will at once admit that there has, during the period named, been a marked amelioration of the social status of musicians. We receive now an amount of consideration that, at the earlier date, was only accorded to members of other professions. In this indubitable improvement there is a healthy indication of, at least, the desire of society to honour music in its professors. But I find no great cause of congratulation in the retrospect of musical doings since the year 1850 or even going back to an earlier time. Following the lines of my programme, in the year I mention a glorious list of oratorios had culminated in Elijah. Although several works of high merit have been produced since then, no one will contend that the excellence of those masterpieces has been attained. Then the soprani were Mesdames Jenny Lind and Clara Novello the contralti, Mrs. Alfred Shaw and Miss Dolby (Madame Sainton Dolby) the leading tenor, Mr. Sims Reeves in his prime Herr Staudigl, and, very little later on, Mr. Santley. Do we ever have such a cast now? Again, the choir of the Sacred Harmonic Society had the fresh voices and the vigour of youth now it is superannuated, and drastic measures have to be applied to weed it of its no longer efficient members. Sir Michael Costa, conductor then as now, in spite of riper experience can scarcely have improved upon his admirable direction and control of his forces at the earlier date. Owing, possibly, to the greater facilities of locomotion, the provincial festivals do not excite the same interest that they did in former times. Turning to the opera, we find Grisi, Persiani, Jenny Lind, Bosio, Alboni, Rubini (a little previously), Mario, Tamburini, and Lablache, with Costa as conductor. Is there any combination comparable to this now? Then we had English opera mediocre it is true, in many respects; but still sufficiently stable to allow Balfe, Wallace, Benedict, and Macfarren to produce many interesting and still living works. The Philharmonic Concerts were in the hey-day of their prosperity the Antient Concerts (I have no data before me) had scarcely ceased to exist. Although I recognise in the Monday Popular Concerts the brightest spot in our actual music, and in the musical horizon; the Musical Union flourished at the earlier epoch, and furnished performances not inferior to its younger rival. The Royal Academy of Music, with Bennett, Potter, and Holmes amongst others, as professors, had been long in existence. Admitting the energy of the present management, which has resulted in pecuniary success, has the staff of professors improved or the talent and culture issuing from its portals been greater? With regard to benefit concerts, the few, comparatively, that were given thirty or thirty-five years ago were high-class orchestral entertainments; now they are simply a form of sending round the hat, or seeking a return for the gratuitous services (at private entertainments) of the concert givers, and have no artistic purpose or value. The audiences are certainly more numerous, but even in this respect there is some delusion. Messrs. Chappell will acknowledge that, large as is the attendance at the Monday Popular Concerts, it is nearly the same public every time, and I believe it to be so at the Crystal Palace Concerts. Again, with regard to the intelligence of the listeners, it is not rare to witness a lady with a score open before her, but, unfortunately, at the wrong place, while the escorting gentleman peacefully nods or slumbers. The old Philharmonic or Musical Union subscribers, though inferior in number, would possibly compare favourably with them. A hundred uneducated listeners will not equal one thoroughly appreciative musical amateur. I must leave amateur music alone to-day, and deal quickly with my remaining topic. Our most illustrious composer, Sterndale Bennett, had produced all his finest works at the date named and there were some not unworthy associates of his in composition. Have they been surpassed since? Publishers, notably the late Mr. Frederick Beale, were ready and willing to produce works of real merit, irrespective of the popularity of their composers a popularity acquired, possibly, by the most meretricious productions. Will they do so now? Dealing with the pianoforte only, we had as private teachers Moscheles, Potter, Edward Schulz, Benedict men whose ability and zeal were beyond all praise. With all these subjects I shall deal fully, with your renewed permission, in future letters. Feeling assured that these contributions to your paper will call forth many strictures, I must beg of my critics to abstain from noticing this first crude outline. After subsequent articles I shall be happy to answer any communications deserving of answer that may be sent to me. Still further to dissociate you from any participation in my views, I beg to sign myself, Yours obediently, Lindsay Sloper. (Illustrated Sporting and Dramatic News, Saturday, 1 January 1881.) Article 2: Music in England - Past and Present - Oratorio.MUSIC IN ENGLAND (- No. II.). DEAR SIR, - Although true musicians would find in symphonic compositions the highest exposition of musical art (because independent of words or dramatic suggestion), still the public voice has accorded to oratorio the first place in in esteem and reverence. Therefore, in pursuance of my plan, foreshadowed last week, I will deal first with the progress, or decadence, of oratorio in England. The provincial festivals have chiefly caused the production, in many cases originated, the composition of the great works whose glorious harmonies are now our perpetual delight. But, as I shall subsequently treat provincial music, my theme to-day must