Hamish MacCunn (b. 1868) and Edward German (b. 1868),[79] the one a Scot and the other a Welshman, are both more particularly identified with the theatre. MacCunn's early orchestral poems, such as 'The Land of the Mountain and the Flood' and 'The Ship o' the Fiend,' at once brought him wide recognition. Their fine poetical qualities are well known. A large portion of his time, however, has been devoted to operatic conducting and composition. In the latter field he has to his credit such works as 'Jennie Deans' and 'Diarmid.' But, though MacCunn is known to all as an able, brilliant musician, he has had to pay the penalty of his association with that musical Cinderella, English Opera.
German, on the other hand, though never aiming at the sun, has once or twice hit a star. He succeeded Sullivan at the Savoy and made successes with 'The Emerald Isle,' 'Merrie England,' 'A Princess of Kensington,' and elsewhere with 'Tom Jones.' His incidental music to 'Henry VIII' and 'Nell Gwyn' has been liked into dislike. But German has done a great deal more than this. No account of him would be complete that did not mention his 'Welsh Rhapsody,' his 'Rhapsody on March Themes,' his 'Gypsy Suite,' and his 'Overture to Richard III.'
There is no denying the power, the wide ability, or the technical resource of Ethel Mary Smyth. Judged by her music alone one would say that she was only the nom de guerre of a strong masculine personality saturated with Teutonism. This, however, is only a pleasing fancy. As a fact, the terrific earnestness of her music could never have come from the brain of a mere man. Opera is her stronghold, and her greatest victory therein a fine Cornish drama, 'The Wreckers.'
Neither Walford Davies nor Charles Wood has produced music in great quantity. Both have led somewhat secluded lives; the one as organist of The Temple, and the other as a Cambridge don.
Davies is a man of fastidious taste, a first-class organist and contrapuntist, and a profound student of Bach, Browning, and The Bible. It is said that his coy muse sometimes furls her pinions at the approach of a too red-blooded humanity. However that may be, she has inspired him with at least one subtle and delicately beautiful work, 'Everyman.'
Charles Wood is an Irishman from Armagh, a fine scholarly musician and probably the best all-round theorist in the country. He has a strong interest in the folk-song of his native land and has written a set of orchestral variations on the tune, 'Patrick Sarsfield.' One of his best things is his string quartet in A minor. In the realm of choral music his 'Ballad of Dundee' may be selected for mention. He has at any rate one great song to his credit—'Ethiopia saluting the colors.'
Arthur Hinton's (b. 1869) work, which is appreciated on both sides of the Atlantic, includes some elaborate pianoforte music, a two-act opera, 'Tamara,' a couple of symphonies, the orchestral suite 'Endymion,' and a good deal of chamber music. His compositions are characteristic of the group to which he belongs. A certain delight in clean, finished workmanship and an incisiveness of expression are their main features.
Arthur Somervell has been throughout his life one of the standard-bearers of the English revival. And he has kept the banner flying both by his enthusiasm for folk-music and by his own compositions. His graceful, refined songs are sung and liked everywhere. Of these perhaps the best known is his cycle from Tennyson's 'Maud.' Among his larger works one may mention his 'Normandy' variations for pianoforte and orchestra and his recent symphony 'Thalassa.' For some years past Somervell has been the official mainspring which keeps the clock of elementary musical education ticking.
One of the most admirable features of the later phases in the English musical renaissance is the quickened and deepened interest shown both in English musical history and in the general topic of musical æsthetics. For the first time since the days of Hawkins and Burney investigators have begun an elaborate search in college, cathedral, and secular libraries. The existence of a vast store of madrigals, of church and instrumental music was scarcely suspected even by professional musicians; and the treasure when unearthed came as a revelation to musical England.