"obstinate perseverance," which when persistently applied in the pursuit of any calling is sure ultimately to command success. "FATHER WILLIS. Two hundred years ago there lived in this country a great organ builder whose instruments were the glory of their maker. Two of his nephews were associated with him in his business. Partly in order to distinguish him from his younger relatives, but more especially as a mark of high appreciation of his great abilities and artistic worth, he was canonized, so to speak, with the title "Father." His name is familiar enough in the history of organ building-Father Smith. Henry Willis is also assisted by a younger generation, having two sons-Vincent and Henry-working with him, in whom he has great confidence and hopes. It is natural, therefore, that he, the greatest organ builder of the Victorian Era, will be called FATHER WILLIS. SOME PRESENT ASPECTS OF MUSIC. III. So far, that is a chronic condition, which will never be removed while human nature remains what it is. More remarkable appears to be the fact that others, who are outside the range of criticism, and not personally concerned, feel in sympathy with the criticised. A British jury, for example, more readily gives a verdict against a critic than for him, and the " damages" are in proportion. These matters come under common observation, and are such as critics can scarcely be congratulated upon. However honest and able any one of their number may be, he is hampered in his work for good by the impediments which dislike and mistrust throw in his path. An invincible spirit of opposition bars his way to the proverbial "fair field." The result is not only a limitation of his influence, at which the enemy naturally rejoices, but also the circumscribing of such healthy consequences as may conceivably flow from his taste and judgment. The public attitude here indicated should be taken into account in any estimate of the value of criticism, and set down as a cause beyond its control. Some considerations, not without influence upon the power of criticism, should here be considered. In the first place, there is a MUSIC, in relation to criticism, has an disposition to go behind the written opinion, aspect which, it may confidently be declared, and judge it, not for itself, as should fairly be is variously regarded, according to the side done, but with reference to the circumstances favoured by the observer in the never-ceasing and personality of the writer. As regards war between critics and criticised. We may musical criticism, the veil of anonymity, take it, however, that those who believe in the theoretically considered as transforming the criticism of our own day as a power for good concrete writer into an abstraction for which are much the weaker body numerically, if not his editor is legally responsible, serves no such in strength of judgment and clearness of vision. purpose. In most cases the critic is well This is not an exceptional state of things. known, and matters of pure personality are Indeed, it is so common that we may look upon thus available as pièces de conviction when any it as perfectly natural-as a result the cause of his utterances are brought to trial. The of which lies beyond our reach. The Irish operation somewhat resembles that of a crossimmigrant in America who, when asked as to examining counsel who, dealing with a piece his politics, replied that he did not know of expert evidence, asks the witness if he is Democrat from Republican, but anyhow was prepared to swear that, fifteen years ago, he "agin' the Government," spoke as a typical did not turn his mother-in-law out of his house. personage. In all conditions and circumstances A taunt frequently employed in the Old Bailey of life we lean towards jealousy and dislike of spirit is that our musical critics are not, as a those in whom power is vested. In politics, rule, musicians by training-that they have this is strikingly shown, on the largest possible not passed through the schools, and therefore scale. Power has become a shuttlecock, which present no recognised credentials; that, likeflies from side to side and stays no long time with wise as a rule, they are unknown either as either. No sooner does a general election turn creative or executive musicians, and were never Outs into Ins than a process of disintegration heard of till suddenly found on the judgment seat. commences. The new Government is assailed I object that all this is beside the main question, on all sides, even by men in the ranks of its and would be so even if the statements made sworn supporters, and the next election turns were wholly true, which assuredly they are not. Ins back again into Outs. So does the A critic stands or falls by his professional pendulum swing; with such