be the Sacred Harmonic Society, the great organisation which, under the fostering care of Sir Michael Costa, has, for many years, kept alive the interest in oratorio music. On Friday, April 16th, 1847 (thirty-three years ago), Elijah, the last great oratorio, was produced, under the conductorship of the composer. The cast was Miss Birch, Misses M. and A. Williams, Miss Dolby, Mr. Lockey, and Mr. H. Phillips. Subsequently Miss Birch (whose exquisite voice and admirable style in Sacred music must be remembered) was replaced by Mme. Clara Novello and Mme Jenny Lind. Miss Dolby could not be replaced. Mr. Sims Reeves (on a few occasions) was the substitute of Mr. Lockey, Herr Staudigl and Mr. Santley of Mr. H. Phillips. Now, let us look at the latest cast of Elijah - Miss Alice Williams, Mme. Patey, Mr. Edward Lloyd, Mr. Santley, with subordinates. With the greatest respect for the talent of these artists, the last of whom, be it observed, was in the earlier cast, there is surely no improvement. A superannuated chorus now happily dissolved, and an inefficient orchestra completed the decadence which I assert, this point is conceded by the removal of the society to St. James's Hall. Though, pace Beethoven, an orchestra of sixty is sufficient for the most elaborate instrumental works, a Messiah, an Israel in Egypt, an Elijah requires more collaboration than the area of St. James's Hall can afford. I fear I have proved the deterioration of oratorio performances in England during the last thirty-five years. How about the production of oratorios during that period This is a very delicate matter on which to write, and I would prefer not to be critical. The names which occur to me are: St. Peter, Benedict, Eli, Costa, Naaman, Costa, St. John the Baptist, Macfarren, The Light of the World, Sullivan, The Woman of Samaria, Bennett; The Martyr of Antioch, Sullivan, and there are others. That some of these are of great merit none will dispute that they have advanced beyond Elijah none will contend. It will be urged that the great musician of whose work I am writing so enthusiastically was a foreigner, and therefore that his genius was in no way indicative of our musical status. But it must be remembered that though the German oratorios of Mendelssohn and Spohr were not always written for this country, they were conceived with the view of their performance here, where the traditional reverence for Handel prevailed, and secured an appreciative audience for a sacred work. Has that reverential appreciation increased ? With regard to composers the fault would appear to be not so much the lack of skill or imagination as the lack of time, which can be more profitably employed. How little enthusiasm we have for our divine art; How remote from our desire to emulate Beethoven, Mozart, Schubert, men who laboured in poverty to cultivate the talents bestowed on them by the Divinity. Genius has been not inaptly described as the capacity of taking pains. Pains are not taken now we have no longer oratorios, but fragments of oratorios. Again, the dramatic element which Mendelssohn introduced into Elijah, without once detracting from its solemnity or dignity, is being parodied in the sacred cantatas of this day, the separation between them and opera being a distinction without a difference. One longs for a man who can write a double chorus like Handel, or a fugue like Bach. To the modern mind these may seem fossilised productions, but to the earnest musician they represent the true dignity of his art. The remedy I shall humbly propose must be postponed to my last letter; till then let me beg my brethren to utilise the great talents bestowed on them, and to produce works worthy of them and our artistic fame. - Yours, &c., Lindsay Sloper (Illustrated Sporting and Dramatic News(, Saturday, 8 January 1881.) Lecture 4: Music in England - Past and Present - Benefit Concerts. MUSIC IN ENGLAND. - No. IV. BENEFIT CONCERTS. (To the Editor of The Illustrated Sporting and Dramatic News.) Sir, Benefit concerts, what an exhaustive subject, treating them from the great speculations (initiated, however, by private individuals) to the Midget entertainments given at family residences. Let me deal with them freely throughout. I look on the Monday and Saturday Popular Concerts as the most valuable institutions in London. The music played there, the exponents of that high-class music are all that the most ardent musician could desire. The history of that society (if it may be so called) is singular. It was started by Sir Julius Benedict many years ago, and his conception was that the most popular music should be given. Hence the title. Next stepped in the very admirable critic in modern journalism, Mr. J. W. Davison. He proposed to Mr. S. A. Chappell that the concerts should assume a strictly classical form. His judgment was right. The concerts became a pecuniary success. And now we possess an institution which is an honour to the country and can scarcely be rivalled in the world. At the same time, let me call attention to the fact that, despite increasing population, the audiences at these concerts do not materially grow in numbers, and are composed of familiar faces. Now, I beg leave to turn to Mr. Hallé's concerts, Mr. Ganz's, Herr Richter's, the Promenade Concerts, and to the little entertainments to which I have already alluded. Mr. Hallé has done admirable service to musical art; he has introduced to us works with which the British public was previously unacquainted, and has conducted these works with great skill. Mr. Ganz, taking up the threads of the defunct New Philharmonic Society's existence, has displayed enterprise and energy. Herr Richter has