Part 11 (1/2)

Till then Thomas Tallis was the greatest exponent of the art who had lived in this country, and, if anything were wanting to prove the extraordinary genius the monks had exhibited in teaching the profoundest mysteries of music, the mastery displayed by Tallis in his _Song of Forty Parts_ would be sufficient to supply it.

He was the link that united English pre-Reformation and post-Reformation music.

In the reigns of Henry VIII. and Queen Mary, he was a gentleman of the Chapel-Royal, subsequently becoming organist in Queen Elizabeth's time.

It was during this period that he set to music that part of the English liturgy that is now sung. As regards Henry and Elizabeth, the feelings of both these monarchs towards the Reformation were, doubtless, more political than religious, and to this cause may be attributed the retention of his post by Tallis, since there is no proof that he ever embraced the reformed faith.

Then came an epoch that may well be called the Augustan age of English music, seeing that to the genius of Tallis was added that of Byrd and Orlando Gibbons, culminating in the arrival of Purcell, when it attained its zenith.

With the death of Purcell began the long decline that resulted in the practical decay of English music.

Everything tended to that end.

The suppression of the monasteries, the home of art and literature; the degradation of public wors.h.i.+p, including the prohibition of music in such perfunctory ceremonies as were permitted, and the abolition of everything pertaining to art or beauty in its performance; the ruthless destruction of all that could appeal to the sense of the beautiful in the minds of the people, of the altars with their gorgeous adornments, or the stained windows with their picturesque representations of moving incidents in the life of Christ; the covering with stucco or the whitewas.h.i.+ng of the marble pillars that supported the decorated roofs: all these monstrosities were calculated to deaden any artistic sense the common people might have had within them, and such was, unhappily, the effect.

Music came to be looked upon as a frivolous or contemptible thing, and the practice of it as only fit for people who had no apt.i.tude for anything better, and who were treated by the average person of any consequence, accordingly. The teaching of it naturally became a matter of small importance, and thus, outside the cathedral cities which sheltered the few remaining educated English musicians, such teaching as could be procured was supplied by persons supplementing their earnings in other directions, or foreigners who had come to the country at the call of the few influential individuals in whom the love for music was not actually dead. This was the state of affairs at the beginning of the nineteenth century.

PRESENT

The present system of musical education in this country may be said to commence with the establishment of the Royal Academy of Music in the year 1822. The advantages offered by an inst.i.tution of this kind are so obvious that one need only specify a choice of subjects with an expert to teach each, a permanent orchestra for the practice and interpretation of the cla.s.sics, and the atmosphere engendered by an a.s.sociation of individuals guided by the aspiration to acquire knowledge and stimulated by the generous rivalry of their comrades.

The Academy, Royal and National, as it is ent.i.tled, is the oldest of the three princ.i.p.al music schools in England. The prefix ”Royal” used in common with many and various kinds of societies, has no very precise significance, while the term ”national” is somewhat difficult of application to an inst.i.tution whose princ.i.p.al teachers and managers are foreigners.

Although flouris.h.i.+ng to-day, the school experienced many years of fluctuating fortune, and it was not until the princ.i.p.als.h.i.+p of Sir Sterndale Bennett that it was at last placed on a firm and sure foundation.

To that distinguished man the Academy for many years owed its sole prestige.

He was succeeded by Sir George Macfarren, an able and learned musician, who would doubtless have proved a successful administrator had he not suffered from the terrible affliction of blindness.

As it was, however, the school came practically under a direction that had little educational force at its disposal, and the results were, as might be expected--otherwise than satisfactory. This era has, happily, long pa.s.sed away, and since Sir A. C. Mackenzie became princ.i.p.al, the school has prospered continuously.

The Royal College of Music, that happiest of English musical inst.i.tutions, was established on the foundations of the National Training School of Music, which had come into existence largely through the exertions of the Duke of Edinburgh in 1876, and may be said to have been the outcome of a protest against the then existing state of things at the Academy.

Later, the Duke leaving for Coburg, and the resignation of Sir Arthur Sullivan of the post of princ.i.p.al, furnished the occasion to found the larger and more important college, and this being eventually done, it was opened by the Prince of Wales in 1883.

The new scheme was large and comprehensive, including as it did the creation of scholars.h.i.+ps in the leading towns of the United Kingdom and the Dominions beyond the seas. The realisation of such a project would have been impossible, had it not been for the extraordinary influence exercised by the late King Edward, and the enthusiasm he extended towards its accomplishment.

The possession of these scholars.h.i.+ps, attracting as it does the flower of musical talent throughout the Empire, puts an enormous power for good in the hands of the authorities, and although it is premature to speak with any a.s.surance on the point yet, it may well be hoped that the results in the furthering of the formation of a truly British school of music will be commensurate with the great possibilities. If a happy choice in the appointment of Directors is a good omen, the names of (the late) Sir George Grove and Sir Hubert Parry should supply it.

Like the Royal Academy, the teaching staff is largely composed of foreign musicians.

The Guildhall School of Music was established in 1888 through the generosity of the Corporation of the City of London. It is managed by a committee of expert business men belonging to that body, who give their services gratuitously, and prizes of money are offered by the Lord Mayor, the Lady Mayoress, the Sheriffs and other dignitaries, for the encouragement of the students.

When first inst.i.tuted, the main object was to place the best instruction within the reach of those unable to meet the requirements of the older schools either in time or expense.

The entrance fee was made nominal, the choice of subjects for study left to the student, and no conditions insisted upon, other than those necessary for the well-being of any public inst.i.tution.

The popularity the school instantaneously attained must have been gratifying, even to that eminent body with whom so many philanthropic efforts have been identified.

Recently, however, an important change has been made since Mr. Landon Ronald became princ.i.p.al, in that a curriculum has been designed for students studying professionally, but although under this the learning of certain subjects is made compulsory, and a skilfully-planned course of study laid down, it does not in the least modify the original intentions of the Corporation, since the adoption of it is purely voluntary on the part of the scholar. This development may prove of far-reaching importance, and under the guiding influence of so skilful and versatile a musician as Mr. Ronald, may have unlooked-for results.