The greatest actors and actresses of every country in the world are constantly to be seen, and the Drama and the Variety Theatre are in complete agreement, instead of, as formerly, contemptuous on one side, and resentful on the other.
So far as music is concerned the change is equally marked, as may be realized when Sir Edward Elgar is found conducting one of his own compositions at the Coliseum. This must certainly be regarded as an epoch in the history of music in England, as well as that of the Variety Theatre.
Although unable to take the roseate view of the position of native music in England that is often expressed by a few prominent writers in the Press, I think it will be generally agreed that there are many signs, at once indicative of hopefulness and, already, great and assured progress.
There are others, however, that, shut one's eyes to them as one would, cannot be ignored, and are, certainly, less satisfactory.
Disunion among any communion is generally disastrous, but I am afraid it has been a fatal fact in the history of English musicians.
The writing, for instance, of a parody by one, of the work of another, seems to me to be a policy of sheer negation. It neither enhances the reputation of the one, nor impedes the upward progress of the other. The ostentatious patronage of the foreign, at the expense of the equally skilled native, musician, is again a sign that does not induce a feeling of hopefulness.
To create a national school of English music which, notwithstanding the raptures some writers have indulged in, simply does not exist, a policy of a definite nature is needed.
That there exists a band of brilliant and original English composers to-day, is a matter of heart-felt congratulation, and one that gives rise to hopes that, but a few years ago only, would scarcely have been justified.
That their influence is already great and will, before long be still greater, as adverse influences lose their power, is a matter of thankfulness.