exhibited to us the most accomplished type of musical conducting. Next come the Promenade Concerts, benefit concerts in every sense of the word. Mr. Gatti, M. Riviere, and Mr. S. Hayes being, at different times, the responsible lessees. It happens I can speak with experience on this subject, for I have been during three years accompanist under M. Riviere and Mr. Hayes. Of the pecuniary profit of these and other benefit conceits I shall write later on; of the great uprightness of M. Riviere and Mr. Hayes, I wish to make present acknowledgment. But, with my three years experience of Promenade Concerts, what story have I to tell? Whenever the British Army Quadrille (not by any means a despicable piece, but owing its popularity to the theatrical display with which it is introduced) is played, or when we had a Scotch night, or an Irish night, or a Welsh night (to think I should have lived through them) we had large and enthusiastic audiences. But when Mr. Weist Hill, one of our most thorough musicians, tried to introduce better music, the result was premature frost, I fear. I have been able to speak highly of Mr. Hallé, Mr. Ganz, and Herr Richter, to whom I will add Mr. F. Cowen, the conductor of Gatti's Concerts, and of Mr. Weist Hill, on whom compliments are wasted. But I should be very glad, having undertaken to review musical London, to know what the commercial success of their undertakings has been especially when they have produced the best music. However, though the concerts of which I have written are strictly benefit concerts by the last title are generally understood as those given by individual members of the profession in their own name. Of these Sir Julius Benedict's and Mr. Kuhe's are the most conspicuous but, while they afford to our country cousins the opportunity of hearing the aggregate of great artists in London, they are otherwise of no artistic importance. To turn from the sublime to the ridiculous, what can be said about the innumerable little concerts given at small halls, private houses, &c? Does their multiplicity argue in any way in favour of the progress of music in England ? How are they originated? Generally a foreign artist, armed with letters of introduction, arrives in London. He or she may get a few pupils, go to many evening parties to play or to sing; in return for which a guinea a ticket is exacted for an entertainment not worth more (because attainable at the price) than half-a-crown. In the case of English artists who give this class of concerts, I have no hesitation in saying that they have the confidence to ask for the patronage of their pupils and friends, a step which, with some others I have never been able to take. There is an amusing side to these entertainments. We are all supposed to assist each other; we sacrifice valuable time to do so (the bad example, set by Sir Julius Benedict, and followed by Mr. Ganz, of never allowing your name to be absent from any programme), and yet we cannot carry out the printed scheme. This artist does not turn up, that other arrives an hour late, one of the conductors (we are generally six) is unpopular with the singers, and he resents the preference shown by them for another accompanist, or a singer does not obtain the coveted (whatever they may say) encore, and the pianist incurs the blame. Then, if in a private house, belonging to the Sir Gorgius Midas class, there is possibly some aristocratic visitor to whose approbation or disapprobation we must succumb. Is this musical progress? Let me turn to a more pleasant subject one, not properly coming under the head of this letter, but which cannot be included in any other. Under the auspices of the Eyrie Society concerts are being periodically given in workhouses and hospitals. I was at Westminster workhouse on the inclement night of last Tuesday, and several musicians were there besides myself. On this occasion the benefit was truly and honourably ours. Though it does not affect musical progress, the pleasure we visibly afforded to the aged paupers induces me to appeal to the public for support to the Eyrie Society. Yours, &c., 63, York Terrace, N.W., January 25, 1881. (Illustrated Sporting and Dramatic News, Saturday, 29 January 1881.) Article 7: Music in England - Past and Present - Educational Institutions and Private Tuition. MUSIC IN ENGLAND. - No. VII. (To the Editor of The Illustrated Sporting and Dramatic News.) Sir, Referring to the letter of the Hazy Victim in your last issue, let me state that in writing of the manager of the late Promenade Concerts at Covent, I gave the result of my personal experience only. That in one, if not more, cases there has been a deviation from business practices, your correspondent's letter would tend to prove. Let me hope that this is merely a temporary, and, possibly, an unavoidable, dereliction of duty, and that, shortly, your Hazy Victim will join with me in appreciation of the rectitude of the gentleman to whom, unmistakably, allusions have been made and that satisfaction will reign on both sides. EDUCATIONAL INSTITUTIONS. Those being governed by committees, and, therefore, being really public organizations, appear to me to be the Royal Academy of Music (incorporated by Royal Charter), the National Training School for Music, and the Guildhall School for Music. Dr. Wylde's London Academy of Music, Mr. Ganz's, and Mr. Lansdown Cottell's conservatoires are private speculations, as are Mme. Dolby's, and my academies. My business is, accordingly, chiefly with the first three named. It is true that there exists a mysterious institution called Trinity College but how it originated, how it obtained its proclaimed financial success, what its