Various
Blackwood's Edinburgh Magazine — Volume 54, No. 333, July 1843
In the north of England, musical taste is much more widely diffused than in the south. The Committee of the Privy Council on Education, report favourably also of the musical attainments of the people of Norfolk. Mr Hogarth, in his excellent and able work, observes, that "in the densely peopled manufacturing districts of Yorkshire, Lancashire, and Derbyshire, music is cultivated among the working classes to an extent unparalleled in any other part of the kingdom. Every town has its choral society, supported by the amateurs of the place and its neighbourhood, where the sacred works of Handel and the more modern masters are performed, with precision and effect, by a vocal and instrumental orchestra, consisting of mechanics and work people; and every village church has its occasional oratorio, where a well-chosen and well-performed selection of sacred music is listened to by a decent and attentive audience, of the same class as the performers, mingled with their employers and their families. Hence, the practice of this music is an ordinary domestic and social recreation among the working classes of these districts, and its influence is of the most salutary kind." We can ourselves bear witness to the truth of many of these remarks. In some of the more rural portions of the manufacturing districts of Lancashire, we have often listened to the voices of little bands of happy children, who, while returning home after the labours of the day were over, were singing psalms and hymns to tunes learned at the national or Sunday schools. A highly interesting example of the superior musical capacity of the inhabitants of this county, came under our observation a few years ago, at a large and populous village situated on the borders of one of the extensive fields of industry of which we speak. On the anniversary of the opening of the school, the children frequenting it—in number nearly 300—had been long accustomed to march in procession up to the mansion of the neighbouring squire, the founder and endower of the school. Ranged upon the lawn in the presence of their aged benefactor and his family—children, grandchildren, and great-grandchildren, were among them—led by no instrument, and guided only by the voices of their teachers, they performed an anthem, in parts, with an accuracy and precision which was truly wonderful. As their young voices rose in simple beauty to the skies, tears coursed down the old man's cheek, and though already bowed by the weight of nearly ninety years, he bent still lower, to hide the emotion which overcame him. Six months after this occurrence, those children were drawn up to pay their last tribute of respect to their benefactor, as his remains passed to their final resting-place. In the churches of the north, the school-children may be seen singing with evident delight, not the mere passive instruments of the masters or teachers, but joining heart and soul with the congregation. The Lancashire chorus singers have long enjoyed an extended reputation; at the last festival at Westminster Abbey, they proved the principal strength of the choral band. In other parts of the kingdom, far less aptitude for music is shown among the working classes. The singing in the churches is, for the most part, of the lowest order. In many parishes considerable pains have, of late, been taken in order to improve the psalmody, but no corresponding effect has been produced. In the agricultural districts of the south of England, no songs are heard lightening the daily toil of the labourer, and the very plough-boys can hardly raise a whistle. It is impossible to account for this; but the fact will be acknowledged by all who have had the opportunity of observation.
In speculating upon the future prospects of music and musical taste and science in England, the two rival systems of teaching which have been recently introduced, must necessarily become the subjects of remark and observation. The names of the teachers of these systems are no doubt well known to all our readers. Mainzer, who is himself the author, as well as the teacher, of one system, and Hullah, the teacher of the system of Wilhelm. Wilhelm's method has been stamped by authority, and the Committee of the Council on Education, after "carefully examining" manuals of vocal music collected in Switzerland, Holland, the German States, Russia, Austria, and France, in order to ascertain the characteristic differences and general tendency of the respective methods adopted in these countries, at length decided in favour of Wilhelm. The accounts received of the success of this system in Paris, induced the Council to secure the assistance of Mr Hullah, who was known to have given much attention to the subject, and to have been already engaged in making trials of the method. The system of Wilhelm has, therefore, acquired the ascendency, and Mr Hullah has been invested with the character or office of national instructor, in which capacity he is said to realize upwards of L.5000 per annum—almost as many pounds, according to Mr Barnett, as Wilhelm, the inventor of the system, received francs. The prominent station and the large income realized by a junior in the profession, has naturally roused the jealousy and excited the envy of his elder brethren, many of whom, perhaps, found "their occupation" almost "gone." The vast amount of the bitterness thus engendered, may be conceived, when the reader is informed, that, in London alone, it has been computed that music affords a livelihood to more than 5000 persons. In the midst of such a host of bitter rivals, the imperfections and defects of this all-engrossing system are sure of exposure. Many grave and serious charges have been advanced against the mode in which a superficial and deceptive success has been made to appear real, sound, and healthy. These charges have been reiterated in a pamphlet, recently published by one who is, perhaps, the first of our native living masters—Mr Barnett. Those great exhibitions at Exeter Hall, in the presence of the magnates of the land, at which none but the pupils of Mr Hullah were stated to be allowed to attend, have been declared to be "packed" meetings. There is an equivoque in the terms pupil and classes; with the public they would naturally be taken to mean those persons, and those only, who had commenced their musical career in the classes taught by Mr Hullah: but according to the official interpretation of the terms, they appear to mean, all who now are or ever have been receiving instruction in Wilhelm's method. Now, it must be remembered, that Mr Hullah has instructed in Wilhelm's method many who had, for years, gained their bread by teaching music; who, having been induced to abandon their old system, and to adopt the new method from the superior remuneration it affords, were probably all able to take as efficient a part in the performance, when they commenced the nine lessons which entitle them to the certificate of competency, as when their course of instruction was concluded. Hundreds of such pupils may, for aught we know, have been judiciously disposed among the remainder of the 1700 who performed on the grand occasions to which we allude. But to enable us to judge of the efficiency of a system of instruction, we must not only witness the performance of the pupil, but we must also know the point from which he started. Now, these demonstrations having been got up expressly for the purpose of exhibiting the skill and progress of Mr Hullah's classes, all, therefore, that was necessary in order to form a judgment upon the question thus submitted to the public, though not directly asserted, was nevertheless necessarily implied. At all events, the public were simple enough so to understand the matter. But when the mistake was at length discovered, instead of at once correcting the error, if such indeed it was, recourse was had to a disingenuous quibble on words, which would, therefore, seem to have been purposely rendered obscure. It will thus be seen how fallacious a test these performances afford, either of the real merits of the system, or of the actual progress or efficiency of those who have received instruction from no other source. But, besides this charge, the truth of which is thus virtually admitted, it has also publicly been charged against the conductors of the Exeter Hall performances, that many able musicians, who never were the pupils of any teacher of the Wilhelm method, were surreptitiously introduced among the classes at these great choral meetings. This is a grave accusation; it has been made not anonymously nor in the dark, but backed and supported by the open disclosure of the name and address of the several parties by whom it has been publicly brought forward. Of the truth or falsehood of this serious imputation we know nothing more than that it is raised by facts, which have been stated, but which, so far as we can learn, have never received any denial or explanation. On one of these occasions we were present. We can bear testimony to the effect produced by much of the music then performed. Mr Hullah certainly appeared to possess great power over the numerous assembly, and the facility with which he hushed them almost down to silence, or made them raise their voices till there seemed no limits to their united power, was almost magical. But beyond this, in the words of an able weekly journalist, "no means of forming any opinions were before us—the whole affair might be a cheat and a delusion—we had no test by which to try it. We have hitherto," continues the writer, "spoken of these exhibitions at Exeter Hall as realities, as being what they were affirmed to be. This is no longer possible. If Mr Hullah has any real confidence in his 'system,' he will eagerly seek a real scrutiny into its merits; hitherto there has been none." Our own personal observation does not enable us to be very enthusiastic in the praise of the Wilhelm system. A few weeks only have elapsed, since we attended a meeting of a class, whose progress we had watched, from time to time, from its earliest infancy. This class had gone through the course of sixty lessons, but continued still to receive instruction. Their power of singing at sight was tested in our presence—a piece of music they had never seen before was placed in their hands. The first attempt to execute this at sight was lame, and halted terribly; the second was somewhat better, but as we moved about, from one pupil to another, to ascertain, as far as possible, the individual accuracy of the class, we heard many voices, in a subdued tone, making a number of admirable guesses at their part, but the owners of which could not, by the utmost courtesy, be considered to