?u.
 
 MUSICAL 
 REMINISCENCES 
 
 AND IMPRESSIONS 
 
 BY 
 
 JOHN FRANCIS BARNETT 
 
 ILLUSTRATED 
 
 HODDER AND STOUGHTON 
 LONDON MCMVI
 
 TO 
 
 JOHN NORBURY, Esq. 
 
 THESE REMINISCENCES ARE DEDICATED 
 
 WITH EVERY MARK OF ESTEEM 
 
 AND AFFECTION
 
 PREFACE 
 
 TT7HEN I sat down to write my reminiscences, 
 * ^ I did so with some misgivings as to whether 
 I had materials of sufficient interest at my disposal. 
 I had not, however, written many pages, before I 
 began to Uve again in the past. Incidents which 
 I had almost forgotten came before me as vividly 
 as if they had occurred but yesterday. I saw, in 
 imagination, the faces and figures of musicians, the 
 lives and doings of whom the younger generations 
 read as matters of musical history. For me, 
 whilst penning my recollections, these musicians of 
 the past were just as present as they were years ago 
 when I was holding converse with them, or when 
 I saw them at the festival or concert in which they 
 were taking part. Some of these celebrities still 
 live in their works, and are thus in a manner present 
 amongst us ; but the great singers and the world- 
 famed executants I have written about are, for the 
 most part, but a name to those who have not had 
 the privilege, as 1 had, of hearing them. The voice 
 of many a celebrated singer of bygone days still 
 rings in my ears, although now for ever mute. I
 
 i PREFACE 
 
 seem again to hear the silvery tones of some great 
 violinist, of whom the only relic that remains to us 
 is the violin he loved so well. Or I am excited 
 once more, when I listen in imagination to the 
 brilliant feats of braimra-playing of some grand 
 pianist whose agile fingers touched their last chord 
 so long ago. In not a few cases I have ventured 
 to record the impression produced upon me by 
 musical works and their exponents ; and as I have, 
 during the earlier part of my life, lived in times 
 when the tastes in such matters were, to a 
 great extent, at variance with those of the pre- 
 sent age, I am thus able to compare notes as 
 to the past and present state of musical feel- 
 ing in this country. If, in these reminiscences, 
 I have sometimes been able to throw light on 
 bygone events in the musical world, or to pic- 
 ture others, with which I have been personally 
 connected, in such a manner as to awaken interest 
 in those who love the art of music, I shaU feel 
 amply rewarded for the time and trouble I have 
 given to writing them, even if the reproduction is 
 faint in effect, or the words in which I have 
 endeavoured to clothe my descriptions fall short of 
 what my memory has set before me.
 
 CONTENTS 
 
 PAGE 
 
 Preface ..... v 
 
 Introduction xiii 
 
 CHAPTER I 
 Boyhood King's Scholar ...... 1 
 
 CHAPTER n 
 A Vocal Interlude My D^but The Organ Loft . 9 
 
 CHAPTER III 
 Boulogne and Douglas Jerrold ...... 23 
 
 CHAPTER IV 
 Student Days at Leipsic 32 
 
 CHAPTER V 
 
 The Schiller Festival Saxon Switzerland Last Days 
 
 AT Leipsic ........ 53 
 
 CHAPTER VI 
 Reappearance in England The Philharmonic and My 
 
 First Concert ........ 63 
 
 CHAPTER VII 
 "Thk Ancient Mariner" 78
 
 viii CONTENTS 
 
 CHAPTER VIII 
 
 PAGB 
 
 Among the Choral Societies 87 
 
 CHAPTER IX 
 "Paradise and the Peri" 91 
 
 CHAPTER X 
 "The Good Shepherd" and First Orchestral Suite . 104 
 
 CHAPTER XI 
 "The Raising of Lazarus" 109 
 
 CHAPTER XII 
 
 Chamber Music Jansa and Beethoven The Leslie 
 
 Croir . . .118 
 
 CHAPTER XIII 
 Overture to "A Winter's Tale". . . . .134 
 
 CHAPTER XIV 
 Bennett's Concerto An Old Concert Programme . 139 
 
 CHAPTER XV 
 As Teacher Professors of the Past . . . .146 
 
 CHAPTER XVI 
 A New Music-School Conductors and Performers . l60 
 
 CHAPTER XVII 
 The National Training School . . - . .171 
 
 CHAPTER XVIII 
 The Royal College of Music . . . . . 177
 
 CONTENTS ix 
 
 CHAPTER XIX 
 
 PAGE 
 
 The Associatbd Board 185 
 
 CHAPTER XX 
 
 The Guildhall School Music in Aldermanbury . .192 
 
 CHAPTER XXI 
 
 The Guildhall School Its Early History . . 201 
 
 CHAPTER XXII 
 
 The Guildhall School The New Building . . 205 
 
 CHAPTER XXIII 
 The Guildhall School "Ars Longa, Vita Brevis" . 209 
 
 CHAPTER XXIV 
 Welsh Holidays Snowdon 220 
 
 CHAPTER XXV 
 Welsh Holidays A Flood . . . . . . 228 
 
 CHAPTER XXVI 
 Welsh Holidays Music o'er the Lake Trespassers 
 
 An Awkward Descent ...... 234 
 
 CHAPTER XXVII 
 ChepsTow A Rustic Ceremony Astray ! Meeting in 
 
 the Farmhouse 241 
 
 CHAPTER XXVIII 
 A Chapter of Anecdotes 258
 
 X CONTENTS 
 
 CHAPTER XXIX 
 
 PAGE 
 
 Celebrities of the Past Musical *'At Homes" . . 269 
 
 CHAPTER XXX 
 The Toy Symphony : Leipsic and London " The Build- 
 ing OF THE Ship" 286 
 
 CHAPTER XXXI 
 "The Wishing Bell" 297 
 
 CHAPTER XXXII 
 Music of the Past: a R^sum6 . . . . . 300 
 
 CHAPTER XXXIII 
 The Sketch Symphony (Schubert's) . . . .312 
 
 CHAPTER XXXIV 
 Concluding Remarks ....... 326 
 
 Index 337
 
 INTRODUCTION 
 
 TTTE have, as a rule, but little knowledge of the 
 * ^ history of our forefathers who lived two or 
 three generations ago. Their lives are, as it were, 
 surrounded by a halo of mystery. It is therefore 
 only natural for our curiosity to be roused, should 
 we perchance hear anything that would throw light 
 upon their mode of life, or that would tell us what 
 their occupations were, whether they devoted them- 
 selves to art, or to science, or to the busy routine of 
 commerce. 
 
 Any information of this kind, in regard to my 
 predecessors, cannot, of course, be included in my 
 reminiscences ; but perhaps I may be pardoned if 
 I record a few details concerning my family history 
 that were told to me by my father and mother. 
 These details are very fragmentary, but such as 
 they are I will repeat them. 
 
 My grandfather on my father's side, who was a 
 diamond merchant, was by birth a Prussian, and his 
 wife a Hungarian. His name was Bernhart Beer, 
 but on his settling in England he changed his sur-
 
 xiv INTRODUCTION 
 
 name to Barnett, which the family has ever since 
 retained. 
 
 It is said, on good authority, that he was related 
 to Meyerbeer. This does not seem improbable, as 
 that composer's family name was, likewise, origin- 
 ally Beer, the Meyer having been subsequently pre- 
 fixed to it. 
 
 My grandfather had three sons : John, the com- 
 poser of the "Mountain Sylph"; the second son 
 being Joseph Alfred, who was my father ; and 
 another son, Zaraeh, who was a dramatic writer, 
 and who wrote some of the libretti of my uncle 
 John's operas. 
 
 It appears that my grandfather lost his wife 
 whilst my father was a child, and that in conse- 
 quence of this bereavement he seemed to lose his 
 interest in commercial matters, and therefore found 
 it necessary to take in a partner, who, managing 
 the business badly, brought about the failure of the 
 concern. 
 
 This caused my grandfather's income to become 
 so reduced that he was unable to give my father a 
 good musical education; otherwise, I am of opinion 
 that my father would have been a composer who 
 would have made his mark, for he had unmistak- 
 able talent, but unfortunately no proper cultivation. 
 
 On my mother's side I am able to trace two 
 branches of her progenitors.
 
 INTRODUCTION xw 
 
 Her grandfather on her father's side was the 
 inventor of a system of printing on calico, of the 
 name of Cornelius Hudson, who had large works 
 at Old Ford, near Bow; a water-colour drawing of 
 his manufactory, painted by William Varley, a 
 brother of the celebrated artist, John Varley, being 
 in our possession. 
 
 From all I have heard, it is evident that Cor- 
 nelius Hudson was a very ingenious mechanician. 
 For his amusement he made a chamber-organ, 
 every detail being his own workmanship. He 
 likewise constructed an orrery. Both these speci- 
 mens of ingenuity were, unfortunately, sold after 
 his death, so that his descendants, myself among 
 the number, never had an opportunity of seeing 
 them. But I am glad to say that we have a beau- 
 tiful miniature of him executed by one of his 
 sons, William Hudson, who was my grandfather, 
 and who was a miniature-painter by profession. 
 
 This William Hudson married a daughter of a 
 widow lady, Mrs. Maltby, who was the owner of 
 a financial newspaper called " The Price Current," 
 which at one time had a large sale, and was prob- 
 ably the first financial newspaper ever published. 
 
 1 have at home a very fine portrait, life size, of 
 this Mrs. Maltby, my great-grandmother, which 
 Sir John Tenniel, when he was once at my house, 
 admired greatly. This portrait is by a Royal
 
 xvi INTRODUCTION 
 
 Academician of the period. I may add that some 
 years ago I was much interested in coming across 
 a diary of my great-grandmother, in which she 
 speaks about Mr. Hudson, my grandfjather, visiting 
 her house at the time he was paying his addresses 
 to her daughter. Amongst the relics of the past, 
 that I likewise found, was an antique volume of 
 the " Arabian Nights," ^ on the title-page of which 
 is written in faded ink, " Priscilla Hudson, the gift 
 of her aunt Lady Bannerman." This Priscilla 
 Hudson was my mother's youngest sister, so that 
 it would appear that my grandmother was con- 
 nected by marriage with the Bannerman family. 
 
 Having in a few words recounted all I have 
 heard narrated to me about some of my relatives 
 of the remote past, I will, without further delay, 
 tell my own story, and, although I cannot promise 
 anjrthing in the way of exciting incidents, I ven- 
 ture to hope that my reminiscences may not be 
 without value, as I have in the course of my life 
 been fortunate in meeting with many a celebrity of 
 bygone musical times, and am thus enabled to 
 speak about them and to recount not a few inci- 
 dents of interest in connexion with them. 
 
 ' Published in 1798 at Montrose, by Buchanan. 
 
 r*
 
 CHAPTER I 
 
 BOYHOOD KING'S SCHOLAR 
 
 II TY earliest recollections are principally associ- 
 -^'-^ ated with my school days and my practising 
 on an old square piano of D'Almaine ; very much 
 the same style of instrument, in outward appear- 
 ance, as those seen in pictures of Mozart as a 
 child, seated on a high stool, playing some infantine 
 composition. 
 
 I cannot say that in those days I always enjoyed 
 practising, and I expect I must have frequently 
 tried the patience of my mother who taught me. 
 
 She had been a pupil of Sterndale Bennett, and 
 no doubt I owe much to the early musical training 
 I received from her. 
 
 1 can quite distinctly recollect learning my first 
 tune. I was then seven years old. It seems 
 strange that whilst I was being initiated into the 
 mysteries of crochets and quavers, and of lines 
 and spaces, Mendelssohn, Schumann and Chopin 
 were still living, and even adding new art treasures
 
 2 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 to those that they had abeady produced. For 
 when I first learnt to revere these names, they had 
 akeady passed beyond the threshold of this limited 
 sphere, and were reckoned among the great ones 
 of the past. 
 
 After I had overcome the initial difficulties of 
 the piano, and was able to play fairly well, my 
 musical studies were almost exclusively restricted 
 to classical music; I have sometimes thought 
 almost too much so. Beethoven's Sonata in F 
 minor, op. 2, was the first sonata I learnt, and 
 I can even now recollect the intense pleasure 
 studpng it gave me. 
 
 Anything light in music seemed to me utterly 
 commonplace, but sometimes I found others not 
 always sharing my opinion ; much to my disappoint- 
 ment. Thus I recollect on one occasion, when I 
 played a sonata to a French lady and gentleman, 
 they remarked, "that it was a pity my playing was 
 thrown away on such dry music." 1 am afraid that 
 their opinion is even now shared by a great many, 
 for who would think of playing a Beethoven 
 sonata at a musical "At Home " ? 
 
 It seems now curious to me that during my 
 boyhood my tastes were not entirely centred in 
 music. Yet such was actually the case. In fact, 
 I believe I was fonder of scientific studies, for I 
 can recollect making myself an electrical machine.
 
 BOYHOOD KING'S SCHOLAR 8 
 
 as well as getting together a small chemical 
 laboratory. Then I had quite a collection of 
 scientific works, which I used to study assiduously. 
 
 My father was so struck with my love for science, 
 that at one time he seriously thought of bringing 
 me up as an engineer or analytical chemist, and 
 I was for that reason introduced to Dr. BachofFner, 
 at that time the lecturer at the Polytechnic In- 
 stitution of London, whose lectures on chemistry 
 and electricity gave me even keener pleasure than 
 music itself. 
 
 I have often thought since, that probably I had 
 more love than actual talent for those subjects. 
 Whether that was the case or not, it is certain 
 that, although for a time science competed with 
 music as to my future walk in life, in the end 
 music gained the day. 
 
 This was brought about by my being introduced 
 at the age of eleven to Dr. Wylde, who was at 
 that time a professor at the Royal Academy of 
 Music. He heard me play, and thought so well 
 of my talent, that he volunteered to give me 
 instruction free of charge ; and his liberal offer 
 being accepted by my father, my fate was decided 
 upon, and I began to study with a view of 
 becoming a musician. 
 
 I can well recollect with how much pleasure 
 I looked forward to my lessons ; I enjoyed, too,
 
 V 
 
 4 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 the walk through the fields that led from the 
 Grove, Kentish Town, where I lived, to the top of 
 Highgate Archway, for it was near there that 
 Dr. Wylde dwelt. Alas I those undulating fields 
 have long since disappeared, and in their place 
 has arisen a suburb obliterating all traces of the 
 pastoral landscape I loved so well. 
 
 I may here incidentally mention that, even as 
 a child, I always had a great love for the beauties 
 of nature. Perhaps this love of the picturesque 
 may have been fostered in early childhood by the 
 charming surroundings of Roslyn Castle, where 
 I stayed some weeks when I was between the ages 
 of seven and eight. 
 
 At that time my grandmother, Mrs. Hudson, 
 lived in a part of the castle, which was then let as 
 a residence, and my mother had taken me there 
 on a visit. 
 
 I have a vivid recollection of the wild glen with 
 its waterfall at the foot of the castle, and I can, 
 in imagination, see myself looking with eyes of 
 wonderment at the foaming cascade and the over- 
 hanging wood, and then resting myself upon a 
 ledge of rock that chance had formed into a rustic 
 seat, and which nature had upholstered with thick 
 moss, even softer than velvet. The castle itself, 
 with its gloomy dungeons, conjured up mysterious 
 feelings within me. And as children at the age
 
 BOYHOOD KING'S SCHOLAR 5 
 
 I was then, are very imaginative, it would not 
 have taken much to persuade me that it was 
 haunted by the ghosts of the knights of old who 
 had dwelt there, or of the prisoners who had pined 
 away in captivity. 
 
 The deep impression made upon me by Roslyn 
 Castle has never faded from my memory, despite 
 the number of years that have elapsed since I 
 stayed there as a little child. I still feel as if, 
 should I ever revisit it, I could find my way 
 about the weird ins and outs of the ruins as easily 
 as if I had been living there ever since. 
 
 To resume from where I broke off, every week 
 I regularly took my walk to Highgate Archway 
 for my lessons, so that under Dr. Wylde's guidance 
 I made such rapid progress, that when I arrived at 
 the age of thirteen, he decided upon my trying for 
 the King's Scholarship of the Royal Academy of 
 Music ; at that time the only scholarship in exist- 
 ence in England for music students. 
 
 This gave an incentive to my working harder at 
 my pianoforte playing. The pieces I prepared for 
 the scholarship examination were Nos. 1 and 4 
 from Mendelssohn's Seven Characteristic Pieces. 
 I also wrote for it a very juvenile Sonata ; which, 
 of course, my parents thought to be a wonderful 
 feat for a boy to accomplish. 
 
 This competition seemed a great event in my
 
 6 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 life ; and I well recollect how excited I felt as 
 I made my way to Tenterden Street on the morn- 
 ing of the competition. My father accompanied 
 me, and we were ushered into the waiting-room of 
 the Academy, which at that time was at the left- 
 hand side of the hall, and where several other 
 competitors with their friends or relations were 
 assembled. Whilst I was waiting my turn, a 
 gentleman, whose son was likewise competing, 
 entered into conversation with my father, and, 
 pointing to me where I was seated talking to a 
 school companion of mine, who was in the run- 
 ning, said to my father : " I feel sure that lad over 
 there will gain the scholarship, he looks so musical. 
 I should like, if possible, to know his name, as I 
 intend to look in the paper to see if my opinion 
 is correct." When he learnt my name from my 
 father, he seemed very interested at his having, by 
 chance, made his inquiry as to my identity of the 
 very best authority possible. 
 
 When my turn came for being examined, I 
 cannot say that I felt entirely free from nervous- 
 ness, but I pulled myself together and determined 
 to do my best. 
 
 Seated around a long table were the board of 
 professors, at the head of which was Cipriani 
 Potter, the Principal of the Academy. Although 
 a man of small proportions, his appearance was.
 
 BOYHOOD KING'S SCHOLAR 7 
 
 nevertheless, calculated to inspire a certain amount 
 of awe in the mind of a juvenile. This was no 
 doubt due to the peculiarly bushy eyebrows he 
 had, which gave a certain degree of fierceness to 
 his face. Amongst other professors present were, 
 I beUeve, Sterndale Bennett, Charles Lucas, the 
 father of the late Stanley Lucas, William Dorrell, 
 and other musicians of reputation. 
 
 I first handed in my Sonata ; then I sat at the 
 piano and played the Mendelssohn pieces from 
 memory, which, fortunately, went better than they 
 had ever done before. After I had read a short 
 piece at sight, the examiners asked me to extem- 
 porize, and as I had always had a facility for this 
 kind of performance, I believe I made a good im- 
 pression upon them ; anyhow, I endeavoured, whilst 
 I was improvising, to throw my whole soul into 
 my playing. I feel certain that my extemporizing, 
 more than anything else, decided the scholarship in 
 my favour. 
 
 When I entered upon my studies at the Royal 
 Academy of Music, I felt how fortunate I was in 
 having been admitted by competition to an in- 
 stitution that had done so much for music, and 
 which had given to the world such musicians as 
 Sterndale Bennett, Miss Dolby, and George 
 Macfarren. 
 
 As a King's scholar of the Academy, whenever
 
 8 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 I appeared in public, I had to wear a uniform, the 
 principal feature of which was a goodly row of gold 
 buttons on my jacket, each of which had on it the 
 Royal Coat of Arms, and of which I was not 
 a little proud.
 
 CHAPTER II 
 
 A VOCAL INTERLUDE MY DEBUT THE 
 ORGAN LOFT 
 
 TT might be assumed from what I have so far 
 -*- written about my boyhood, that my musical 
 tastes were cultivated solely in the direction of 
 instrumental music ; nevertheless, I had some op- 
 portunities of acquiring a love for vocal music as 
 well. These were, it is true, very desultory ; still 
 they served to introduce me to that department of 
 musical art which so appeals to the masses. Had 
 not my father been a professor of singing, I 
 should, in those earlier years of my life, have 
 heard little of the art to which he had devoted 
 himself. Not a few of my father's pupils received 
 their lessons at his house ; amongst these being a 
 Mr. Charles Bingley, who had a beautiful and 
 sonorous bass voice. He ultimately became a 
 popular operatic singer, under the nom de plume of 
 Charles Durand, and having private means, he 
 established an operatic company which attained 
 great and deserved success in the provinces. 
 
 9
 
 10 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 While studying singing under my father he 
 came for his lessons in the evenings and frequently 
 brought his wife with him, when they sometimes 
 stayed to supper. As I was a youngster then, I 
 was sent early to bed, about eight o'clock. I recol- 
 lect sometimes being lulled to sleep by the beauti- 
 ful music I heard ; but more frequently, I lay 
 awake listening to Charles Durand's fine singing 
 of some operatic music. What I enjoyed most of 
 all, were duets from Italian operas which he and 
 my father sang. 
 
 My father had a really charming tenor voice, 
 which blended well with his pupil's grand bass. 
 The celebrated duet from Rossini's "Barbiere," 
 they often sang. On these occasions, I never 
 slept, in fact I felt more like jumping out of bed 
 and calling to them to sing it again. Even as I 
 write, those wondrous harmonies seem to ring 
 again in my ears. Ah ! how intense our enthu- 
 siasm, how vivid our imagination in the springtime 
 of youth ! 
 
 The first blush of a new art sensation can 
 seldom be experienced more than once in a life. 
 For as we grow older, we try to analyse. If we 
 see a play we are tempted to look behind the 
 scenes ; if we watch the conjurer's feats, we form 
 theories as to how he manipulates them.
 
 MY DEBUT THE ORGAN LOFT 11 
 
 A few months after I had gained the scholarship 
 referred to in the last chapter, an event occurred, 
 which, although having no bearing on my musical 
 studies, made a great and lasting impression upon 
 me. This was the opening of the Great Exhibition 
 of 1851. 
 
 I have already stated, that I used, as a boy, to 
 go for my pianoforte lessons to a house close to 
 Highgate Archway. This house was for several 
 years the residence of Sir Charles Fox, the engineer 
 of the Exhibition. It was there that Dr. Wylde, 
 who was a cousin of Lady Fox, resided for some 
 time. Thus it was that I not infrequently dined 
 at Farquhar House, as Sir Charles's residence was 
 named, and so made the acquaintance of the dis- 
 tinguished engineer. 
 
 It was natural that I should take additional 
 interest in the Exhibition from the fact of my being 
 personally acquainted with the engineer. He must 
 have been a man of marvellous powers to have 
 carried out so successfully Sir .Joseph Paxton's 
 ideas. No building constructed of glass and iron 
 on so large a scale, had ever been erected before. 
 It certainly was an unprecedented piece of engineer- 
 ing, and in a modified form it still exists, under the 
 name of the Crystal Palace. That fairylike struc- 
 ture is, to a great extent, the Exhibition of 1851, 
 removed to Sydenham.
 
 12 MUSICAL REMINISCENCES &> IMPRESSIONS 
 
 What excitement there was over this Exhibition, 
 and what a wonderful surprise it was to those who 
 saw it for the first time. Imagine the Crystal 
 Palace transported by some magician to Hyde 
 Park, and then you will have some idea of the 
 novel appearance the structure presented. Then 
 the interior was unique, for inside the Exhibition 
 many of the large trees of the park were left 
 standing. But the great height of the building 
 caused them to look comparatively small, so that 
 they quite harmonized with the tout ensemble. 
 There were so many objects of interest exhibited, 
 that I am afraid they have quite confused my 
 memory. The wonderful Koh-i-noor diamond per- 
 haps made the deepest impression upon me. Prob- 
 ably this was because of the difficulty experienced 
 in trying to see it, owing to the crowds of people 
 surrounding it. When I obtained a view, it ap- 
 peared to me very much smaller than I expected. 
 For I had heard so much about its extraordinary 
 size, that I should not have been surprised to have 
 found it as large as the egg of an ostrich. Con- 
 sidering its enormous value, it looked very in- 
 adequately protected. But I was told that, by 
 a clever contrivance, should any one have made a 
 dash for it, there was an automatic arrangement, 
 by which the diamond would have disappeared the 
 moment it was touched, whilst, at the same time.
 
 MY DEBUT THE ORGAN LOFT 13 
 
 the hand of the culprit would have been caught 
 and held in a kind of trap until the arrival of the 
 poUce. 
 
 One feature of the Exhibition I recollect very 
 well indeed, and that was its division into different 
 countries. One often heard snatches of conversa- 
 tion like the following : " Well I I think we have 
 had enough of France, let us pay a visit to Turkey 
 for a few minutes, and after that we will go and 
 have some tea in Russia before we leave," and so on. 
 
 Two years after the opening of the Exhibition 
 I made my first appearance as a pianist at the New 
 Philharmonic Concerts. This was a great event in 
 my boyhood. I had been present at the inaugural 
 season of this society, but little thought then that 
 in the following year I should appear as a solo 
 pianist at one of the concerts. 
 
 A few words about these Concerts may not be 
 out of place. They were instituted at the initia- 
 tive of Dr. Wylde, in conjunction with Mr. Beale, 
 of the firm of J. B. Cramer & Co., and others ; 
 and were on a larger scale, as regards the con- 
 stitution of the orchestra, than the public were 
 accustomed to in those days. The only mistake 
 committed was that in respect to the name, as that 
 caused great offence to those interested in the
 
 14 MUSICAL REMINISCENCES 6- IMPRESSIONS 
 
 Philharmonic Society. Otherwise, especially during 
 the earlier history of the New Philharmonic, no 
 expense was spared to present to the public some 
 of the finest Orchestral Concerts ever given in 
 London. 
 
 With Hector Berlioz as conductor and a large 
 orchestra comprising the most accomplished 
 players, the concerts of the first season left an 
 aftermath of pleasure in the memory of all who 
 heard them. I shall never forget the splendid 
 performance of Beethoven's Choral Symphony. 
 To the fine orchestra was united an excellent 
 chorus of picked voices ; whilst for solo singers 
 were chosen Clara Novello, Miss Williams, Sims 
 Reeves, and Staudigl. 
 
 Another most interesting occasion, at which I 
 was present, was the third New Philharmonic, 
 given on 24 March, 1852, when Berlioz conducted 
 the first performance, in England, of his " Romeo 
 and Juliet." I, doubtless, was too young at that 
 time to enter fully into the spirit of so advanced 
 a school of music ; but, nevertheless, I was much 
 impressed with the effect of the chorus of 
 Capulets, which is sung behind the scenes, as well 
 as with the Scherzo^ " Queen Mab," which took 
 every one by surprise. At the end of the concert, 
 
 * It may be interesting to mention that the tymbales d'argent in 
 this Scherzo were played on this occasion by Mr. Ganz and Mr. . 
 Silas.
 
 MY DEBUT THE ORGAN LOFT 15 
 
 Berlioz received quite an ovation, and a wreath 
 of laurels was handed to him by one of the 
 audience. 
 
 The day following this performance I saw Berlioz 
 walking down Regent Street, which gave me an 
 opportunity of seeing him at closer quarters. I 
 noticed how deep and poetical was the expression 
 of his features ; there was also a look of pleasure 
 in his face such as one might have expected after 
 his artistic triumph of the previous night. 
 
 In regard to my debut at the New Philharmonic, 
 which took place on 4 July, 1853, at Exeter Hall, 
 certain of the directors of these Concerts at first 
 showed some opposition to my appearance as a 
 performer. I was thought to be too young ; and, 
 as then I had played in public only at the 
 Students' Concerts of the Royal Academy, fears 
 were entertained as to the manner in which I 
 might acquit myself. Eventually a compromise 
 was arrived at by which it was decided that I was 
 to play at the rehearsal, and, if the conductor 
 thought well of my performance, my name should 
 then be included in the programme. Louis Spohr, 
 the great violinist and composer, was conductor of 
 the New Philharmonic Concerts during their 
 second season, and it was he who had to decide 
 my fate. 
 
 At that time Spohr's music was popular in
 
 16 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 England, and his reputation as a great violinist 
 was fresh in the recollection of many ; so that his 
 appointment as conductor of the New Phil- 
 harmonic Concerts was looked upon as quite an 
 event. 
 
 In appearance he was a massive style of man, 
 both tall and stout, but his face was intellectual, 
 without, however, the poetical expression of 
 features that I noticed in Berlioz. 
 
 Never having played before with so large an 
 orchestra, it was rather an ordeal for me, and I do 
 not say that I was altogether free from nervousness 
 at the rehearsal ; but all went well, and Spohr 
 strongly advised the committee to let me play. 
 
 At the concert he led me on the platform. 
 How small I must have looked beside him as we 
 walked on together. Of course, I was wearing 
 my jacket with the gold buttons, and I expect 
 I excited the curiosity of the audience who made 
 a great noise when I appeared. I played the 
 D minor Concerto of Mendelssohn from memory, 
 and met with a most encouraging welcome. 
 
 Ernest Pauer often used to tell me how he 
 had heard me play on this my first appearance. 
 Amongst those present were, I have under- 
 stood, Bluraenthal, Ganz, and other well-known 
 musicians. In consequence of my success, I was 
 engaged to play at the New Philharmonic Concerts
 
 MY DEBUT THE ORGAN LOFT 17 
 
 every season until I went to Germany. Among 
 the Concertos I performed was that of Beethoven 
 in G, always a great favourite with me. 
 
 During the years that elapsed between my 
 ddbut and my departure for Leipsic, I continued 
 my pianoforte studies under Dr. Wylde, having 
 been re - elected King's scholar at the Royal 
 Academy. For my second study I took the violin 
 with William Watson as my teacher. In addi- 
 tion to this I began to devote myself earnestly 
 to composition, but found to my discouragement 
 that, although I could extemporize on the piano- 
 forte with great facility, when I endeavoured to 
 put my ideas into definite shape, they wellnigh 
 refused to come at all. They seemed, in fact, as 
 though dried up, and when at last I did succeed 
 in getting a subject or a theme, I found the 
 greatest difficulty in elaborating it. Sometimes 
 a few bars would take me as many months to 
 write before they satisfied me ; but I persevered 
 notwithstanding. Of course, practice improved 
 matters as regards facility, but not so much as 
 I had hoped it would ; and it was not, indeed, 
 until I composed my music to "The Ancient 
 Mariner" that I wrote with anything like ease; 
 but of this 1 will speak later on. 
 
 I must not here forget to make mention of a 
 very interesting concert at which I played a year
 
 18 MUSICAL REMINISCENCES &> IMPRESSIONS 
 
 or two prior to going to Germany. This concert 
 was one given at the Crystal Palace, in order to 
 commemorate the centenary of Mozart's birth, 
 and took place in the year 1856. 
 
 It was one of the earliest of the Crystal Palace 
 performances, before they had attained the grand 
 proportions arrived at by the celebrated Saturday 
 Concerts. I played the D minor Concerto of 
 Mozart, and introduced a cadence of my own. 
 August Manns conducted, and 1 then made the 
 acquaintance of Sir George (then Mr.) Grove, 
 who was at that time secretary of the Crystal 
 Palace. 
 
 The concert-room in which I played exists no 
 longer, for it was destroyed by the same fire 
 which swept away that section of the palace pre- 
 viously known as the " Tropical Department." In 
 truth, when the flames on that eventful night 
 belched forth into the air, presenting the appear- 
 ance of a fiery steeple and illumining the country 
 for miles around, it more than earned its title 
 of " Tropical." 
 
 The earlier days of the Crystal Palace, likewise, 
 recall to my memory another musical event which 
 occurred a few months before my departure for 
 Germany. This was no less than the first of the 
 great Handel festivals, and was given in the year 
 1857. Although it was called a preliminary
 
 MY DEBUT THE ORGAN LOFT 19 
 
 festival, it was really on the same grand scale as 
 the one which followed it in 1859. 
 
 I had the privilege of being one of the instru- 
 mentalists on the occasion of the preliminary 
 festival, when I played in the orchestra among 
 the violins. This gave me an opportunity of again 
 hearing Clara Novello, whose pure soprano notes 
 filled the vast edifice fi-om end to end. Among 
 the other singers were Miss Dolby, Mr. Sims 
 Reeves, Herr Formes, and Mr. Weiss. My father 
 and mother sang in the chorus, which was indeed 
 quite a representative one, for nearly every pro- 
 fessor of music in London who had a good voice 
 was among the choristers. 
 
 Some reference to my studies in organ-playing 
 may not be out of place. From the age of thir- 
 teen I had played the organ accompaniments to 
 the Masses of Mozart and Haydn in the church 
 to which my father was attached as conductor of 
 the music. My first engagement was at the 
 Catholic Church in Warwick Street, near Regent 
 Street. There I succeeded German Reed, who 
 at the time had not entered that path of public 
 life in which he afterwards achieved such popu- 
 larity. It must have been many years prior to his 
 starting the German Reed Illustrations that he 
 was engaged as organist at the Warwick Street 
 Church. I cannot say that his juvenile successor
 
 20 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 knew much about the art of organ-playing. When 
 I was appointed organist, I was practically igno- 
 rant of the true art of manipulating the king of 
 instruments, although by the aid of the Novello 
 arrangements of the Masses I was able to make 
 some effect, and I soon gained a certain amount 
 of facility in managing the pedals. But it 
 was not true organ-playing, for I scarcely ever 
 made use of an independent pedal part. 1 should 
 probably never have risen above this slipshod 
 mode of treating the organ, had I not made the 
 acquaintance of Mr. George Herbert. He was 
 a member of the Farm Street congregation, and 
 took so much interest in my organ-playing that 
 he advised me to study it seriously and to take 
 lessons of Mr. George Cooper. This eminent 
 musician was organist at St. Sepulchre's Church 
 as well as assistant organist at St. Paul's Cathe- 
 dral, where Mr. (afterwards Sir John) Goss pre- 
 sided over the music. 
 
