FOOTNOTES:
[30] See [Appendices C] and [E].
CHAPTER VI.
England (1800-1913).
The history of England during the Nineteenth century presents but little disturbance at home, along lines calculated so to move mental depths, as to produce complicated re-establishing forms in musical rhythm. Labor troubles harassed the national thought in their usual superficial manner, rarely causing the loss of a night’s sleep, or the disturbance of appetite, and the many reforms in the interest of trade, affected but slowly the depths of emotionalism. It has ever been a noticeable fact, that impersonal or distant calamities but slightly arouse the national emotions. People read and comment upon the slaughter of women and children, and at the same time pleasurably partake of a good dinner. The fact is, that emotions are not easily aroused by distant stimuli, and people also respond with ever decreasing force to unchanging present stimuli.
Present day labor agitations have already passed the boundaries of mild stimulation, and are fast becoming emotional forces which are evidently driving headlong into governmental change. Capitalism has run its oppressive course, and for the near future a genuinely soul-tearing agitation is preparing, which, if allowed to rip open the veins of the nation, will produce the stimuli, that eventually will endow English Music with a richness and depth, superior to that of any other country. British emotions have been sleeping deeply under two centuries of mild emotional stimuli, but when they do stretch their strong fibres for action, then one may indeed tremble for the old systems of English government; and then also the great musical triumphs of Belgium and Germany may be surpassed. Considering the mental attitude of the British community during the Nineteenth century, and at the present day, it was to be expected that Balfe’s “Lurline” should represent the nation’s rhythmic need up to 1870, and that the musical works of Benedict (“The Lily of Killarney,” and the oratorios of “St. Peter” and “St. Cecilia”), should have found popular appreciation up to 1885. But the composer who best illustrates England’s characteristic activity,—that of colonization,—its military and political aspects, the clean minded and religious attitude of Victoria’s rule, and the general lightly disturbing characteristics of Nineteenth century economic stimuli, was Sir Arthur Sullivan in his charming works, “The Mikado,” “Pinafore,” “The Pirates of Penzance,” “Patience,” “The Yeoman of the Guard,” “Iolanthe” and “The Sorcerer.” England did much in this century to advance the culture of Music within her borders. The Royal head was patron of such institutions as The Royal Academy of South Kensington, The Royal College of Music, The Guildhall School of Music and Trinity College. These are in general supported by government grants, donations, and subscribing patrons.[31] The national faith is still strongly expressed in the extensive cultivation of the oratorio, while the secular ideal has not yet become sufficiently abnormal to genuinely encourage Music of the present French and German schools. This is probably because England’s emotions are not in need of such representations, since they are still adequately reflected in the lighter works of Italian genius, as expressed by Verdi[32] and in her own lovely light operas. It seems more than a coincidence that the Music of a country so marvellously reflects the character of the economic stimuli of its period, as does Great Britain’s.
That England has a genuine care for the development of musical culture in her realm is shown by the letter from the Board of Education, Whitehall, London.[33]