amazing regularity utterances. If these be fair and honest, wellthat we are driven to explain it by refer- informed and properly expressed, it matters ence to a natural law. In the domain not one jot whether he have the whole alphabet of criticism the same principle is at work, after his name or not a single letter; whether albeit circumstances and manifestations are he be a sudden product of obscurity or has different. It is, of course, easy to understand moved to his post with beat of drum and blast that those who have been criticised, or are of trumpet. A tree is known by its fruit, not by liable to undergo the operation, cherish no anything that happened or did not happen great love for, or confidence in, the operators. during the period of early growth and bloom. Apart from this fundamental consideration, it divides many years of activity from the is fairly open to doubt whether a musical train-moment in which work will cease. Were I now ing, as it is called, though in itself an excellent bidding adieu to criticism, I should regard it, thing, can be regarded, under the circumstances, if not with absolute content, at least with as an unmixed good. Let us suppose that, of two satisfaction and hope. I hold that, generally men equally endowed with musical sympathy, speaking, it is honest and able; that it is not, one enters a Royal Academy or Royal College at as a rule, warped and distorted by prejudice; an impressionable age and submits himself to that, taken as a whole, its excesses are the special and always more or less limited balanced by its prudent reserves, and its influences of the place. At the end of four tendency to heedless change is counteracted by or five years he comes out, let us further the conservative spirit which never deserts imagine, a safe candidate for honours in the Englishmen long together. I contend further, theory and practice of his art; but also bearing that our present-day criticism is carried on with him signs of a confined atmosphere, and in a generous mood and with an enlightened evidence of taste derived, not from extended mind. There are exceptions, no doubt, for observation and experience in a wide circle, what human institution exists quite apart from but from the authority and inevitable influence proof that humanity is imperfect? The of a few professors. The other of the twain, let matter is one for a comprehensive estimate, us say, pursues a course of independent study, and, weighing defects against merits, the reads much and well, carries an open and merits vastly preponderate. That is the unbiassed mind wherever the best music is opinion of one who has nothing whatever performed, and carefully builds up opinions to gain by stating what he does not regard with the impressions he has received. He may as truth. I wish it were possible to make not be able to satisfy a University professor, composers and artists-the great army of the but in nine cases out of ten he would make a criticised-see eye to eye with me in this better critic than his scholastic friend. It has matter. It is not possible. The man whose sometimes been proposed to establish a college doings are unfavourably judged will, in for the training of critics. Such an institution his heart if not openly, contest the verdict might turn out qualified musicians; it could and disparage the tribunal. He will set it never make the thing most wanted. A true down to incompetence or wilful injustice. If critic, like a real poet, is born, not made. He eulogised with discrimination, he will comevades the most ingenious process of manu- plain of the faint praise which damns, while, facture, and generally develops, not in the class- if neither praised nor blamed, he possibly brings room, but, so to speak, in the open air and under an action for damages. This is so natural that the sun. It is always so with the journalist it disarms censure-the censure of those, at proper. Some time ago, an enterprising news- any rate, who ask themselves what they would paper man set up a school for training be likely to do under similar circumstances. members of the Fourth Estate. I never heard All of us in these matters need a large spirit of that he turned out men whom editors were tolerance, which is the spirit of charity, and eager to engage. The true journalistic gift is that is why I wish to see a modification in a natural endowment, and its training comes the attitude of the criticised towards their of opportunity. There are newspaper corres- censors. The more difficult the exercise of pondents with a better eye to the conduct of any virtue, the more honour it brings to its a campaign than the officers directing it, and possessor, and no musician would lose by who can not only vividly describe a battle, crediting criticism