 One reason why Mr. Herbert was anxious that 
 I should thoroughly qualify myself in this depart- 
 ment of my profession was, that I might in time 
 become eligible for the post of organist at Farm 
 Street Church, in the arrangements for the music 
 of which he took an active part. But my sojourn 
 in Leipsic prevented the accomplishment of his 
 plan. I am glad, notwithstanding, that I took his
 
 MY DEBUT THE ORGAN LOFT 21 
 
 advice and studied under George Cooper. That 
 distinguished organist in due course introduced 
 to me those magnificent works of Bach the 
 so-called pedal fugues. Sometimes he played one 
 of them to me in grand style, for he was a 
 wonderful pedalist, and brought out glorious 
 effects from the fine old organ at St. Sepulchre's. 
 He also introduced me to the three beautiful 
 preludes and fugues of Mendelssohn. The peace- 
 ful and melodious prelude of the second one in G, 
 I was never tired of playing. I look back with 
 pleasure to this episode of my student days, when, 
 under the guidance of my accomplished master, 
 I made the acquaintance of so many charming 
 works for the organ. 
 
 My first organist engagement at Warwick Street 
 Church, to which I have alluded, did not last more 
 than a year, for a misunderstanding between the 
 clergy of the church and my father in regard to 
 some details in connexion with the music, led to his 
 throwing up his post of conductor, and, as a sequel 
 to this step, I resigned my organ appointment. 
 When this contretemps became known to the 
 head priest at the church of St. Aloysius, Claren- 
 don Square, he at once offered us engagements 
 there in similar departments to those we had occu- 
 pied at Warwick Street, which we accepted. 
 
 On the eve of entering upon our duties at the
 
 22 MUSICAL REMINISCENCES <&* IMPRESSIONS 
 
 new church, as we had been given no time to form 
 a choir, we were somewhat concerned as to how 
 we should manage. But to our surprise, on our 
 first Sunday at Clarendon Square, we found all the 
 members of the Warwick Street Choir assembled. 
 Hearing of the change that had been made, and 
 being very much attached to my father as their 
 conductor, they had resolved to follow him en 
 masse. So we were thus able to make an excel- 
 lent start, much to the gratification of the clergy 
 and congregation of the church. 
 
 My Sunday morning at the organ was to me 
 always a source of enjoyment. Besides the choir 
 that had followed us, we had excellent solo singers, 
 and I revelled in the beauty of the Masses of 
 Haydn, Mozart, and Hummel, which we per- 
 formed, and which are now sadly neglected. I 
 believe that the hearing of choral music weekly 
 did much towards building up my style of choral 
 writing; and later on this proved of great ser- 
 vice to me when I was called upon to write 
 cantatas.
 
 CHAPTER III 
 BOULOGNE AND DOUGLAS JERROLD 
 
 /^NE great advantage I enjoyed as organist of 
 ^^ the church of St. Aloysius was that my organ 
 duties did not interfere with my hoHdays the 
 organist's usual difficulty of finding a substitute 
 being solved for me by my predecessor (who had 
 resigned) being always ready to play the Masses 
 whilst I was away. 
 
 Speaking of these holidays, however, takes me 
 back to a still earlier period, when staying one 
 summer at Heme Bay as a child of but seven 
 years old. One day in June my two little sisters 
 and I went out to the beach to play. It hap- 
 pened to be high water at the time. Near us was 
 a kind of wooden landing-place or breakwater, 
 supported by planks resting upon trestles, and 
 stretching far into the sea. Boy-like, I took my 
 sisters on to it, and leaving them midway, went 
 myself to the extreme end to swim my boat. The 
 enjoyment of sailing my craft, however, was sud- 
 denly interrupted by cries for help from Josephine. 
 
 23
 
 24 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 the elder of the two little girls ; for the younger 
 one had fallen into the sea I Josephine, with great 
 presence of mind for a child of five, clinging to the 
 breakwater with one hand, managed to snatch 
 hold of her sister with the other, just in time to 
 prevent her being carried away by the tide. So 
 she held her and kept the little one from sinking 
 until help came from the shore. 
 
 The incident happened to be witnessed by two 
 gentlemen who were members of the Royal 
 Humane Society, and being struck by the pluck 
 and composure displayed by Josephine, they re- 
 ported the affair at the next meeting of the 
 Society. As an appreciation of her young hero- 
 ism, Josephine was awarded the bronze medal of 
 the Society, and at their annual dinner, when the 
 recipients of medals paraded the hall to be intro- 
 duced to the Lord Mayor, she was carried in the 
 procession by one of the gentlemen, to receive her 
 token. 
 
 After this I was always on the look out for 
 some accident which might give me an opportunity 
 of displaying an equal amount of courage, with a 
 similar recognition in the shape of a medal. But 
 somehow the opportunity persistently refused to 
 occur. Neither of my sisters would do me the 
 favour of falling into the sea, to afford me the 
 chance of heroically rescuing one of them, although
 
 BOULOGNE AND DOUGLAS JERROLD 25 
 
 for quite a year or two afterwards I always held 
 myself ready for action. 
 
 But to return to the time when I was organist 
 at St. Aloysius, my summer holidays were always 
 spent with my father and mother at Boulogne. 
 This was brought about in consequence of my 
 elder sisters having been sent to the Ursuline 
 Convent, at that town, to be educated. So that 
 instead of their returning home during vacations, 
 we went to Boulogne to see them and to afford 
 them amusement and relaxation. Therefore, every 
 morning, we used to call for them at the convent 
 and, after they had spent the day with us, we 
 would take them back again in the evening. 
 
 On one occasion, when we went for them, the 
 Mother Superior, having heard of my musical 
 achievements, asked me if I would play some- 
 thing, as the nuns very much wished to hear me. 
 This I arranged to do, and on the following day, 
 when I reached the convent, I found that the nuns, 
 together with the pupils, were already assembled. 
 I played several pieces to them, and was quite sur- 
 prised to find how demonstrative in applause they 
 were. When 1 left it was with the understanding 
 that I was to come and give them another oppor- 
 tunity of hearing me. Each summer that we went
 
 26 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 to Boulogne, part of the programme consisted in 
 my giving a small pianoforte recital to the nuns 
 and their pupils. 
 
 I forget how many summers we spent there, but 
 I think that during all my student time at the 
 Royal Academy of Music, and perhaps a year or 
 two after, my holidays were accounted for in this 
 way. And a very pleasant place is Boulogne in 
 the summer, with its bright and busy streets, 
 which are all the more enlivened by the mixture 
 of French and English who crowd them. Then 
 the Hauteville gives variety and picturesque char- 
 acter to the place, and the ramparts afford an 
 agreeable promenade on a summer's evening. The 
 harbour too, at high tide, is most interesting. 
 Fishing-boats come in and go out, and the inter- 
 minable chatter of the poissardes in a language 
 which baffles the best French scholar to under- 
 stand, all give to Boulogne a character novel to 
 Enghsh visitors. 
 
 Then, if we return to the town and draw nigh 
 to a church, we are sure to find it open, and enter- 
 ing, we experience that feeling of peaceful rest 
 from the busy turmoil of the outer world, which 
 the interior of a sacred edifice so often impresses 
 upon us, conve5dng a mysteriously religious influ- 
 ence. 
 
 At Boulogne there was, and is now, I believe,
 
 BOULOGNE AND DOUGLAS JERROLD 27 
 
 quite an English colony, many men having settled 
 in the town after the active work of their lives had 
 been completed in their native country. 
 
 At the time of which I am speaking, among 
 those whom 1 understood to be temporarily living 
 at Boulogne, was Douglas Jerrold,^ with whom 
 my father had been very intimate several years 
 before. We met him one day, when we were out 
 walking, and I was introduced to him by my 
 father. He then probably looked older than his 
 years should have accounted for, as he seemed 
 quite bent double with age or infirmity. He was 
 very interested at hearing that I was studying at 
 the Royal Academy of Music. He gave me some 
 sage advice, and told me to work well and with 
 zeal for my art. 
 
 Douglas Jerrold, as I saw him then, appeared 
 to me to be a very serious man, especially when 
 giving me advice; and one could have scarcely 
 realized that he had in his earlier days been one 
 of the most sparkling wits of the period. 
 
 He had been an intimate friend of my uncle, 
 John Bamett, the composer. In consequence of 
 this intimacy, dating many years previously, my 
 father became acquainted with Douglas Jerrold. 
 For, when a youth, my father lived with his elder 
 
 ' It is possible that Jerrold was then only a visitor at Boulogne, 
 as he died at his hoose in Kilburn Priory in 187>
 
 28 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 brother John, and as my uncle at that time kept 
 an open house, at which all the principal literati 
 and wits of the day used to assemble, my father 
 had the opportunity of meeting such men as 
 Thackeray, Douglas Jerrold, and other celebrities. 
 
 My uncle told me several anecdotes about 
 Jerrold's witticisms, but I am sorry to say that 
 time has effaced them from my memory, with 
 the exception of one very trifling instance of his 
 drollery, which I will relate. 
 
 It is said that Douglas Jerrold one day met a 
 friend of his who was chronically hard up. They 
 had not been long in conversation before his 
 friend said : " I say, Jerrold, I'm rather low in 
 funds, would you lend me a sovereign ? " Jerrold, 
 with all the appearance of intense generosity, 
 answered with alacrity, "With the greatest plea- 
 sure, my dear fellow, only," he added ominously, 
 " I do not happen to have one about me." 
 
 Another well-known man who at that time 
 was also staying at Boulogne, was Henry Russell, 
 the author of many songs beloved by the people. 
 My father knew him well, and we often spent a 
 pleasant hour in company with the composer of 
 "Woodman, spare the tree." I recollect, one day, 
 he asked my father and myself to join him at a 
 fete given at a chateau in the neighbourhood, 
 which afforded us an opportunity of becoming
 
 BOULOGNE AND DOUGLAS JERROLD 29 
 
 acquainted with the mode of life a la grand 
 seigneur, as it is, or rather was, carried out in a 
 French country-house. The grounds adjoining 
 the chateau had a terrace walk from which 
 lovely views of the surrounding country could 
 be obtained. 
 
 On the occasion of a visit to Boulogne in the 
 year 1854, I saw, en passant, one of the most con- 
 spicuous characters of the nineteenth century, who 
 at that time was the powerful ruler of a great 
 nation. 1 was out walking one fine day, when I 
 saw a vast number of infantry soldiers parading 
 before a staff of generals. Inquiring of a by- 
 stander, I learned that they were troops being 
 reviewed by the Emperor Louis Napoleon, previous 
 to their departure for the Crimean War. Presently, 
 I saw Napoleon the Third himself riding past. He 
 was altogether a striking figure. His clear-cut 
 features and pointed moustache gave him a dis- 
 tinguished appearance. The military uniform of 
 Field-Marshal became him well, and he rode his 
 beautiful steed with perfect ease. 
 
 Having followed his career from the newspapers 
 from the day of the coup d'etat which placed him 
 on the throne of France, one can readily imagine 
 the interest I felt on seeing him at close quarters. 
 
 I have often wondered that I never saw him 
 whilst he was living in exile at Chislehurst, for I
 
 30 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 was during the time a frequent visitor at that 
 charming woodland locality. 
 
 Perhaps it is as well I did not see him in those 
 later years, for, as last impressions are the most 
 enduring, it is far better to recollect a man as he 
 was in his prosperity, than to meet with him again 
 when fate has cast her die irrevocably against him. 
 
 After the death of the Emperor, I often used 
 to see the Empress and the ill-fated Prince Imperial 
 at the pretty little Chislehurst Chapel. 
 
 It was quite touching, when the Empress and 
 her son entered, to witness the congregation rise up 
 in token of respect. How dignified and stately 
 was her figure ; with what sympathy she filled us, 
 as she went into her seat in front of the altar. 
 We little thought then that the time was near 
 when her sole remaining hope would be blighted, 
 and the comely youth we saw beside her would 
 perish in a far-off country by the hands of 
 savages. 
 
 But the memories of my earlier summer holidays 
 spent so agreeably at Boulogne, and the associations 
 they call forth, must not make me forget the more 
 serious side of my life as a student of musical art. 
 
 The two scholarships of which I had enjoyed 
 the advantage at the Royal Academy of Music, 
 had expired ; and although I still continued my 
 studies in composition and pianoforte, I felt that
 
 BOULOGNE AND DOUGLAS JERROLD 31 
 
 more was to be done, and that my sphere of action 
 needed expansion. So, when Mr. Henry Fowler 
 Broad wood, then the head of the great firm of 
 pianoforte makers, John Broadwood & Sons, pro- 
 posed my going to Germany, I readily acquiesced 
 in his views, and determined upon acting on his 
 advice.
 
 CHAPTER IV 
 
 STUDENT DAYS AT LEIPSIC 
 
 "IlyTY original idea in going abroad was to make 
 ^^ my appearance as a pianist at different towns 
 in Germany. I chose Leipsic in the first instance, 
 because I was anxious to study counterpoint for a 
 time with Moritz Hauptmann, who was regarded 
 as one of the first authorities on that subject. 
 
 Not many days after my arrival I found myself 
 on my way to Hauptmann's house. This proved 
 to be a quaint, old-looking building,^ near the 
 Thomas Schule, of which Hauptmann, like Bach 
 before him, was Musikdirektor. There was a bell- 
 handle by the door, which I pulled, when to my 
 surprise the door was opened instantly by a spring. 
 After waiting a minute or two a servant appeared 
 and showed me into Hauptmann's room. This, as 
 I was afterwards told, was the selfsame room 
 that the great Sebastian Bach used as his study, 
 and where, no doubt, he had written the greater 
 number of his immortal works. 
 
 1 This house^ I have been informed, exists no longer, as it was 
 pulled down some years ago to make way for improvements in the town. 
 
 32
 
 STUDENT DAYS AT LEIPSIC S8 
 
 It was an antique room with panelled wainscot- 
 ing, and it did not seem as if it had undergone 
 any material change since the time that Bach 
 occupied it. 
 
 In a corner near the window was a German 
 stove, which, to me, looked very unhke a stove, 
 compared with our English fireplaces. In fact it 
 had the appearance of a large model tower in 
 white porcelain, reaching almost to the ceiling. 
 
 By the wall, opposite the window, was an 
 upright piano, and at the side of the room, near 
 the door, stood a secretaire. 
 
 When I entered, with my letter of introduction, 
 Hauptmann was seated at this secretaire writing. 
 A pretty canary was flying about the room, and 
 perched sometimes upon his shoulder. As soon as 
 he was aware of my presence he rose and received 
 me in a very kindly manner. 
 
 Hauptmann was a man who impressed one by 
 his appearance as possessing great intellectual 
 powers, and I soon discovered that this was fully 
 borne out by the vast amount of knowledge he 
 possessed on the subject I had purposely come to 
 be enlightened upon. 
 
 He was greatly interested when I told him that 
 one of my principal objects in wishing to study 
 with him was to improve myself in fugal writing ; 
 and that, although I had for some years worked
 
 34 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 hard at contrapuntal studies on the Cherubini 
 system, and had practised writing fugues, I had 
 always felt that there was something wanting in 
 my counterpoint, for which I was continually 
 striving, but could never attain. To this he 
 replied that it would be necessary for me to 
 go through a course of counterpoint with him, 
 commencing from the simplest canto fermo exer- 
 cises. 
 
 I was not long in discovering that his method 
 differed very much from that of Cherubini. 
 
 In course of time, after having written numerous 
 contrapuntal exercises, I began to work on canon 
 and fugue, at first in two, and afterwards in three 
 or four parts. I then noticed, to my great satis- 
 faction, that I was beginning to write in quite 
 a different style of counterpoint ; in fact, more in 
 the style that I had placed before myself as my 
 ideal. The style to which his system evidently led 
 was, curiously, very much the same as that em- 
 ployed by Sebastian Bach, by which the tendency 
 to dryness in counterpoint is avoided. 
 
 That Bach's counterpoint, as regards instru- 
 mental music, is more homogeneous, and more 
 easily amenable to expressive effects, is evident 
 from the great and increased interest taken in his 
 works by the musical public. Mendelssohn, in 
 following the same hnes of counterpoint, showed
 
 STUDENT DAYS AT LEIPSIC 35 
 
 his wisdom. For are not his preludes and fugues 
 amongst his most admired compositions ? 
 
 I have already said that one of my principal 
 objects in going abroad was to appear at some 
 of the important concerts in Germany. 
 
 This I found less easy to accomplish than I ex- 
 pected. Having had success as a pianist in Eng- 
 land, I thought that that fact would easily gain me 
 admittance to the concert-room in other countries. 
 However, I had a letter of introduction to Julius 
 Rietz (conductor of the Gewandhaus Concerts), 
 which I presented to him, telling him how desirous 
 I was of being heard as a pianist in Germany. 
 He asked me to play something, which I accord- 
 ingly did ; but although he was evidently much 
 pleased with my performance, he only gave me 
 a kind of half promise in regard to my appear- 
 ance at the Gewandhaus Concerts. This I judged 
 rightly as meaning a polite refusal of my request. 
 For I knew by his manner that the promise was of 
 a very doubtful kind. Nevertheless, I ultimately 
 obtained the object I had in view, although I had 
 to wait a considerable time before I did so. 
 
 Meanwhile, I resigned myself to circumstances, 
 and resolved, in place of concert playing, to continue 
 my studies, not only in counterpoint but also in 
 the piano. 
 
 Having heard much about Louis Plaidy's method
 
 36 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 of technique, and finding that my manner of hold- 
 ing my hands, and other details, were not in 
 accordance with it, I decided upon studying with 
 him. 
 
 In the first instance I took private lessons fi-om 
 him, and was thus able to become more thoroughly 
 acquainted with his system than would have been 
 possible in his class at the Conservatorium. 
 
 This institution I entered a few months later as 
 a student, where I continued working at counter- 
 point under Hauptmann. 
 
 For the pianoforte I not only had Plaidy as my 
 instructor, but Moscheles as well. I think, in 
 many respects, the greatest advantage I enjoyed 
 was studying with Julius Rietz, who was a won- 
 derful master for enabling the student to give 
 finish and conciseness to his compositions. 
 
 Rietz at that time was one of the most notable 
 musicians in Germany, occupying the important 
 post of conductor of the celebrated Gewandhaus 
 Concerts his predecessor having been no less a 
 person than the far-famed Mendelssohn. Although 
 he had not the same gift for composition as that 
 versatile composer, he fully maintained the great 
 reputation that the orchestral performances at 
 these concerts had acquired. His art standard 
 was extremely high, and his experience in regard 
 to every detail necessary for composition was
 
 STUDENT DAYS AT LEIPSIC 87 
 
 most valuable to the student. In appearance he 
 was very artistic, as the accompanying photograph 
 will show. He did not court society, however, 
 but lived almost entirely for art. 
 
 Rietz was a man of quick temper, and woe 
 betide the student who neglected his composition 
 studies, or who ruffled his equanimity in any way. 
 I remember on one occasion that Horneman,^ a 
 new student fresh from Denmark, forgot to close 
 the door on entering the class-room, whereupon 
 Rietz called to him in angry tones, " Denken Sie 
 dass Sie auf die Strasse sind ? " (" Do you think 
 you are in the street?"), which probably sounded 
 more insulting in German than it would have done 
 in English. Horneman was so offended with this 
 rebuff that for weeks he never went near Rietz's 
 class, until I persuaded him to forget the affront 
 offered him and to regard it as Rietz's "little 
 way." 
 
 Horneman was looked upon by the students of 
 the Conservatorium as quite a genius, for although 
 his compositions were then somewhat old-fashioned 
 in character and loose in construction, they gave 
 evident signs of originality. He had rather pecu- 
 liar notions as to making alterations in his work. 
 He maintained that whatever a composer wrote 
 
 * Horneman, who became a well-known composer, died quite 
 recently, on 8 June, 1906. He was an intimate friend of Grieg.
 
 38 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 first was the result of inspiration, and should 
 remain untouched. I had several arguments with 
 him upon this subject. I held that in order to 
 improve in composition it was jfrequently neces- 
 sary to make corrections and alterations ; that 
 even Beethoven had done so, as is shown by his 
 sketch-books. Horneman's theory was that, in 
 course of time, continual practice would bring the 
 necessary experience and facihty. 
 
 Rietz's class awakens many interesting recollec- 
 tions. Several of those who attended it have since 
 become famous in the musical world. One of the 
 most prominent among them was Arthur Sullivan, 
 who had come to Leipsic to study as Mendels- 
 sohn Scholar. His genial and delightful manners 
 made him, at once, popular with all his fellow- 
 students. I am glad now that I had such good 
 opportunity of being in his company, for I 
 thoroughly enjoyed his society. He had charm- 
 ing boyish ways of his own. For instance, on the 
 evening on which I was to make my debut at the 
 Gewandhaus concert, he happened to come into 
 my room whilst I was dressing, and insisted upon 
 tjdng my white necktie for me, saying : " What a 
 swell you look, Barnett." 
 
 He often gave me advice when I got into 
 trouble with any of my compositions, and I some- 
 times returned the compliment. Thus, I recollect
 
 STUDENT DAYS AT I.EIPSIC 89 
 
 on one occasion, when he was working at a string 
 quartet, he asked me to help him out of a diffi- 
 culty, which I did, by writing in a few bars for 
 him. 
 
 He, as well as Franklin Taylor, Walter Bache, 
 and Carl Rosa also fellow-students, 1 frequently 
 met at my aunt's (Mrs. John Barnett), who, to- 
 gether with her family, was then living at Leipsic. 
 Every Sunday she kept open house for us ; and we 
 often passed very enjoyable evenings, at which 
 music was the principal feature. 
 
 Three of my cousins were likewise at the 
 Conservatorium : Rosamond, now Mrs. Robert 
 Francillon ; Clara, now Mrs. Henry Rogers, living 
 at Boston, U.S.A.; and Domenico, who is piano- 
 forte professor at the Ladies' College, Cheltenham. 
 
 The evenings spent at my aunt's house fre- 
 quently partook of the nature of chamber con- 
 certs, at which all in turn took part. We had 
 programmes written out, and Franklin Taylor 
 acted as our critic and wrote MS. articles on our 
 performances or compositions. Sometimes we 
 were rather severely handled by him. At others 
 we received our meed of praise, which we thought 
 all the more of if we had previously come in for 
 severe criticism. On one occasion, some of us 
 agreed to write part-songs which when finished 
 we sang there and then. The soprano and con-
 
 40 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 tralto were taken by my cousins Clara and 
 Rosamond ; Arthur Sullivan, I think, sang tenor, 
 and Carl Rosa bass, whilst I accompanied on the 
 piano. I believe two or three of these part-songs, 
 in later days, were published, and probably were 
 made public property by the Leslie Choir. 
 
 Another time, Sullivan and myself arranged to 
 write trios for whisthng ; that is to say, the 
 three parts were whistled instead of being sung. 
 I believe the upper part was whistled by Mr. 
 Arthur Payne, who also was frequently at my 
 aunt's. He whistled with such faciUty that I 
 once heard him execute in this manner portions 
 of one of Spohr's violin concertos, which he knew 
 by heart, as he was a vioUn student at the Con- 
 servatorium. He is now a publisher at Leipsic, 
 as was his father before him, and some years ago 
 he brought out those beautiful miniature editions 
 of the great masters' string quartets, so convenient 
 for taking with one to concerts. Apropos of these 
 whisthng trios, I came across one of them some 
 years later, and worked it up into an organ piece, 
 which is now pubUshed. 
 
 One of my fellow-students at Leipsic was Emil 
 Krause, with whom I took many a walk to the 
 rustic villages that are dotted round that city. 
 As he was anxious to improve his English, whilst 
 I wished to make progress in German conversa-
 
 STUDENT DAYS AT LEIPSIC 41 
 
 tion, we had a compact between us, by which it 
 was arranged that we should speak Enghsh until 
 we had arrived at the extreme limit of our walk, 
 and on our returning German was to be the 
 medium of our conversation. Emil Krause, ever 
 since his student days, has settled in Hamburg, 
 his native place. He is well known as a composer 
 and writer of studies for improving pianoforte 
 technique. 
 
 Another of my fellow-students was Grieg, the 
 celebrated Norwegian composer, but he must have 
 been at the Conservatorium during the latter part 
 of my stay in Leipsic, for I seem to have for- 
 gotten that he was my colleague. Indeed, it was 
 Grieg himself who reminded me of it, when I 
 saw him some years ago in the artists' room of 
 St. James's Hall, after he had played his fine 
 concerto at one of the Philharmonic concerts. 
 
 1 have already stated that I not only studied the 
 piano with Plaidy at the Conservatorium, but like- 
 wise with Moscheles. This system of studying the 
 same subject with two masters no doubt has 
 some advantages, but it has also not a few draw- 
 backs. The student soon finds that musicians, 
 like doctors, often disagree. Thus Plaidy initiated 
 us into the mysteries of staccato from the loose 
 wrist, whilst Moscheles advocated octaves from 
 the arm. The student, therefore, had to exercise
 
 42 MUSICAL REMINISCENCES &> IMPRESSIONS 
 
 his discretion as to which theory to accept in this, 
 as in some other matters. On the whole, in regard 
 to technique one learnt the most from Plaidy, 
 and in respect to style, from Moscheles. The 
 latter gave me many valuable hints in phrasing. 
 
 Moscheles was fond of playing over his studies 
 to his pupils, and very finely he rendered them. 
 He evidently regarded them as the best things he 
 had done, and in this he was not mistaken. 
 
 I learnt many of Beethoven's Sonatas with him, 
 and the remarks he made in reference to style 
 were all the more valuable and interesting, as he 
 had heard them played by Beethoven himself. 
 
 It is curious, however, that he advocated the 
 Hummel method of interpreting the Phralltriller, 
 or, as it is now frequently called, the "upper 
 mordent." For I was one day playing the Sonata 
 Pathetique in the lesson, and rendering the upper 
 mordents, which frequently occur in the allegro of 
 the first movement, by giving the accent on the 
 first note of the ornament, which is considered to 
 be the orthodox manner, when he stopped me and 
 directed me to give the accent on the third or 
 main note, as was advocated by Hummel. As 
 Moscheles had heard Beethoven play this sonata, 
 the question arises : Which of the two methods 
 of interpreting the upper mordent did the great 
 composer himself adopt? There is no doubt.
 
 IGNAZ MOSCHEI.ES
 
 STUDENT DAYS AT LEIPSIC 4S 
 
 however, in my mind, that the orthodox manner, 
 as explained by such authorities as Dannreuther 
 and Franklin Taylor, gives the most pathetic effect 
 to the phrases in which these antique ornaments 
 occur in the sonata. 
 
 I ought not to omit the name of E. F. Richter in 
 connexion with my work at the Conservatorium. 
 He took the harmony and some of the counter- 
 point classes ; but as I had gone through a 
 thorough course of harmony whilst a student in 
 London at the Royal Academy of Music, I at 
 once entered his counterpoint classes ; and as I 
 still continued my studies in this branch of the 
 art with Hauptmann, it will be seen that I had 
 enough to do to satisfy the contrapuntal demands 
 of my two masters. 
 
 Richter had also an organ class, which he held 
 at one of the churches, as there was no organ at 
 the Conservatorium. Being desirous of continuing 
 my studies on this instrument, I entered his class. 
 I found that the German system of playing the 
 pedals differed greatly from the English system. 
 The heel was not used at all, everything being 
 executed with the toe, no doubt for the reason 
 that the pedals are so much wider apart in the 
 German than they are in our English organs. I 
 noticed too that in Germany the swell organ was 
 conspicuous by its absence. He ridiculed the
 
 44 MUSICAJ. REMINISCENCES fir* IMPRESSIONS 
 
 idea of the use of the swell organ, calling it 
 Spieler eif which may be freely translated " child's 
 play." 
 
 Richter was a great smoker ; so great that even 
 the sacred character of the edifice in which he 
 gave his class did not deter him from indulging 
 in his favourite habit. Had any one entered the 
 church during the time we were receiving our 
 lessons, he would have been surprised at what 
 appeared to be a cloud of incense arising from the 
 organ-loft instead of from the altar. And no 
 wonder, for he would have discovered Richter 
 enjoying a fragrant cigar ! 
 
 Undoubtedly one of the greatest advantages 
 derived by studying "the divine art" in Leipsic 
 is the opportunity of hearing, frequently, orches- 
 tral and chamber concerts. In the Saxon strong- 
 hold of music one seems to live amongst musicians. 
 The Gewandhaus is close at hand, whatever part 
 of Leipsic you live in at least so it always seemed 
 to me when I was there. Whether it is the same 
 now I cannot say, for Leipsic, like most other 
 towns, has increased in size since that time. 
 
 I never missed a Gewandhaus Concert if I could 
 help it, and when able to do so I availed myself 
 of the students' privilege of attending the re- 
 hearsals. These, I think, we all enjoyed almost 
 better than the concerts, as we heard the orchestra
 
 STUDENT DAYS AT LEIPSIC 45 
 
 to greater advantage. The reason of this was that 
 the hall proper of the old Gewandhaus was entirely 
 occupied by the subscribers, so that we had to be 
 content to hear the music from an ante-room 
 which opened into the concert hall, and which was 
 dignified by the name of the Small Hall. From 
 this hall it was impossible to hear the full tone 
 of the orchestra, as it could only reach us through 
 a narrow doorway ; in fact, many pianissimo points 
 were frequently quite inaudible, and we had there- 
 fore to fill in these points either from imagination 
 or from memory, if they occurred in a familiar 
 composition. 
 
 The rehearsals were very interesting. One 
 noticeable feature in them was the distinctive 
 part taken by the leader of the first violins. 
 Ferdinand David then held this post, and by the 
 hints he gave to the violins as regards the bowing 
 and other particulars, much of the excellence of 
 the orchestral performances at the Gewandhaus 
 was due. If he thought the violins weak in any 
 passage he would- ask the players to repeat it, 
 and would make them practise it until they at- 
 tained perfection. The leader of the Gewandhaus 
 orchestra was therefore something more than a 
 name. En passant, it may here be mentioned that 
 the late Herr Ludwig Straus, who was well known 
 in connexion with the Monday Popular Concerts,
 
 46 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 when leader of the New Philharmonic orchestra, 
 attempted to introduce this custom at one of the 
 rehearsals ; but the result was disastrous. A 
 passage for the first violins not going so well as 
 it should have done, Straus asked the performers 
 to play it again. This they patiently did ; but 
 still their performance failed to reach the standard 
 he desired, so he requested them to try it again, 
 and yet again. At length murmurs of displeasure 
 were audible, which gradually increased in signifi- 
 cance, until the whole orchestra began hissing, so 
 that Straus had no alternative but to take up his 
 viohn and withdraw from the orchestra, which, of 
 course, he never entered again. 
 
 It is not surprising that my recollections of the 
 Gewandhaus Concerts are teeming with good 
 things of the music of the past. At these concerts 
 I heard for the first time such pianists as Von 
 Billow and A. Dreyschock, celebrated for his octave 
 playing and his marvellous left hand.^ Some injury 
 to his right hand made him unable to use it for 
 a period of two years, during which time he 
 practised only with his left. Then too I heard 
 Madame Schumann, Otto Goldschmidt, Marmontel, 
 Jaell, Dupont, Ernest Pauer, Reinecke, and many 
 others. 
 
 * John Cramer, who heard Dreyschock, was so struck with his wonder- 
 ftil left-hand playing that he said of him : "He has no left hand ; he 
 has two right hands."
 
 STUDENT DAYS AT LEIPSIC 47 
 
 Those were the days when pianists did not think 
 it beneath them to play a Hummel concerto. 
 Pauer frequently chose one, thereby affording an 
 opportunity of his fine execution being heard to 
 the utmost advantage. Surely it is a pity, if not 
 an injustice, that such works should not occasionally 
 be revived ; for there is no doubt that Hummel 
 did much to advance the technique of pianoforte- 
 playing. In this he prepared the ground for the 
 bolder and more compUcated forms of passages 
 used by Chopin and Liszt. 
 
 Among violinists, Joachim's idealistic playing is 
 centred in my memory, especially in his rendering 
 of the great Beethoven Concerto. 
 
 At one of the chamber concerts given in the 
 Gewandhaus I heard him, with Madame Schumann, 
 in Beethoven's Kreutzer Sonata, as well as in the 
 C Minor Sonata, op. 63. Their interpretations of 
 these beautiful works are among the reminiscences 
 1 love to dwell upon. 
 
 Ferdinand David's leading of the string quartets 
 at these concerts was a noticeable feature. He 
 was the finest exponent of the quartet style of 
 vioUn-playing that I had ever heard. The warmth 
 of tone he imparted to his performance of the first- 
 violin part in the masterpieces of quartet music 
 seemed to instil itself into the other players, so 
 that the tout ensemble was a veritable musical treat.
 