raison d'etre may be, beyond granting certificates to mere[?] in musical art, I fail to understand. As regards the Royal Academy, one is constrained to acknowledge the increased energy, the greater business capacity, and the Professor [?] presents controlling managers. But, admitting all this, I must at once join issue with Professor Macfarren on a vital point. It is scarcely a school. He lauds the principle of a lot of teachers acting independently of each other, and impressing their individuality on their pupils. Then why should not the latter come to their master's private house and where-fore the necessity of a general home for such heterogeneous occupants? How different is this system from that of the continental conservatoires. Abroad, each department is ruled by one professor, and the others, with no derogation of position simply as one servant of the State would serve under a Premier looking forward, possibly, to the Premiership, give hearty allegiance to his chief. If the student does not like the Paris School, he can go to Brussels, or to Leipzic, or to Dusseldorff. But they are all schools precise in their teaching it, dissimilar in their manner. Witness the outcome. Our orchestral musicians, individually the most admirable in the world, the best sight readers, the most vigorous players, and producing the greatest sonority attainable, cannot approach the best continental orchestras in ensemble and refinement. Why? because of the very absence of the consentaneous study, and undivided authority in teaching which Professor Macfarren deprecates. The nearest approximation to continental excellence that I know is to be found in the Crystal Palace orchestra, under the direction of Herr Manns, and in Mr. Hallé's orchestra. These gentlemen are autocrats; their subordinates practice almost daily together, and hence obtain a similarity of style which otherwise could only he attainable by study under the same master. I am fond of proving my arguments by analogy. In our universities, could it be tolerated that there should be a dozen professors of theology, or of mathematics, or of political economy, or of medicine, or of natural science, each teaching different theories? Nay, let the scholastic teaching in one institution be uniform and methodical, the individual pupil will develop his talent, and display his originality, when free from his master's judicious bonds. Before quitting the subject of the Royal Academy (admitting its financial success, and as an occasional examiner there being able to bear testimony to much promising talent amongst the students), has it, within the time of my retrospect, produced another Sterndale Bennett or another Mme. Sainton-Dolby not to mention many others. The advantage to students may be that eminent masters teach at this national school at much lower terms than they would otherwise accept, emulating the example of our first physicians (who give gratuitous services at hospitals for honour and glory) and thus save the pockets of the pupils. In the National Training School my contention has apparently been carried out. Each department had its ostensible head. The resignation of its distinguished Principal, its presumable financial collapse, and unless it can woo the Royal Academy into matrimony, with the Prince of Wales as best man, its probable extinction, do not disprove my argument. The inconvenient locality, and perhaps some supineness on the part of the governing professors, may have conduced to the possible failure of the institution. The Guildhall School of Music, situated in Aldermanbury, presents one of the brightest prospects to the ardent musician in London. I do not speak of it thus because I happen to be [one of the professors] but I am struck with wonderment to think that, in its second three-monthly term, the pupils number between five and six hundred. I believe that, with the ability and energy of Mr. Weist Hill, the Principal; the good organization which I am convinced he will introduce and the zeal of the teachers, East and North London will show an example to the Western and South-Western districts. Here there is distinct gain to students who reside far from those parts m which the lights of the profession do mostly congregate. The pupil's time and their expense are saved, the best musical tuition is brought to them, while the teachers have the valuable guarantee of the Corporation of London for their remuneration. I do not know under which head to write of the semi-public music schools to which I have previously alluded. The prospectuses issued display a brilliant array of teachers the terms are very low. Many of the advertised masters will not teach under one guinea per hour. Now, considering that rental has to be Paid, the Principal fairly (and properly) remunerated, will the pupils work out the simple arithmetical sum, what fraction of an hour they can expect weekly to receive. If I am in any respect wrong, I apologize beforehand. PRIVATE TUITION. My last paragraph bridges over the gap between public educational establishments and private tuition. Perhaps the latter influences more than the former the general progress of music in this country and a glimpse at the Musical Directory will show that there are thousands in London alone who constitute the army of musical teachers (I had almost said martyrs), let alone the numerous governesses and obscure musicians who are not duly registered. In most cases, to them the musical culture of the rising generation is confided, and, in a large majority of cases, I do not hesitate to say the confidence is entirely misplaced. It is not sufficient that a teacher should be a conspicuously-accomplished executant-- a