with honesty of purpose, but successfully criticise its tactics. These however much he may deem it mistaken. are soldiers; without weapons or uniform, but none the less soldiers in knowledge and judgment. As with the out-and-out journalist, so with his colleague who is a journalist only in the realm of music; and the fact may help to explain how it comes to pass that, when an editor wishes to engage a critic, he rarely seeks one in the ranks of professional musicians. It need scarcely be added that he has, in some degree, to consider a literary qualification, and to exact evidence of a mind which can pass from lively to severe, showing itself equally interesting and instructive in both. Myself a critic, I shall, perhaps, be regarded as a partial judge of the criticism we now have. But necessary detachment of mind and feeling from partiality is simplified in my case by the fact that the time is rapidly passing which May I also urge, in my position as a senior, that an improvement in the attitude of critics toward each other is not beyond the limit of possibility? We are too apt to bestow upon our colleagues the attention which should be given to the art we in common love and serve. Music is a wide subject, and there is room in it for a diversity of opinions, all of which should be represented in the field of criticism. As a matter of fact, they are in evidence, and together form a mass of testimony on the basis of which intelligent readers can each for himself found or modify his own judgments. The fact that one of us contributes an opinion to that mass, while our neighbour supplies another, is really no reason for enmity, for waiting to catch him tripping in order to "show him up," or for stirring the waters of strife in any other form. Each man does his duty according to his light, and he has a right so to act. Let us recognise were, it appears, local performers of repute; that fact and leave the consequences to public but the poet has others also in his mind : we discrimination. Anyhow, no good comes of letting our angry passions rise, and placing ourselves as a body on the level of a parish vestry. Think of the art, and what individually can do for it with all sincerity and devotion. That is enough to engage our energies, and there lies the plain path of duty, of honour, and of fit reward. JOSEPH BENNEtt. FROM MY STUDY. AMONG the minor poets of Scotland one George Bruce has a place. He "flourished " at the beginning of the present century, and from time to time issued small collections of In this guid town there's mony mair A part right sweet; It grieves me sair to see neglected While Signor Squallina's respected, The poet, after passing in review the fortunes O' patronage, when we'v't to spare, This is but doing justice fair verse, such as "Poems and Songs on Various Enforcing this claim for precedence, he waxes Occasions (1812); "Poems, Ballads, and aflame: Songs on Various Occasions" (1813); "Edinburgh: a Poem in the Scottish Dialect," and "The Musical Festival: a Poem in the Scottish Dialect" (1815). It is because of the last-named that I mention George Bruce here. It appears that a musical festival was held in Edinburgh some time in the year of Waterloo, and that the managers, not content with local talent, imported executants of various kinds from England. This gave deep offence to some perfervid patriots, of whom George Bruce was one; they contending, no doubt, as did the late Professor Blackie after them, that a pipe-tune and a song racy of the soil were worth all the classical music in the world. Bruce's poem is a remonstrance with the festival committee on the ground of their flaccid nationality, but it begins with an invocation of its author's insulted country: O Scotia's sons, far fam'd's your sang; Bring squallin' strangers ye amang! The poet wants to know why "Edina's bairns" are not engaged, but left to starve, and then proceeds energetically: How hard it is to see frae Lunnon O sage Directors, count your winnin' These wise Directors now will gie For guineas twelve; it's thus, ye see, The poet demands why "Fraser's note" was not heard at the festival, and why "Thomson's double-bass" came to be passed over. These How cou'd ye hae the face ava' To offer to some guineas twa? Ye cou'd na gie ane less to blaw Your Organ fine. Wha cou'd decern the least at a' Maun see design. How cou'd ye gie ane hundreds three, 'Tween guineas twa Had ye been stinted in your means, An' ilk Musician's heart sae keen's But whan o' means ye had right plenty The poet finally dismisses the committee with "Don't do it again": Now fare ye weel, ye sage Directors, I gie ye credit as projectors, Gude was your plan, But ne'er o' merit be neglectors, Nor get its ban. There may be a disposition in some quarters to republish