 48 MUSICAL REMINISCENCES &' IMPRESSIONS 
 
 He was also one of the most accomplished solo 
 violinists of his time, and has left many important 
 violin compositions to perpetuate his memory. It 
 will be interesting to violinists to know that I lately 
 found a photograph of this great player, which 
 I had brought back with me from Leipsic. In 
 this portrait we see him holding the instrument he 
 loved so well. Although under the average height 
 he was a distinguished-looking man, with a pleasing 
 and open expression of countenance. 
 
 At one of the chamber concerts about which I 
 have been speaking, I heard a performance of 
 Beethoven's big fugue for strings in B flat, op. 
 133. 
 
 I recollect once, after the concert in which this 
 fugue had been performed, the late Bernsdorf, the 
 celebrated musical critic, speaking to me about 
 it, and using in English a very strong and charac- 
 teristic expression in condemnation of it. This he 
 further emphasized by prefixing to it a word 
 frequently used to give vent to one's feelings, and 
 commencing with the fourth letter of the alphabet. 
 
 Bernsdorf was an occasional visitor at my aunt's, 
 and he often amused us with his remarks on 
 musical matters, which he gave in excellent 
 English. Although he had never been in England, 
 he spoke our language perfectly, possessing not 
 only a remarkable command of its idioms, but
 
 STUDENT DAYS AT LEIPSIC 49 
 
 even of its slang expressions. On the other hand, 
 Plaidy, who had many more opportunities of 
 practising it, having a large number of English 
 pupils, was very imperfect in his knowledge of it. 1 
 remember once my aunt invited Plaidy and his 
 mother to spend the evening. Appearing alone, he 
 excused his mother's absence on account of indis- 
 position, adding by way of explanation, that " old 
 womanses is very deliecate " ; the pronunciation and 
 accents being given as indicated. This was intended 
 to mean that " old women are very delicate." 
 
 It was a great disappointment to me that neither 
 Liszt nor Rubinstein ever played at the Gewand- 
 haus during my stay at Leipsic, both these great 
 men, at that time, having devoted themselves 
 almost exclusively to composition. Liszt, however, 
 visited Leipsic whilst I was there, and I was 
 present when he conducted his fine Graner Mass ^ 
 in the Thomas Kirche. The energy with which he 
 wielded his baton on this occasion was remarkable ; 
 added to which, he at times became so excited 
 that he literally jumped into the air. There was 
 one point in the performance that greatly im- 
 pressed me. This was the repetition of a note in 
 octaves, played by the trumpets, which continued 
 through many bars with harmonies that were often 
 
 * This work waa first performed at the consecration of Gran 
 Cathedral, 81 August^ 1856. 
 B
 
 50 MUSICAL REMINISCENCES <& IMPRESSIONS 
 
 quite foreign to it. One wondered how it could 
 be made to fit in with such extraordinary harmonic 
 changes. Of course, it was an instance of what 
 musicians call an inner pedal point, an effect so 
 beloved of Beethoven, but in this case carried to 
 the extreme limit. 
 
 I always look back with gratification to the fact 
 that Liszt was present at a concert in Leipsic at 
 which I played Weber's first Sonata in C. His 
 demonstrative appreciation of my performance I 
 regard as the greatest compliment I have ever 
 received, for I saw him applauding me vigorously 
 when I was recalled to the platform. 
 
 Liszt at the time I recollect him was a striking 
 personality. His hair was then jet black, and he 
 wore it exceedingly long. His hands appeared to 
 be large, and his fingers tapering. I should not 
 have known him again when, years after, I saw 
 him on his last visit to England. 
 
 The first composition of mine published was 
 brought out in Leipsic a few months before I 
 left, by Kistner's. This was my "Caprice Bril- 
 lante." 
 
 It came about in this way. 
 
 I played it at one of the Abendunteralturigen 
 of the Conservatorium, as the weekly students' 
 concerts of that institution were called. It pleased 
 the audience so much that they disregarded the
 
 STUDENT DAYS AT LEIPSIC 51 
 
 rule against applause, and the late Herr Gurk- 
 haus, then head of the firm of Kistner, who was 
 present, came up to me after the concert and 
 asked me if I would like it to be published. I 
 answered in the affirmative, and I subsequently 
 enjoyed the particular gratification which comes 
 only once in a composer's life, of seeing for the 
 first time a composition of my own in print. 
 
 These Abendunteraltungen^ to which I have just 
 referred, often afforded the students the opportu- 
 nity of hearing some celebrated artist of world- 
 wide repute, whom the Director, Herr Schleinitz, 
 would invite to sing or play after the ordinary 
 programme had come to an end. 
 
 I remember on one of these occasions we heard 
 Wilhelmina Schroeder-Devrient. She was, indeed, 
 a link with the past of supreme interest, for her 
 personality carried us back to one of the most 
 eventful epochs in the history of music. It was in 
 the time of Beethoven that she was in the zenith 
 of her fame, and from all accounts she must have 
 been a wonderful singer. Her magnificent render- 
 ing of Leonora in "Fidelio" perhaps saved that 
 beautiful work from oblivion, as prior to the per- 
 formance in which she took part the opera had 
 been but coldly received. Beethoven, it is said, 
 was so delighted with her singing that after the 
 performance he patted her on the cheek, and could
 
 52 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 not find words strong enough to express his grati- 
 tude to her. 
 
 Of course, when we students heard her much of 
 the beauty of her voice had faded, but the fire of 
 her genius was far from being extinguished. I 
 shall never forget the intense passion she infused 
 into her rendering of Schumann's grand Lied, "Ich 
 groUe nicht." The dramatic force she gave to the 
 music thrilled us to such a degree that we could 
 scarcely curb our enthusiasm, and she received 
 quite an ovation. This occasion was probably the 
 last of her triumphs, as she died in the year 1860.
 
 CHAPTER V 
 
 THE SCHILLER FESTIVAL SAXON 
 SWITZERLAND LAST DAYS AT LEIPSIC 
 
 rpHE recollections of my Leipsic days are not 
 -*- wholly confined to incidents connected with 
 music, for I was in this city during the time of 
 the Schiller Festival, which was held in com- 
 memoration of the centenary of that great poet's 
 birth, and which took place in 1859. 
 
 This proved to be a most interesting occasion. 
 There were all kinds of public demonstrations, 
 inaugurated on a most extensive scale, one of 
 them being a procession of emblematical cars 
 representing the various trades and professions, 
 carried out in a very effective manner. Then, in 
 the evening, there was a torchlight procession by 
 the students of the University. 
 
 An interesting episode in the Schiller Festival 
 was a celebration at Golis, a village near Leipsic, 
 where the great poet had lived for some time. 
 The house in which he wrote his " Ode to Joy " 
 was illuminated, and there was of course a great 
 
 53
 
 54 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 crowd to witness all the grand doings. I was 
 among the crowd, and found it much easier to 
 get in than to get out; in fact, I felt nearly 
 crushed to death before I succeeded in extricating 
 myself from its toils. 
 
 The so-called book-fairs of Leipsic were most 
 interesting. As a matter of fact, book-fair is -a 
 misnomer, as the business done on these occasions 
 is almost entirely in various kinds of merchandise, 
 especially woollen fabrics. These fairs, which were 
 held in the market-place, brought merchants and 
 traders from all parts of Europe to barter their 
 goods one with another, and, as many were accom- 
 panied by their wives and families, one had an 
 opportunity of seeing no end of curious and 
 picturesque national costumes. 
 
 During the time of these fairs Leipsic was full 
 to overflowing, so that it was quite a common 
 thing for householders to let all their bedrooms 
 to some merchant and his family, and for the 
 inmates to make shift by sleeping in attics and 
 box-rooms, or even in the passages and landings. 
 By this means the owners of houses made quite a 
 harvest out of the merchants, for exorbitant terms 
 were charged to these foreign visitors. 
 
 I ought not to omit giving some account of a 
 most agreeable and interesting trip that I took 
 with my uncle (John Barnett) and his family to
 
 SAXON SWITZERLAND 65 
 
 what is known as the Saxon Switzerland. This 
 was during one of the summer hoHdays, when we 
 had finished our work at the Conservatorium and 
 had plenty of time at our disposal. 
 
 We first visited Dresden, where we stayed two 
 days. The first day we went to see the celebrated 
 picture gallery. Of course the painting that left 
 on us the most lasting impression was the cele- 
 brated Sistine Madonna by Raphael. 
 
 This grand masterpiece has a separate room 
 devoted entirely to itself. On each side of the 
 picture are curtains, which are drawn aside so 
 as to disclose what might be thought to represent 
 a glimpse into heaven. In the other rooms there 
 are to be found no end of Cuyps, Wouvermanns, 
 Teniers, and other representatives of the Dutch 
 school. But I will dive no deeper into my re- 
 collection of the works of art that abound in this 
 noble gallery. 
 
 On the day following we were to have visited 
 the Green Vaults in the Royal Palace, where the 
 crowns that were worn centuries ago by monarchs 
 of the past, as well as jewels and other articles of 
 vertu, were displayed, we were told, in tempting 
 profusion. 
 
 Unfortunately, an unlooked-for incident com- 
 pelled us to forgo the pleasure of seeing this 
 wonderful collection, for shortly after breakfast
 
 56 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 our waiter informed us that some one wished to 
 see my uncle on important business. After a few 
 minutes' absence my uncle returned to tell us that 
 he had been summoned to appear at the Politzei, 
 or police-court I The reason the officer gave for 
 detaining my uncle was that a man of the name 
 of John Barnett had absconded from Hamburg, 
 having embezzled a large sum of money, and that 
 the description of my uncle and his family was 
 almost identical with that of the criminal. 
 
 This strange coincidence spoilt our day, as my 
 uncle had to attend the Politzei, and was kept there 
 for about four hours, whilst telegrams were being 
 sent to London and Leipsic in order that he might 
 prove his identity. My cousin Domenico and 
 myself accompanied him, and whilst we were 
 waiting in the passage we amused ourselves by 
 drawing caricatures of the police officials. In that 
 harmless manner we gave vent to our wrath at 
 having to pass the best part of the day in such 
 gloomy surroundings. 
 
 Of course the police in the end had to own their 
 mistake, and thought no doubt that by a few 
 words of apology they had fully compensated my 
 uncle for the disagreeable position in which they 
 had placed him. They were probably not a little 
 disappointed that he was not the man who was 
 *' wanted."
 
 SAXON SWITZERLAND 57 
 
 My recollections of Dresden were somewhat 
 spoilt by this unlooked-for incident, but neverthe- 
 less the impression it left upon me was very 
 marked. 
 
 I was much struck with the bright and cheerful 
 character of this city. How pretty is the view 
 from the bridge beneath which flows the Elbe. 
 Of course the stranger makes the inevitable mis- 
 take of attempting to cross the bridge on the 
 wrong side, and wonders why he is turned back, 
 until he finds that for foot-passengers there is an 
 up and a down side flanking the roadway over the 
 bridge. 
 
 We left Dresden in one of the little steamers 
 that ply up and down the Elbe, and we disem- 
 barked at the picturesque town of Schandau, where 
 my uncle had engaged apartments. 
 
 I was greatly impressed by the varied character 
 of the scenery in Saxon Switzerland. My uncle 
 did not consider it so grand as that of North 
 Wales ; but I think that Saxon Switzerland con- 
 tains a greater number of special effects than 
 one finds among the Welsh mountains. The 
 Kuhstall is a good example. Passing through 
 a tunnelled cavern not far from the summit of 
 this mountain, you find yourself on a terrace or 
 balcony formed of rock, commanding a splendid 
 bird's-eye view of the mountain range. The
 
 58 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 absence here of any foliage, whilst giving a wild 
 grandeur to the scene, no doubt affords an oppor- 
 tunity for an excellent echo. 
 
 I rather think that it is this particular echo 
 which is celebrated for giving the facetious answer 
 to the question, *' Wer ist der Burghermeister von 
 Oberwesel?" ("Who is the mayor of Ober- 
 wesel?") The answer returned by the echo is 
 invariably "Esel," which means, as every one 
 knows, " Ass ! " ; for only the last two syllables of 
 Oberwesel can be heard, the first part being 
 drowned by one's own voice. Of course we all 
 tried the effect, and were much amused at the 
 clear way in which the echo gave out the " Esel." 
 
 This reminds me of a good witticism in one 
 of the German comic prints. The scene de- 
 picted is on the side of a mountain, which a 
 tourist and his guide are ascending. The guide 
 says to the tourist, " There is a capital echo here ; 
 you just try it. Call out, ' Holen Sie mir ein Glas 
 Bier.'" ("Fetch me a glass of beer.") This the 
 tourist does in stentorian tones, and after waiting 
 an absurd time for a possible echo, he turns to the 
 guide, saying, " I do not hear anything." 
 
 " Have a little patience," says the guide. " Look, 
 here it comes," and so indeed it does. For from 
 a little refreshment cabin on a plateau on the 
 mountain-side, which the guide was well aware of.
 
 SAXON SWITZERLAND 59 
 
 a man is seen descending with a glass of beer, 
 which the tourist of course gives to the guide as 
 a reward for his cunning. 
 
 During my stay at Schandau, as there was no 
 Catholic church nearer than Niedergrund, a quaint 
 little village in Bohemia, I used to go there by 
 train every Sunday morning. It was quite a short 
 railway ride across the frontier which divides 
 Saxony from Bohemia ; but I found, on arriving at 
 Niedergrund, that I was obliged to show my pass- 
 port and leave it with the station-master to have 
 it vizeed and stamped, previous to its being given 
 up on the return journey. This little piece of red- 
 tapism was duly carried out each Sunday that I 
 went to and came from Niedergrund. From this it 
 would appear that the government official is in- 
 capable of recognizing any one, however often he 
 may have seen the individual. 
 
 Niedergrund is quite close to a charming bit of 
 the river Elbe. The pines here grow close to the 
 water's edge, from which they climb to the summit 
 of a steep mountain. The water is of a lovely 
 deep blue, reflecting the sombre tints of the pine 
 wood. The village was, and probably is still, a 
 most primitive place, and the architecture of the 
 church was both simple and unpretentious. 
 
 I noticed that the congregation waited outside 
 until the arrival of the priest. Then when he had
 
 60 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 entered the congregation followed him, and took 
 their places. 
 
 The music was as primitive as the building, yet 
 there was actually an attempt at an orchestra. 
 The impression most strongly left upon me by 
 this attempt was the tuning of the stringed instru- 
 ments. They seemed to be constantly getting out 
 of tune. In listening to those rustic musicians 
 one could not help noting the similarity of their 
 rude efforts in etisemble playing to the clever 
 musical joke of Mozart, known as " Ein musikal- 
 ische Spass." Probably now that American organs 
 are so cheap, one of these will have taken the place 
 of this crude village orchestra. 
 
 During our stay at Schandau, we made numerous 
 excursions to the principal places around, but as 
 a description of these can easily be found in a 
 continental guide-book, I do not propose giving 
 an account of them ; more especially, as our 
 excursions went smoothly and without incident. 
 If one of our party had been struck by lightning, 
 or another had fallen over a precipice, I should, of 
 course, have had something exciting to relate ; but 
 as the nation that has no history is a happy one, 
 so the tourist who has nothing particularly tragic 
 to narrate is to be congratulated. 
 
 One of the most interesting events that took 
 place whilst I was in Germany was the unveiling
 
 LAST DAYS AT LEIPSIC 61 
 
 of a statue of Handel in 1859 at his birthplace, 
 Halle/ 
 
 This proved to be quite a festive occasion. A 
 number of the students from the Leipsic Con- 
 servatorium, myself among the number, took part 
 in the ceremony. We were likewise present at a 
 performance of "Samson," the work of Handel 
 which was selected to represent the king of 
 oratorio composers. The performance was very 
 impressive; but I think the choice of the "Messiah," 
 as Handel's most representative work, would have 
 been more appropriate. 
 
 Some minor episodes connected with my stay in 
 Leipsic I will speak of later on. But I must not 
 close this chapter without reference to my ap- 
 pearance as a pianist at the Gewandhaus Concert, 
 which took place on 22 March, 1860. 
 
 As I had in the first instance come to Germany 
 in the hope of playing at one of these concerts, 
 had I returned to England without having done 
 so, I should have felt that I had failed in ac- 
 complishing the principal object I had in view. 
 On the evening of the concert I proved to be in 
 good form, and, on appearing before the critical 
 audience, met with a most favourable reception. 
 The concerto 1 played was Mendelssohn's D 
 Minor, a work for which I had always had a great 
 
 ' This was to celebrate the centenary of the composer's death.
 
 62 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 affection. At the conclusion, I received a hearty 
 recall, and my performance was well spoken of in 
 the subsequent press notices. This concert was 
 one of the last conducted by Julius Rietz at the 
 Gewandhaus. A few days after it had taken place 
 I left for England, and that very same week Rietz, 
 having accepted the post of conductor of the opera 
 at Dresden, quitted Leipsic for good.
 
 CHAPTER VI 
 
 REAPPEARANCE IN ENGLAND THE 
 PHILHARMONIC AND MY FIRST CONCERT 
 
 f\P course, returning to England was quite an 
 ^-^ event for me, for I had never been so long 
 away from home. It was just a question before I 
 left Leipsic, whether I should have arranged to 
 prolong my stay for another year. Schleinitz the 
 Director of the Conservatorium did all he could 
 to persuade me to do so; but having promised Dr. 
 Wylde to appear at the New Philharmonic Con- 
 certs, I determined upon adhering to my original 
 plan. 
 
 I returned via Calais and Dover, after a rather 
 rough passage, for which, being always a good sailor, 
 I was none the worse. Nothing extraordinary 
 occurred on the journey, but on my way from 
 Folkestone to London, when the collector came 
 round for tickets I could not find mine anywhere, 
 and I had my fare to pay over again. It was only 
 when the collector had departed that I remembered 
 having placed the ticket in one of my bags. 
 
 63
 
 64 MUSICAL REMINISCENCES &> IMPRESSIONS 
 
 A few days after I arrived in London I played 
 the so-called Emperor Concerto of Beethoven at 
 the New Philharmonic Concert which took place 
 on 16 April, 1860. At the rehearsal my hands were 
 cold, and I was not satisfied with my playing ; but 
 at the performance it went very well, and I met 
 with all the encouragement I could have wished 
 for from the audience. At the last New Philhar- 
 monic Concert of that season, I played again by 
 request, choosing the same concerto of Mendels- 
 sohn in which I made my first appearance at these 
 concerts. 
 
 I was now fully launched as a pianist, and the 
 following season, besides performing again at the 
 New Philharmonic, I was engaged to play at one 
 of the concerts of the Musical Society. 
 
 This Society marked, for the time being, an 
 important era in the musical history of London. 
 The subscribers consisted almost entirely of pro- 
 fessional musicians. Alfred Mellon, one of the 
 race of accomplished English orchestral conductors, 
 the line of which is so admirably continued at the 
 present day by such men as Sir Charles Stanford, 
 Frederic Cowen, and Henry J. Wood, was the 
 conductor of these concerts, and the orchestra 
 attained a great reputation under his direction. 
 
 The concerto I was asked to play was that of 
 Mozart in C, one of the simpler specimens of that
 
 THE PHILHARMONIC MY FIRST CONCERT 65 
 
 composer's works in this form of writing. I was 
 rather disappointed at the choice, as it gave no 
 opportunity for the execution of passages of great 
 difficulty. Mozart, however, is never quite easy to 
 render. The very simplicity of the passages calls 
 for the utmost refinement of touch. The public, 
 however, do not quite appreciate difficulties of this 
 nature, as they want occasionally to be excited by 
 surprising feats of bravura. I was, nevertheless, 
 able, in the cadenza which I wrote for the first 
 movement, to introduce many passages requiring a 
 good deal of brilliancy of execution, and that 
 without writing out of the Mozart character. 
 
 I may here state that the Committee of the 
 Musical Society did not give me much time to get 
 up the concerto ; in fact, I received the letter en- 
 gaging me to play it only three weeks before the con- 
 cert, which was arranged to take place on 10 April, 
 1861. This was sharp work indeed, for I had never 
 even seen or heard the concerto, as it is one rarely 
 chosen by pianists. I had, therefore, to get it up 
 from memory and write a cadence in three weeks, 
 or probably less. Notwithstanding these dis- 
 advantages, I am glad to say that fortune favoured 
 me. The concerto went well and made all the 
 effect I could have desired. 
 
 I had not yet appeared at the historic Philhar- 
 monic Society, but the same year, I received an 
 
 F
 
 66 MUSICAL REMINISCENCES &> IMPRESSIONS 
 
 engagement to play Beethoven's C minor Concerto 
 at the concert arranged for 10 June, 1861. Stern- 
 dale Bennett conducted, and the orchestral ac- 
 companiments were, throughout, very neatly and 
 beautifully rendered. 
 
 The space Beethoven has left for the cadenza in 
 the first movement I filled in with one 1 wrote 
 specially for this performance, which I hope one 
 day to publish. 
 
 The following season I was again engaged to 
 play at the Philharmonic, when I chose the E flat 
 of Beethoven. Both these concerts took place at 
 the Hanover Square Rooms, for the Society had 
 not then migrated to St. James's Hall. 
 
 There was something very social about the 
 Philharmonics during the time they were held at 
 these rooms. In the interval between the parts 
 many of the subscribers took the opportunity to 
 leave their seats and promenade the spacious cor- 
 ridors that adjoined the concert room. I invari- 
 ably followed their example, and in this way I fre- 
 quently met with celebrities of the musical world 
 whom otherwise I might never have come across. 
 Amongst them I recollect Charles Neate, then 
 well advanced in years, who had been the most 
 famous English pianist of his day. It was he who 
 played Beethoven's Concertos in C minor and E 
 flat for the first time in England. Sometimes I
 
 THE PHILHARMONIC MY FIRST CONCERT 67 
 
 met Vincent Wallace, the composer of "Maritana" 
 and other operas. I ought not to forget to mention 
 also that it was in the Hanover Square Rooms, at 
 a Philharmonic concert, I heard Madame Schumann 
 play her husband's concerto, then quite new to an 
 English audience. 
 
 Besides the concerts which I took part in, I gave 
 one yearly myself. The first of these took place at 
 St. .James's Hall with full orchestra, at which Ole 
 Bull, a celebrated Swedish violinist, played ; Sims 
 Reeves sang in Purcell's " Come if you dare," with 
 chorus and orchestra ; and I performed a concerto, 
 conducted by Dr. Wylde. 
 
 At one of my concerts Carlotta Patti appeared. 
 She was celebrated as a soprano for the high range 
 of her compass, as she could take the F above the 
 staff with perfect ease and great purity of tone. 
 For my chamber concerts I wrote my Trio in C 
 minor, I also produced my quartet in D minor and 
 my Quintet in G minor for strings. 
 
 In 1862 I was present at a most interesting 
 celebration. This was the Jubilee of the Philhar- 
 monic Society, when it attained its fiftieth anni- 
 versary. The concert took place in Exeter Hall, 
 and gave me an opportunity of hearing Jenny 
 Lind once more. She sang on this occasion in 
 Mendelssohn's Psalm, " Hear my prayer." I shall 
 never forget the religious fervour she threw into
 
 68 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 the music allied to the words, " Oh, for the wings 
 of a dove." This was the last time I heard her in 
 pubUc. 
 
 It is curious to carry one's recollection back to 
 this concert, and at the same time to know that in 
 a few years the Society will be celebrating another 
 jubilee its hundredth anniversary. Thanks to 
 the energy of past directors like the late Walter 
 Macfarren and Charles Stephens, as well as the 
 self-sacrifice in the cause of musical art shown by 
 such men as Dr. Cummings, Francesco Berger, and 
 Charles Gardener, it has tided over many a shoal 
 that would surely have wrecked any other musical 
 craft less well piloted. The Philharmonic, in fact, 
 stands alone as the only concert society in 
 London, instituted during the last century, which 
 still remains as a glorious record of music both 
 past and present. 
 
 Before proceeding farther, I ought not here 
 to omit stating that one of the first professional 
 engagements I entered upon, after my return from 
 Leipsic, was the resuming of my organ duties at 
 the church of St. Aloysius, Somers Town, which 
 I gave up when I went to Germany. My father 
 was still the conductor and solo tenor ; and I 
 found the choir had increased in numbers and 
 efficiency. 
 
 At this period ladies were allowed to sing in
 
 THE PHILHARMONIC MY FIRST CONCERT 69 
 
 Catholic churches in London, which gave us an 
 opportunity of engaging well-known artists to 
 represent the soprano and contralto solo parts in 
 the Masses. Thus, about the year 1863, for some 
 months Madame Rudersdorff, the celebrated oper- 
 atic prima donna, was our soprano. She was invalu- 
 able ; for not only did she sing in the solos, but led 
 the soprano part of the chorus as well. The way in 
 which she took the high notes, with such unerring 
 precision and beauty of tone, quite made us thrill 
 with musical joy. She seemed to soar above the 
 other sopranos, as though the voice of an angel 
 from above had joined them. Then we had for 
 our bass singer Mr. W. H. Weiss, the Elijah of 
 the Birmingham Festivals, the finest bass voice 
 of that period. We were thus able to give an 
 effective rendering of the Masses of the great 
 composers, these works of beauty, in which 
 melody and harmony combine to emphasize the 
 sacred words that are sung, filling our souls with 
 religious fervour and devotion. 
 
 During the latter period of my engagement 
 at our church, we were fortunate in having the 
 advantage of hearing the mellow notes of Miss 
 Bessie Palmer, who was our contralto for a few 
 years. 
 
 Among the congregation who attended at this 
 church was a distinguished composer and violinist ;
 
 70 MUSICAL REMINISCENCES 6- IMPRESSIONS 
 
 no less a person than Bernard Molique, of conti- 
 nental reputation. I often saw him after Mass, 
 and, as nearly all my voluntaries and postludes 
 were extemporaneous, I was much gratified at his 
 kindly remarks about them. He took a great 
 interest in our choir, and he wrote a Mass 
 especially for us, which we performed for the 
 first time one Sunday. A very favourable 
 notice of it appeared on the following Satur- 
 day in the "Athenaeum"; for Chorley, the critic, 
 came specially to our church to hear the new 
 Mass. 
 
 Molique, although he had been so long in 
 England, never mastered the difficulties of our 
 language. He often used to narrate in his broken 
 English a little incident that occurred when he 
 made his first appearance as a juryman. He said 
 that the usher of the court, on reading over the 
 names of those summoned, called out in a loud 
 voice, " Mr. Moliky." 
 
 This mispronunciation of his name, Molique 
 treated with silent contempt. "I deed not 
 answer," he told us. "Mr. Moliky!" again 
 shouted the usher. Still Molique was silent. 
 
 "Mr. MoUkyl Mr. Moliky!" was echoed 
 through the court. 
 
 Then arose Molique, and quietly said : " My 
 name is not Moliky but Molique," giving the
 
 THE PHILHARMONIC MY FIRST CONCERT 71 
 
 foreign pronunciation of the i that acute effect 
 so noticeable in foreign tongues. 
 
 MoUque appeared to be quite delighted at the 
 discomfiture of the usher, who I expect revenged 
 himself by contriving to include Molique among 
 the number of the jury. 
 
 Although in no way connected with music, it 
 may not be out of place here to narrate a little 
 incident which occurred somewhere in the 
 sixties. 
 
 At that time my only brother, William, was 
 living, and it happened that he had accompanied 
 me to Southend, where we had gone for a short 
 holiday. One day we hired a small boat, with the 
 object of rowing out beyond the pier, which is 
 a mile and a quarter in length. The sea was then 
 as smooth as a sheet of glass, so that we considered 
 it quite safe to choose a small and light boat. We 
 had rowed up to the end of the pier, and were 
 about to pass beyond it, when a boatman, who was 
 standing on one of the landing-places, called out to 
 us, and asked us whether we would mind taking him 
 in our boat and rowing him to another one, which 
 was anchored somewhere near the shore. 
 
 I was not altogether pleased with this request, 
 as it interfered with our plans. However, I con- 
 sented to it, and took the boatman with us. It 
 was fortunate for us that I did not refuse ; for a
 
 72 MUSICAL REMINISCENCES &> IMPRESSIONS 
 
 few moments after he had entered our boat a 
 sudden squall arose, and in an incredibly short 
 space of time the sea became so rough, that I felt 
 sure that, without the aid of the boatman, my 
 brother and myself, inexperienced as we were, 
 would never have been able to have kept our little 
 craft from being swamped. It seemed, indeed, 
 quite providential that this boatman should have 
 appeared on the scene just in time to avert a 
 disaster.
 
 CHAPTER VII 
 "THE ANCIENT MARINER" 
 
 "PvURlNG the years that T was so much 
 ^-^ engaged m playing in public I did not 
 altogether neglect composition, as in addition to 
 the pieces I wrote for my chamber concerts, I 
 worked at a symphony, as well as at my oratorio, 
 " The Raising of Lazarus." 
 
 Somewhere about the year 1863, the Musical 
 Society of London announced giving trials of new 
 orchestral compositions. For these they engaged 
 an excellent orchestra, and appointed a small com- 
 mittee of well-known musicians to choose the 
 works. I accordingly sent in my symphony, 
 which was then finished, and together with other 
 compositions it was selected for performance at 
 one of these orchestral trials. Subsequently it 
 had the good fortune to be included in the pro- 
 gramme of the Society's concert for .Tune 15, 
 1864. And in the ensuing winter season August 
 Manns introduced it at the Crystal Palace Satur- 
 day Concerts. 
 
 73
 
 74 MUSICAL REMINISCENCES &= IMPRESSIONS 
 
 The favourable manner in which my symphony 
 was received was probably one of the reasons 
 that induced the Committee of the Birmingham 
 Musical Festival to ask me to write a cantata for 
 the Festival of 1867. 
 
 Curiously enough, about two years prior to this 
 date I had seen a copy of Noel Paton's illustra- 
 tions to Coleridge's "Ancient Mariner " at a friend's 
 house. I am ashamed to say that, at the time, 
 although a lover of poetry, I had never read this 
 particular poem. Noel Paton's drawings made a 
 great impression upon me by their weird character, 
 and thus gave me the idea that the "Rime of 
 the Ancient Mariner " would be a splendid subject 
 for a cantata. But I had a notion then that the 
 cantata style would not suit me, for I thought, of 
 all forms of composition, it would be the most 
 unlikely style that I should ever attempt to write 
 in. When, however, I received the letter from the 
 chairman of the Birmingham Festival, Colonel 
 Mason, commissioning me to write a work for 
 the Festival, my ambition was fired. And well it 
 might have been ; for had I not heard the gorgeous 
 orchestra and chorus of a Birmingham Festival 
 about two years before, the memory of which 
 seemed to be awakened afresh in me on receiving 
 this welcome letter. 
 
 This Festival of 1864 was the first at which I
 
 "THE ANCIENT MARINER" 75 
 
 was ever present, and I was fortunate in having 
 the free entree to all the performances through the 
 kindness of Madame RudersdorfF, whose influence 
 was thus beneficially exerted in my favour. 
 
 The memory, therefore, of this wonderful week 
 came back to me vividly on receiving the commis- 
 sion to write a cantata ; so that I felt it was an 
 opportunity not to be thrown away. But I had 
 my misgivings. I have already said how slow I 
 was at composing. Judging by the time I usually 
 took over a composition, three years would not 
 have been too long a period for me to have 
 allowed myself for such a work. Would it be 
 possible for me to get it ready in time ? 
 
 As I had received the commission from the 
 Festival Committee in November, 1866, and the 
 chorus parts would be required in March, I was 
 left only four months to complete the cantata. 
 
 I decided, notwithstanding, to accept the com- 
 mission. 
 
 Then as to the libretto. Of course, the recollec- 
 tion of Noel Paton's illustrations made me think 
 of the " Ancient Mariner." But I had not even 
 then read the poem, nor had I a copy of Coleridge's 
 works in the house. I sent to procure one, and 
 my cousin, Joseph Bamett, who happened to be 
 staying with us, read aloud the poem to me, while 
 my father, mother, and my sisters were present.
 
 76 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 I was, as might have been expected, deeply 
 impressed with it, but had my doubts as to 
 its suitability for music. At first sight the 
 Mariner's narrative appeared to be more appro- 
 priate for a scena of inordinate length than for 
 a cantata. This difficulty had probably deterred 
 composers from taking the subject for music. Not- 
 withstanding this, I arrived at the conclusion that 
 it was quite reasonable to consider the chorus and 
 solo voices in the light of the reciters of the poem ; 
 in other words, I proposed to write a work that 
 would be a musical reading of Coleridge's verses. 
 
 The theoretical question having been disposed 
 of, I looked at the poem with an eye to its musical 
 possibilities. At first, I thought it appeared too 
 gloomy for effective treatment, and also the words 
 in many cases seemed to be scarcely suited for 
 musical treatment. Nevertheless, I determined 
 upon making an attempt; and that same evening 
 sat down at the piano with the volume open before 
 me. 
 