thorough musician. He must have patience, interest in his pupils, and anxiety for their progress, and, beyond all, a logical mind, the characteristic of the true teacher, and the surety for his pupil's advancement. But how few are there of these typical masters now such as Moscheles, Edward Schulz, and many others in the past? Unfortunately, so many adopt musical instruction as a profession who have not the slightest competency for it, but simply as a poor - a very poor - livelihood and their pupils, their victims, let me say, are irretrievably ruined. I do not mean that the most prominent musicians are the best masters. I have said otherwise before. I will, indeed quote from a lecture I delivered at the Alexandra Palace in 1876; I do not know that I have any more to say about teachers, excepting to hear my unfeigned testimony to the excellence of ladies as such. They are possessed, in a much greater degree than ourselves, of conscientiousness and patience besides which, they bring to their task a singleness of purpose (having no public duties in most cases to perform) which is, in itself, the highest qualification. When they are lacking it is in knowledge but I am bound to say that many of the best pupils I have had came to me from lady teachers, or perhaps from some obscure country master who had his heart in his work. It is a delicate matter for me, as a teacher to deal with this question but postponing my remedial measures to the final letters of this series, I may be permitted now to indite a short lecture to the young ladies and gentlemen in whom our hopes of amateur musical progress are centred. It is again a question of demand and supply. Were they not so eager for immediate display, so impatient of necessary discipline, the teacher would be more conscientious, and we might make a step forward. My rather large experience of the results of teaching in schools and private families has only proved perfunctory tuition on the part of the masters, and negligent practice of the pupils. As I have before said, the latter are greatly to blame. Taking up, however, the threads of the argument I am endeavouring to sustain throughout these letters, we have few such masters now as we had thirty-five years ago. Criticism, and not advice (which must be postponed till the close of this series of letters), does not afford me scope for more comments on the present theme. I will only add that I wish I could find in those who have the charge of educating the future musical England more competency (with the present great industry) in the lower grades of the profession, greater competency (and increased industry) in the middle class, and less indifference in the hupper-suckles of the profession-- I am, &c., Lindsay Sloper. (Illustrated Sporting and Dramatic News, Saturday, 12 February 1881.) Article 8: Music in England - Past and Present - Composers. CORRESPONDENCE. MUSIC IN ENGLAND. - No. VIII. To the Editor of The Illustrated Sporting and Dramatic News.) SIR, - Since the publication of my last letter, I have had a courteous communication from the Secretary of Trinity College, deprecating the terms in which I alluded to it, and inviting me to come and receive an explanation of its objects and organization. I have paid it a visit, finding admirable premises, a large number of pupils, and a competent staff of teachers, who, I doubt not, make the best use of the time at their disposal. Retracting, therefore, what previous want of information led me to write, I would only take exception to the extensive ramifications of the local examinations. My experience as a constant crammer (an occupation I greatly dislike), for the Oxford and Cambridge Examinations has proved to me that their supposed advantage is purely illusory, if they are not detrimental and that the successful and certificated candidates, in many cases, go forth into the world with wholly deceptive badges of excellence, when their time might have been advantageously employed in steady, if less exciting, work. COMPOSERS. If, as a teacher, I had a delicate task last week in writing on tuition, how much more difficult is it for me to compare the composers of the past with those of the present generation, being myself a very humble competitor amongst the writers of the day. At one time, in or about the Elizabethan period, there were many English composers who, as originators of madrigals and church music, could challenge the best Italians for superiority. But since that, what have we to chronicle? Absolutely, Sterndale Bennett as an orchestral writer, Balfe, Loder, and Wallace as operatic composers; Smart and Hatton as song producers. This is a meagre list, but it is highly but it is highly creditable to the past. It is now my duty to write of the composers of the day. I think the better plan will be to describe their characteristics, without mentioning their names; let my readers put on the caps where they fit. First, we have a prominent musician, whose technical skill whether in construction or orchestration, is indubitable but who lacks so much of the sense of melodic grace that there is frequently a ruggedness in his works, master of his art though he be. Secondly, one, not less prominent, has evolved, from an admixture of Mendelssohn and Gounod, a style of his own. Though in his humorous works he is inimitably funny, in his more serious compositions he is at times monotonous and turgid. I speak of this anonymous gentleman with great respect, looking still to him as the hope of musical England. Thirdly, there is a young composer who is coming very much to the fore. I was amongst the first to recognise his talent, when he was a boy of about eight years