this poem with a dedication to the directors of the Imperial Institute. The author of "Moore's Irish Melodies" is sufficiently near music to warrant a paragraph concerning him here. Looking through an album of autographs which lately came into my possession, I found a stained, ragged-edged half-sheet of letter paper, written on both sides, headed "A Sonnet to Miss Dodd," and subscribed "Thomas Moore." This is, apparently, a first sketch, as corrections appear in various places. We may conclude also that the socalled "Sonnet" was a boyish effort. Here it is, for the reader's judgment: Thus let me pay a tribute justly due For all the kindness I've received from you- For could I place you on great Britain's throne, Which even Time shall not from thence remove. Both shall be given to sound your lasting praise, In looking o'er this unconnected rhyme, To him who grateful wrote it-Thomas Moore. Our young author was dissatisfied with the penultimate line (no wonder !), ran his pen through it, and attempted another. But he stopped half-way, getting no farther than "It may to memory.' The juvenility of the writer is obvious throughout, while even as a youthful effort the "Sonnet" nowhere foreshadows the mellifluous strains of later years. Yet it is interesting withal. It is to be hoped that never after could it be said "Dead rides Sir Morten of Fogelsang!" In the preface to his volume, Robert Buchanan states that the refrain of the Danish ballad is used by Longfellow "for no earthly purpose." There may be two opinions on that point. The refrain has as much to do with its surroundings in "King Olaf" as many other things of the kind with the connection in which they appear, and there is a grim suggestiveness about it which exactly suited the purpose of the American poet. In order that its readers may see at a glance what is doing on the lyric stage, our new French contemporary, the Revue Internationale Readers of Longfellow's "King Olaf," and de Musique, gives a list of works performed those who know Mr. Elgar's work of the same during the fortnight preceding the date of name, may have been struck with the grim issue. I have taken the trouble to examine refrain, "Dead rides Sir Morten of Fogelsang," the list in a recent number. Within the and some may have wondered where it came two weeks reviewed there were twenty-eight from and how it got into "Olaf." The line is performances of German opera and musicfound in a Danish ballad, "Sir Morten of drama. Of French opera, 102 representations Fogelsang," where it follows each quatrain. took place, and of Italian opera, thirty-nine. An English version of the ballad has been The great predominance of French works is made by Robert Buchanan, and appears in his here asserted very strongly. Of the twenty"Ballad Stories of the Affections. From the eight German performances, fifteen were of Scandinavian" (1869). Another translation works by Wagner. It should be added that may be found in that admirable work, "Ancient the review covers seventy theatres. Danish Ballads translated from the Originals by R. C. Alexander Prior, M.D." (1860). Of the two renderings Buchanan's is, perhaps, the most characteristic. It begins with Sir Morten's death and burial: It was Sir Morten of Fogelsang, To kirk he gave the red, red gold, X. THE designation, "First Annual Concert," has a pleasant ring about it, not only of "something attempted, something done," but of future possibili. ties of high attainment. Especially is this the case in so interesting a connection as St. George's School, Windsor Castle. Although this initial music-making of the school, given on the 13th ult., "under the patronage of Her Majesty the Queen," was of a somewhat private nature, the programme calls for more than passing comment, not only in regard to the variety of pieces sung and played by the boys, but Here follows, in Prior's version, a stanza the also in relation to some of the composers represented equivalent of which does not Buchanan : appear All heaped with earth, as best they could, in The ballad goes on to tell how the spectre followed "good Sir Folmer Skot," begging him to hear its story-a story of land stolen from two orphans, to whom restitution must be made ere the dead knight can rest in his grave— O haste to Mettelil, my wife, Should the lady desire a token Say that my chamber slippers lie on that occasion. The concert opened with a Gavotte (à la mode ancienne) by Sir George Elvey, "organist of St. George's Chapel, 1835-1882," in which four of the boys played first and second violin parts. Later on came three songs by Dr. H. W. Davies, who, as the programme duly recorded, was "chorister of St. George's Chapel, 1882-1885, assistant-organist, 18851890; Mus. Doc. and organist of the Temple Church, 1898"; and