 The phrase with which the basses and tenors 
 enter : 
 
 " It is an ancient Mariner, 
 And he stoppeth one of three," 
 
 came to me quite easily, and I was delighted to 
 find that the words went well to music, and their 
 metre suitable to any kind of musical rhythm.
 
 "THE ANCIENT MARINER'' 77 
 
 Having once found an opening phrase, I dis- 
 covered that the verses assisted my ideas so well, 
 that before I gave up for the evening I had com- 
 pleted not only the preliminary recitatives, but 
 the sketch of the first chorus, "The ship was 
 cheered," which contains the initial melody of the 
 cantata. 
 
 Never before had I composed with such facility. 
 The sketch thenceforward developed rapidly, and 
 my doubts about finishing the work in time for the 
 festival were to a great extent relieved. 
 
 Still there was the instrumentation to be taken 
 into account. The sketch of a cantata by itself 
 would be of no use to a festival. I knew what a 
 time-taking thing orchestration was, and how 
 dangerous it would be to leave it until too late. 
 I therefore, with as little delay as possible, com- 
 menced that all-important part of my work. 
 
 In order to gain time, I used to rise each morn- 
 ing before six, make myself an impromptu break- 
 fast, and then work at the instrumentation for over 
 two hours before going to my teaching engage- 
 ments. 
 
 On my journeys I often carried with me a copy 
 of Coleridge, in order to select those parts of the 
 " Ancient Mariner " best suited to the cantata. 
 
 The selections and arrangement of the words 
 were in themselves rather difficult tasks. The whole
 
 78 MUSICAL REMINISCENCES 6- IMPRESSIONS 
 
 poem it would have been impossible to take, not 
 only on account of its length, but Ukewise owing 
 to many of its verses being unsuitable for music. 
 The episode of the phantom ship I decided upon 
 omitting altogether. On the margin of the poem 
 I marked out the disposition of the musical 
 numbers, as to whether they should be for solo or 
 chorus. Those portions of the poem where the 
 individuality of the Mariner is most prominent 
 I allotted to the baritone. In this manner, I was 
 able to avail myself of certain opportunities of a 
 dramatic character, as for example, at the point 
 where the wedding-guest interrupts the old sailor 
 with the words : 
 
 *' God save thee, ancient Mariner ! 
 From the fiends, that plague thee thus ! 
 Why look'st thou so ? " 
 
 And he replies : 
 
 " With my cross-bow 
 I shot the albatross," 
 
 I have given the words of the wedding-guest to 
 the tenor, and those of the Mariner, as just stated, 
 to the baritone. 
 
 Such episodes of a dramatic character I found 
 very useful in giving relief to the generally de- 
 scriptive tone of the poem. 
 
 The modern idea as to the method of writing 
 such works as cantatas and oratorios, is that they
 
 "THE ANCIENT MARINER*' 79 
 
 should be composed of scenes, in which the music 
 runs on without coming to any finish until the end 
 of a scene is reached. That this system in a 
 dramatic work is a great gain is undeniable ; but 
 its advantages in a descriptive cantata are not so 
 obvious. 
 
 One reason why I found the " Rime of the 
 Ancient Mariner " so adapted for separate numbers 
 was, that the poet generally describes one subject 
 at a time without introducing desultory matter. 
 Thus : 
 
 " About, about, in reel and rout 
 The death-fires danced at night," 
 
 pictures a weird scene, and gives scope for the 
 composer writing in a given style ; in this case 
 somewhat in the style of incantation music. Another 
 advantage I found in regard to the words, is that 
 they allow of judicious repetition according to the 
 exigencies of the music. 
 
 The theory which places a ban against the 
 repetition of words would shut out of the field and 
 render impossible some of the greatest efforts of 
 musical art, as for example, such subhme choruses 
 as Handel's " He sent a thick darkness " and " He 
 gave them hailstones for rain." One of the special 
 advantages in vocal music is, that it enables a com- 
 poser to dwell upon and intensify some char- 
 acteristic subject. Without repetition of words,
 
 80 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 this in many cases is impossible. Then again, in 
 choral writing, counterpoint would be impracticable 
 without one part repeating the words that another 
 voice has previously enunciated. As a matter of 
 fact, for the writing of choral fugues or other con- 
 trapuntal devices, a few words which the audience 
 can easily recollect are the most available. This 
 style of writing no doubt leads to some strange 
 anomalies. Thus, whilst one part is singing a 
 certain set of words, another part is frequently 
 singing quite a different sentence ; the two sets of 
 words more or less clashing with one another. 
 Such discrepancies in art are not confined to music 
 alone. It might, for example, be said that in 
 a picture of a battle, or any other subject re- 
 presenting figures in motion, the figures should 
 move as they do in a kinematograph, and that, 
 therefore, their remaining stationary is an ab- 
 surdity. 
 
 Something has to be left to the imagination in 
 every art, and in this respect music is not an ex- 
 ception. 
 
 Although I cannot say that in writing "The 
 Ancient Mariner" I used leitmotiven in the 
 Wagnerian sense, I did not lose sight of them 
 altogether ; for whenever the poetic theme admits 
 some musical phrase is allied to it. Thus there are 
 about seven leitmotiven of this kind, which form
 
 "THE ANCIENT MARINER" 81 
 
 connecting links with different portions of the 
 cantata. 
 
 During the composition of the greater part ot 
 the music my ideas came to me as easily as they 
 did in the opening chorus, but there were some 
 exceptions. Thus the quartet, " Around, around, 
 flew each sweet sound," gave me a great deal of 
 trouble. Indeed, I wrote first one quartet, then 
 another, and fully worked them out ; both of which 
 I rejected. My third attempt was more fortunate, 
 and is the one I included in the work. 
 \ In spite of these delays, however, I was able to 
 send in the choral parts for rehearsal in the March 
 preceding the Festival, and a few weeks later I was 
 asked to conduct a rehearsal myself. 
 
 I was glad to find that the chorus had entered 
 thoroughly into the spirit of the music, and 1 was 
 charmed with the breadth of tone and beauty of 
 the voices, as well as with the precision of attack 
 that they had acquired under the guidance of their 
 accompUshed choirmaster, Mr. W. Stockley. I 
 heard that same evening the rehearsal of portions 
 of Sterndale Bennett's "Woman of Samaria," 
 which was to be performed at the same Festival, 
 and I was much struck with the beauty of the 
 choral writing. 
 
 A few weeks before the London orchestral re- 
 hearsals, which took place at the end of July,
 
 82 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 I called upon Sir Michael Costa, with the object of 
 asking him to conduct my cantata. Costa at this 
 time occupied a unique position in the musical 
 world, and was looked upon as the king of con- 
 ductors. No wonder, therefore, that whilst making 
 my way to his house in Eccleston Square I felt as 
 if I were about to lay a petition before a prince. 
 The great conductor received me very kindly, and 
 asked me to play over my cantata to him. He 
 heard it all through ; and although he made one or 
 two suggestions, it evidently took his fancy. On 
 asking him if he would conduct it, he replied that 
 he had made it a rule never to undertake that 
 office in regard to a composer's work on its first 
 performance. This resolution had been arrived at 
 in consequence of an unfortunate misunderstand- 
 ing between him and Sterndale Bennett, which 
 occurred at a Philharmonic rehearsal of a new 
 overture by the latter that Sir Michael was con- 
 ducting. It was therefore arranged that 1 should 
 myself conduct the performance of my work. 
 
 As I had never undertaken such a duty before, 
 I prepared myself for doing so by studying the 
 subject from Berlioz's directions in his work on 
 instrumentation. I likewise frequently beat time 
 with a pencil for a baton, whilst giving my pupils 
 their lessons, by which means I acquired familiar- 
 ity with the different kinds of methods suitable
 
 "THE ANCIENT MARINERS 83 
 
 for various rhythms. Thus it was that when I 
 rehearsed my cantata no one would beheve that 
 1 was conducting an orchestra for the first time. 
 
 Previous to the orchestral rehearsal I went 
 through the arias and recitatives of the work with 
 the singers to whom the solos had been allotted. 
 The artists selected for my cantata were Mile. 
 Titiens, Madame Patey, Mr. Sims Reeves, and 
 Mr. Santley. This afforded me an opportunity of 
 becoming personally acquainted with them. 
 
 I rehearsed the soprano solo part of the cantata 
 more frequently with Titiens than with the other 
 singers, as, notwithstanding her wonderful powers 
 of voice, she was somewhat slow in taking in new 
 ideas ; but I found her most patient, and ever 
 ready to listen to what I suggested. I enjoyed 
 these rehearsals with this gifted singer immensely. 
 Her beautiful house and garden in Grove End 
 Road lent a charm to her surroundings. 
 
 As regards the contralto solos it had been 
 arranged that Madame Sainton-Dolby should have 
 sung them, but she found the aria, " O sleep it is 
 a gentle thing," too high for her voice, so the part 
 was transferred to Madame Patey, whom it suited 
 quite well. The baritone music, although high, 
 lay excellently within Mr. Santley 's compass. 
 
 With Sims Reeves I had some difficulty in 
 regard to the music allotted to him ; for on trying
 
 84 MUSICAL REMINISCENCES &> IMPRESSIONS 
 
 it through with me at his house at Norwood, he 
 said that most of the recitatives were too high for 
 him. I accordingly went through them with him, 
 and made numerous alterations so as to bring the 
 compass down to what he required. I was sorry 
 for this, because these alterations interfered very 
 much with the character of the music, and the 
 cantata being then printed, I foresaw that it would 
 appear strange for him to be singing different 
 notes to those in the copy. I think that he, in the 
 end, must likewise have taken this view of the case ; 
 because at the performance I was surprised to find 
 that he sang the recitatives exactly as they were 
 printed, and probably was then singing them at 
 sight, as he was never present at any of the rehear- 
 sals ; on those occasions the tenor solos had been 
 taken by Mr. (now Dr.) W. H. Cummings. 
 
 It was only by the merest chance that Sims 
 Reeves put in an appearance at the performance ; 
 for in the morning he found his voice was not in 
 good order, and therefore resolved not to sing; 
 but by the persuasion of the friends with whom he 
 was staying, he was induced, notwithstanding his 
 fears, to fulfil his engagement. Whether or not 
 the music suited him better than he imagined, it is 
 very certain that it seemed to have a most salutary 
 effect upon his voice ; for at the performance he 
 never sang more beautifully.
 
 "THE ANCIENT MARINER" 85 
 
 Mr. Santley gave a wonderful reading of the 
 baritone music, and one could almost imagine, 
 whilst listening to him, that it was the Ancient 
 Mariner himself telling us of his supernatural and 
 mysterious voyage. Titiens in the soprano solo and 
 chorus, " This seraph band," sang divinely, so pure 
 were her notes ; and justified the opinion formed 
 by aU who heard her, that hers was the grandest 
 soprano voice of the nineteenth century. The C 
 sharp in alt, which she reached in the concluding 
 notes of the cantata, seemed to soar above the great 
 orchestra and chorus in a truly wonderful manner. 
 
 Never had the Birmingham Town Hall been 
 more crowded than it was on the occasion of the 
 first performance of the cantata,^ nor could the 
 audience have been more sympathetic in their 
 reception of a new composition. During the pro- 
 gress of the work, which I conducted, I felt quite 
 calm and collected, and was able to keep the grand 
 forces I had command over under perfect control. 
 
 Even now, after so many years, the recollection 
 of my first appearance at this Festival comes before 
 me with lifelike reality. I well remember the 
 feeling of suspense I experienced whilst waiting 
 my turn to ascend the platform. I recall, too, the 
 warm greeting with which the audience welcomed 
 me, as well as the glow of excitement I felt when 
 
 * This took place at the evening concert of the Festival on 
 29 August, 1867.
 
 86 MUSICAL REMINISCENCES &> IMPRESSIONS 
 
 I saw before me the grand chorus and orchestra 
 of a Birmingham Festival. 
 
 What a volume of sound is produced by these 
 instruments and choristers, as sonorous and mellow 
 when it swells to some glorious climax, as when 
 subdued to the hush of a pianissimo. 1 had many 
 opportunities of noting these points of excellence, 
 for in addition to Mendelssohn's " Ehjah," I heard 
 his less frequently performed oratorio " St. Paul." 
 Then I was present at Handel's " Israel in Egypt " 
 and his "Alexander's Feast." Benedict's "Legend 
 of St. Cecilia " was also given, and was conducted 
 by its composer. This struck me as being his 
 finest work. Sterndale Bennett's " Woman of 
 Samaria " quite fulfilled the expectations I formed 
 of it when I heard it in rehearsal. Although 
 Bennett was present, the work was conducted by 
 W. G. Cusins, and it made a great impression. 
 The "Messe Solennelle" one of the first com- 
 positions that brought Gounod to the notice of 
 the English public found a prominent place in 
 the programme. 
 
 The kindness and attention I received during this 
 Festival is stamped indelibly upon my memory. 
 The members of the Committee vied with one 
 another in their generous hospitaUty.
 
 CHAPTER VIII 
 
 AMONG THE CHORAL SOCIETIES 
 
 TN the ensuing season 1868 of the Crystal 
 -- Palace, "The Ancient Mariner" was included 
 in the programme of one of the Saturday concerts. 
 The cantata was also performed that same year at 
 St. James's Hall, with a chorus selected principally 
 from the Crystal Palace choir and the Handel 
 Festival chorus. This, together with an orchestra 
 which numbered upwards of eighty performers, I 
 found almost too large for the platform of the hall. 
 The chorus took up so much room that it was 
 with considerable difficulty that the instrumental- 
 ists could be squeezed in. 
 
 My cousins, Clara and Rosamund, the talented 
 daughters of John Barnett, of whom I have 
 already spoken, sang the soprano and contralto 
 music very charmingly. It was their first appear- 
 ance in London after their return from Italy, 
 where they had been singing in opera under the 
 nom de plume of "Doria." This name they 
 retained at their d^but, and they were known in 
 
 87
 
 88 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 the musical world as the Sisters Doria. The 
 baritone part was on this occasion taken by Mr. 
 Lewis Thomas. 
 
 The cantata was also included in the programme 
 of the Worcester Festival of that year, when Titiens 
 again sang the soprano solos. 
 
 It is indeed gratifying to know that my "Ancient 
 Mariner " has been given, at some time or another, 
 by all the leading choral societies throughout the 
 land, and that it is still in as great request as ever. 
 
 Fortunately for the composers of cantatas and 
 works of a similar character, there are few towns 
 that do not possess a choral society ; nay, even 
 villages seem able to collect voices in sufficient 
 numbers to form a chorus. For where there is a 
 church there will be sure to be an amateur choir, 
 membership of which becomes sought after to 
 such a degree that the village schoolroom has to 
 be utilized for rehearsals, and thus the local choral 
 society buds forth into existence. As a rule, the 
 organist of the church is the conductor, and he 
 finds that the rehearsals, for which he voluntarily 
 gives his services, vary the monotony of his duties 
 at the church and elsewhere. Then, not only are 
 sacred works practised, but the secular cantata is 
 introduced, and in due time performances are 
 given for such praiseworthy objects as the repair- 
 ing of the church or the purchasing of a new organ.
 
 AMONG THE CHORAL SOCIETIES 89 
 
 The love of choral singing is a healthy sign in 
 our national character, and one that should be en- 
 couraged by all who value musical art. 
 
 As I have been frequently called upon to con- 
 duct performances of my "Ancient Mariner," I 
 have with that object visited many important 
 musical centres, such as Nottingham, Lincoln, and 
 Liverpool. At the last-named city I conducted a 
 fine performance of the cantata at the Liverpool 
 Philharmonic, where it has since, more than once, 
 been placed in the programme of that representa- 
 tive society. 
 
 Sometimes I have been invited to be present at 
 performances of the work. 
 
 I recollect hearing it at one of the concerts of 
 the Highbury Philharmonic. It had on that 
 occasion the advantage of being conducted by 
 that accomplished and erudite musician. Dr. (now 
 Sir Frederick) Bridge. With the fine choir and 
 excellent orchestra at the disposal of the con- 
 ductor, it can readily be imagined that a perfect 
 rendering of the cantata was a foregone conclu- 
 sion. Then, too, among the solo singers was Edward 
 Lloyd, who sang " Down dropt the Breeze " with 
 exquisite pathos ; whilst the silvery tones of his 
 voice in "The Harbour Bay" sounded, indeed, 
 " as clear as glass." 
 
 Another performance of the work occurs to my
 
 90 MUSICAL REMINISCENCES &' IMPRESSIONS 
 
 memory. This took place a year or two after its 
 production at the Birmingham Festival. The per- 
 formance itself was on a small scale, but indirectly 
 it gave me an opportunity of being introduced to 
 one of the most prominent men in the literary 
 world. It was at the little town or village of 
 Crawley, on the Brighton line, that the cantata 
 was given, and after the concert, I went with my 
 friend Mr. Frank Romer to the house of Mark 
 Lemon, who lived close by, where I found quite a 
 family party assembled. We all spent a merry 
 evening, and it did me good to see how sympa- 
 thetically Mark Lemon entered into the enjoy- 
 ment of his children and their friends. The then 
 editor of " Punch " was a portly and striking 
 figure, almost patriarchal in his appearance. One 
 of his daughters was married to a son of Frank 
 Romer, so that the two families were on very in- 
 timate terms. 
 
 It may here incidentally be mentioned that 
 Mr. Frank Romer was a partner in the firm of 
 Hutchings and Romer, who originally published 
 my "Ancient Mariner." In later years it was ac- 
 quired by the firm of Novello & Co. who brought 
 out a full score of the cantata.
 
 CHAPTER IX 
 
 "PARADISE AND THE PERI" 
 
 nnHE next work I wrote after the "Ancient 
 -- Mariner " was my " Ouverture Symphonique," 
 which I dedicated to the Philharmonic Society of 
 London, and it was produced at one of their con- 
 certs on 11 May, 1868. I named it "Ouverture 
 Symphonique " as I considered the music to be 
 symphonic in character. This overture was again 
 performed by the Philharmonic Society on 28 May, 
 1891, the same concert at which Paderewski made 
 his second appearance at this Society. 
 
 It was in 1869 that I introduced my Concerto^ 
 in D Minor at a New Philharmonic concert. This 
 work had been written after a short tour that I 
 took in Wales ; I might therefore have called it my 
 Welsh Concerto, as I think the invigorating effect 
 of the Welsh scenery may have influenced me 
 when writing it. 
 
 That same year, whilst I was on a visit at 
 
 * This concerto was likewise performed by my sister, Emma Baruett, 
 at one of the Saturday Concerts at the Crystal Palace. 
 
 91
 
 92 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 Tunbridge Wells during the summer holidays, 
 I received a letter from Mr. Richard Peyton, who 
 was then the chairman of the Orchestral Com- 
 mittee of the Birmingham Festival, asking me 
 whether I had a new cantata ready, as the com- 
 mittee was desirous of having another work of 
 mine for the festival of 1870. Unfortunately, 
 I had nothing then available ; I wrote, therefore, 
 in reply, that I believed I should be able to write 
 a cantata in time for the festival, and would, later 
 on, give particulars as to the subject I would 
 select. 
 
 The choice of subject proved to be a difficult 
 problem to me. There was, as in the case of the 
 Festival of 1867, no time for me to have a libretto 
 written specially, as it was the holiday season, when 
 it would have been wellnigh impossible to have 
 communicated with any author likely to have fur- 
 nished me with the words for a cantata. I had 
 not come across any illustrations of any other 
 poem suggesting a subject, as did Noel Paton's 
 drawings. I accordingly went to one of the best 
 libraries in Tunbridge Wells, and raided nearly 
 all the poetical works it contained. None of those 
 I looked over, many of which I was already con- 
 versant with, fulfilled the conditions that I con- 
 sidered essential for a musical work, with the 
 exception of one, and that was Moore's " Paradise
 
 "PARADISE AND THE PERI'^ 93 
 
 and the Peri." This poem I found admirably 
 suited for musical purposes. There was, however, 
 this objection that Schumann had written one of 
 his finest works on the same subject. I felt, there- 
 fore, I was treading on dangerous ground ; but 
 then I recollected that Schumann in writing his 
 fine work had, as a matter of fact, not made use 
 of Moore's words in their integrity ; for the libretto 
 to which Schumann allied his music was an adapta- 
 tion of a German translation of Moore's poems, 
 with many radical alterations and additions. 
 
 Taking this fact into consideration, I felt that I 
 was fully justified in attempting to write a cantata 
 that would allow the listener to enjoy the beautiful 
 words of this poem as left to us by the Hibernian 
 bard. As to how I should illustrate them music- 
 ally, that was, when I set about the task, an un- 
 known quantity ; but 1 determined upon making 
 the attempt, whether I succeeded or failed. In 
 this spirit I at once took the matter earnestly in 
 hand, and looked over the words with a view to 
 their musical possibilities. 
 
 As we were leaving Tunbridge Wells for 
 Brighton, I delayed commencing the cantata 
 until I arrived at the latter town, and mean- 
 while endeavoured to imbue myself thoroughly 
 with the spirit of Moore's poem. 
 
 I had for some time previously been giving
 
 94 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 myself a rest from composition, so that when I 
 commenced working at the new cantata I found 
 I was somewhat out of practice. However, 
 facility was soon regained, and I was able to 
 bring back with me on my return to London two 
 or three numbers in sketch. 
 
 The time I had at my disposal for completing 
 my " Paradise and the Peri," although a month or 
 two longer than I had given me for composing my 
 "Ancient Mariner," was none too long; it was 
 therefore highly important for me to avoid any 
 delay whilst engaged on the work. Nevertheless, 
 on more than one occasion delays did occur which 
 might have proved dangerous. For example, I 
 lost a good deal of time writing a chorus to the 
 words, " Rapidly as comets fly to th' embraces of 
 the sun," and then, when I had nearly finished it, 
 I changed my mind and thought it would be better 
 to omit these words altogether. It may be here 
 not without interest to give a few bars of the 
 music I intended introducing at this point, which I 
 accordingly subjoin. 
 
 Allegro scherzoso 
 
 Rapidly as comets fly to th' embraces of the sun, 
 
 t^
 
 "PARADISE AND THE PERI 
 
 96 
 
 m 
 
 Fleeter than the star-ry brands, flung at night from an-gels' hands 
 
 I 1 T H^l H- 
 
 r i ^ q 
 
 ^3E^ 
 
 
 At those dark and daring sprites, 
 -. 1 
 
 Who would cUmb th'em- 
 
 ^ 
 
 S 
 
 :it=St 
 
 ^ 
 
 t^ 
 
 ^ 
 
 d: d: :i" 
 
 i 
 
 :|!c=:^ 
 
 ^^^ 
 
 e; 
 
 yy^iril~i^ fi-f==^ 
 
 s 
 
 ^rS 
 
 pyreal heights, Down the blue vault the Peri 
 
 flies, 
 
 =P 
 
 f 
 
 r 
 
 -=t- 
 
 ^ 
 
 far 
 
 
 &c. 
 
 On another occasion, when I endeavoured to find 
 a theme for the contralto solo, " Nymph of a fair 
 but erring line," it seemed as if my ideas had run 
 dry ; nothing would come. Day after day I sought 
 for a theme, but without success. Then it oc- 
 curred to me that a country walk might act as a 
 stimulant to my ideas. Accordingly, I took the 
 train to Hampstead and made my way to the
 
 96 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 highest point of the heath, where, aided by a fine 
 September afternoon, I enjoyed a glorious view of 
 the surrounding country, with the gorse and 
 heather of the heath itself as a foreground. This 
 view I shall never see again as I saw it then ; for 
 West Hampstead, Brondesbury, and other off- 
 shoots of the great metropolis were then non- 
 existent. On arriving home, I made another 
 attempt for a theme, and found that I had not 
 over-estimated the salutary effects of country air 
 and rural scenes ; in fact, a melody came to me 
 quite easily, so that I was able to finish the aria 
 that very evening. A similar delay occurred later 
 on in the work, that is to say, in the middle of the 
 chorus, " But morn is blushing in the sky." Here 
 again I felt I wanted a stimulus to my ideas, and 
 as it was then winter, and Nature was not available, 
 I had recourse to the sister art of painting, and 
 spent an hour or so at the National Gallery. On 
 arriving home, I found no difficulty in fitting music 
 to the words, "And she already hears the trees Of 
 Eden with their crystal bells." 
 
 The most serious loss of time that occurred 
 during the writing of my work was in connexion 
 with the finale. 
 
 I had considerable difficulty in evolving an ap- 
 propriate theme for the words "Joy, joy for 
 ever I " and after discarding several melodies that
 
 "PARADISE AND THE PERI" 97 
 
 had occurred to me, I thought of one that I had 
 sketched out some years previously. As the 
 melody was of a distinctive character, I tested it 
 as to the possibility of allying it to the words just 
 quoted, and was glad to find that it suited them 
 excellently. Consequently I decided upon adopt- 
 ing this theme, and proceeded without interruption 
 with the finale, until I arrived at the verse, "My 
 feast is now of the Tuba tree." At this point I 
 came to a dead stop. In vain I tried to invent 
 anything that satisfied me. I lost several days in 
 futile attempts, and as it was then about the 
 middle of April preceding the Festival, every day 
 lost was most serious. I thought, perhaps, a visit 
 to the seaside would do some good ; but I did not 
 go far, only to Southend-on-Sea, which at that 
 time was little more than a village. I engaged 
 some rooms in Prittlewell Square, hired the best 
 piano obtainable, and there and then renewed my 
 attack upon the interrupted finale, but, unfortu- 
 nately, with no better results. At last it occurred 
 to me that it would be advisable to find another 
 theme, and discard altogether what I had written. 
 Accordingly, I set to work the same evening and 
 wrote an entirely new finale, from beginning to 
 end, getting over the difficulty of the words alluded 
 to "My feast is now of the Tuba tree" quite 
 easily.
 
 98 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 I played it over to my father and mother, for 
 they had accompanied me to Southend. They ap- 
 proved of what I had done, so that I retired to 
 rest in a contented frame of mind, feehng that I 
 had come to the end of my difficulties. The 
 following morning, on playing the new theme again, 
 I found I did not like it nearly so well as the first 
 one I had chosen, although the latter portion of 
 what I had just written satisfied me. Then it 
 occurred to me : Could I not use this latter por- 
 tion, and link it to the original melody ? 
 
 I discovered to my great joy that this was quite 
 practicable. And thus, in this circuitous manner, 
 I tided over the difficulty that had so long stood 
 in my way in finishing the work. 
 
 This enabled me to complete the vocal score and 
 place it in the publishers' hands, so that it might be 
 brought out in time for the Festival. I was es- 
 pecially glad of this, as the Princess of Wales, now 
 our Empress Queen, had graciously consented to 
 accept the dedication of the cantata. 
 
 Owing to the delays incurred in writing the 
 music, I was not able to supply the choral parts of 
 the entire work for the earlier rehearsals of the 
 Festival Choir; and therefore at first sent in as 
 much as I could possibly get ready, forwarding 
 the remainder to Birmingham a week or two 
 after.
 
 "PARADISE AND THE PERI" 99 
 
 One of the choral rehearsals that I went down 
 to Birmingham to conduct was somewhat spoilt 
 through a mistake I made in regard to the date. 
 I had duly entered it in my pocket-book, but 
 instead of consulting my memorandum I foolishly 
 depended upon my memory. The result was, that 
 when I arrived at Mr. Richard Peyton's house at 
 Edgbaston, where I always stayed on such occa- 
 sions, I found, to my disappointment, that he was 
 away from home. I thought it very strange that 
 he had apparently forgotten that I was coming, 
 and could not divine the cause of his absence. 
 There was nothing else to be done but for me to 
 find out what was amiss ; I consequently drove to 
 Mr. Stockley's house, when I learnt from him that 
 I had arrived a week sooner than I was expected. 
 However, he told me there was a rehearsal of the 
 Festival Chorus that evening ; but he said that the 
 attendance would not be so good as it would have 
 been the following week, as the choristers always 
 appear in greater force when they expect the com- 
 poser to be present. 
 
 The solo numbers of my new cantata were 
 allotted to Mademoiselle Titiens, Madame Patey, 
 Mr. Vernon Rigby, and Signor Foli. 
 
 Titiens took quite as much pains with my 
 "Paradise and the Peri" as she did with my 
 "Ancient Mariner"; and it was indeed a treat to
 
 100 MUSICAL REMINISCENCES 6* IMPRESSIONS 
 
 me to hear the soprano music of my new cantata 
 sung with such beauty of tone. 
 
 Foli taking the bass solos gave me an opportunity 
 of making the acquaintance of that fine artist. 
 I found him very genial, and, although he was an 
 Irishman, quite American in his way of speaking, 
 added to which he had a certain easy-going manner 
 with him that made me feel at once at home with 
 him. 
 
 What a grand voice he had, and how fortunate 
 I felt in having such an artist at my command ! 
 
 The music describing the plague he sang with 
 so much energy that one experienced a feeling 
 akin to awe whilst listening to him. 
 
 During the Festival week I was not merely con- 
 tent with the part that devolved upon me in con- 
 nexion with my " Paradise and the Peri," but went 
 to all the other performances, both morning and 
 evening. I heard Sullivan's " Overture di Ballo," 
 which was produced for the first time, and which 
 proved to be a great success. 
 
 I Ukewise heard Ferdinand Killer's well- wrought 
 cantata, " Nala and Damayanti," conducted by its 
 composer. 
 
 The memory of this distinguished musician will 
 ever be associated with the pathetic scene he wit- 
 nessed at the death-bed of Beethoven, when the 
 great tone poet in his last moments held out the
 
 "PARADISE AND THE PERI" 101 
 
 hand of reconciliation to a brother composer, 
 Hummel, from whom he had been estranged for 
 many years. 
 
 I was glad to have an opportunity during the 
 Festival of making the acquaintance of such a 
 sterling composer as Ferdinand Hiller. He was 
 a portly-looking man, with a kindly manner that 
 at once made me feel at ease with him, and I quite 
 understood how it was that he was simply adored 
 by all the students of the Cologne Conservatorium. 
 He has left some charming Uttle sketches for the 
 pianoforte, such as his "Zur Guitarre," but his 
 larger works are now seldom performed with the 
 exception of his Concerto in F sharp minor, which 
 was introduced at the Crystal Palace Concerts for 
 the first time by Franklin Taylor. 
 
 As to my " Paradise and the Peri," the perform- 
 ance of which took place on 30 August, 1870, I 
 should have been indeed hard to please, had I not 
 been more than gratified with the superb manner 
 in which orchestra, chorus, and soloists rendered 
 the work. Among the numbers which were en- 
 cored was the unaccompanied quartet, "She wept, 
 the air grew pure," which went to perfection. In 
 the second quartet, " But hark the Vesper call to 
 Prayer," where the sound of a bell is supposed to 
 be heard, I have lately introduced into the score 
 an orchestral bell, in order to give a more reahstic
 
 102 MUSICAL REMINISCENCES 6- IMPRESSIONS 
 
 effect to this important episode in the cantata. As 
 performed at the Festival, I relied entirely upon 
 imitating the bell effect by reiterated notes of the 
 horns. 
 
 During the ensuing season of the Crystal Palace 
 Concerts, my new cantata was performed ; Madame 
 Vanzini taking the soprano, Madame Patey the 
 contralto, and Vernon Rigby the tenor. Santley, 
 who took the bass solos, never sang with greater 
 effect than he did on this occasion. He threw so 
 much soul and fervour into the aria, " Blest tears 
 of soul-felt penitence," that it was irresistibly en- 
 cored. I was glad to have among the audience 
 August Manns, the conductor of the Palace 
 Concerts, he having insisted upon my taking the 
 baton at this performance. 
 
 The same season, later in the summer, my 
 " Paradise and the Peri " was given at St. James's 
 Hall, when the late Madame Lemmens-Sherring- 
 ton took the soprano solos. 
 
 In 1871 it was included in the programme of 
 the Worcester Festival. Some years later I con- 
 ducted a performance of it at Cambridge during 
 Commemoration week. At this concert one of 
 the recitatives, which is accompanied by wood 
 wind instruments alone, was spoilt owing to the 
 performers of these instruments having been de- 
 tained at a flower-show, where they had been
 
 "PARADISE AND THE PERI" 103 
 
 playing, and consequently arrived somewhat late 
 during the progress of my work. The result was 
 that during a recitative the unfortunate tenor 
 had to vocalise for several bars without accompani- 
 ment, until, at last, I took compassion upon him 
 and sang the bassoon part myself, imitating as far 
 as was in my power the tones of that useful 
 instrument. Whether in so doing I did more 
 harm than good to the effect, I cannot say. 
 
 On another occasion I had an opportunity of 
 hearing the cantata performed by the Bath Phil- 
 harmonic. That accomplished musician, Mr. Alfred 
 Visetti, was then the conductor of this society, and 
 had put my "Paradise and the Peri" into rehearsal 
 for one of the concerts ; when, owing to illness, he 
 found himself unable to go on with the practising 
 of the choir. He consequently asked me to 
 undertake that duty. At the concert the work 
 was received by the audience with much favour. 
 On leaving Bath the following morning, I carried 
 away very pleasant recollections of the bright 
 voices of the choir, and not a little satisfaction at 
 having heard my cantata rendered in so efficient a 
 manner.
 