of age, and had already written a sonata. I wish I could find more vigour in his compositions; the motifs, whatever their elaboration may be often appear to me weak. Then there is a popular song-writer who has really originality, but whose obstinacy will not permit him to receive advice or correction from professional musicians in matters wherein he is ludicrously wrong. I fail to understand the laudation bestowed upon the host of young English composers who affect the Wagnerian style. For Wagner himself I have the most sincere regard, the highest admiration. His music exercises a weird influence over me which is irresistible. After hearing portions of his Nibelungen Finn at the Albert Hall, I was constrained to go and sit in solitude in Hyde Park, pondering over the impressions I had received. But in proportion to my appreciation of the master is my pity for his imitators. We have young men now endeavouring to conceal their incompetency in unintelligibility. Great as the services of one firm of Publishers has been to the profession, they having produced cheap editions of sacred works, valuable educational treatises, and excellent part-songs, their premises are, from some strange (because it cannot be commercial) reasons, the hotbed for the production of these musical inanities. Shades of Sterndale Bennett, Wallace, Balfe and Henry Smart, what is the condition of composition in England now ? And, referring to one writer happily yet alive when shall we see another To Anthea CRITICS. The guidance of public opinion rests here in a greater measure than in any other country with the press critics - the professional audience. I will not go so far as to say that a critic should be as good an artist as the person on whom he pronounces judgment; but he should at least have some technical knowledge, added to a love for the art on which he comments. That there should be divergence of opinion on the excellence of a composition, or the talents of a performer I can understand but when it is a question of fact I can only say, Alas, poor public! forsake your quondam teachers and judge for yourselves. If, as I contend, there has been no substantial progress in music during the last thirty-five years certainly the critics, as a rule, with a few honourable exceptions, do not lighten our darkness. AUDIENCES. The truest test of musical progress would be the intelligent criticism and approval of audiences. Would that I could discover the former quality in our present audiences ! If Mr Sims Reeves, or Mrs. Osgood, or Mme Patey, or Mme. Antoinette Sterling, or Mr. Lloyd, or Mr. Santley, come forward the applause is rapturous. It is the right thing to applaud these great artists. But let a beginner, whose voice and talent are equal to those I have named, sing, there is a hesitancy on the part of the audience, proving that they are not guided by their inclinations, but by what, in sporting language, is called public form. I do not wish to anticipate my last letters; still, I must say a few words to members of audiences at the conclusion of this letter. If they would advance the art of music, let them practice sincerity. Their fervid admiration of Offenbach will do us almost as much good as their professed reverential worship of Beethoven. In the latter case, there may be insincerity, in the former intense enjoyment. What we want is public interest m our art, audiences expressing their true feelings and, if favouring a low type of music at first, being gradually raised by us to the appreciation of the higher forms of art. But audiences are composed of such heterogeneous materials. I will instance the Monday Popular Concerts in illustration of my contention. In the orchestra, on the platform, as it were you will see a number of sturdy music lovers, mostly belonging to a humble class, but whose hearty applause is more welcome to the performer than any approbation he can receive from the body of the hall. Coming down to the more aristocratic attendants of these concerts, what . . .[Abridged] (Illustrated Sporting and Dramatic News, Saturday, 19 February 1881.) Article 10: Music in England - Past and Present - Conclusion. MUSIC IN ENGLAND: X., AND LAST. (To the Editor of The Illustrated Sporting and Dramatic News.) Sir, At the close of my last letter I congratulated myself on having finished my task of all-round depreciation, solely undertaken in the interests of musical art, to temper the optimism which would persuade us that we are a musical nation, which I contend we are not now, whatever the glamour of our musical activity may, in some eyes, apparently prove to the contrary. This self-sufficiency, if not corrected, will stifle all the latent capacity for production, execution and intelligent appreciation, which may exist in the national character. We do not, like the Italians, sing as the birds do, because they cannot help it; we do not possess the finesse, and well-balanced judgment of the French, which have given them an Alfred de Musset in literature or a Meissonier in art and which, musically, have resulted in the conception of the most delicately original works of the century, besides rendering the French the most exacting of critics in their judgment of executive ability; we have not the philosophical, metaphysical, and, at the same time, sensuously poetic mind of the Germans, which has enabled them to claim pre-eminence in the higher and more intellectual sphere of composition, albeit recent productions err on the side of vagueness and ponderosity. Neither have we (in fact this is our special deficiency) the strong rhythmic feeling of the Slavonic and Magyar races constantly asserting itself in their national, or