in Part II. a couple of two-part songs were sung by "The Scholars " (words by C. Rosetti), entitled Golden silences" and "Bird Raptures," composed by Dr. G. F. Huntley, "assistant-organist, St. George's Chapel, 1875-1880, organist of St. Peter's, Eaton Square, 1896." As a former organist and two former assistant-organists of St. George's had places in the scheme, the programme would have suffered from a want of completeness if the present distinguished occupant of the organ-loft, Sir Walter Parratt, had not been represented. The Master of the Queen's Music appeared as the composer of a vigorous song, "The Knight's leap," set to Kingsley's words, and sung by the Rev. A. G. Langdon. Another interesting feature in this excellent programme was the name of C. H. H. Parry, "sometime pupil of Sir G. Elvey," as the composer of a "Prelude" for violin, "The Poet's Song" (to Tennyson's words), and a sixpart song, "Tell me, O love" (words from Elizabethan Song Book). We shall "keep an eye on future annual concerts in connection with this admirable school. Meanwhile, the thought naturally arises of the possibility that some of the boys who took part in this recent concert under the shadow of the fine old Castle may find their names on the roll of distinguished musicians. We hope they will. Wales, as reported to the Education Department_by "The Festival," Ballad of "Haroun al Raschid" (2) Sir Frederick Bridge. Mass in C HERE is an examination story for the authenticity "The Desert " of which we can absolutely vouch. Its "behind "Salamis" the scenes" nature will doubtless make it of special interest to those who seek to get on, or get honours, "Antigone" (2) by degrees. Wild horses will not drag from us the Mass in E flat Delphi" (2) name of the University where the incident occurred." The Little Baltung" water " Part-song, FEMALE VOICES. "Springtime" .. Van Bree. Félicien David. ..Gernsheim. Dr. Mee. Mendelssohn. Mercadante. Alice M. Smith. .. Schumann. Schubert. W. Bendall. F. H. Cowen. The examiners were the Professor of Music, a "The Luck of Edenhall" (4) "I'm afraid I can't.-But ask He was plucked!" -- He knows. "The Fairies' Isle " "The Hours" (2) "Jephtha" MIXED VOICes. .. Myles Foster. THE Feis Ceoil is to be held in Belfast from the 2nd to the 7th inst. With characteristic Irish warmheartedness, the Belfast Committee have expressed their desire to extend hospitality to certain members of the London press who will attend the festival. We hope to give a full report of the proceedings in our next issue. This list does not include the part-songs and other short pieces that were sung. Moreover, in addition FOUR hundred years ago on May 25, 1498-to the above, each of the 2,050 senior students sang Ottaviano dei Petrucci, "the father of the art of a song with pianoforte accompaniment. Capital! type-music printing," obtained from the Seignory at Venice the sole privilege, for twenty years, of printing "figured music" (canto figurato), and music in the tablature of the organ and lute-a privilege which he exercised there until 1511. Petrucci's process was a double one. He printed first the lines of the stave, and then, by a second impression, the notes upon them. His work is beautifully executed, and the whole effect of his music-printing is admirable. But the process, which was very expensive, was soon superseded by printing in one impression, which is supposed to have been first successfully accomplished by Oglin of Augsburg, in 1507, though there seems to be some doubt on this point. Petrucci (born June 18, 1466, died May 7, 1539) is said to have been "richer in ideas than in cash." His life and work are fully treated in "A sketch of the history of music-printing, from the fifteenth to the nineteenth century," a most valuable series of articles which Dr. Friedrich Chrysander contributed to the columns of THE MUSICAL TIMES in 1877. LAST month we referred to the gratifying improvement in the selection of songs sung by the students in the various Training Colleges in England and THE death, on the 13th ult., of Miss Margaret Rose Smart, the only child of the late Sir George Smart, severs a link with the musical life of London of long ago. Miss Smart died at 12, Bedford Square, the house in which, on February 23, 1867, her father drew his last breath, in his ninety-first year. But it is Smart's former house-in Great Portland Street (now numbered 103)-that is so rich in musical associations. His most distinguished guest there was Carl Maria von Weber, who lived-if he can be said to have lived-the last three months of his short life under Smart's hospitable roof. The com. poser of "Der Freyschütz" entered the house on March 5, 1826, and on June 4, exactly thirteen weeks afterwards, he passed away in his sleep in the front |