 CHAPTER X 
 
 "THE GOOD SHEPHERD'' AND FIRST 
 ORCHESTRAL SUITE 
 
 TN 1873 I produced my " Raising of Lazarus " at 
 -*- one of the New Philharmonic Concerts, but of 
 this I will speak later on. 
 
 My next choral work was " The Good Shepherd," 
 which I wrote at very short notice for Mr. Kuhe's 
 Brighton Festival of 1876. When asked to con- 
 tribute a work to this Festival, I had one chorus 
 and an aria ready by me, which formed a kind of 
 nucleus for writing the cantata. The aria was 
 composed to the well-known words of the 
 Psalmist, "The Lord is my Shepherd," and was 
 written in 1873, not long before a serious illness 
 fell upon me. During the time that I was ill 
 I often thought of the beautiful words of this 
 aria, so replete with consolation to one as near 
 to " the valley of the shadow of death " as I was 
 then. The thought indeed sometimes came to 
 me: Should I ever live to make use of the aria 
 in some musical work? On being restored to 
 
 104
 
 "THE GOOD SHEPHERD" 105 
 
 health, I made a resolution that, whenever occa- 
 sion offered, I would incorporate it in some sacred 
 composition. And thus it was that, when I re- 
 ceived the commission from Mr. Kuhe, I eagerly 
 embraced this opportunity of carrying out the 
 resolution I had formed three years previously. 
 
 I thought it wise to place the writing of the 
 libretto of the " Good Shepherd " in experienced 
 hands, and therefore called upon Mr. Joseph 
 Bennett, the accomplished musical critic of the 
 " Daily Telegraph," to ask him whether he would 
 undertake to write the words for my sacred can- 
 tata. He most kindly consented to do so ; and 
 I was glad to find that he thoroughly approved 
 of the choice of subject. The words he selected 
 from Scripture, with the exception of the hymn, 
 "Gentle Shepherd, see us wand'ring," which he 
 wrote specially for the work. I found the libretto 
 he furnished me with admirably adapted for music, 
 and, with such sympathetic material to work upon, 
 I was able to get the cantata finished in good time 
 for the Festival. 
 
 Among the solo singers who took part in the 
 work at the performance were Madame Lemmens- 
 Sherrington, Madame Antoinette Sterling, and 
 Edward Lloyd. The latter artist sang the tenor 
 solo, "I have gone astray," with such genuine 
 pathos that it was encored.
 
 106 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 A year or two after the production of my 
 " Good Shepherd "^ the Brighton Festival gave my 
 " Ancient Mariner," and I wsls asked to conduct it. 
 At the rehearsal an unwelcome surprise was in 
 store for me. When the finale was in progress, I 
 found, to my consternation, that the 'celli and 
 contra-bassi were not playing. 1 stopped the 
 orchestra, and inquired the cause of this strange 
 omission. I was told that the orchestral parts of 
 these instruments were imperfect, the finale having 
 been omitted altogether. One of these parts 
 having been handed to me to see, I discovered 
 that, by some accident, the printer had omitted the 
 finale altogether. As the performance was in the 
 evening, no time was to be lost ; so I had all these 
 imperfect parts sent to me at the hotel where 
 I was staying, and proceeded to copy out the 
 missing number by the aid of my score. It was 
 as much as 1 could do to get the parts ready in 
 time for the performance. 
 
 In writing these reminiscences, I do not always 
 describe the events of my life in chronological 
 order, but rather put them down as they occur to 
 my memory. Therefore, finding I have forgotten 
 to allude to the production of my first orchestral 
 
 ' A few years ago I thonght it advisable to revise this sacred cantata, 
 and for this purpose an entirely new edition of it has been published.
 
 FIRST ORCHESTRAL SUITE 107 
 
 suite, I may be pardoned if I say a few words 
 about it ; although the work was really written 
 and produced two years before my " Good 
 Shepherd." 
 
 Some of the members of the Philharmonic of 
 Liverpool having decided upon giving a festival, 
 their proposition was eventually carried out, with 
 the result that a musical festival at the great city 
 of commerce was inaugurated in 1874. Benedict 
 was appointed conductor, and I was selected as 
 one of the composers commissioned to write for 
 the occasion. The work I contributed to the 
 programme was my orchestral Suite, the " Lay of 
 the Last Minstrel," describing four episodes in Sir 
 Walter Scott's poem. This Suite was produced in 
 October, 1874. 
 
 During this Festival I stayed at the house of 
 Mr. A. F. Eggers, who, if I recollect rightly, was 
 the chairman of the Festival Committee. At his 
 house I met one evening Madame Adelina Patti, 
 who was one of the artists engaged for the Festival. 
 I found her as charming in society as she was 
 fascinating on the operatic stage. During the 
 evening I played to her my Fantasie for Pianoforte 
 that I had written on themes from my " Ancient 
 Mariner," and she was very much taken with it. 
 
 At the rehearsal of my "Lay of the Last 
 Minstrel" I was glad that the orchestral effects
 
 108 MUSICAL REMINISCENCES e^ IMPRESSIONS 
 
 came out just as I intended. Ludwig Straus, who 
 led the first vioUns, told me afterwards that he 
 liked the musical colouring by which I have sought 
 to convey the impression that one might have 
 in visiting Fair Melrose " by the pale moonlight " 
 and hearing in imagination the weird chant of the 
 monks of old. 
 
 The kindly reception the suite met with at the 
 Festival performance was fully endorsed by the 
 manner in which the audience welcomed it not 
 many months after at the Crystal Palace Concerts. 
 It was likewise introduced to the audience of the 
 Philharmonic Society of London at the second 
 concert of the season of 1877.
 
 CHAPTER XI 
 "THE RAISING OF LAZARUS'' 
 
 T WILL here take an opportunity of saying 
 -*- a few words about my "Raising of Lazarus," 
 the first performance of which at the New Phil- 
 harmonic Concerts I have already referred to. 
 This work was not the result of any commission 
 for a festival, but was commenced even before 
 I went to study at Leipsic; indeed, portions of 
 what I had done I took with me to Germany. 
 Other parts I wrote in Leipsic, notably the open- 
 ing introduction and chorus, which was performed 
 in the Gewandhaus. The chorus on this occasion 
 consisted of students from the Conservatorium 
 assisted by the choir of the Thomas Kirche. At 
 one of the rehearsals an opportunity was afforded 
 me of hearing a wonderful feat in choral sight- 
 singing. It had been arranged between the 
 Cantor, Dr. Hauptmann, and myself, that the 
 chorus should be rehearsed by the members of 
 the Thomas Kirche choir, previous to the general 
 rehearsal. Accordingly, on the morning fixed 
 
 109
 
 110 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 upon, I went, taking with me the choral parts. 
 As the composition was in MS., it was absolutely 
 impossible that the members of the choir could 
 ever have seen it. I expected that they would 
 have found it tough work in the way of choral 
 singing, the music being very contrapuntal and in 
 many parts elaborate in construction. What then 
 was my surprise to hear it sung faultlessly, and 
 with the greatest amount of spirit. If it had 
 been in rehearsal for six weeks it could not have 
 gone better. 
 
 Speaking about the Thomas Kirche, reminds 
 me how, when a student at Leipsic, I used fre- 
 quently to go to this church in the afternoon in 
 order to listen to the Psalms and Motets of Bach, 
 for the singing of which the choir was justly cele- 
 brated. But the greatest treat of all was to hear 
 Bach's Passion Music performed there. 
 
 This performance, which takes place annually on 
 Good Friday, is looked forward to in Leipsic as 
 one of the great events of the year. The wonder- 
 fully effective way in which Bach's masterpiece is 
 rendered on these occasions is, no doubt, due to 
 the manner in which the tempi and light and shade 
 are managed, in accordance with the traditions 
 that have been handed down to the cantors of 
 the Thomas Kirche since the time of Bach him- 
 self. One point struck me greatly, on account
 
 JSM:^ 
 
 \ 
 
 llili THOMAS KIKCIIK, LICU'SIC 
 (WHEKE SEIIASTIAN UACH WAS CANTOK)
 
 "THE RAISING OF LAZARUS" 111 
 
 of the fine combination of tone produced. This 
 occurs in the opening chorus. The boys who sing 
 the chorale, while elaborate counterpoint is in 
 progress, stand apart in the gallery of the church, 
 and rneir voices seem to soar above the rest of the 
 chorus like a celestial choir joining in with those 
 who are on the earth below. 
 
 The Gewandhaus orchestra co-operates in these 
 annual performances, and on the two occasions that 
 I was present the conductor was Julius Rietz. 
 
 I may here incidentally mention that I was 
 among the audience at the first performance of 
 Bach's Passion Music in England, which was given 
 by the Bach Society at St. James's Hall, and con- 
 ducted by Sterndale Bennett. Unfortunately, the 
 rendering of the work was marred by want of 
 sufficient rehearsal. Just before the performance, 
 one of my former fellow -students at the Royal 
 Academy of Music, the late Henry Baumer, who 
 was taking part in the chorus, came round to me 
 and warned me that I must not be surprised if the 
 chorus was very "shaky"; for, he said, the only 
 rehearsal at which all the members had attended 
 was the one immediately preceding the concert. 
 So the greater portion of the chorus must have 
 been singing Bach's difficult work after having 
 been only once through it. A good performance 
 under these circumstances was impossible. The
 
 112 MUSICAL REMINISCENCES e^ IMPRESSIONS 
 
 redeeming feature, however, was the singing of 
 Sims Reeves. Even in Leipsic I had never heard 
 the music allotted to the Narrator sung with such 
 depth of feeling and beauty of voice. 
 
 In regard to my "Raising of Lazarus," I con- 
 tinued the composition of this oratorio on my 
 settling in London, and worked at it on and off, 
 whenever I had time at my disposal. For the 
 New Philharmonic concert I made considerable 
 change and revision in the music, and in its new 
 form it was published and dedicated to an old 
 friend and patron of mine, the late Mr. George 
 Norbury, whose brother, Mr. John Norbury, is now 
 the esteemed treasurer of the Royal College of 
 Organists, and to whom I have dedicated these 
 memoirs. 
 
 A few years after the first performance it was 
 included in the programme of the Hereford Festi- 
 val of 1876, the solo singers being Mademoiselle 
 Titiens, Madame TrebeUi, Mr. W. H. Cummings, 
 and Mr. Lewis Thomas. 
 
 As in the case of my other works for festivals, I 
 went through the solo parts with the singers en- 
 gaged, and in this way made the acquaintance of 
 Madame Trebelli, who lived nearly opposite to my 
 house in Marlborough Place, St. John's Wood, 
 where I was then living. I found her charming ; 
 and she was evidently most interested in the music
 
 "THE RAISING OF LAZARUS" 113 
 
 she had to sing in my oratorio. It was a wonderful 
 voice she had ; for the middle and lower notes con- 
 tained all the richness of a fine contralto, whilst in 
 the upper register she could hold her own with any 
 soprano as regards compass. In " Carmen " she 
 was perfection ; indeed, all who heard her in that 
 ever -green opera were unanimous in considering 
 her representation of the passionate gipsy as being 
 truly wonderful as a specimen of realistic acting. 
 
 I was very glad to have Mr. W. H. Cummings 
 for the tenor solo in this work ; for with such a 
 true artist and accomplished musician one always 
 feels safe. 
 
 Mr. Lewis Thomas as bass possessed just the 
 voice suited to the music given to Lazarus; his 
 rich and sonorous tones imparting depth of char- 
 acter to the sacred words he was singing. 
 
 It should be here stated, in explanation, that in 
 the construction of the libretto of my oratorio I 
 have given a part to Lazarus, both before his death 
 and after his being raised to life. 
 
 The narrative of this great miracle, as related by 
 the evangelist, although it leaves a record of the 
 words spoken by Martha and Mary, containing 
 some of the most beautiful religious aspirations to 
 be found in the New Testament, does not give any 
 account of those that may have been uttered by 
 Lazarus. In the libretto of the oratorio suitable
 
 114 MUSICAL REMINISCENCES &> IMPRESSIONS 
 
 words, selected from Holy Scripture, have been 
 allotted to the bass voice, as being spoken by 
 Lazarus. 
 
 It is, perhaps, of interest to remark here, that 
 several years after I had arranged the words of my 
 "Raising of Lazarus," I came across Schubert's 
 "Lazarus," the existence of which, at the time 
 I was writing my oratorio, I was not aware of. I 
 found that, by a remarkable coincidence, Schubert 
 had gone upon the same plan that I have in 
 creating a part for Lazarus, in order to make the 
 subject more available for musical treatment. 
 
 At the rehearsal in the cathedral an unwelcome 
 surprise was in store for me. Just after the dying 
 song of Lazarus there is a chorale for organ alone. 
 When the organist commenced this it was found 
 that the instrument was more than a quarter of a 
 tone lower than the orchestra. On inquiring, I was 
 told it had been tuned down at Mr. Sims Reeves' 
 request ; for at that time he had been agitating for 
 the introduction of the French normal pitch into 
 England, but found that there were difficulties in 
 the way of this change being carried out diffi- 
 culties which even now cannot always be sur- 
 mounted. 
 
 The impracticability of the orchestra lowering 
 its pitch without sufficient preparation was fully 
 proved on this occasion, for on my asking if it
 
 "THE RAISING OF LAZARUS" 115 
 
 were possible for the wind instruments to be ad- 
 justed so as to be in tune with the organ, I was 
 informed that it could not be done, as lower than 
 a certain pitch they would not go. 
 
 As it was impossible to dispense with the organ 
 in my oratorio, it was arranged that the instrument 
 should be tuned up to its original pitch, so that 
 it could be used with the orchestra, and thus a 
 contretemps was avoided. 
 
 At the performance, my " Raising of Lazarus " 
 was given without any interval between Parts I and 
 II, so that it formed in its entirety the first part of 
 the morning service. 
 
 This made rather a long part, and I expect must 
 have taxed severely the performers' capacity for 
 endurance. The choir especially must have felt it, 
 as there are a large number of choruses, many of 
 them being of considerable length. 
 
 It was, indeed, a great ordeal for my choir to 
 have passed through, and it bore unmistakable 
 evidence as to the sterling material of which the 
 Hereford Festival Choir was composed ; for not 
 only were there no signs of fatigue on the part of 
 the choristers, but their intonation was true 
 throughout. 
 
 How fortunate I felt in having the choruses sung 
 by such fresh and beautiful voices, amid the impres- 
 sive surroundings of the sacred edifice 1
 
 116 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 I remember, too, how warmly Sainton, the leader 
 of the orchestra, congratulated me after the per- 
 formance. What a genial Frenchman he was, his 
 face beaming with good nature. I recollect full 
 well the pleasure with which, on several occasions, 
 I heard him in Spohr's Violin Concertos, especially 
 the one in E, which is rarely heard now. 
 
 At the Hereford Festival which I am describing, 
 Sainton, at one of the evening concerts, undertook 
 more than his duties as leader of the first violins 
 required of him. This was when Titiens was 
 singing a scena from an Italian opera, in which she 
 introduced, as was then customary, numerous orna- 
 ments and cadenzas, and with which Townshend 
 Smith, the conductor of the Festival, was not 
 familiar. It was therefore scarcely to be won- 
 dered at, that, not knowing what the prima donna 
 was doing or going to do, Townshend Smith should 
 have felt rather abroad in directing the orchestra. 
 Fortunately, Sainton was equal to the occasion. 
 For I noticed that the great French violinist 
 quietly, and I may say almost slyly, left off play- 
 ing and commenced indicating the parts of the bar 
 with his bow, so as to keep the singer and orchestra 
 together. The latter knowing that Sainton was 
 familiar with the alterations in the music made by 
 the fair singer, took the time from his bow, instead 
 of from Townshend Smith. It was indeed comi-
 
 "THE RAISING OF LAZARUS" 117 
 
 cal to see Sainton's bow giving a down beat, whilst 
 the conductor's baton was indicating an up beat. 
 
 What a charming man was Townshend Smith, 
 so amiable and sympathetic. He was a great lover 
 of Spohr, and I understood always included some 
 work by that composer in the Festival programme. 
 
 I ought not to omit to mention a very excellent 
 performance of the " Raising of Lazarus " which 
 took place at the Reading Philharmonic, under the 
 direction of Mr. W. Strickland, but I have for- 
 gotten the year in which it occurred.
 
 CHAPTER XII 
 
 CHAMBER MUSIC JANSA AND BEETHOVEN 
 THE LESLIE CHOIR 
 
 A CONSIDERABLE interval of time elapsed 
 -^^ between the production of my "Good Shep- 
 herd " and my next choral work, " The Building of 
 the Ship." 
 
 Nevertheless, it must not be supposed that 
 meanwhile I had given up composition. For 
 during those years I wrote a great number of 
 pianoforte pieces, the most important being my 
 Sonata in E Minor, which was introduced some 
 years ago at a pianoforte recital given by my sister, 
 Miss Emma Barnett. 
 
 I had already written a Sonata in C Minor when 
 I was studying with Julius Rietz at Leipsic. And 
 here I may allude to the fact that Rietz, although 
 inclined to be very sharp in his manner and caustic 
 in his remarks, would occasionally indulge in a 
 joke. It was true that the joke was too frequently 
 at the expense of one of his pupils. An instance 
 of this occurred during one of his lessons, at which 
 
 ii8
 
 CHAMBER MUSIC 119 
 
 1 had brought the slow movement of the sonata 
 alluded to for him to see. He was playing it 
 through just as I had written it, until he arrived 
 at the final page, where the following phrase 
 of three bars occurs: 
 
 i 
 
 ^m 
 
 
 ^=i^ 
 
 i^Svt 
 
 P 
 
 dim 
 
 w 
 
 ^WJ/7^1tt e^ 
 
 
 r 
 
 i^Lii-, 
 
 0^^^ 
 
 W- 
 
 ^ 
 
 r 
 
 &c. 
 
 The phrase as it stood in my composition was 
 repeated three times, the repetition being taken an 
 octave lower each time. This mode of proceeding 
 Rietz evidently objected to ; and, in order to 
 emphasize his opinion, as well as to show up the 
 weakness of the device, he persistently went on 
 repeating my poor little phrase, and each time in 
 an octave lower, until he had descended into the
 
 120 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 lowest depths of the bass and no more notes were 
 left. The result was a laugh from all present in 
 the class against me, which no one enjoyed more 
 thoroughly than Rietz himself. 
 
 This sonata I thought a great deal of at the 
 time; but on looking it over again some years 
 subsequently, I decided not to publish it. I went, 
 therefore, on the principle of "write and burn," 
 although the latter part of the precept I did not 
 carry out, as there is often a feeling, after destroy- 
 ing a composition, that perhaps there might have 
 been something in it worth keeping. 
 
 This brings to my mind a conversation I had 
 with .John Ella, when I was quite a young man, in 
 regard to a work of mine that I had just completed, 
 and which I told him I contemplated publishing. 
 
 His advice was not perhaps of the most com- 
 forting kind. For he said : " You young composers 
 want to publish everything as soon as you have 
 written it. Write and burn, until you have pro- 
 duced something worth keeping." 
 
 Having incidentally brought in the name of 
 John Ella, a few words about this remarkable man 
 may not be out of place. As the founder of the 
 Musical Union, he did much good work in the 
 interest of chamber music in England, especially 
 in aristocratic circles ; but it is a question as to 
 whether these concerts had the effect of popular-
 
 CHAMBER MUSIC 121 
 
 izing this form of art with the million. This was 
 left for the Monday Popular Concerts to achieve. 
 John Ella was a man who made it quite a business 
 to ingratiate himself with members of the aris- 
 tocracy; and let it be said that in this respect 
 he was eminently successful. He seemed to be 
 hand in glove with dukes and lords, and was, 
 perhaps, not a little fond of speaking about the 
 big-wigs he came in contact with. Thus he suc- 
 ceeded in bringing together the most aristocratic 
 audience that has ever attended the performances 
 of a series of chamber concerts within my recollec- 
 tion. As a musician, Ella would probably not 
 have taken the first rank. He commenced his 
 career as second vioUn in the orchestra ; not that 
 this fact would prove him to be deficient as a 
 musician, for the playing of an inner part has 
 special difficulties as to time not so frequently met 
 with in an upper part. 
 
 In society, however, John Ella was in his 
 element, for he had most of the qualifications 
 necessary for rendering him popular with the 
 upper classes. His appearance was in a way com- 
 manding. He had an intellectual forehead, a 
 special characteristic of his face being what is 
 termed a beethng brow. 
 
 At the concerts of the Musical Union, he was 
 always in evidence, and each season he succeeded
 
 122 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 in bringing forward some new artist of continental 
 reputation. Amongst these may be mentioned 
 Wilhelmina Clauss, a pianist who charmed London 
 by her refined and artistic performances. 
 
 At Willis's Rooms, where these concerts were 
 held, the platform was placed nearly in the centre ; 
 an arrangement that gave to the concerts the air 
 of a social matinee, and likewise afforded an oppor- 
 tunity of the music being heard to equal advantage 
 in every part of the room. 
 
 It would seem that, at this period, there was an 
 all-abiding desire on the part of the musical public 
 to hear and become familiar with the masterpieces 
 of the great composers in chamber music. For at 
 the same time that Ella's Musical Union was in 
 full swing there was in existence another series of 
 concerts of chamber music, called the Reunion des 
 Arts, under the direction of Charles GofFrie, who 
 played the viola part in the quartets performed, 
 and who is still living, I have been told, somewhere 
 in America. 
 
 One of the most notable exponents of quartet 
 music about this time was the violinist Jansa, 
 whom I remember often meeting before going 
 to Leipsic. My recollection of him is all the more 
 interesting from his associations with Beethoven. 
 
 When a young man, Jansa, who was a well- 
 known and accomplished violinist, had the unique
 
 JANSA AND BEETHOVEN 123 
 
 privilege of playing the first violin part of 
 Beethoven's quartets at that immortal composer's 
 house, even before they had been published. As 
 these trial performances always took place in 
 Beethoven's presence, one can picture to oneself 
 the intense interest Jansa and his colleagues must 
 have felt, as Beethoven handed to them the parts 
 of a new quartet j ust fresh from his pen. Beethoven 
 was not deaf then ; so that Jansa often used to tell 
 how the great composer would sit in a corner of the 
 room, as far as possible from the players no doubt 
 more fully to judge of the effects produced. He 
 sat, as Jansa told us, with his head bent forward, 
 as it were in contemplation, and his arms crossed 
 on his chest, listening to the effect of his own 
 creations ; and then, if there happened to be some 
 mistake in one of the parts, he would rush across 
 the room and stop the quartet players and make 
 the necessary correction. 
 
 I am therefore glad, and I may say proud, that I 
 had the opportunity of meeting with one who had 
 the privilege of being on such intimate terms 
 with Beethoven as Jansa had been ; for had I not 
 shaken the same hand that Beethoven had grasped 
 in warmth of gratitude, as he thanked the violinist 
 for the part he had taken in trying over the new 
 quartet ? 
 
 The history as to the cause which led to Jansa 's
 
 124 MUSICAL REMINISCENCES &> IMPRESSIONS 
 
 domicile in England is not without interest. In 
 the year 1849 he came over from Vienna, where he 
 occupied an important musical post, to fulfil an 
 engagement in London. 
 
 About this time there was trouble in Hungary. 
 
 The patriot Kossuth had stirred up the people to 
 insurrection, and after the failure of this emeute, a 
 number of his followers sought refuge in England 
 to escape the wrath of Austria. Of course, many 
 of them arrived in London almost destitute ; so 
 that a concert was got up for the relief of these 
 Hungarian refugees in 1849. At this concert Jansa 
 played, and altogether took a very prominent part 
 in the arrangements. This so offended the Austrian 
 Government that the authorities at Vienna forbade 
 him to return to this city, and his official post was 
 at once cancelled. He became, therefore, from 
 that time forth, an exile from his own country ; but 
 as he was greatly attached to England, and had 
 made numerous friends in London, he did not feel 
 his banishment as he otherwise would have done. 
 
 It may not be without interest to state that he 
 was Norman Neruda's first teacher of the violin. 
 The present Emperor of Austria also, when a young 
 man, received instruction from him in the " king of 
 instruments." 
 
 The advent of the " Monday Pops " to which I 
 have alluded, occurred whilst I was in Germany, so
 
 J. W. DAVISON 125 
 
 that I can only speak of the results of what must 
 have been a very excellent start, for when I re- 
 turned to London I found them flourishing. 
 
 Not long after the production of my " Ancient 
 Mariner" I was engaged to play at one of the 
 Monday Popular Concerts, and chose Beethoven's 
 so-called " Waldstein " Sonata. This concert took 
 place on 7 December, 1868. 
 
 The late J. W. Davison, who was then musical 
 critic to " The Times," did much towards strength- 
 ening the position of the " Monday Pops " with the 
 music-loving public by means of the analytical 
 notes of the music performed, with which he 
 enriched the books of words, as well as by the en- 
 couragement he so justly gave to these concerts in 
 the journal for which he wrote. 
 
 Davison, in his time, was quite a power in the 
 musical world. Many a young debutant has felt a 
 wave of nervousness come over him on catching 
 sight of this critic in the concert room just before 
 appearing on the platform. 
 
 In society, Davison was always " hail fellow well 
 met " and full of wit and humour. He had besides 
 a certain character of manner that was quite his 
 own. I recollect on one occasion, at the house of 
 Madame Laura Baxter, a well-known contralto 
 singer, meeting Carl Formes, the celebrated basso 
 profondOf who amused us all by taking off some of
 
 126 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 Davison's peculiarities. He imitated Davison's 
 limp in walking so cleverly, that one could quite 
 imagine it was the redoubtable critic himself leaving 
 the room. 
 
 During the evening, Formes told us that he was 
 about to appear as Shylock in the " Merchant of 
 Venice." This was rather a surprise to all assem- 
 bled, because we wondered how he would dispose 
 of his unmistakable German accent. He did not 
 long leave us in suspense as to this, as he volun- 
 teered to recite some portion of the dialogue of the 
 vengeful Jew, choosing one of Shylock's most 
 malignant speeches. 
 
 I am sorry to say the effect was utterly ludi- 
 crous, since Formes' German accent was even more 
 noticeable whilst he was reciting than in his 
 ordinary conversation. 
 
 As a singer, in his best days, Formes was cele- 
 brated as possessing one of the grandest and deep- 
 est bass voices that has ever been heard. 
 
 The true bass voice is, more or less, becoming 
 rare, for almost all male singers who are not tenors 
 aim at taking the position of baritones. 
 
 I believe it was Santley who made the baritone 
 voice so fashionable ; he seemed almost to create 
 it, and thus a great demand arose for baritones, 
 and we all know that if there is a demand for a 
 commodity there will be plenty of it put on the
 
 CARL FORMES 127 
 
 market. Probably in former times, if a singer 
 had by nature a baritone voice, he would do all he 
 could to bring down his register to that of the 
 true bass. 
 
 In one of "Mr. Punch's" humorous sketches 
 there is portrayed a gentleman walking up and 
 down in the park on a very wet day without an 
 umbrella ; and on being asked by a friend what can 
 be his object in so doing, he replies, "that he is 
 trying to get hoarse, as he finds that he can 
 then more easily reach the deepest bass notes." 
 Whether any bass singers of the pre-Santley era 
 ever went to such lengths as this, I cannot say ; 
 but the fact remains that since the advent of 
 Santley's career baritones have been very much 
 more in evidence. 
 
 But, as I was saying when I broke off Formes' 
 voice was a true bass, possessing an extended com- 
 pass, for I have heard him take the high F on the 
 second leger-line above the bass clef staff and 
 descend to two octaves below, both being fine 
 notes. He could moreover easily reach the low D 
 below the staff, and with a full volume of tone. 
 His singing of "In dieser hieligen Halle," from 
 " Die Zauberflote," was something to be remem- 
 bered ; especially the grand way that he descended 
 the notes of the scale from B flat to the E flat 
 below.
 
 128 MUSICAL REMINISCENCES &> IMPRESSIONS 
 
 Unfortunately, during the latter portion of his 
 career his intonation began to deteriorate, even 
 whilst his voice remained quite fresh ; for I recol- 
 lect hearing him at the opera, when singing an 
 unaccompanied cadenza, getting out of the key 
 altogether ; so that I quite dreaded the orchestra 
 coming in with its chord at the end of the cadenza. 
 
 This reminds me of a story my father once told 
 me about a celebrated prima donna in Costa's 
 time, who, during the performance of an operatic 
 aria, whilst singing a cadenza for voice alone, lost 
 the feeling of the key she was in, so that near the 
 end of it she was quite a semitone lower than when 
 she began. Costa, who saw, or rather heard, what 
 had happened, in order to avoid a musical catas- 
 trophe, dexterously gave a sign to the orchestra to 
 transpose the rest of the aria a semitone lower, so 
 that on the re-entrance of the orchestra the singer 
 found herself quite in agreement as regards tonal- 
 ity with the band. Probably, neither she nor the 
 majority of the audience had the slightest idea of 
 anything unusual having taken place. 
 
 The tendency of the voice, when unaccompanied, 
 to a gradual lowering of the pitch is a phenome- 
 non well known to conductors of choral music. It 
 seems, in fact, impossible for a large body of 
 choristers, however excellent their voices may be, 
 to sing beyond a certain length of time without
 
 THE LESLIE CHOIR 129 
 
 the intonation giving way, unless they are re- 
 minded of the pitch by some accompanying in- 
 strument; and strange to say, it never goes up, 
 but always down. An unaccompanied part-song 
 or madrigal beginning, say, in E flat, will be sure, 
 by the time it has finished, to conclude in D, if 
 not in a lower key. A curious feature in regard to 
 this fact is, that unless the fall of the voices is very 
 great, or sudden, no one seems to be aware of it. 
 
 It is natural that whilst discussing matters con- 
 cerning unaccompanied choral music my thoughts 
 should revert to the LesUe Choir. 
 
 The concerts instituted by Henry Leslie were, 
 undoubtedly, amongst the most enjoyable ever 
 given in St. James's Hall; they were likewise 
 most valuable in introducing to the public one 
 of the most important styles of musical composi- 
 tion that is to say, unaccompanied choral music. 
 How important a position this class of musical art 
 occupies, may be deduced from the fact that, to 
 a great extent, it was the origin or foundation 
 of modem music ; for such composers as Palestrina, 
 Marenzio, and Orlando di Lasso, the pioneers of 
 our art, gave expression to their musical ideas nearly 
 always in the form of unaccompanied choral music. 
 All the best of our early English composers, too, 
 said what they had to say for the most part in 
 madrigals or other forms of music for voices alone.
 
 130 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 The Leslie Concerts did, therefore, an untold 
 amount of good in causing this unique and beauti- 
 ful species of music to become known and appre- 
 ciated by the pubhc at large. 
 
 Among the distinguishing features of the Leslie 
 Choir were the charming nuances of light and 
 shade that one noticed in the rendering of the 
 part-songs and madrigals performed. The beauty 
 of tone of the voices was likewise very remark- 
 able ; but in the later history of the choir this 
 quahty deteriorated to some extent, probably 
 owing to the ageing of the voices of its members. 
 
 Henry Leslie was always ready to introduce any 
 new part-song of mine at his concerts. 
 
 On one occasion he performed a short madrigal 
 " If I had but two little wings." ^ I think it was 
 when writing to Mr. LesUe to tell him about 
 this madrigal that I was guilty of sending off one 
 of the most absurd specimens of a letter that has 
 ever been posted. 
 
 I had nearly finished this letter, when, owing 
 to a mistake I had made in it, I put it aside, 
 intending to rewrite it. I did not do so at once, 
 but began amusing myself by making various little 
 sketches in pen and ink on the margin of the 
 unfinished letter. This by some accident was 
 sent off to Mr. LesHe instead of the one 1 had 
 
 ^ Words by Coleridge.
 
 THE LESLIE CHOIR 181 
 
 rewritten. Mr. Leslie must have been highly 
 amused at receiving such an extraordinary epistle, 
 without even a signature. Nevertheless, strange 
 to say, I had an answer from him, in which he 
 said that he had no doubt the letter was from me, 
 as he recognized my handwriting. 
 
 I think it was at the same choral practice when 
 my madrigal was rehearsed that I heard a new 
 part-song by Blumenthal on the well-known words 
 of Herrick, " Gather ye rosebuds whilst ye may." 
 Blumenthal himself conducted it, and a very dainty 
 piece of music it proved to be. 
 
 At the first performance of all the part-songs 
 of my composition that Mr. Leslie introduced, he 
 very kindly handed the baton to me to conduct 
 them myself. 
 
 In the programme of one of the Leslie Concerts, 
 the last in which I took an active part, a well- 
 known amateur flautist, Mr. W. Matthews, was 
 put down for my Concerto Pastorale for Flute. 
 
 Mr. Matthews, when a young man, intended to 
 have taken up the flute as a profession, but before 
 doing so he asked the advice of Mr. W. Carte, the 
 father of the late D'Oyly Carte. Mr. Carte's 
 advice was to the effect that, as Mr. Matthews 
 had good business opportunities, it would be wiser 
 for him to give up the idea of becoming a pro- 
 fessional flautist. In the end, Mr. Matthews became
 
 132 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 a prosperous manufacturer ; but he still preserved 
 his love for the flute, and attained such facility 
 of execution on that instrument that he frequently 
 played at important concerts with great success. 
 He had, indeed, a short time previous to this 
 Leslie Concert, given an excellent performance 
 of my Concerto Pastorale in the Town Hall at 
 Birmingham, on which occasion there was a full 
 band. 
 