quasi-national music. Should we, therefore, despair? No, certainly not; only we must not lull ourselves into torpor with the anodyne of contentment, nor inflate ourselves with the poison of conceit. It is to avert these dangers that this series of letters has been written, and I trust those interested in art will ponder a little over the advice I shall humbly endeavour to give. I purpose to follow the order in reviewing the different branches of the art, that has been taken in my strictures, as being the most clear and logical plan. ORATORIO. I would have composers who feel that they have within them the capacity, and have withal the ambition to produce works occupying these large canvasses, reverently study the immortal works of Bach, Handel, and Mendelssohn not omitting Mozart's Requiem to enlarge their minds by reading the loftiest literature and, above all, to be permeated, as it were, with a devout sympathy with the divine story. This last qualification was strongly characteristic of at least two of the above-named great masters. They must not be servilely imitated; we have had too much of diluted Handel and Mendelssohn; but while following their lines, an element of original thought should flow throughout the whole work. Again, let there be no hurry - little gain is obtained by the commission for works to be produced at a particular date, if their commencement be deferred until they were written under pressure. It is nothing that Handel wrote the Messiah in an incredibly short time - all are not giants like him. I may have seemed in my letter on Oratorio to have alluded deprecatingly to the shorter oratorio, or sacred cantata, but it was quite unintentional. On the contrary, young composers had better try their 'prentice hands on these less ambitious works before venturing on the more imposing task, in which it is so difficult to keep up sustained interest. England, if it has not given birth to any really great oratorio (for Handel was but a naturalised Englishman after all), is the home of oratorio and, as this branch of composition is more prized here than in any other country, so it is the one most specially adapted to the exercise of our countrymen's industry. OPERA. Italian opera in this country is but a pale shadow of what it was in its glorious past. Indeed, its roll of delightfully fluent and melodic composers is virtually closed and for exponents, skilled singers, it has to rely on extraneous assistance. English opera is extinct. The last quarter of a century has not produced one abiding work nor will the next be more fertile, unless a fitting and permanent home can be provided for it in London. A strolling company, however efficient, breaking out in London at off times, as if it were ashamed or afraid of entering into competition with the musical attractions of the season, is of no use. Neither can an English opera-house flourish long on the basis of hackneyed foreign operas done into English nor is it desirable that the original works produced should be necessarily by English composers. Let the manager of the opera-house I would see established follow the example of the Academie de Musique, in Paris, seek with true eclecticism for original works by men like Gounod, Bo[?]to, and Thomas gladly welcoming, however, the contributions of Englishmen, worthy to enter the lists against such illustrious antagonists. Then the ambition of our composers would be fired, with happy results till then, we can only resign ourselves to the sterility of the field of this branch of native music. MUSICAL SOCIETIES AND ORGANISATIONS. I have a few words to add to the remarks I made on these in my third letter, in which I principally referred to the Sacred Harmonic and Philharmonic Societies. I still hold to my opinion that the former society will suffer by its expulsion from Exeter Hall. St. James's Hall is too small, and the Albert Hall too large, for the adequate effect of oratorio. We sadly need in London a large, but not gigantic, room for such works. I have written enough about the past of the Philharmonic Society its present directorate has made a brave departure this season, and, although my hopes for its welfare are not commensurate with my good will, may it live for years to retrieve its late disasters, and to exercise a beneficial influence on the musical education of this country. BENEFIT CONCERTS. The coming season promises to be remarkable for the multiplicity and for the high standard of its concerts. We are to have orchestral concerts under the leadership of Herr Richter, of Mr. Lamoureux, and of Mr. Ganz, and; possibly Mr. Hallé's orchestra may pay us another visit. This is well, if they are adequately supported; and I hope they will crowd out the meaningless benefit concerts of another type, which have no bearing at all on musical progress. Still more, while not wishing to interfere with the hardly-bought earnings of the birds of passage crowding our country during the season, may we hear less of the small concerts, which are virtually pecuniary recognitions of services rendered, or testimonials of esteem but which, unfortunately, extract from pockets guineas that otherwise would be expended in supporting a higher class of entertainment. But till I find the tide of people cease from rushing to the Scotch, Welsh, and Irish concerts, or to concerts where the flimsiest and most unworthy ballads are sung, however well, I shall not acknowledge any substantial improvement. It would be idle to expect the speculators who trade with the national concerts to suppress these musical nuisances but Mr. Boosey might do good service by leavening his programmes with some thing better than shop songs, and I believe