be singing at sight. The basses missed many a "distance," the tenors were interrupted by the master, and worked, in the defective passages, separately from the rest of the class for a while, by ear!! A third attempt was made with somewhat better success, and the piece was accomplished in a rambling uncertain manner. During the whole of this trial, the trebles were led by the master's apprentice, a sharp clever boy, who retained a voice of peculiar beauty and power to the unusually late age of sixteen, and who had commenced his musical studies six or eight years before. We considered this experiment a failure; it may be said the fault lay in the teacher, not in the method; true, the master was not Mr Hullah, but he was one of the "certificated," and the partisans of Mr Hullah, in the language of the lawyers, are estopped from asserting his incompetency. We have known pupils, not deficient in general ability, who, having attended the greater part of "the course," during which they paid great attention to their studies, were unable to read more than a few bars of the simplest music, beyond which they were lost and confused. Without naming the notes Do, Re, &c., they were utterly unable to proceed at all, and it appeared to us that, by seeing those syllables written on paper, they would have gathered a more correct idea of the music, than by attempting to read from music written in the ordinary manner. This is the result of the invariable use of those syllables in exercising the voice. In the best continental schools, they have long been obsolete for such a purpose. Still, the Hullah-Wilhelm mania will, no doubt, produce considerable effect, even though the system should fall short of the expectations of its friends and promoters. We have now commenced our first national effort in this direction; either, the prejudices which so long delayed this effort have been overcome, or, the "National Society" is now too strong to bow, entirely, to the opinions or prejudices of one of its earliest and most influential patrons—one who long resisted the introduction of musical instruction into the schools of the society; and who, some twenty years ago, is said, on one occasion, actually to have thrown out of the windows of the central school some cards and boards on which the elements of music were printed, and which had been introduced by some of the committee. But for the influence of this nobleman the effort had, perhaps, been made many years ago. The "premier pas" has, however, at length been taken. The public mind is roused; all, from the highest to the lowest, frequent the classes of Mr Hullah. Royalty itself deigns to listen. "THE DUKE" himself takes delight in the peaceful notes of Exeter Hall, and the Premier has found leisure, from the business and service of the State, to scrutinize the performance of "the classes." It must surely be a pleasant thing to sing to princes, warriors, and statesmen—all that the country holds most in honour, love, and reverence. The impulse thus given is felt throughout the land. Classes are formed in every town, almost in every village; the labourer, the mechanic, young men and maidens, old men and children, may be seen, after their daily toil is done, busy with the do, re, mi, fa, &c., of the class-book. Although the system may not prove all that might be desired, yet much is taught and learned, and the desire of acquiring more is created. The general standard of music, and musical taste, must necessarily be raised far above its previous resting-place. It must, however, be ever borne in mind, that the system professes only to teach sight-singing, or, in other words, the power of reading music. This power is wholly distinct from that of singing, as we have above defined the art; those who having attended, and profited to the utmost by the course, will be grievously disappointed if they expect at its close to find themselves accomplished singers. The management of the voice is still required, and many vicious habits, contracted during the practice at the class, will have to be forgotten. This, however, cannot be felt by the million, to whom any musical instruction will be a gift of unspeakable value, in a social and moral point of view. The Committee of the Council well observe, that "amusements which wean the people from vicious indulgences are in themselves a great advantage; they contribute indirectly to the increase of domestic comfort, and promote the contentment of the artisan. The songs of any people may be regarded as important means of forming an industrious, brave, loyal, and religious working-class." Mr Barnett calls this, "nothing but egregious cant, got up by the teachers of the Wilhelm plan, both in France and here." In this we cannot agree with Mr Barnett, and we scarcely understand why he should be betrayed into so much heat upon the occasion. For ourselves, we rejoice to see any system at work for the purpose of instructing the working classes in the elements of music; and it seems to us a monstrous proposition, and nothing short of an insult to our countrymen, on the part of the prominent opposer of the Wilhelm system, to assert that the knowledge or cultivation of an art, which throughout all history has advanced hand in hand with civilization and refinement, should, among the labouring classes of England, be productive only of idleness, drunkenness, or debauchery.