 As there was no orchestra at the Leslie Concert, 
 I was asked to accompany Mr. Matthews on the 
 piano. 
 
 Unfortunately this performance had a most 
 disastrous termination. 
 
 He had played the first two movements of the 
 concerto with considerable eflfect; but I noticed 
 that towards the end of the Andante his tone 
 appeared to be getting weaker and weaker, and 
 that he was playing with great effort. I thought, 
 nevertheless, that the rest afforded him by the 
 interlude between the movements would have 
 enabled him to recover himself, instead of which, 
 when he attempted the opening phrase of the last 
 movement, not a note would come. He tried in 
 vain to get even a sound out of his flute, but to no 
 purpose ; so after several desperate efforts to awaken 
 music in his instrument he was obliged to abandon 
 the attempt, and we had to retire, leaving the Con-
 
 THE LESLIE CHOIR 188 
 
 certo unfinished. The audience, seeing that some- 
 thing unusual had occurred, applauded the un- 
 fortunate flautist most warmly. 
 
 I was told afterwards by Mr. RadcHffe, the well- 
 known flautist, that this breakdown must have been 
 caused by temporary paralysis of the lips, owing, 
 probably, to extreme nervousness. To me the 
 incident was very painful indeed. I heard some 
 years subsequently that Mr. Matthews had never 
 appeared in public since this concert. 
 
 I ought not to omit mentioning that, about a 
 year or two after this occurrence, the Flute Con- 
 certo was performed at one of the Covent Garden 
 Promenade Concerts by Mr. Collard, for whom it 
 had been originally written. Owing to circum- 
 stances connected with the publishing of this Con- 
 certo, copies of it are now very scarce. Perhaps, 
 in consequence of this, a copy of it may in time 
 come to be very valuable I
 
 CHAPTER XIII 
 
 OVERTURE TO A WINTER'S TALE" 
 
 T HAVE already alluded to the Ouverture 
 -- Symphonique that I composed for the Phil- 
 harmonic. Another orchestral work in this form 
 I wrote in the year 1873 for the British Orchestral 
 Society. This society was started at the initiative 
 of Mr. George Mount, and financed by four or 
 five City men ; its object being to show that it 
 was quite possible to have an orchestra of the 
 very first quality, entirely composed of British 
 executants. 
 
 The institution of this society was, perhaps, 
 scarcely necessary to prove this fact, for the British 
 orchestral player has always held a high reputation 
 for excellence. It has, indeed, often been remarked 
 that the tone of the strings in our orchestras is 
 even superior to that in orchestras on the Continent. 
 The reason sometimes given for this is, that the 
 violinists in our orchestras, being generally better 
 paid than those abroad, can afford to have instru- 
 ments that are superior in tone to those possessed 
 
 34
 
 OVERTURE TO "A WINTER'S TALE" 135 
 
 by foreign orchestras. It may not, however, be 
 entirely owing to this cause; but perhaps some- 
 thing may be due to our national physique. It is 
 certainly remarkable that it was said to have been 
 an Englishman who possessed the grandest tone 
 on the violoncello ever thought possible. I allude 
 to the celebrated 'cellist Robert Lindley. Accord- 
 ing to what 1 have been told, for his artistic career 
 was before my time, his tone must have equalled in 
 volume two good 'cellists playing in unison. It 
 was, in fact, so remarkable that Piatti and other 
 eminent soloists are said to have interviewed him 
 with the object of finding out the secret of this 
 astonishing amount of tone. 
 
 My father knew Robert Lindley well, as he was 
 connected with our family, my uncle John Barnett 
 having married one of Lindley's daughters. When 
 I was a boy I was introduced to the great 'cellist ; 
 but I never heard him play, as unfortunately he was 
 then partially paralysed. I could, nevertheless, see 
 from his build that he must have been a very power- 
 ful man. He was both tall and well built, and judg- 
 ing from the size of his hands, the 'cello must have 
 felt to him very much as a violin would in smaller 
 hands. 
 
 Lindley and the celebrated contra-bassist Drago- 
 nitti were, for many years, conspicuous figures in the 
 orchestra at the Royal Italian Opera.
 
 136 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 Of course, Lindley was greatly in request at 
 festivals and other musical performances both in 
 town and country. My father often told me a 
 story about him which shows what love Lindley 
 must have had for his instrument. 
 
 It happened that on one occasion he was travel- 
 ling by the stage-coach to fulfil some concert or 
 festival engagement (there were no railways in 
 those days), when the coach was unfortunately 
 overturned. All the passengers were, of course, 
 precipitated into the road, Lindley among the 
 number. Our 'cellist, however, lost no time in 
 searching for his violoncello, and on opening the 
 case was so delighted to find the instrument un- 
 injured, that he seated himself on a bank by the 
 roadside and commenced trying over portions of a 
 concerto, much to the astonishment of the late 
 occupants of the wrecked coach, who, notwith- 
 standing their injuries, were spellbound by the 
 beautiful tones he produced. 
 
 Few artists have ever played to an audience 
 under such extraordinary circumstances. 
 
 To return to the point whence I have digres- 
 sed, the work that I wrote for the British Orches- 
 tral Society was my overture to Shakespeare's 
 " Winter's Tale." It was performed on 6 Feb- 
 ruary, 1873, at St. James's Hall, and, I am glad 
 to say, pleased greatly ; so much so, that it was
 
 OVERTURE TO "A WINTER'S TALE'' 137 
 
 repeated some time after at one of the Crystal 
 Palace Concerts. 
 
 In this overture I have attempted to illustrate 
 the salient features of Shakespeare's romantic 
 drama ; but I have scarcely gone so far as to make 
 it a piece of programme music. There is a point, 
 however, just before the coda, where I have worked 
 up the music to a climax which is interrupted by 
 some notes for the trumpet alone, and which repro- 
 duce the opening phrase of the introduction. 
 This phrase nowadays would be called the 
 Hermione Leitmotif. It is intended to describe 
 the startling incident in the last scene of the play, 
 where Leontes is shown what he takes to be a 
 statue of Hermione. The coda which follows is 
 descriptive of his joy and that of those assembled 
 upon discovering that the statue is none other than 
 Hermione herself, "stolen from the dead" and 
 restored to them as if by supernatural agency. 
 
 One of the last works I composed previous to 
 my " Building of the Ship " (described in a later 
 chapter), was my aria, '* The Golden Gate." The 
 words of this song were written by Hugh Conway 
 upon a subject 1 suggested to him, which I will 
 briefly describe. A lonely woman in great distress 
 of mind, seeks shelter in the porch of a church, 
 and whilst resting, she hears from within the sacred 
 edifice the strains of a hymn well known to her in
 
 138 MUSICAL REMINISCENCES (Sr' IMPRESSIONS 
 
 happier days. Its soothing melody touches her 
 heart and affords her the consolation she greatly 
 needs. This aria I instrumented, and it was sung 
 by Madame Patey at a Philharmonic Concert, 
 which took place on 4 March, 1880.
 
 CHAPTER XIV 
 
 BENNETT'S CONCERTO AN OLD 
 CONCERT PROGRAMME 
 
 T HAVE often regretted that I did not seek 
 -*- some other means than the profession of a 
 teacher for turning my musical abihties to profit- 
 able account, because, of all occupations, it is the 
 one that interferes more than any other with the 
 work of composing. Apart from the time it takes, 
 it undoubtedly tends to damp one's enthusiasm for 
 the art, for one feels little inclined to work at 
 composition after giving several hours' instruction 
 in pianoforte or harmony. Nevertheless, many 
 composers have devoted a large portion of their 
 lives to this occupation; notably Sterndale Bennett, 
 than whom, as a teacher, few professors have ever 
 been in greater demand. 
 
 Sterndale Bennett, during the greater part of his 
 life, was considered to be the most notable com- 
 poser that England possessed. Even in Germany 
 his works found favour, and they are still held in 
 esteem in the Fatherland. 
 
 139
 
 140 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 Although I occasionally met him at concerts 
 and festivals, it was only when he came to reside 
 in St. John's Wood that I became better ac- 
 quainted with him. As I lived only a few minutes' 
 walk from the house he had chosen, I one day took 
 the opportunity of paying him a visit. 
 
 A very agreeable hour I spent in his society, and 
 we had a most interesting conversation upon several 
 musical subjects. Whilst 1 was with him I felt 
 much tempted to ask him to play one of his 
 compositions to me, but was afraid of presuming 
 too far on a first visit. Perhaps if 1 had asked 
 him he would not have acceded to my request, for 
 I understood that he was not in the habit of play- 
 ing even to his pupils. 
 
 Sir Sterndale Bennett was a man of slight build. 
 His high and intellectual forehead conveyed the 
 impression that he had a refined and cultured 
 mind ; his manner was kindly and reassuring. 
 
 Whilst talking with him, 1 could hardly realize 
 that this modest and unassuming man was then at 
 the head of his profession. I left him with very 
 pleasant recollections of the interview, intending 
 soon to pay him another visit. But, alas ! the 
 opportunity never came, for shortly after he was 
 seized by serious iUness which terminated in his 
 death. 
 
 The last performance of his Concerto in F
 
 BENNETTS CONCERTO 141 
 
 Minor given during his lifetime was probably the 
 one in which I took the solo part at the Novello 
 Concerts in the year 1874. Although I knew 
 this work well, and had often heard it, I had 
 never before played it in public. I intended to 
 perform it from memory at the concert, but at 
 the rehearsal I am ashamed to say that my 
 memory failed me, and 1 was obliged to stop and 
 ask Joseph Barnby, who was conducting, to let me 
 have a peep at the score. After which I was able 
 to go on successfully to the end. 
 
 This incident, however, caused me to think it 
 unwise to risk playing without the copy at the 
 concert, though at the time I do not think I once 
 looked at the notes the fact that they were there 
 made me perfectly safe. 
 
 A great deal has been said about the inadvisa- 
 bility of playing from memory in public. Some 
 go so far as to say that it should never be 
 attempted in ensemble music or in concertos, as 
 a shp of memory jeopardises the whole perform- 
 ance. Certainly there is much truth in this view 
 of the case in fact there have been not a few 
 musical disasters caused by the uncertainty of the 
 memory. 
 
 For example, I was present at a Crystal Palace 
 Concert when Von Biilow was playing Moscheles' 
 Concerto in G Minor at the centenary of that
 
 142 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 composer's birth. During the performance, at 
 some point in the first movement, Von Billow's 
 memory suddenly failed him, and for a few bars he 
 was at fault, but he succeeded in righting himself 
 before the slip was noticed by any except those 
 who knew the concerto as intimately as I did. 
 Under some circumstances, it might have been 
 impossible for even so accomplished a pianist and 
 so fine a musician as Von Biilow to have avoided 
 coming to a full stop, since no amount of musical 
 knowledge will supply the place of memory. The 
 same kind of contretemps happened once to 
 Arabella Goddard, but she was less fortunate 
 than Von Biilow. She was playing the well-known 
 Capriccio of Mendelssohn in B Minor, op. 22, 
 with orchestra, at a concert, when her memory 
 played truant, and she was unable to proceed. 
 She commenced again ; but, at the same point 
 where she had previously failed, her memory once 
 more refused to act. Meanwhile, some one in 
 the audience went out and succeeded in procuring 
 a copy of the piece, which was handed to the fair 
 pianist, who then made a fresh start and gave an 
 admirable reading of the Capriccio. 
 
 Arabella Goddard, for many years our repre- 
 sentative English pianist, was indeed a charming 
 executant in every way. I remember that when 
 she played at the Gewandhaus Concerts the
 
 AN OLD CONCERT PROGRAMME 148 
 
 Germans called her "cfeV scheme Engldnderin" She 
 had a beautiful touch, refined and brilliant, and 
 her certainty was exceptional. I never heard her 
 play a wrong note ; in fact, when one listened to 
 her it seemed an impossibility for such an accident 
 to occur. She had been a pupil of Thalberg, and 
 no doubt her playing owed many of its excellent 
 points to his system of technique. 
 
 A few words about the Novello Concerts, at 
 which I played the Bennett Concerto, may not be 
 out of place here. They were established three 
 years after the opening of the Albert Hall where 
 they took place, and the scheme was that of giving 
 a concert every evening in the week during the 
 winter season. According to the day of the week, 
 each evening was devoted to a special style of con- 
 cert. There was a classical night, a popular night, 
 a Wagnerian night, an English night, and so forth. 
 I was engaged for the English nights, and I con- 
 ducted many well-known compositions by native 
 composers, such as Sullivan's Symphony in E 
 Minor, Prout's Organ Concerto, etc. 
 
 I took the opportunity of introducing several 
 new English compositions that were sent to me for 
 selection, amongst which was a symphony by 
 H. Lohr. 
 
 The Wagner nights were conducted by Edward 
 Dannreuther, while Barnby took the baton on the 
 
 )e
 
 144 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 classical evenings. Artistically, the concerts were 
 a great success, although the orchestra was scarcely 
 large enough for the Albert Hall. It might have 
 been partly due to this cause, or to the fact that 
 the hall was not sufficiently central, that the con- 
 certs were not well enough attended to justify 
 Messrs. Novello in continuing them. 
 
 The general title of these concerts was : 
 
 THE ROYAL ALBERT HALL CONCERTS. 
 Every Evening. 
 
 I have before me now one of the programmes 
 that 1 conducted. It is dated 10 November, 1874, 
 and the selection was as follows : 
 
 PART I 
 
 Overture . . ''The Sapphire Necklace" Arthur Suluvan. 
 Glee . . " O thou whose heams " . Sir John Goss. 
 
 Air . . . *' I rejoice in my Youth " G. A. Macparren. 
 
 Concerto in E for Pianoforte . . Sir W. Sterndalb Bennett. 
 Old Ditty . ''Drink to me only with thine eyes'* (1600) 
 Descriptive Piece for Orchestra 
 
 " The Lay of the Last Minstrel " J. F. Barnett. 
 
 PART II 
 
 Concerto in A Minor W. G. Cusins. 
 
 Ballad . . . " The Woodpecker " Michael Kelly. 
 
 Solo Organ Theme in A Minor with Variations . W. T. Best. 
 
 Song . . . " Bid Me Discourse " . Bishop. 
 
 Part Song ..." Land of Beauty " . . Mendelssohn. 
 
 Glee . . . " Beauties, have you seen a Toy Evans. 
 
 Overture ... " Ruy Bias " . . Mendelssohn. 
 
 It will be seen by this that the compositions per- 
 formed, with two exceptions, were all by native
 
 AN OLD CONCERT PROGRAMME 145 
 
 composers. Mr. Cusins performed the Bennett 
 Concerto as well as his own composition, and 
 Mr. W. S. Hoyte played the organ solo. 
 
 On the back of the programme I have just 
 given I see announced for the next concert 
 (17 November, 1874), among other items, a 
 Symphony in G Minor by Sir J. Benedict; an 
 overture, " Andromeda," by H. Gadsby ; and 
 Mendelssohn's G Minor Concerto. Pianist, Mr. 
 Franklin Taylor. 1 notice too, as the accom- 
 panist of the songs, the name of Mr. W. H. 
 Thomas.
 
 CHAPTER XV 
 
 AS TEACHER PROFESSORS OF THE 
 PAST 
 
 A S musical education has occupied so much of my 
 -^-^ time and attention throughout the greater part 
 of my life, I propose to devote some space to the 
 subject, as it is one that I think will be found of 
 more or less interest to my readers. 
 
 Although teaching the pianoforte is on the whole 
 a monotonous occupation, occasionally it is relieved 
 by the advent of a pupil of great musical intelli- 
 gence. When one is fortunate in having to guide 
 real talent in the paths of musical culture, the in- 
 terest aroused in one's work is exceedingly keen. 
 Such opportunities are not too abundant, but some 
 have fallen in my way, and I am proud to say 
 that among my former pupils not a few have 
 risen to a high position in the musical profession. 
 
 The counterpart to this happy state of things 
 was not infrequently in evidence. I recollect, 
 many years ago, a middle-aged gentleman coming 
 to me for pianoforte lessons. I asked him to 
 
 146
 
 AS TEACHER 147 
 
 play something to me. When he had stumbled 
 through a very simple piece in a most indifferent 
 manner, he told me, to my surprise, that he was a 
 teacher of music at several large schools for boys, 
 but, feeling himself at a disadvantage, he wished to 
 improve his own playing. Certainly there was ample 
 room for improvement. He informed me that he 
 had begun to study the pianoforte when he was 
 about the age of forty-five. I felt quite ashamed 
 at having to instruct so backward a pupil. How- 
 ever, he was a good-natured man, and not above 
 being told what to do. But his fingers were so stiff 
 through want of practice, that whenever he raised 
 them high, the effort caused his face to assume a 
 most comical expression. 
 
 As a rule, the greater number of those who 
 study with a professor learn music purely as an 
 accomplishment, and therefore one cannot expect 
 much from them. Usually the tastes of such 
 pupils incline to the light or drawing-room style 
 of music, which was in full force when I com- 
 menced my labours in teaching. 
 
 Pieces by Ley bach, De Voss, Schuloff, etc., 
 were then much in vogue. One reason for this 
 was that the romantic school of pianoforte 
 music, as represented by Schumann and Chopin, 
 as well as Schubert, was little known at that 
 time in England, and comparatively few pieces
 
 148 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 by these composers had then found their way into 
 our homes. 
 
 Mr. Edwin Ashdown, the founder of the music 
 publishing firm of Ashdown & Parry, told me 
 the other day that Chopin's works, which were 
 originally published in England by Wessel & Co., 
 were for a long period a dead letter, from a music 
 publishing point of view. In other words, they 
 did not sell. Wessel lost money over them, and, as 
 bad luck would have it, it was not until the copy- 
 right of these works had expired that a demand 
 for them arose. The enlightening of the English 
 public as to the beauties of Chopin was greatly 
 due to Charles Hall6's performances of that com- 
 poser's music. Chopin's works for the pianoforte 
 had been in existence for years, yet comparatively 
 few people in this country seemed to be aware of 
 that fact. 
 
 Are there at the present day any composers of 
 genuine worth whose light is thus hidden under a 
 bushel, as was Chopin's for so long? Probably 
 many an ambitious composer who has not as yet 
 achieved fame will think so. 
 
 The experience of those professors whose aims 
 are high in regard to the style of music they wish 
 to teach, is as a rule disappointing, as they but 
 rarely meet with an opportunity of training a pupil 
 to a high art standard. Nevertheless, occasionally
 
 AS TEACHER 149 
 
 one comes across musical ability of sterling value. 
 An instance of the kind I may mention. 
 
 At a lady's school at Denmark Hill, where I 
 had a large class of pianoforte students, I had a 
 pupil who, after studying a few years with me, 
 attained such technical skill that she was able to 
 master successfully the difficulties of both the 
 Chopin Concertos. The first of these works she 
 learnt was the one in F Minor, which she played 
 faultlessly after only three weeks of practice. 1 
 believe few students at our music colleges would 
 be able to accomplish such a feat as this in so short 
 a time. In my experience I never met, before or 
 since, with any amateur who so quickly mastered 
 the difficulties of a complicated piece of music as 
 did this young girl. The second Concerto of 
 Chopin she studied with Herr Lehmeyer, whom I 
 had engaged as my substitute in consequence of 
 my illness to which I have alluded. 
 
 I heard on my return to the school that Herr 
 Lehmeyer was so surprised with the marvellous 
 manner in which this schoolgirl played the first 
 movement of the E Minor Concerto at the lesson, 
 that at the end of the performance he warmly ap- 
 plauded her, much to the surprise of the prim 
 schoolmistress who was present, and who was not 
 accustomed to such enthusiastic demonstrations by 
 the music professor.
 
 150 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 This pupil married a year or two after she left 
 the school, and at the wedding reception she gave 
 to her friends, among whom I was included, she 
 charmed every one by a most musician-like perfor- 
 mance of Schubert's Sonata in D. This was the 
 last time 1 heard her play, for about a year later I 
 read with deep regret of her premature death. 
 
 As I have already mentioned, the musician who 
 is greatly occupied with teaching finds it a difficult 
 problem to eke out time for composition. Occa- 
 sionally he has to sacrifice his teaching to make 
 room for it. This I frequently had to do, more 
 especially when I was writing the " Ancient Mari- 
 ner " and '* Paradise and the Peri." During these 
 periods it was my private pupils whom I put off, 
 as I could not interfere with scholastic engage- 
 ments. 
 
 I found it a most dangerous thing to the cause 
 of punctuality to endeavour to utilize a spare hour 
 in composing before sallying forth upon a teaching 
 expedition. For more than once my work so en- 
 grossed my thoughts that I forgot how time was 
 passing, until a glance at my watch reminded me 
 of the stem realities of life, and told me that I had 
 already overstayed the hour in the fairyland of 
 composition, and thereby had missed my train. 
 More than one musician in his time has yielded too 
 unconditionally to this fascinating spell. The late
 
 AS TEACHER 151 
 
 Henry Smart, the versatile composer of the "Bride 
 of Dunkerron " and important and useful organ 
 solos, was frequently as much as three or four 
 hours late at his school engagements owing to this 
 enthralling occupation. 
 
 Henry Smart was a genial and sympathetic com- 
 poser. I was much struck with his " Bride of 
 Dunkerron," which I heard on its first performance 
 at the Birmingham Festival of 1864. Many of 
 his songs, such as the " Bell-ringer," will remain 
 among the choice specimens of musical lyrics. The 
 partial blindness which unfortunately overtook him 
 in later years must have been a great hindrance 
 to him in his work as composer and organist. 
 The last time that I met him was on an occasion 
 when I was associated with him as one of the 
 adjudicators of a composition prize at the Royal 
 Academy of Music. 
 
 Many important changes have taken place in 
 regard to musical education in this country since I 
 first entered the musical profession. The most 
 noticeable of these has been the rapid growth of 
 music schools and colleges, both public and private. 
 In former times, when a young lady had left 
 school, if her friends were desirous that she should 
 continue her musical studies, they engaged a pro- 
 fessor to give her private lessons, for which they 
 would often pay very high terms. Thus a success-
 
 152 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 ful teacher having a fashionable connexion fre- 
 quently made it a rule to accept only those pupils 
 who were moving in the highest spheres of 
 society. 
 
 There is a story that my father once told me 
 about Mrs. Anderson and Moscheles, which may 
 be worth repeating. 
 
 Mrs. Anderson, who was a celebrated public 
 player, and who also had the honour of being 
 pianist to Queen Victoria, was one day giving 
 orders at her greengrocer's, when the proprietress 
 of the shop asked her whether it would be possible 
 for her to arrange to give her own daughter piano- 
 forte lessons. The fashionable pianist, it is said, 
 was rather taken aback at such a suggestion, and 
 poUtely declined the offer. Some few weeks later, 
 Mrs. Anderson was again in the shop, when the 
 proprietress said, with the air of one who had the 
 best of the situation 
 
 "My daughter is taking lessons of Moscheles, 
 and I pay him a guinea a lesson." 
 
 While the time lasted, many music professors 
 reaped a rich harvest from private lessons, which, 
 in the majority of cases, were given at the house 
 of the pupil. 
 
 When I returned from Germany, among the 
 most successful teachers of the pianoforte were 
 Ernest Pauer, Lindsay Sloper, and Benedict.
 
 PROFESSORS OF THE PAST 153 
 
 I have already alluded to having heard Pauer in 
 Leipsic at the Gewandhaus Concerts, where I had 
 an opportunity of appreciating his striking qualities 
 as a pianist. Not only was he a fine musician, but 
 he possessed great literary attainments, added to 
 which he was quite a musical antiquarian, and by 
 his researches many a great composition for the 
 piano, or the keyboard instruments that preceded 
 it, has been rescued from oblivion. His wonderful 
 memory kept him thoroughly conversant with all 
 in the way of pianoforte music that had ever been 
 printed. He could even tell you who was the 
 publisher of any particular piece, what key it was 
 in, and, if called upon to do so, could play over 
 portions of it. This wide knowledge of pianoforte 
 music must have been of untold advantage when 
 he gave his series of Historical Recitals at St. 
 James's Hall. I was present at some of them, 
 and was much struck with the fine interpretation 
 he gave to so many compositions, both in ancient 
 and modern styles. He also gained much distinction 
 by the lectures he delivered on musical subjects, 
 some of which were given at the Royal Institution. 
 
 Pauer did not Umit his researches in music to 
 compositions only in the classical style, but ex- 
 tended them to works in a hghter vein, that is to 
 say to those that come under the head of drawing- 
 room pieces.
 
 154 MUSICAL REMINISCENCES Csf IMPRESSIONS 
 
 It is difficult in many cases to define what is 
 really classical in pianoforte music. Thus 1 recol- 
 lect, when I was in Leipsic, Ernst RudorfF, of 
 Berlin, who was then a fellow-student of mine, 
 asked me whether I was learning anything by 
 Chopin. On my telling him that I was studying 
 that composer's Ballade in A flat, he said, " It is 
 not a bit classical, but you will like it." Chopin 
 at that time had not been placed amongst the 
 classics in music. 
 
 Pauer was very liberal in his views with regard 
 to English music, and on one occasion gave a 
 lecture entirely devoted to drawing-room music 
 by native composers. Previous to this he wrote 
 and asked me if I could let him have a composi- 
 tion of mine suitable for the subject he had chosen. 
 Accordingly, I sent him my " Chapel by the Sea " 
 and " Gavotte in G Minor." He selected the 
 former, and he afterwards told me that the little 
 piece pleased the audience greatly. 
 
 Pauer, who was over six feet in stature, was 
 quite military in appearance, for in his youth he 
 had served two years in the German army. He 
 died not long ago at his country house in Heidel- 
 berg. At the time I knew him he was a man 
 of iron nerve, and a wonderful worker. I recollect 
 that at an examination at the Royal College of 
 Music, at which he was one of the examiners,
 
 PROFESSORS OF THE PAST 155 
 
 a pupil complained to him of being nervous. 
 " I do not know what nervousness is," said Pauer. 
 " I have never felt it myself." Alas ! there are 
 few who could say as much, for nervousness is an 
 evil spirit that haunts alike the professional artist 
 and the student. But for nervousness many a 
 pianist would have become celebrated I 
 
 It is said that Henselt, whose compositions for 
 the piano prove him to have been a pianist of 
 enormous executive powers, suffered so much from 
 this physical weakness that he seldom appeared in 
 public. 
 
 Apropos of Henselt, Pachmann, the great 
 Chopin pianist, told me once that a year or two 
 prior to the death of Henselt he happened to 
 pay that veteran pianist a visit, and to his surprise 
 found him wearing as many as five thick coats, one 
 over the other. Truly he must have been a chilly 
 mortal I 
 
 One of the most notable music professors of 
 the past was Sir .Julius Benedict, whose success 
 as a composer was at one time so great that 
 many musicians were of opinion that, had he 
 devoted all his energies to that branch of his art, 
 he might have made an enduring reputation in the 
 highest domain of music. In any case, during 
 a considerable portion of his life he was greatly in 
 request as a composer of works for the great
 
 156 MUSICAL REMINISCENCES &> IMPRESSIONS 
 
 festivals. His oratorio " St. Peter " was produced 
 at a Birmingham Festival ; in addition to this he 
 wrote several cantatas, some of which were written 
 for the Norwich Festival, of which he was con- 
 ductor. He was musical director and conductor 
 of the Liverpool Philharmonic Society, and was 
 greatly sought after during the London season for 
 arranging the details and engaging artists for 
 musical "at homes." Altogether he was one of 
 the busiest musicians of the time ; so that it 
 seemed marvellous that he could have found 
 leisure to work at composition at all. It was said 
 by some he composed during the night and taught 
 during the day ; notwithstanding, he contrived to 
 be present at nearly every important concert or 
 fashionable reception given by patrons of musical 
 art. You could go nowhere, where music was in 
 evidence, without seeing Benedict. You would 
 meet him one afternoon at Lady So-and-so's ; the 
 same evening he would be conducting a concert 
 at Liverpool or Manchester ; the next day he would 
 be seen in the afternoon accompanjdng a concert. 
 How he managed this kind of omnipresence was 
 a mystery. 
 
 Benedict was a man of engaging manners, and, 
 of course, quite a society man ; yet, notwith- 
 standing the high position he held in the musical 
 world, he was at all times most accessible. He
 
 PROFESSORS OF THE PAST 157 
 
 was very kind to me, and took great interest in my 
 works. When I played over my orchestral Suite, 
 "The Lay of the Last Minstrel," previous to its 
 performance at the Liverpool Festival, he expressed 
 himself very pleased with the Finale, and the 
 manner in which I had managed the crescendo 
 leading to the re-entry of the principal theme. 
 During the week of the Liverpool Festival at 
 which this work was performed, I stayed a part 
 of the time at the same hotel as did Benedict, and 
 had several interesting conversations with him. 
 He had much valuable information in regard to 
 the great musicians of the past, for as a young 
 man he had seen Beethoven ; he had also been 
 a favourite pupil of Weber, the composer of " Der 
 Freischiitz." To Benedict we owe a debt of grati- 
 tude for having handed down the musical pro- 
 gramme of Weber's Concert-stiick, which Weber 
 himself disclosed to Benedict. The composer in 
 this work merely gives the tempi of the move- 
 ments, but he explained to his pupil Benedict that 
 it was really a piece of programme music. The 
 story it describes is supposed to have taken place 
 during the time of the Crusades. 
 
 The pathetic and sometimes passionate move- 
 ment with which the Concert-stiick opens is 
 descriptive of a maiden bewailing the absence of 
 her lover, he being then far away in the Holy Land
 
 158 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 fighting for the Cross. In the Allegro Passionate 
 which follows we have a glimpse of the rush and 
 turmoil of war, and we wonder whether the lover 
 will escape all the dangers that surround him. 
 
 The first few bars of the second movement open 
 sorrowfully ; but what is it that strikes upon the 
 ear of the disconsolate maiden ? Is it not the dis- 
 tant sound of martial music ? This in the score is 
 expressed by the well-known March, which com- 
 mences pianissimo, for wind alone. In imagination 
 we see the Crusaders approaching, whilst the music 
 of the March increases in volume until it works up 
 to a grand fortissimo. The maiden sees her lover 
 among the home-returning warriors, and the joy of 
 their meeting finds its vent in the brilUant and 
 exuberant Finale with which the Concert-stiick 
 terminates. 
 
 I am sorry, that whilst I had the opportunity, I 
 did not ask Benedict endless questions about the 
 celebrated composers and pianists he must have 
 known more or less intimately, for, doubtless, he 
 had a wealth of information at his disposal, much 
 of which is now lost for ever. 
 
 Another musician full of interesting memories 
 of composers and pianists of his time was Lindsay 
 Sloper, who was one of the most successful teach- 
 ers during his earlier career. He was editor of the 
 first musical journal ever started. It was called
 
 PROFESSORS OF THE PAST 159 
 
 " Hanover Square," and was brought out by 
 Ashdown & Parry. Lindsay Sloper asked me to 
 contribute to it, and I accordingly wrote a little 
 piece called "Sunrise," which was accepted. On 
 republishing this piece in separate form I added a 
 sequel, " Sunset," which latter was the first piece I 
 wrote after my recovery from the illness to which 
 I have already more than once alluded.
 
 CHAPTER XVI 
 
 A NEW MUSIC-SCHOOL CONDUCTORS 
 AND PERFORMERS 
 
 TN these days a professor does comparatively 
 -*- little private teaching. Those who wish to 
 study under a well-known master choose some 
 musician of distinction who is engaged at one of 
 the colleges or schools of music. 
 
 For many years the only institution of the kind 
 that existed in London was the Royal Academy 
 of Music, which during its earlier history was only 
 available for those studying for the profession. 
 
 The first idea of founding a music-school for 
 amateurs where the fees were, so to say, at popu- 
 lar prices, probably originated with Dr. Wylde, 
 whom, as I have already said, I studied with as a 
 boy before I went to Leipsic. In any case, on my 
 return to England I found that he had started a 
 scheme of the kind under the title of the London 
 Academy of Music, and the course of instruction 
 he offered was very efficient, consisting of a princi- 
 pal study, a second study, and harmony. 
 
 i6o
 
 CONDUCTORS AND PERFORMERS 161 
 
 The London Academy of Music was originally 
 held at St. James's Hall, or rather rooms that were 
 included in that building. It proved to be a great 
 success, so great that other schools of music were 
 started on similar lines. But, strange to say, they 
 were mostly failures, which showed conclusively 
 that the public had not then become thoroughly 
 converted to this mode of receiving musical in- 
 struction. In fact it was not until the Guildhall 
 School of Music was founded that the success of 
 this new departure in musical education became 
 universal ; but of this I will speak later on. 
 
 I have already alluded more than once to Dr. 
 Wylde, to whose energy and businesslike capacities 
 the London Academy owed its success, and who 
 undoubtedly exercised considerable influence in 
 musical circles during his life. 
 