he is now, to his credit be it said, attempting to do so. With his admirable staff of singers, the Popular Ballad Concerts might become an educational power. Of the Musical Union (now with a new director), and, above all, of the Monday Popular Concerts, nothing more need be said. Their excellence is above all praise and if the audiences are occasionally over-aesthetic, feigning admiration for foreign extravagances, whether in composition or performance, in which, stripped of their tinsel, there is really nothing to admire, this must be forgiven for the interest displayed, which may eventually ripen into sounder judgment. AMATEUR MUSIC. That amateurs should not merely testify their love for music by being sympathetic listeners to the best of its kind, but that they should themselves be its intelligent and practical exponents, is obviously advantageous. That they should meet to afford each other mutual pleasure is often very interesting. But I do not think it desirable that they should too often make public appearances at concerts for which tickets are purchasable, unless for specially laudable purposes with the social position of amateurs in the higher classes they can command support of which they thereby deprive the professional workers. Still less desirable is it that they should on all occasions parade their critical remarks on these last (and, of course, the more accomplished the amateur, the more conceited is often the expression of his or her erring judgment). In nine cases out of ten the opinions pronounced are only the reflex of those learned from some foreign master, under whose influence the speaker has come and, while I gladly welcome in true cosmopolitan spirit good foreign artists, I maintain that we are infested with a lot of half-educated, self-asserting parasites from abroad, who do incalculable harm. Or perhaps the amateur has entered some clique in which the gospel of advanced ideas is preached. Where is the remedy? That which I have indicated before. The amateurs should applaud what they really enjoy, not what they think they ought to enjoy and by earnest study under competent advice they will gradually develop their critical acumen and be able to express intelligent praise or stricture. The apostles of the so-called advanced school have truly much to answer for. I do not wish musicians always to run in the old grooves, but surely it must be a case of gradual development and not of revolution and anarchy. Originality must be tempered by discretion. PUBLISHERS. Little can be added to that which I have already written as to publishers. Recognising the commercial necessities of their position, the quality of their publications will always be determined by the law of demand and supply. As the requirements of amateurs display more cultivated taste, so will publishers cease to give the cold shoulder to the real musicians who offer them their wares. EDUCATIONAL INSTITUTIONS. - PRIVATE TUITION. In this final letter I have bracketed those two subjects together, being really the same, our academies not having the organisation of foreign schools, where the various branches of study, each taught on a definite plan, are welded together and controlled by an autocratic principal. A few words to teachers first. Pray let them consider that they have not only fees to receive but a responsible duty to perform. To be fit for this they must study the art of teaching, and cultivate the virtues of method and patience. Were these qualifications generally or even partially possessed, we should soon see a very different race of amateurs from the present. Secondly, let not heads of families, in selecting teachers, be imposed upon by the glitter of prominent names, nor deluded by the self-assertion of impudent pretenders but, by inquiry, ascertain where sound tuition is really to be obtained. Above all, let school-mistresses take cognizance of the scandalous laxity or utter incompetency of those employed to teach in their schools, be less anxious to send their pupils home with many flashy pieces, and more careful that their musical education should be thorough. COMPOSERS. Under this head, also, I have but a few more words to say. It would be impertinence to address such composers as have obtained the meed of general approbation … the younger writers know already that I think the road ahead is the danger of their following false models. The amount of valuable work yet to be produced must, of course, be regulated by the number to whom the Divine afflatus is vouchsafed, but even this gift may be unworthily used by those who plunge into musical excesses. As I fear this concluding letter is being drawn out to an in ordinate length, I shall pass over the subjects of Critics, Audiences, University Degrees, and Church Music, as my previous remarks on these matters concluded, in each case, with advice. I will merely supplement my former reference to PROVINCIAL MUSIC by saying that as I think the localizing of music in country towns is the happiest omen for the future, so I heartily wish continued success to such men of enterprise as Mr. Hallé, Mr. Kuhe, Mr. George Watts, and many others. And. now I have done. If my letters have been read by any, I hope the criticisms they have contained have not been wholly wasted. If they have not been read, and I have merely wasted my time and your space, I shall console myself with the thought that I have striven to do good and I hope, dear sir, that you will find some consolation, the nature of which I cannot suggest. I remain, yours faithfully, Lindsay Sloper. (Illustrated Sporting and Dramatic News, Saturday, 9 April 1881.) |
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