The instruction of the lower classes in vocal music, however beneficial and important as an element in civilization, or however advantageous as a means by which the general taste of the people may be elevated and refined, will not be found all-sufficient, in itself, to raise our musical reputation as a nation. Native music is at a low ebb at present; and, while musical entertainments are in such general request as almost to have excluded the "legitimate" drama from the stage, no attempt to introduce any English opera has been recently made. Into such oblivion or disrepute have English composers fallen, that some of the most eminent have actually left London. One well-known veteran now lives in honourable retirement in the Modern Athens. Another, once popular and admired, "disgusted with London and the profession," and "having given up all thoughts of again appearing before the London public as an operatic composer," is said to have migrated in the capacity of singing-master to a fashionable watering-place; while a third, once equally well known, has left the kingdom altogether, and has settled himself in Paris. The public ear has learned to appreciate music of a high class; and, judging from the past, the manager perhaps dare not incur the risk of bringing out a new native opera. It is certainly much to be regretted that the existing demand should not be supplied from native sources, and thus serve the purpose of national advancement in the art; but English music does not take. Does the fault rest with the public or with the musician? It is easy, and no doubt convenient, contemptuously to apply the epithet, "hacknied," to the operas recently adapted to the English stage; but how is it that the old "hacknied" music of the Italians should be preferred to the novelties of our native school? Here again the public taste has advanced too fast, and, owing to the inferiority of our home productions, the foreigner has gained possession of the market.2 Where is the remedy for this unfortunate state of things? Some master-mind, some musical Napoleon, may rise up and take the world by storm; but such an event is particularly unlikely now. The hour generally makes the man, and the necessities of the moment often call forth talents and energies, the existence of which was wholly unsuspected by their possessors. For aught we know, many a hero may be now among the ranks, and many a gallant officer now before the mast, undistinguished from lack of opportunity, unknown because circumstances have not developed his dormant powers. How then can the hour be hastened, and the opportunity of developing our musical powers be afforded? The answer is, by the establishment of a National Opera. It has been observed that every nation that has risen to musical greatness, possesses a musical opera. Even the French, who, according to Mr Hullah, "have the least possible claim to a high musical organization," have, nevertheless, long possessed a national opera, boasting the best orchestra in Europe, and producing masters whose works have been successfully transplanted, and singers who have met with universal admiration. At the present moment, Paris has two national musical theatres, the Académie Royale, and the Opera Comique: and the establishment of a third is said to be in contemplation. The possibility of forming such an establishment at the present time in England, may be reasonably called in question. The attempt made some ten years ago, though commended by the minister of the day, was signally abortive; and the subsequent endeavour of a popular musician to open a theatre for the performance of English operas, was equally futile and unsuccessful. One thing of primary importance—the patronage of the higher classes—was wanting to both these efforts. Were the stamp of fashion once impressed upon such an undertaking, success would be certain, did the fiat of the great world once go forth, the thing would be accomplished. The marvellous impulse recently given to musical instruction throughout the kingdom, shows the vast power, for good, possessed by the higher classes of aristocratic England. We have often lamented the apathy of the fashionable world on this subject, and we can entertain no hope of aristocratic support and encouragement for the English opera. There may, however, be some hope, though faint and distant, for our musicians. In consequence of a national musical education, a national opera may become a national want; and we can scarcely conceive it possible, that the wide diffusion of musical taste and knowledge should fail ultimately, to produce a large and never-failing demand for dramatic music. Then would our musicians have a wide, fair field for the development of their resources, success, the highest and most brilliant, would be within their reach, and would depend entirely on themselves. If, under such circumstances, the reputation of our country did not quickly rise, bright and resplendent in the musical horizon, our hopes of universal excellence would indeed be crushed for ever.
It might be long before we rivalled either of the great continental schools, each of which would doubtless long retain its ancient worshippers. Of these two schools, of a character and style so different, we confess a preference for the smooth, voluptuous, peaceful flow of the Italian, rather than the stern, but sublimer, beauty of the German. The one, like the soft and glowing landscape of its native land, refreshes the spirit, warms the heart, and kindles the affections; the latter, like the wild and often savage grandeur of the scenery of Switzerland, chills, while it awes and subdues the soul. There is a smiling kindliness about the former, which fascinates and attracts; the latter often pains and distracts, by an intense and varied action which admits of no repose. It is as the tranquil elegance of the Venus of the Tribune, or the calm dignity of the Apollo of the Vatican, contrasted with the nervous energy of the works of Buonarroti, or the sublime but fearful agony of the Laocoon.
The more enthusiastic admirers of the productions of the Germans, that race of musical Michael Angelos, often despise the lamer attributes of the music of the "sweet south." Such spirits delight in the storm and the whirlwind; peace and repose have probably no charms for them.
"Music was ordain'd,
Was it not, to refresh the mind of man,
After his studies, or his actual pain?"
Many fly to music to soothe and compose the mind, others seek it as a means of new and fresh excitement. Neither are now able, in the music of their country, to find all they seek. We are not, however, without hope for the future. Never till now has music formed an element in national education; and the movement now extending throughout the land, must of necessity be the means of elevating and refining the musical taste of our countrymen. Improvements, like those already manifest in the sister arts of painting and sculpture, may be now about to show themselves in music. Even our sons may wonder at the taste which could tolerate the music which their fathers had applauded and admired; and England, long pre-eminent in the useful arts and sciences, and the serious and more weighty affairs of life, may at length become equally distinguished in the fine arts, and all those lighter and more elegant pursuits, which, throughout the history of mankind, have ever formed the peculiar characteristics of a high degree of civilization and refinement.