 As a young man he took his degrees of Mus. 
 Bac. and Mus. Doc. at Cambridge. I recollect 
 that during the time I was studying with him, 
 he was working hard at the composition of his 
 "Paradise Lost," which was performed at the 
 New Philharmonic at Exeter Hall on 11 June, 
 1853. This cantata displayed much musician-Hke 
 feeling, as well as skill in orchestration, and 
 one could not but admire the earnest manner in 
 which in his music he had endeavoured to soar 
 to the subhme heights that Milton's poem attains 
 
 M
 
 162 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 in picturing a theme wellnigh beyond man's 
 grasp. 
 
 To Dr. Wylde is due the honour of having 
 introduced the music of ''Lohengrin" in England, 
 as far as it was possible to do so without the stage, 
 and that too at a time when nothing too severe 
 could be said about Wagner, as a composer, by 
 the majority of the English critics and musicians. 
 This interesting performance took place at a 
 New Philharmonic concert in St. James's Hall on 
 11 June, 1873, when Titiens sang the part of Elsa 
 with great dramatic power. 
 
 As a musician Dr. Wylde was very deeply read 
 and highly cultured, and had moreover great 
 enthusiasm for his art ; but as an orchestral con- 
 ductor he unfortunately did not hold a good posi- 
 tion with the public or the press. In my opinion 
 the performances he directed at the New Philhar- 
 monic Concerts suffered, not from any want of 
 knowledge or appreciation of the music on his part, 
 but from a lack of many of the technical require- 
 ments necessary for the making of a perfect chef 
 d'orckestre. Conductors, like poets, are born, not 
 made, although of course opportunities are neces- 
 sary for gaining experience. 
 
 It does not follow that a fine musician must 
 necessarily be a good orchestral conductor. Special 
 qualifications are essential : first, he must possess
 
 CONDUCTORS AND PERFORMERS 163 
 
 a wonderfully quick eye for reading from the 
 full score, and an equally quick ear in detect- 
 ing false notes at rehearsals. A conductor must 
 be of a passionate temperament, and be in full 
 sympathy with the composer whose work he is 
 interpreting; he must know, too, how much to 
 leave to the performers. In an orchestral work 
 there are numerous points in the music which are 
 practically solos for the particular instruments 
 which interpret them, and he must, therefore, 
 avoid handicapping the players by unduly interfer- 
 ing with the artistic rendering of these points. An 
 inexperienced conductor frequently makes a mis- 
 take by beating time in a manner that is too unre- 
 lenting in its strictness. 
 
 This remark calls forth some reflections in 
 reference to the present state of public opinion 
 on orchestral performances, as compared with 
 that which existed when I was a young man. 
 
 There has probably never been an age in the 
 history of music when hero-worship was so much 
 in evidence as it is at the present day, and in 
 regard to orchestral music, what lovers of it 
 clamour for is a celebrated conductor. They flock 
 to the concert-room to hear some great work of 
 Beethoven or Wagner, and whilst listening to the 
 performance under their favourite conductor, they 
 regard him in the light of a magician, whose magic
 
 164 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 wand conjures up the beautiful sounds which fill 
 the hall. And as a matter of fact they are fully 
 justified in their measure of praise. For, after all, 
 the finest orchestra with an inefficient conductor 
 might be likened to an army of heroes led by an 
 incompetent general. Nevertheless, I recollect that 
 formerly, at the conclusion of a performance of 
 some orchestral work, one heard the names of certain 
 members of the orchestra spoken of in admiration. 
 Amateurs would remark how beautifully Lazarus 
 had played the clarinet solos ; how grand was 
 Harper's tone on the trumpet ; how silvery in 
 effect were the notes of Pratten's flute, and so on. 
 
 Nowadays we seldom inquire who is playing; 
 the names of those who perform the solo instru- 
 ments among the wind instruments are Uttle known 
 to the musical public. Orchestral performers are 
 almost looked upon as machines, or as if they were 
 the stops of an organ, very beautiful in tone and 
 effect. 
 
 Few of the public who attend concerts have any 
 idea of the high musician-like requirements neces- 
 sary to make a good orchestral performer. Not 
 only must he be a thorough master of the particu- 
 lar instrument he has taken up, but he must be 
 thoroughly reliable in ensemble playing. 
 
 Modern music makes enormous demands upon 
 the orchestral player: the rhythms are frequently
 
 CONDUCTORS AND PERFORMERS 165 
 
 so broken up and complicated, that it is wonderful 
 how he can hold his own and avoid coming to 
 grief. He must, indeed, often feel as if the other 
 instruments, instead of giving help to him, are doing 
 all in their power to put him out. In fact it 
 frequently happens that from his standpoint every- 
 thing seems wrong and incoherent, yet he knows 
 that if he keeps strict time all will sound well. 
 
 But some people will say, surely some of the 
 instruments of percussion, such as the triangle and 
 cymbals, must be quite easy to manage, and then 
 they have generally very little to do. 
 
 A story, which bears on this subject, was told 
 me by a member of the committee of the Sacred 
 Harmonic Society in regard to a performance 
 given by this society of Cherubini's Requiem in 
 C Minor. At one point in this celebrated Requiem, 
 viz. in the " Dies Irae," the gong^ comes in for one 
 note only, but that note fortissimo. 
 
 At the meeting of the society previous to the 
 performance, one of the committee, who went in 
 for economy (there is always some one whose hobby 
 it is to find out others' extravagance) this par- 
 ticular member, then, complained that it seemed to 
 him absurd to engage a performer only to play 
 
 In the printed edition of Cherubini's Requiem in C Minor the 
 gong is omitted, but it was nevertheless included in the composer's 
 original score. See note in dward Bellassis' " Memorials of Cheru- 
 bini " (New Edition) : Cornish Bros.
 
 166 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 a single note, which note possibly no one would be 
 any the wiser were it omitted. " Three guineas for 
 one note," said he, "is reckless waste of money. 
 Why ! I will undertake to play that note myself." 
 "That is all very well," said another member, 
 " but suppose you come in a bar too soon ? " The 
 economical member, however, was thoroughly in 
 earnest in what he proposed, and put it to the 
 meeting, who accepted his offer, but on the condi- 
 tion that if he should play the note on the gong at 
 a wrong part of the music he should incur the 
 penalty of a fine of ten guineas. This caused the 
 E.M. to reflect, and he wisely determined not to 
 undertake the risk. 
 
 Another story somewhat similar I heard from 
 my father. It has, however, often been told in 
 various forms. 
 
 At the rehearsal of some orchestral piece in con- 
 nexion with a theatrical performance that my 
 father, as a boy, was engaged for, the orchestra was 
 rehearsing a part of the music in which the trom- 
 bone was only used occasionally in the piece, and 
 that at very long intervals. The manager of the 
 theatre, who was no musician, happened to be pre- 
 sent, and noticed that the trombone player, who 
 had been doing nothing for a considerable time, 
 took up his instrument, played a few notes, and 
 then put it down again in a very unconcerned
 
 CONDUCTORS AND PERFORMERS 167 
 
 manner. He kept his eye upon the player, and 
 seeing that he was still idle, his wrath, which had 
 been working up to fever heat, could contain itself 
 no longer. He called out to the orchestra in 
 savage tones : " Stop ! I have been watching that 
 trombone player for the last ten minutes, and he 
 has not played three notes the whole time. He 
 shall be discharged from the orchestra." When 
 the astonished trombone player could obtain a 
 hearing, he endeavoured to explain matters by 
 teUing the irate manager that he had a hundred 
 and thirteen bars rest. " You scoundrel ! " ex- 
 claimed the manager with an oath, " I do not pay 
 you to rest, 1 pay you to play." 
 
 To return to Dr. Wylde, whatever his faults 
 were as a conductor, those who followed his career 
 in regard to the New Philharmonic Concerts were 
 unanimous in their opinion of him as being an 
 excellent manager and good man of business. 
 
 In 1874 he entered into an arrangement with 
 Herr W. Ganz to divide the conducting of the 
 concerts between them, which arrangement con- 
 tinued until 1879, when Ganz took over the entire 
 management. He thus became sole chcfdorcJiestre, 
 which important post he successfully held up to 
 the year 1882, when the New Philharmonic Con- 
 certs came to an end, having flourished for upwards 
 of thirty years.
 
 168 MUSICAL REMINISCENCES 6^ IMPRESSIONS 
 
 It was at one of these concerts, whilst Ganz was 
 the conductor, that my overture to Shakespeare's 
 " Winter's Tale," which I have already spoken of, 
 was again performed, and 1 had on the occasion a 
 reception which I shall always look back upon 
 with pride. 
 
 The recollection of the New Philharmonic Con- 
 certs calls to my mind many a fine pianist or 
 violinist of former times. Some of these I heard 
 before I went to Germany, others after I had re- 
 turned to England. Among the pianists was 
 Emile Prudent, born in 1817, who appeared at 
 these concerts in 1853. He had a charming touch 
 and most fluent execution. Another pianist who 
 excelled in these qualities was Alfred Jaell, whom 
 I often heard at the New Philharmonic and else- 
 where. Jaell was of small stature, but so stout 
 that it was surprising, with his exceedingly short 
 arms, that he was able to get sufficiently near the 
 keyboard to give his fingers a fair chance of doing 
 their duty. All who heard him were glad that he 
 overcame this difficulty with success, for he was a 
 splendid pianist. He was bom in 1832. Among 
 the violinists whose performances I became ac- 
 quainted with at these concerts was Erneste 
 Sivori, born as far back as 1817. He was a pupil 
 of Paganini, to whom perhaps he owed his beau- 
 tiful tone. To hear him in the slow movement of
 
 CONDUCTORS AND PERFORMERS 169 
 
 the Mendelssohn Concerto was akm to listening to 
 some singer with a magical voice, his tone was so 
 ethereal in effect. Then 1 often heard Henri 
 Vieuxtemps, the composer of many concertos for 
 the instrument he played, the difficulties of which 
 have sorely pressed upon the capacities of the violin 
 student, causing him hours of toil. But Vieux- 
 temps knew not difficulty all appeared easy to 
 him. It is therefore not to be wondered at that he 
 is said to have been very merciless with his pupils 
 if they failed in grappling with the feats of bril- 
 liancy he exacted from them. He was born in 
 1820, and studied with the celebrated De Beriot. 
 But the poet on his instrument was Ernst, 
 Heinrich Wilhelm Ernst, to give him his name 
 in full, who was born in 1814. Tall and lank in 
 figure, his pose was the idealistic impersonation of 
 a violinist. His expressive style in pathetic melo- 
 dies drew tears from his audience. His execution 
 was enormous, although occasionally marred by 
 uncertain intonation. Another master of the 
 violin was Henri Wieniawski, full of fire and 
 dash. He was a native of Poland, and born 
 in 1835. 
 
 All these great players are now of the past, and 
 although their places have been filled by per- 
 formers of consummate genius, it is a question as 
 to whether certain specialities that were noticed in
 
 170 MUSICAL REMINISCENCES &> IMPRESSIONS 
 
 the playing of these great artists of bygone times 
 are not in a way a lost art ; just as is the method 
 of colouring by the old masters in painting. 
 
 No doubt, in Ueu of these specialities, others of a 
 more demonstrative kind have been substituted, 
 more in accordance with the demand for that 
 passionate sensationalism which is so prevalent a 
 feature of the age we Hve in. 
 
 It may not be out of place here to say a few 
 words about the celebrated Sigismond Thalberg 
 (born in 1812). As a pianist he might be described 
 as a stepping-stone between the older and newer 
 styles of pianoforte playing. I heard him at one 
 of his last recitals in 1863. Judging from his 
 fantasias, I expected a rather wild style of playing ; 
 instead of which, I was surprised at the wonder- 
 ful neatness of his execution, even when allied 
 to extraordinary feats of bravura. His manner 
 at the piano was free from any eccentricity. In 
 the most complicated passages he appeared to 
 be quite calm and collected. I was much struck 
 with the rapidity of the staccato octaves in his 
 " L'Elisir d'Amore." His rendering of the repeated 
 notes in triplets which occur in his "Theme original 
 et ^tude " was quite a revelation, and roused the 
 audience to the utmost enthusiasm.
 
 CHAPTER XVII 
 
 THE NATIONAL TRAINING SCHOOL 
 
 XN the year 1876 I received an invitation to join 
 -*- the staff of professors at a new and important 
 institution, the National Training School of Music, 
 and the invitation came from no less a person than 
 Arthur Sullivan, who wrote personally to me. 
 Of course, I accepted the appointment with 
 pleasure. 
 
 A little time after there was a formal opening 
 of the Training School by H.R.H. the Duke of 
 Edinburgh at the commodious building^ specially 
 designed for it, and which was the munificent gift 
 of Sir Charles Freake. The opening ceremony, 
 which took place in 1876, proved to be very 
 interesting. The newly appointed professors were 
 introduced by Arthur SulUvan, the Principal, to 
 the Duke of Edinburgh, who shook hands most 
 warmly with each professor. 
 
 It seems only yesterday that I entered upon my 
 duties at this Institution. I fully realized the im- 
 
 ' This building is now the local of the Royal College of Organists. 
 
 171
 
 172 MUSICAL REMINISCENCES &* IMPRESSIONS 
 
 portant nature of the post to which I had been 
 appointed. I was not engaged to teach pianoforte 
 merely as an accomplishment, but to train students 
 to become competent professors. 
 
 The experience I had gained in Leipsic, and 
 to which I had added by years of teaching, came 
 in most opportunely. I felt, too, I had a free hand 
 in giving the students placed under my care a 
 more thorough technical training than would have 
 been possible in ordinary educational schools. 
 
 It is satisfactory to note in how many cases my 
 efforts in the direction of forming a sound tech- 
 nique have borne good fruit; not a few of those 
 who studied with me at the National Training 
 School having been most successful, both as 
 pianists and professors. Amongst these I have 
 only to name Herbert Sharpe, who was for six 
 years one of my pianoforte pupils at this institu- 
 tion, and who is now one of the most esteemed 
 professors at the Royal College of Music. Then 
 again. Dr. Walter Alcock, now Organist of the 
 Chapel Royal, studied pianoforte with me, as did 
 Dr. Sweeting, now Master of Music at Winchester 
 College, and Miss Monimia Twist, now a professor 
 at the Guildhall School. 
 
 That the National Training School to a great 
 extent served as a model on which the Royal 
 College of Music was formed, must be evident to
 
 THE NATIONAL TRAINING SCHOOL 173 
 
 all who have been connected with the two institu- 
 tions ; nevertheless, there were distinctive features 
 between the Training School and the College. 
 
 The Training School did not throw its doors 
 open to paying students to the same extent that 
 the Royal College does, for, with few exceptions, 
 only those who had gained scholarships were 
 admitted as students. These scholarships lasted 
 for five years, and were sufficiently numerous^ to 
 make a goodly show of students in regard both to 
 numbers and talent. But there was one weak 
 point in the scheme, which was, that the scholar- 
 ships subscribed by the donors were for the Hmited 
 period of five years only, after which the funds 
 that supported them ceased entirely. 
 
 It could not have been intended that the institu- 
 tion was to exist only for that short period. But 
 to me it never seemed clear what was to happen 
 after the expiration of the scholarships. This 
 difficulty, apparently, was never surmounted. The 
 donors of the scholarships were invited to continue 
 their grants for another year, which, in the majority 
 of cases, they consented to do. Thus, the National 
 Training School existed altogether for six years, 
 after which it disappeared to make way, however, 
 for that still more important institution, the 
 Royal College of Music. 
 
 ' The namber of these scholarships was eighty-five in all.
 
 174 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 Apart from the difference in regard to the lines 
 on which the Training School and the College 
 were founded, there were features in the system of 
 instruction at the former institution which differed 
 from that of the latter. One of these was the 
 mode of conducting the examinations of the 
 students in regard to practical subjects. At 
 the Royal College the students are examined in 
 private; but at the Training School all the pro- 
 fessors and pupils were allowed to be present at 
 the examinations. This, I think, was a very 
 interesting feature, but one, however, that would 
 be scarcely practicable at the Royal College, with 
 its more numerous students. The examinations, 
 therefore, were like concerts, and had the advan- 
 tage of giving opportunities to the professors of 
 hearing students other than their own perform. 
 Thus, those who were prominent by their talent 
 made a reputation in the institution more rapidly 
 than would otherwise have been possible. 
 
 The concerts and examinations were held in the 
 West Theatre of the Albert Hall. The professors 
 were seated on the platform quite in proximity to 
 the student performing, while the other students 
 remained in the body of the room. 
 
 One evening, going in during the progress of one 
 of the concerts, I heard Chopin's Impromptu being 
 played in a manner that was quite remarkable, in
 
 THE NATIONAL TRAINING SCHOOL 175 
 
 regard to both style and execution. The style 
 coincided so exactly with the ideal I had formed of 
 what the music suggested, that it was a pleasure 
 for me to hear the piece thus interpreted. It was 
 all the more surprising as the player was but a boy 
 of thirteen years. I asked who it was playing so 
 beautifully ; and was told that it was Eugene 
 D'Albert, a pupil of Pauer. My estimate of the 
 boy's performance was certainly not overrated, 
 and time only went to prove that in this per- 
 formance were the germs of the great artist he 
 eventually became. 
 
 The examinations held just before Easter were 
 conducted by an examiner not belonging to the 
 Training School, a system which in a modified form 
 is continued at the Royal College. 
 
 Charles Halle was generally examiner for the 
 piano at the Training School. 
 
 At one of these examinations a student had 
 chosen Mendelssohn's Capriccio in B minor, op. 
 22, and as in the cases of pieces with orchestral 
 accompaniment the orchestra was represented by 
 a second piano (a custom very much in vogue at 
 conservatoires, both here and abroad), there should 
 have been another student ready to play this piano 
 part. On this occasion, however, no student came 
 forward ; thereupon Arthur SulUvan volunteered to 
 fill in the orchestral accompaniments from memory.
 
 176 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 This he did most admirably, except in one part 
 where his memory temporarily failed him. During 
 this contretemps, it was not a little amusing to 
 observe the good-naturedly malicious smile that 
 came over Halle's face whilst poor SulUvan was in 
 difficulties. 
 
 The greatest artists, however, have their occa- 
 sional lapses of memory. 
 
 It is even said that once, at a concert, Charles 
 Halld himself fell into an unfortunate dilemma 
 whilst playing Mendelssohn's fourth Characteristic 
 Piece, sometimes called " Hugendleben." After 
 the repetition of the first theme, instead of going on 
 to the coda he went back to the commencement, 
 which obliged him to recapitulate all the earlier 
 part of the piece. This he did more than once, 
 each time finding himself again at the beginning. 
 But at last he found his way out of the maze, and 
 extricated himself from what was an extremely 
 awkward position for a pianist to be in. 
 
 Arthur Sullivan did not remain at the head of 
 the Training School until its close, but owing to 
 pressure of work resigned the post of Principal in 
 favour of Dr. (afterwards Sir John) Stainer, who 
 occupied that position for one year.
 
 CHAPTER XVIIl 
 THE ROYAL COLLEGE OF MUSIC 
 
 AFTER the Training School ceased work various 
 ^-^ rumours were afloat in regard to the founding 
 of a new institution, somewhat on the same lines. 
 It was at one time proposed that this new institu- 
 tion should amalgamate with the Royal Academy 
 of Music ; but there were apparently insurmount- 
 able difficulties in the way of this scheme. A 
 meeting, in fact, was called to which the Professors 
 of the Royal Academy and those of the late 
 Training School were invited, to consider the situa- 
 tion. I received an invitation to attend it ; but 
 owing to a serious case of illness at home, I was 
 unable to be present. 
 
 It was, at last, resolved to establish a new 
 national College of Music, in which the leading 
 feature should be the founding of numerous 
 scholarships. For this purpose the representative 
 bodies of the most important towns in the United 
 Kingdom were invited to subscribe ; and, moreover, 
 the Prince of Wales (now King Edward VII) gave 
 
 N 177
 
 178 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 his patronage and support to the undertaking. 
 The result was most gratifying, and the appeal was 
 so well responded to that the fifty scholarships 
 necessary for the granting of the Royal Charter 
 were subscribed for in a comparatively short space 
 of time. 
 
 The formal opening of the College on 7 May, 
 1883, at which I was present, was a most important 
 and interesting event. It took place in the same 
 building that had been occupied by the Training 
 School, and which was to be for several years the 
 local of the new college. 
 
 The Prince of Wales made a most impressive 
 speech, in which he declared the Royal College of 
 Music to be opened. His Royal Highness then 
 announced the conferring of knighthood upon 
 George Grove (who was to be the Director), as well 
 as upon Arthur Sullivan and George Macfarren, 
 the Principal of the Royal Academy of Music. 
 
 I happened to be sitting on one side of Macfarren 
 at the time, and Arthur Sullivan on the other. 
 Macfarren, from what he was saying, seemed to be 
 diffident as to accepting the honour that had been 
 just conferred upon him ; but both Sullivan and 
 myself were of opinion that he should not refuse 
 a distinction to which he was in every way entitled. 
 
 I was glad that in the end Macfarren accepted 
 the honour, as no musician more thoroughly
 
 THE ROYAL COLLEGE OF MUSIC 179 
 
 deserved it than he. He had great originality of 
 thought and, as a composer, would probably have 
 had still greater success if his early composition 
 studies had been formed on the more modern lines 
 to which he afterwards became so devotedly at- 
 tached. He was quite an enthusiast for Brahms ; 
 but in regard to Wagner, I do not remember his 
 giving an opinion in my hearing. Macfarren's 
 greatest work was, no doubt, his oratorio, " St. John 
 the Baptist," which was produced at the Bristol 
 Festival of 1873. I heard it when it was given at 
 the Sacred Harmonic in 1874, and was much struck 
 with the dramatic effect produced by the manner 
 in which the chorus describes the dancing of the 
 daughter of Herodias before Pilate. The orchestra 
 at this point has a quaint and weird dance rhythm, 
 whilst the chorus utter the words, " She danceth ! " 
 The whole of the scene is very cleverly worked 
 out, and the composer has avoided anything in- 
 appropriate in the music descriptive of the dance, 
 that might be considered out of place in an 
 oratorio. 
 
 I recollect on one occasion dining with Macfarren 
 at his house in Hamilton Terrace. After dinner 
 I played some of Bach's Fugues to him, as 1 knew 
 how great was his devotion to the composer of the 
 immortal forty-eight. Mrs. Macfarren for I think 
 this was before knighthood had been conferred
 
 180 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 upon her husband seemed to deplore the amount 
 of time that he was obliged to sacrifice to com- 
 position in order to carry out the Festival commis- 
 sions which the success of " St. John the Baptist " 
 had led to. These commissions had come to him 
 somewhat late in life, at the time when he had 
 entirely lost his eyesight. His work, therefore, 
 must have been attended with difficulties one 
 would have thought to have been almost insur- 
 mountable. 
 
 In the history of great men, how often we find 
 that their finest works have been produced under 
 circumstances of stress or misfortune I Mozart 
 whilst upon his death-bed added immortal notes to 
 his Requiem.^ Beethoven became totally deaf during 
 the latter part of his life ; while George Macfarren, 
 like the poet Milton, was stricken bHnd. It would be 
 difficult to say which of the two misfortunes is the 
 greater disaster to a musician. Sound being the 
 element of his work, it would seem that deafness 
 
 * The commission for this Requiem by a mysterious stranger prob- 
 ably had a more or less disquieting effect upon so impressionable a 
 temperament as that of Mozart. When I was a boy I quite believed 
 the legend that Mozart had not long before his last illness been visited 
 by an angel, vpho made him promise to write a Requiem. One's faith 
 in such legends was stronger then than now. Tlie historian, to the 
 disappointment of the impressionable, has demolished many a tale of 
 romance or of superstition. The mysterious stranger, whom the 
 imaginative converted into an angel, we know was no other than 
 Leutgeb, the steward of Count Walsegg, who thought to palm off 
 Mozart's work as his own.
 
 THE ROYAL COLLEGE OF MUSIC 181 
 
 would prove as fatal to his art as blindness to that 
 of the painter. But a composer who cannot hear, 
 if his imagination be vivid, can conjure up sounds 
 in his mind and put them down in his score, and 
 though he may never actually hear his works they 
 may live to be a source of enjoyment to others, as 
 did so many of Beethoven's works. 
 
 But the blind composer is at a terrible disadvan- 
 tage when writing for orchestra, for it is highly 
 important that he should be able to look at his 
 score, in order to calculate the balance of sound 
 that will result from the combination of instru- 
 ments employed. Macfarren was obliged to dictate 
 to an amanuensis the name and time-value of each 
 individual note that he intended for his orchestral 
 score ! A slow and laborious process, enough in 
 itself to have frozen his ideas at their source. It 
 was indeed a marvellous feat that he accomplished. 
 
 I may here incidentally mention that George 
 Macfarren, who took an active part in musical 
 matters, was present at a meeting of musicians at 
 which the permission of the trustees of Mendels- 
 sohn was demanded to allow that composer's 
 posthumous works to be published. Macfarren, I 
 was told, spoke in a most excited manner on the 
 subject, pointing out the hardship it was to lovers 
 of Mendelssohn that such treasures of art should 
 be withheld from them.
 
 182 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 It was owing perhaps to Macfarren's strenuous 
 efforts that, shortly after, the Reformation Sym- 
 phony and other important works of Mendelssohn 
 were rescued from the legal bondage in which they 
 had lain so many years. 
 
 Amongst those posthumous works, was a short 
 Ave Maria, which Mendelssohn intended to have 
 incorporated in his opera " Lorely," and in which a 
 note for the horns, as an inner part, is sustained 
 during the entire piece. It is wonderful what 
 varied and interesting harmonies Mendelssohn has 
 managed to introduce whilst this one note is per- 
 sistently held on. I heard it performed for the 
 first time in England at a concert conducted by 
 Benedict. The effect was most charming. The 
 sustained note conveyed a feeling of peaceful 
 soleronity. 
 
 I am afraid that I have wandered far from the 
 subject that was uppermost in my mind when I 
 commenced this chapter, though not to the extent 
 of causing me to forget it altogether. 
 
 After the opening ceremony of the Royal 
 College of Music had been duly accomplished, the 
 first business to be done was the selecting of the 
 scholars from the numerous candidates that offered 
 themselves. These came from all parts of the 
 United Kingdom. 
 
 The examination of these candidates took place
 
 THE ROYAL COLLEGE OF MUSIC 183 
 
 before the Director and the whole of the teaching 
 staff of the College. Sir George Grove was quite 
 in his element amongst the assembled musicians, 
 one of whom was Madame Goldschmidt (Jenny 
 Lind). In the earlier days of the College she was 
 one of the professors for singing. 
 
 A large proportion of the scholarships were 
 awarded to pianoforte candidates, several of whom 
 were placed in my class. 
 
 On the first day of my instruction at the College 
 I felt as if I were resuming my work at the Train- 
 ing School. Even the room in which I taught 
 was the same, but I realized the added importance 
 of my new position and did my best to rise to the 
 occasion. 
 
 In addition to my pianoforte class I undertook 
 one in harmony, which I continued for a few years, 
 until my pianoforte class became too large for me 
 to be able to devote time to both. I therefore, 
 with the permission of the director, gave myself 
 up entirely to my pianoforte students. Amongst 
 these were several of great talent, as their subse- 
 quent careers have fully proved. One of my best 
 pupils during the earUer history of the College was 
 Marmaduke Barton, who is now a professor at the 
 College. 
 
 Having, as already stated, been acquainted with 
 Sir George Grove from the time of my boyhood, I
 
 184 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 was delighted to find myself brought into still 
 closer relationship with him. For twice a week, 
 on the days that I attended the College, I met him 
 at luncheon, during which he enlivened us all by 
 his versatile and witty conversation, which seemed 
 never to flag. His memory was wonderful. He 
 could quote whole pages from works he had read 
 when he was quite a young man. 
 
 He always had a cheerful ring in his conversa- 
 tion, and he often showed how vast was his know- 
 ledge upon almost every subject; yet he was never 
 pedantic. Occasionally his remarks became of a 
 somewhat personal character, not without a touch 
 of banter, but they were never sarcastic or ill- 
 natured. 
 
 George Watson, the late Registrar of the College, 
 was likewise a very genial companion at these 
 gatherings, and most popular with all at the insti- 
 tution. His death about a year after the opening 
 of the present building of the College, the munifi- 
 cent gift of the late Samson Fox, was deplored by 
 all who knew him. I ought not here to omit 
 mentioning the fact that, to a great extent, it was 
 owing to George Watson's energy and power of 
 organization that the Associated Board was 
 launched with such success.
 
 CHAPTER XIX 
 
 THE ASSOCIATED BOARD 
 
 IN the history of music in this country during 
 the middle of the last century, musical exami- 
 nations do not seem to have received the attention 
 that is given to them nowadays. Even when I 
 was a student at the Royal Academy of Music, 
 I do not recollect once being examined during the 
 four years I was studying there, except on the 
 occasion of the two scholarships that I gained. 
 This would seem strange at the present day, when 
 examinations are considered to be all-important. 
 
 Although the yearly examinations at the Royal 
 Academy and the Royal College are looked for- 
 ward to by the students with varied feelings, in 
 which nervousness is perhaps predominant, all 
 concur in valuing their importance. These exami- 
 nations have generally for their object the defining 
 of the progress of the student. But those of the 
 Associated Board fix a standard of proficiency for 
 which it gives a certificate, and this standard varies 
 according to the grade chosen by the candidate. 
 
 185
 
 186 MUSICAL REMINISCENCES &> IMPRESSIONS 
 
 There is no doubt that the first idea of this 
 latter style of musical examination originated 
 with Trinity College, London. Some years after- 
 wards the Royal Academy of Music followed most 
 successfully on similar lines. It was thus fully 
 proved that there was an ever-growing desire on 
 the part of the pubhc to have their sons and 
 daughters examined in music. It may here be in- 
 cidentally remarked that on the Continent no such 
 general public feeling for musical examinations 
 seems to exist. It would therefore appear that 
 this love of being examined is peculiar to the 
 English-speaking race ; for we find it extending 
 to all our colonies and dominions. 
 
 It was indeed a happy thought that led to the 
 Royal Academy and the Royal College joining 
 hands, for the purpose of conducting musical 
 examinations, under the title of the Associated 
 Board. All who have followed the progress of 
 this important body concur in their respect for the 
 memory of the late Lord Charles Bruce, the first 
 Chairman of the Board. It was greatly owing to 
 his tact and judgment that the Associated Board 
 was started with such success. The influence he 
 brought to bear by his geniality and amiability of 
 character was fully reciprocated by its members, 
 so that from the commencement perfect accord 
 attended their deliberations. This salutary feature
 
 THE ASSOCIATED BOARD 187 
 
 continues to mark the Board's proceedings under 
 its present accomplished chairman. As a result 
 their labours are rewarded with continued and 
 increasing success. 
 
 It was in the second year after the Associated 
 Board had started work that the Prince of Wales, 
 as its President, took the chair for the first time at 
 the meeting which was held at Marlborough House 
 on 20 July, 1891. 1 was present on this occasion, 
 and was deeply impressed with the keen interest 
 His Royal Highness manifested in the proceed- 
 ings of the Board, as well as by the businessUke 
 accuracy he brought to bear upon the details of its 
 work. The beautiful saloon where the meeting 
 took place was filled with musicians of note, the 
 professors of the Royal Academy and Royal 
 College of Music being strongly represented. 
 We all felt how great an encouragement royalty 
 had given us in the cause of musical art. 
 
 I well recollect the first examination tour to 
 which I had been appointed by the Board in con- 
 junction with Arthur O'Leary. We went first 
 to Middlesbrough, and afterwards examined at 
 several other towns on the Yorkshire coast. 
 
 During this tour I had the opportunity of 
 making myself personally acquainted with places 
 I had only read of before, or studied in my school- 
 days in connexion with geography.
 
 188 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 I learnt indeed many things that no books could 
 have taught me. I found, too, how often the 
 reality differs from the picture one forms in one's 
 mind. 
 
 Bath struck me as even more beautiful than 
 I had anticipated, when I first visited that city 
 with Mr. John Thomas, the celebrated harpist and 
 my fellow-examiner. On this tour we also went 
 to Bristol, where we received great hospitality 
 from the local representative. 
 
 As some of my readers may not be aware of 
 what constitutes a local representative, I will do 
 my best to explain. In the plan carried out by 
 the Associated Board, certain towns are chosen for 
 centres, to which the candidates from neighbouring 
 places come up for examination. As it is im- 
 portant that there should be some one at the centre 
 to carry out the necessary arrangements, such as 
 the securing of an eligible room, with a suitable 
 piano, and other details necessary for the comfort 
 of the candidates and their examiners ; a gentle- 
 man is invited to perform these important duties, 
 and he is known as the local representative. 
 
 It is curious how the pianoforte candidates are 
 almost everywhere in the majority as to numbers. 
 There are, nevertheless, a fair proportion of vio- 
 linists, singers, and occasionally a few candidates 
 who are harpists or organists.
 
