This concludes the list of original writers, but, before leaving the subject, a word must be spared for the vast improvement that has appeared during the past few years in the translation of foreign musical texts into English. The value of the work of such men as Claude Aveling, Frederick Jameson, and Paul England can only be appreciated by a comparison of their translations with those of their predecessors. One may add that there is now a persistent cry in the London press for fine English finely sung, and this demand—though not always gratified—is kept before the public by such patriotic critics as Robin Legge, Edwin Evans, and Henry Cope Colles.
Finally, before passing on to the third group, we may here conveniently place together the small band of theatrical composers who have succeeded Sullivan. Musical comedy and the money that comes from writing it are the very sour grapes of the average English symphonist. One and all they applaud what they call 'genuine comic opera' (meaning Offenbach or anyone else that is old and dead), but decry its much brighter, cleaner, and more musical descendant. The ludicrous snobbery of English life draws a wide black line between the two classes of composer; and the stupidest Mus. Doc. that ever drowned a choir would probably rather have his daughter run off with the butler than marry a musical comedy composer. Nine times out of ten the theatrical man's revenge is that it is he and not the Mus. Doc. that has the butler. For, even under present conditions, the theatre alone in England offers a composer-conductor the chance of an honorable livelihood.
During Sullivan's lifetime he and Gilbert were comic opera; and, though the Savoy cap was tried on such diversely shaped heads as A. C. Mackenzie, Ernest Ford, Edward Soloman, and J. M. Barrie, it never really fitted any of them. Cellier alone—brother of Sullivan's conductor—made a success (elsewhere) with his charming work, 'Dorothy.' We have already mentioned that, after Sir Arthur's death, German completed his unfinished opera, 'The Emerald Isle,' and continued to employ his easy brilliant talents in that field. A later attempt to run a miniature grand opera, written by an Italian (Franco Leoni) but sung in English, was defeated by the two gods of fog, musical and meteorological.
Toward the end of the century theatre-land began to shift westward and northward into the Piccadilly Circus and Shaftesbury Avenue district. The new form of entertainment came into its own, and—if one may quote the words of an eminent Russian violinist—'Musical comedy at Daly's became the top-thing.' Of the men who have been providing the music for the London theatres we may mention four—Jones, Monckton, Talbot, and Rubens.
Sidney Jones's music has been played all the world over. In 'The Geisha,' 'San Toy,' and many other works he has had the opportunity of exercising his delicate taste and his really very musical mind. He has written more than one extended finale that is a comic opera masterpiece; while the alternate sparkle and quaint tenderness of his melodies are quite irresistible.
Of recent years Lionel Monckton has had the biggest finger in the musical comedy pie. And deservedly so. He owes his present distinguished position mainly to his inexhaustible fund of original melody. Many of these tunes are, in their way, perfect. Their special excellence is lightness, vigor, rhythmic variety and constructional power. If the present writer were subpœnaed before the Court of the Muses to give evidence as to the best tunes made in the past fifteen years he would testify, among others, for Monckton. The Folk-Song Society of 2500 will probably explain him as a solar-myth.
Howard Talbot[81] and Paul Rubens may be bracketed together. The former, though a New Yorker born, has lived his musical life in London. And his charming talent is shown in the many works of which he is either whole-or part-author. Of these the most popular are perhaps 'A Chinese Honeymoon,' 'The Arcadians,' and 'The Mousmé.' Rubens may be specially noticed for his Sullivanesque power of associating his music intimately with his literary text. Not that his music has anything in common with Sullivan's. But the special faculty of making the two things appear one is common to both composers. Rubens nearly always writes his own lyrics and thus, in a delightful manner, revives and vindicates the theory and practice of Greek poetic composition.
IV
With the turn of the century the folk-song movement had sunk deep into the English mind, where it still rests as an anchor for many of their hopes. Accordingly in this period we find men, like Vaughan Williams, who either base their music entirely on actual folk-song or invent tunes in close spiritual alliance with its ideals. In either case the result is a genuine development of folk-music. On the technical side this group is marked by a much more decided tendency to refuse the highly organized German technique as necessary to its salvation. This again is largely due to an open-minded reconsideration of musical æsthetics, forced upon composers by the special harmonic and melodic features of folk-song. The matter is too large for discussion here; but it is satisfactory to note that more than one Englishman who passed through his student-days with the reputation of a wrong-headed jackass has been able to base his honor on his alleged stupidities.
During recent years there is some change to be noted in the material side of English musical conditions. Apparently there is less love for the oratorio; and therefore less scope for writing it. This symptom of musical life is common to America and England. It is easy to diagnose the reasons. In England they are two: first, on the part of the audience, the dislike of prolonged boredom; and, second, on the part of the composer, an indignant hatred of the organized corruption associated with choral music. The latter point cannot be dealt with here, though it is a common theme of talk among English composers. The musician's compensation is to be found in the extraordinary system of 'choral competitions' and 'festivals' which now honeycomb England with their sweetness. These, beginning with Miss Wakefield's celebrated gathering in Cumberland, have spread all over the country and now offer composers large opportunities for the performance of part-songs and the smaller sort of choral works. The best and highest aims of these English festivals are summarized for Americans in the 'Norfolk Festival' of the Litchfield County Choral Union founded by Mr. and Mrs. Stoeckel to honor the memory of Robbins Battell.