 THE ASSOCIATED BOARD 189 
 
 In regard to the latter, the examination not 
 infrequently takes place at some church in which 
 there is a suitable organ. I recollect on one 
 occasion the blower failed to put in an appearance 
 when my fellow-examiner and myself had to test 
 the merits of an organ candidate. The only way 
 out of the difficulty was for one of us to blow the 
 organ whilst the other examined. Fortunately, 
 my confrere most generously offered to blow whilst 
 I conducted the examination, an arrangement 
 which was certainly to my advantage. 
 
 On another occasion when we examined an organ 
 candidate we were more fortunate. This was at 
 Bristol, where we were provided with an excellent 
 chamber organ, the bellows of which were worked 
 by hydraulic power. As the organ was at the 
 house of Mr. George Riseley, it gave me the 
 opportunity of making the acquaintance of this 
 accomplished musician, who has done so much 
 good in disseminating a love for choral and orches- 
 tral music by the concerts he has conducted. 
 
 In addition to the local centre work that 1 have 
 been describing there are the school examina- 
 tions of the Associated Board. These are generally 
 held at some convent or school, each examination 
 being conducted by one professor only, upon whom 
 rests the sole responsibility as to whether the 
 candidate succeeds or fails.
 
 190 MUSICAL REMINISCENCES ^r^ IMPRESSIONS 
 
 The musician always finds much to interest him 
 in conducting these examinations. In the elemen- 
 tary division especially, he meets with many in- 
 stances of budding talent. Perhaps a little girl of 
 nine comes in with her violin, which has to be 
 tuned for her. A most serious business I Then 
 she takes it up in quite a professional manner, as- 
 suming the same air of importance as if she were 
 performing at a concert. 
 
 Some of these little ones do really surprise us 
 by the extraordinary command they have over the 
 instrument, proving that more child wonders exist 
 than are represented in the concert-room. 
 
 As for the juvenile pianists, they abound at these 
 examinations, and very prettily some of them 
 play. Fortunately, in the elementary division no 
 marks are awarded for judicious use of the pedal, 
 for it is seldom that these children can reach this 
 important adjunct of the piano. 
 
 How intensely curious they are, too, to know 
 whether they have met with success. Perhaps 
 one of them has the courage to say in a timid 
 whisper, "Do tell me if I have passed." Then 
 when you have informed her that it is against the 
 rules to divulge the decision arrived at, she asks, 
 innocently, " Has my sister passed ? " 
 
 The elder candidates, if girls in their teens can 
 be so specified, generally suffer from nervousness.
 
 THE ASSOCIATED BOARD 191 
 
 They seldom appear to have the same amount of 
 confidence shown by the Httle ones. 
 
 I have often been astonished at the proficiency 
 displayed by candidates in the higher division, and 
 wonder how they could have reached such a 
 standard of excellence with the limited amount of 
 time that can be allotted to music among their 
 many other studies. 
 
 It does one good to see a boy candidate enter 
 the lists, for it is certain that as he grows older 
 music will become a part of his existence, refining 
 his mind and placing before him a higher ideal of 
 life. Added to this, he is actually learning the 
 language of music. After all, music is a language 
 in itself I And, if he perseveres, he will later on 
 be able to enter into fully, and appreciate the 
 beauties contained in the works of the immortal 
 composers. 
 
 One important feature in the details of these 
 examinations is the selection of music embodied in 
 the syllabus of the various divisions. The pieces 
 and studies are always chosen with great skill and 
 judgment, and in themselves form a musical curri- 
 culum of the highest order, divided into various 
 grades of difficulty, thus enabling the youthful 
 student to mount higher and higher by easy steps, 
 until he arrives at the temple of art and becomes 
 enrolled among her most ardent votaries.
 
 CHAPTER XX 
 
 THE GUILDHALL SCHOOL MUSIC IN 
 ALDERMANBURY 
 
 T OOKING back over many years, the recoUec- 
 ^-^ tion of certain events in our lives is sometimes 
 so vivid that it seems only yesterday that they oc- 
 curred. At other times, the same events appear so 
 remote that we wonder how we can recall them to 
 memory. I think, however, that nothing gives one 
 the "long while ago" feeling so strongly as coming 
 across an old letter. The very paper upon which 
 it was written has turned yellow, the ink has faded ; 
 and when, as is often the case, the writer of it has 
 passed away, one feels indeed how heavy the hand 
 of time can be. 
 
 Some such thoughts came to me as I looked 
 over an old letter the other day and found it 
 dated 1880. As this letter marked at the time 
 a new era in the history of musical education as 
 well as in my own occupations, I will give it in 
 
 full. 
 
 192
 
 MUSIC IN ALDERMANBURY 198 
 
 ''Feb. 19,1880. 
 " My dear Sir, 
 
 " I find it impossible to pay you a visit on 
 Sunday, so write that which I intended speaking 
 to you about. 
 
 " It is proposed to found a school of music by 
 the City of London Music Deputation, and as I 
 have been requested to organise a staff of the 
 most efficient available professors for their ap- 
 proval, I shall be obliged by your kindly letting 
 me know whether you are willing to accept a class 
 for pianoforte ; terms to be agreed upon between 
 yourself and the committee when the necessary 
 arrangements are completed. 
 
 " Believe me, 
 
 " Yours faithfully, 
 
 "H. WeistHill." 
 
 This letter, as will be easily surmised, referred 
 to the forming of the Guildhall School of Music ; 
 but it would appear from it that the title of the 
 school had not been fixed upon when Mr. Weist 
 Hill wrote to me. In reply I stated my terms, 
 which were accepted, and about the September 
 following I received a letter informing me that a 
 class awaited me to commence with at the tem- 
 porary premises of the school. 
 
 These premises had evidently been used as 
 offices and warehouses for some City concern, 
 o
 
 194 MUSICAL REMINISCENCES fir' IMPRESSIONS 
 
 They consisted of the house known as 16 Alder- 
 manbury together with a building in the rear, 
 which were separated by a courtyard ; but com- 
 munication between the two was estabhshed by 
 means of a covered passage. On the first floor in 
 the front building was the principal's room, facing 
 the street. The back room on the same floor, 
 overlooking the courtyard, was the room in which 
 1 held my class for several years. It was, however, 
 in the principal's room that I gave my first lesson 
 the first, I have been told, given in the school ; 
 although the late Madame St. Viard Louis, a lady 
 professor, is said to have claimed this prerogative. 
 
 I should have preferred the principal's room for 
 my work, as it was exceedingly quiet ; whereas 
 from my room were heard, aU too plainly, the 
 mingled sounds of music from several classrooms 
 whose windows, as did my own, all opened on to 
 the courtyard. 
 
 In summer-time we could not well keep the 
 windows closed, and the sounds that issued from 
 these rooms, although separately they might have 
 been harmonious enough, collectively were most 
 discordant. The window opposite mine was so 
 near that it looked as if, by making a long arm, it 
 were possible to shake hands across the courtyard 
 with the professor who occupied the room on the 
 other side.
 
 MUSIC IN ALDERMANBURY 196 
 
 Here Signer Ferri, a popular singing-master, was 
 perhaps giving a lesson to a very dramatic and all- 
 too-powerful soprano, whose telling voice mingled 
 with the strains of a violinist in the room above ; 
 whilst a little to the right, in another room, a con- 
 certo for pianoforte was being handled vigorously 
 by some ambitious student. It seemed unneces- 
 sary for me to counsel my pupils to add to the 
 musical vibrations which poured into the court- 
 yard from every side ; yet, nevertheless, I imagine 
 that I did not fail in doing my duty in this 
 respect. 
 
 The lovers of the pol)rphonic in music might 
 have heard some curious combinations of har- 
 mony (?) in this courtyard. Had there been a 
 possibility of preserving the strains, who knows, 
 they might have been valuable to some ultra- 
 modern composer of the more advanced school. 
 
 Signor Ferri, whose name I have mentioned, 
 seemed to live eternally in the room that was 
 opposite to mine. However early I commenced 
 my class, there I saw Signor Ferri with a pupil 
 beside him, either warbling some solfeggi, or sing- 
 ing, in a most tragic manner, some ItaUan scena. 
 When I had finished my work in the evening, 
 there still was Signor Ferri discoursing sweet 
 music with some student, whilst more were wait- 
 ing their turn to have the coveted lesson, for he
 
 196 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 was immensely popular with his pupils. I was 
 told that he was thus fully engaged from morning 
 till night, every day in the week, and that he made 
 something Uke a thousand a year. His success, 
 1 am afraid, entailed too great a strain upon his 
 physical powers, for one day, some few years after 
 the school had been opened, I heard that he had 
 died, after a short illness, at the age of fifty-five. 
 
 Notwithstanding many drawbacks, especially the 
 absence of quiet in the teaching-rooms, I liked 
 the old quarters of the Guildhall School. The 
 quaint panelled rooms, and the incongruity of the 
 building as the local of so successful a music- 
 school, seemed to add a special interest of its own, 
 somewhat of the same kind as that which one feels 
 when a shabbily garbed man is pointed out to 
 you as the head of some important commercial 
 concern. 
 
 It was in the old building that some of my most 
 successful pupils received their training in piano- 
 forte playing from me. Amongst these were 
 R. Orlando Morgan and W. J. Barton, who were 
 afterwards appointed as professors at the School. 
 
 By a curious coincidence, at the time W. J. 
 Barton was studjdng with me at the Guildhall 
 School, Marmaduke Barton was one of my class 
 at the Royal College of Music, both being pupils 
 of whom I was justly proud. I understood
 
 MUSIC IN ALDERMANBURY 197 
 
 that in consequence, occasionally some confusion 
 occurred, the meritorious achievements of the 
 one Barton being, by mistake, credited to the 
 other. 
 
 The continued and ever - increasing influx of 
 pupils to the Guildhall School began seriously to 
 tax the space-limit of the Aldermanbury premises. 
 The large rooms, and even the passages, were 
 subdivided into small classrooms by the aid of 
 wooden partitions, in order to accommodate a 
 greater number of pupils. These extemporized 
 rooms were most unsatisfactory for teaching pur- 
 poses, for the thin partitions which divided them, 
 offered practically no hindrance to the transmis- 
 sion of sound from one room to another. If two 
 pianoforte masters were giving lessons in adjoining 
 rooms it had all the effect of a duet for two pianos, 
 and indeed it would have been quite excusable if 
 either professor were at a loss to know which 
 of the two performances was represented by his 
 pupil. 
 
 Certainly, those engaged in teaching had often 
 to harden, not their hearts, but their ears against 
 the trying effects of the multitude of musical 
 sounds that were heard on all sides. Many a 
 professor had to endure such discords as that of 
 hearing a cornet from the other side of a partition 
 commencing an air in B flat, whilst his pupil was
 
 198 MUSICAL REMINISCENCES &> IMPRESSIONS 
 
 playing in the key of A minor. But hitherto the 
 school had not been invaded by the kettledrum. 
 Yet one day, whilst a singing master was engaged 
 in teaching, he was surprised at hearing unusual 
 sounds. He little knew that in the adjacent room 
 a pair of full-sized kettledrums were already in 
 position, and that a timpani professor was just 
 commencing to initiate his pupil in the method of 
 performing a tremolo with all due effect. Our 
 singing maestro^ who was in bhssful ignorance 
 of the danger which threatened him, probably 
 thought that the mysterious rumblings were due 
 to some natural cause, such as distant thunder, or 
 it might be that the weird sounds he heard were 
 only the echoes of the ceaseless turmoil of the City 
 in the midst of which the School was planted. 
 
 A good drummer must, of course, be able to 
 bring out a big tone from his instrument when a 
 fortissimo sign in his part directs him to do so. The 
 timpani expert must therefore have been giving his 
 pupil some grand example of the volume of 
 sonority possible to kettledrums, when his next- 
 door neighbour was startled by a bang that he at 
 first imagined to be the report of a cannon. But 
 upon a continuance of sonorous thuds, the singing 
 professor became aware of the true state of things, 
 and there being no law by which he could order 
 the drummer and his pupil away, as is possible for
 
 MUSIC IN ALDERMANBURY 199 
 
 the "enraged musician" in the case of a barrel 
 organ, he had to make the best of matters, and to 
 await his opportunity for hearing his pupil during 
 the intervals of silence which occasionally occurred. 
 These intervals, however, were rare so rare that 
 his patience became exhausted, and, on the first 
 opportunity, he vented his indignation in re- 
 gard to the matter in a powerful appeal to the 
 authorities. 
 
 It was at once admitted that a palpable griev- 
 ance existed, and that, of course, he was not 
 the only master whose class was disorganized by 
 the terrible sounds emanating from the room in 
 which the drummer gave his lessons. But the 
 difficulty was to find a sound-proof room in which 
 the drummer's pupil could receive instruction. A 
 happy thought at last occurred to some one : Why 
 not utilize the coal-cellar as a classroom for timpani 
 lessons ? It was sufficiently spacious, and the pre- 
 sence of coals would not perceptibly injure the 
 acoustics. Strange as this proposition may sound 
 to my readers, it was actually carried out, and the 
 drummer and his pupil had from that time to put 
 up with such extemporized accommodation as could 
 be provided for them in the coal-cellar of the 
 temporary premises of the School. 
 
 These lessons must indeed have had a weird 
 effect in the lugubrious precincts of the cellar, and
 
 200 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 certainly both master and pupil afforded a noble 
 example as to what lengths enthusiasm will go in 
 order to battle against the difficulties that some- 
 times beset the votaries of art.
 
 CHAPTER XXI 
 
 THE GUILDHALL SCHOOL ITS EARLY 
 HISTORY 
 
 TjlEW of the general public now remember Mr. 
 -*- Weist Hill, the first Principal of the Guildhall 
 School of Music. I had met him on several occa- 
 sions prior to the establishment of the School. 
 One of these was at the Hereford Festival, where he 
 was among the first violins of the orchestra. He 
 was a man of good appearance, and above the 
 average in stature. His shrewd and almost piercing 
 eye, his black moustache, and mouth, sometimes sar- 
 castic, sometimes facetious in expression, imparted 
 to his face a character sufficiently striking, and 
 was further emphasized by his dark complexion. 
 
 The choice of Weist Hill as Principal of the 
 School, came about in consequence of his connec- 
 tion with an orchestra and choral society of 
 which he was conductor. This society, it appears, 
 had its origin in one of the suburbs south of the 
 Thames. Its secretary was Mr. Charles P. Smith. 
 As several of the members were City men, it was 
 
 201
 
 202 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 arranged that the concerts given by this society 
 should take place at the Guildhall. At one of the 
 meetings held by the society in 1879, at which 
 some members of the Court of Common Council 
 were present, it was proposed to found a School of 
 Music in the City. This proposition ultimately 
 met with the favour of the Corporation, who had 
 already shown sympathy in the cause of music in 
 a very substantial manner in 1876, by voting 5000 
 for scholarships for the National Training School of 
 Music. 
 
 In the end, it was decided to start the Guildhall 
 School without loss of time in the warehouse at 
 Aldermanbury, already described, with Mr. Weist 
 Hill for Principal, and Mr. Charles P. Smith as 
 Secretary. As they were both practical men, I 
 have no doubt that the system of the new School, 
 in regard to the arrangement of the studies and 
 manipulation of fees, was due to them. This 
 system was the secret of the unbounded success of 
 the concern. At no music school, indeed, has the 
 number of students ever reached the high figures 
 that the Guildhall School attained when it had 
 been in existence for but a few years. Should 
 any one passing down Aldermanbury give a glance 
 at the exterior of No. 16, where the School carried 
 on its work for seven years, it would appear almost 
 incredible that so small a building could have found
 
 EARLY HISTORY 203 
 
 accommodation for the three thousand students that 
 were wont to pass through the homely doorway. 
 
 After the School had been at work about a year, 
 evidence of what had been accomplished was made 
 apparent by a concert given at the GuUdhall. 
 
 In the early history of this undertaking some of 
 the most successful performances were given in con- 
 junction with a choir of ladies' voices. The forma- 
 tion of this choir was greatly due to the energy 
 and perseverance of Mrs. Charles P. Smith, the 
 Lady Superintendent of the School, who vied with 
 her husband, the secretary, in her zeal for its ad- 
 vancement. She had many difficulties to overcome 
 before the necessary number of ladies could be 
 found to constitute a choir sufficiently large to be 
 effective in so vast a building as the Guildhall. In 
 the end, success rewarded her efforts, and one of 
 the most efficient female choirs that has ever been 
 heard in pubUc was the result. 
 
 I little knew, when the choir had been formed, 
 that indirectly it would lead to the production of a 
 work of mine at one of the great musical festivals. 
 Yet such was the case ; for one day Mr. Weist 
 Hill asked me to compose a cantata for this choir. 
 The proposal was made to me a year or two after 
 my ** liuilding of the Ship " had been produced at 
 the Leeds Festival. 
 
 Hill's request resulted in my commencing a
 
 204 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 cantata for female voices on the subject of the 
 " Wishing Bell," of which I will say more later on. 
 
 Mr. Weist Hill was very anxious for me to get 
 the cantata ready for his choir as soon as possible. 
 Who knows, perhaps, that he may have had a fore- 
 boding that, if I delayed too long, he might never 
 live to hear it ? 
 
 Some portions of the cantata were, nevertheless, 
 written during his lifetime ; but his death caused 
 me for a while to lose interest in it. 
 
 As regards the choir, it continued for many 
 years to be an important feature at the Students' 
 Concerts.
 
 CHAPTER XXII 
 
 THE GUILDHALL SCHOOL THE NEW 
 BUILDING 
 
 I HAVE already alluded to the difficulties 
 the School had to contend with in regard to 
 the want of sufficient accommodation at the 
 Aldermanbury premises. The Corporation there- 
 fore decided to erect a building especially for it, 
 and a site was chosen on the Victoria Embank- 
 ment. 
 
 Few of the professors and students heard much 
 about the new building until it was completed. 
 Most of us saw it, as I did, for the first time on 
 the day of its opening by the Lord Mayor, in 
 state, in the year 1887. 
 
 It appeared to us almost as if some good 
 magician had used his magic wand and, in one 
 night, had raised up this structure for our mutual 
 benefit. 
 
 How different it seemed from the homely rooms 
 in Aldermanbury ; how much more official and 
 businesslike. There were excellent ideas, too, well 
 
 205
 
 206 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 carried out. Convenient rooms for the Principal 
 and Secretary, and offices for the Chief Clerk and 
 his staff; then a separate cash department, where 
 the students pay their fees, and in which they may 
 well imagine themselves to be at a bank handing in 
 their deposits for investment. Well ! after all those 
 who are studying for the profession would not be 
 far out in thinking so. For is not the money they 
 are paying, in a way, laid out to interest whereby, 
 later on, when they have left the School, they may 
 reap the reward of what they have spent both in 
 time and money by becoming successful members 
 of the musical profession? And even those 
 students who enter the School with no other 
 object than studying as amateurs, may certainly 
 regard the fees they are handing over as likely to 
 lead to good results ; since, of all accomplishments, 
 music is the one most available in society. Besides 
 which, the amateur who has had the privilege of 
 receiving a sound musical education may do much 
 towards disseminating a love for our art. 
 
 At the Guildhall School these non-professional 
 students are very numerous. Those who attend 
 the various musical classes during the earlier hours 
 of the day are almost exclusively ladies. It is 
 in the evening, when the office-hours are over, 
 that one sees in the class-rooms gentlemen who 
 have been engaged during the day in business
 
 THE NEW BUILDING 207 
 
 showing their enthusiasm for musical art in a very 
 practical manner. 
 
 One would think that at the end of a long day's 
 work little energy would be left for so all-absorb- 
 ing a subject as music. Where, however, there is 
 true love and enthusiasm for art, all obstacles seem 
 to yield to it, just as we read of some of the great 
 composers who in their childhood had been for- 
 bidden to devote any time to music, practising in 
 secret, nay even in the middle of the night, as did 
 the boy Handel. 
 
 A noticeable feature throughout the new build- 
 ing which has been admirably carried out is the 
 system of double doors to the classrooms, each 
 fitted with plate-glass windows. These doors are 
 practically sound-proof; for when one enters the 
 School no strains of music are to be heard, al- 
 though there may be fifty or more students play- 
 ing or singing at the same time. Even when 
 passing close by a room where perhaps a lady 
 student is singing, one sees her through the glass 
 windows of the double doors, her mouth wide 
 opened, yet not a sound gratifies one's curiosity. 
 In another room a violinist is using his bow 
 energetically upon his instrument, but it might be 
 covered with grease instead of resin, for not a note 
 is audible. 
 
 The secret of this sound isolation is no doubt
 
 208 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 due to the air enclosed between the two doors, 
 which acts as a non-conductor to the vibrations. 
 
 The opening ceremony of the new building by 
 the Lord Mayor proved to be a great success. 
 All who were present on this auspicious occasion 
 concurred in their estimate of the building as 
 being splendidly adapted in every way for a music- 
 school ; and both professors and students felt how 
 much they owed to the generosity of the Corpora- 
 tion, which spared no expense in erecting a 
 structure that should in every way add to their 
 comfort and convenience for all future years. 
 Certainly, if the scheme inaugurated by the Music 
 Deputation had not been thus liberally carried out 
 by the Corporation, it would have required a very 
 omnipotent magician to have called into existence 
 so substantial a building.
 
 CHAPTER XXIII 
 
 THE GUILDHALL SCHOOL "ARS LONGA, 
 VITA BREVIS" 
 
 IN the early history of a great undertaking there 
 is often much interest to be found in the 
 records of the various difficulties that have had to be 
 overcome before the aims of its promoters could 
 efficiently be carried out. But when success has 
 become an accomplished fact, strange to say, much 
 of this interest disappears. So it was with the 
 Guildhall School of Music. When it had en- 
 tered upon its work in the new building, and for 
 about four years after, dating from the opening 
 ceremony, no event of importance took place to 
 disturb the routine of the School. 
 
 Those few years, however, are intimately associ- 
 ated with the memory of some of my fellow- 
 professors who did good work in their time, but 
 who are now at rest. Among these I recall Ridley 
 Prentice, an excellent pianist and a thorough 
 musician. Then I well remember Signor Li Calsi, 
 pianist and composer, who, when a young man, 
 p 209
 
 210 MUSICAL REMINISCENCES &' IMPRESSIONS 
 
 came to England in company with Thalberg. 
 Another notable professor was Thomas Wingham, 
 a most earnest composer, who wrote a charming 
 serenade for orchestra, which was produced at 
 the Philharmonic in 1885. Wingham was for 
 several years the conductor of the music at the 
 Brompton Oratory. Whilst there, he revived an 
 ancient musical custom called Oratorio. This was 
 really a kind of concert given in the church, 
 followed by prayers and a sermon, and is said 
 to have been the origin of sacred works of that 
 name. I had an opportunity of being present 
 at one of these early forms of oratorio, at which 
 Wingham had asked me to assist and play in my 
 Trio in C Minor. This performance took place 
 in the chapel known as the Little Oratory. A 
 grand piano had been brought into the choir, 
 although there was barely room for it. In con- 
 junction with a violinist and a 'cellist we went 
 through the whole of the trio. It seemed strange 
 for us to be playing a scherzo with tripping 
 rhythms in a sacred edifice. At the conclusion 
 of the concert and service we migrated into the 
 refectory of the Oratory and dined with the 
 Oratorians. Before going in, Wingham told me 
 that no conversation was allowed during dinner. 
 But from a kind of rostrum at one side of the 
 refectory, one of the brothers read aloud disserta-
 
 ARS LONGA, VITA BREVIS" 211 
 
 tions upon points of discussion connected with 
 religion, affording food for reflection. Altogether 
 I was much impressed with this glimpse into the 
 mode of life of the Oratorians. 
 
 During the last year of Weist Hill's principal- 
 ship of the School he suffered much from ill-health; 
 although, notwithstanding, he worked perhaps 
 harder than ever. After his death, which occurred 
 in 1891, the Corporation elected Joseph Barnby 
 as Principal. I had known Barnby for many years, 
 so that his appointment to this important post 
 was most welcome to me. He had been a fellow- 
 student of mine at the Royal Academy of Music, 
 and at the Novello Concerts, of which I have al- 
 ready spoken, we had renewed the acquaintance 
 formed when we were students. 
 
 I recollect a very agreeable evening that I spent 
 in his house at Eton on the occasion of a perfor- 
 mance of my "Ancient Mariner" by the Eton 
 boys. I dined with him before the performance, 
 and after dinner he asked me to play something to 
 him, and seemed quite glad to find, as he said, that 
 " my fingers had not lost any of their dexterity." 
 
 I played to him my three Impromptus which are 
 dedicated to Ferdinand Hiller. 
 
 As a proof of his wonderful quickness of ear in 
 detecting anything wrong, when I had finished 
 the second Impromptu he said, " I think I heard
 
 212 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 some hidden octaves somewhere." So I played it 
 through again, when he stopped me, and I had to 
 admit that he was right. Consequently, in the 
 next edition of these pieces I thought it worth 
 while to make a slight alteration in the position of 
 one of the chords, which effectually did away with 
 this blemish. 
 
 At the performance of my "Ancient Mariner" 
 by the boys, as the orchestra was not complete, I 
 filled in some missing wind instruments on the 
 harmonium, and I understood from some of those 
 present that the tout ensemble was most satisfac- 
 tory. I was delighted with the zeal, and I may 
 say enthusiasm, that the boys evinced in their sing- 
 ing of the cantata. 
 
 After the concert I returned with Barnby to his 
 house, and I recollect having a very interesting 
 conversation with him, while we were seated in 
 the chimney corner of the kitchen. This kitchen 
 possessed an old-fashioned fireplace with seats close 
 to the fire, such as one finds in old farm-houses, and 
 for that reason he often adjourned there in the 
 evening to smoke his cigar. 
 
 Barnby had that racy style of conversation that 
 enlisted one's sympathy in all he said. His ideas 
 and pronouncements were clearly expressed, and 
 there was much information to be gained from him 
 in matters concerning musical art.
 
 ARS LONGA, VITA BREVIS" 213 
 
 It was too late for me to return to London after 
 the concert, as I had originally intended, and he 
 asked me to stay the night, but having no room to 
 spare, he had arranged that I should sleep at the 
 house of one of his friends. Not expecting to remain 
 overnight, on the following morning I found myself 
 minus the necessary razor for removing the growth 
 of beard which, like the mushroom, in one night 
 springs up amazingly. 1 descended to the break- 
 fast-room feeling that I appeared careless indeed as 
 to my personal appearance. 
 
 Before calling to bid Mrs. Barnby farewell, I 
 took the opportunity to find a skilful expert of 
 the same calling as that of the Barber of Seville ; 
 but I fear I disappointed him in a natural desire to 
 display his skill, for I asked him to lend me a razor 
 wherewith to perform the operation myself, whilst 
 he looked on, doubtless with professional contempt 
 at my homely methods. 
 
 This reminds me of an incident that occurred to 
 George Watson, the first Registrar of the Royal 
 College of Music. 
 
 He told me that he went one day to a barber to 
 be shaved, when that individual, after regarding him 
 with a curious expression, exclaimed, " I feel some- 
 how as if I should like to draw the razor across 
 your throat I " At this Watson made one dash for 
 the door, and reached the street safely, but without
 
 214 MUSICAL REMINISCENCES &* IMPRESSIONS 
 
 his hat, which in his precipitate retreat he aban- 
 doned. 
 
 After my visit to Eton, I only saw Barnby occa- 
 sionally in the artists' room of the Albert Hall, 
 between the parts of the concert of the great 
 Choral Society he conducted, now known as the 
 Royal Choral Society. It was not, indeed, until after 
 his appointment as Principal at the Guildhall School 
 of Music, that I had an opportunity of renewing my 
 acquaintance with him. He had then become Sir 
 Joseph, for he received the honour of knighthood 
 a few months after his election as Principal. 
 
 This election, which took place in 1892, was 
 the first contest for the important post of Principal 
 of the School that had ever taken place, as Mr. 
 Weist Hill was appointed without going through 
 the ceremony of an election. 
 
 A considerable number of candidates offered 
 themselves on the occasion, among whom were 
 many most distinguished musicians ; but the con- 
 test lay virtually between Joseph Barnby and 
 William Cusins. 
 
 It was a passage of arms between two conduc- 
 tors, both well equipped as to prestige. For was 
 not one the conductor of London's representative 
 Choral Society, and the other the chef d'orchestre 
 of the Philharmonic Society and Master of Music 
 to the Queen ?
 
 "ARS LONGA, VITA BREVIS'' 215 
 
 At the meeting of the Corporation, before whom 
 these musicians appeared, it soon became apparent 
 that the scale was turning in favour of the great 
 choral conductor. Mr. W. Cusins then wisely 
 obviated the necessity for putting the matter to 
 vote by resigning his candidature, and leaving the 
 Corporation an easy task in their choice of the 
 Principal. 
 
 Sir Joseph Bamby was not long in entering upon 
 his varied duties as head of the Guildhall School. 
 He threw himself heart and soul into his work, 
 and of that there was no lack. Examining 
 students; conducting orchestral and choral prac- 
 tices, as well as public performances at the 
 concerts or operas given by the School. These, 
 indeed, are but a few of the duties that fall to the 
 lot of the Principal. For not only has he to hear 
 the complaints of ambitious pupils who think they 
 are not pushed sufficiently forward, but what is 
 still more trying, he has to undergo interviews with 
 their nearest relatives I 
 
 All this worry and work seemed to be borne by 
 Sir Joseph with perfect equanimity, for whenever I 
 saw him after luncheon, in the smoking-room of 
 the Salisbury Hotel, I generally found him enjoy- 
 ing a cigar and showing no sign of fatigue or ennui. 
 Nevertheless, as time went on, I think the work 
 began to tell upon him. He seemed to take things
 
 216 MUSICAL REMINISCENCES 6- IMPRESSIONS 
 
 too greatly to heart. His anxiety for the prosperity 
 of the School caused him to be ever devising 
 schemes for its further advancement; added to 
 which were his duties as conductor of the Royal 
 Choral Society, and the composing and editing of 
 sacred works. The strain was evidently too heavy, 
 for about two years after he had been made 
 Principal we heard that he was seriously ill. 
 
 I recollect calling at St. George's Square to 
 inquire how he was, and seeing his daughter 
 Muriel, who had been receiving an endless number 
 of callers, each of whom she saw individually and 
 reassured, as well as she could, for her father was 
 still in danger. Happily he recovered from this 
 attack, and after a few weeks seemed quite to have 
 returned to his usual health. Certainly he showed 
 no signs of loss of energy, since he had scarcely 
 resumed his duties at the School when he con- 
 vened a meeting of the professors to obtain their 
 opinion in regard to some proposition he had to 
 put before them. It was evident that he did not 
 intend to spare himself, notwithstanding his recent 
 illness. He undertook as many practices, both 
 choral and instrumental ; and the School concerts 
 as well as the annual operatic performance were 
 conducted by him as hitherto. 
 
 I saw him at the Salisbury Hotel perhaps more 
 frequently after his illness than 1 had done before.
 
 ARS LONGA, VITA BREVIS^ 217 
 
 I found no change in him ; in fact he looked quite 
 hale and hearty. In figure he was inclined to be 
 somewhat portly, though not too much so. His 
 fine open expression of face betokened much char- 
 acter and gave him a distinguished appearance. 
 Some such estimate of his personality was upper- 
 most in my mind as I talked to him one morning 
 at the SaHsbury Hotel. I happened to allude to 
 the enormous amount of work he had to accom- 
 plish at the Guildhall School, when he said, very 
 impressively : " I often think, Barnett, that I am 
 doing more work than I ought to do, what with 
 my duties at the School and elsewhere ; and the 
 danger in this is, that one does not always feel the 
 bad effects of it until some time afterwards, and 
 then it is perhaps too late to repair the evil caused 
 by overwork." 
 
 This was the last occasion on which I saw him, 
 and, so far as I can recollect, the last words I heard 
 him speak. Alas ! how prophetic they were. He 
 little thought at the time that the "afterwards " was 
 only too near at hand I It was but a few days 
 later that I was at work at the Guildhall School, 
 when I learnt that again he had been taken 
 seriously ill. An hour or two after a telegram was 
 received by the secretary announcing his sudden 
 death. 
 
 At the time, the professors myself among them
 
 218 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 were engaged at their teaching duties. The sad 
 news was not long in circulating throughout the 
 School. Then the sounds of music that had filled 
 the classrooms were hushed as by mutual consent ; 
 the stillness and silence of death seemed to be 
 upon us all. We spoke to one another in whispers, 
 as though we were in the chamber of death. 
 
 With the other professors I attended the funeral 
 service held at St. Paul's, and, with the chief 
 mourners, we formed a procession up the grand 
 aisle. When we arrived under the dome we sat 
 down and listened to the impressive choral service 
 that followed. 
 
 How solemn in effect were the harmonies of the 
 choir that echoed through the great cathedral. 
 They recalled to me the feelings I experienced 
 when I heard the choristers in Westminster 
 Abbey singing that beautiful anthem, " God is a 
 Spirit," at the obsequies of Sir Sterndale Bennett 
 on 6 February, 1875. 
 
 Work, with its usual busy routine, was soon 
 resumed at the Guildhall School. For a few 
 months it was carried on by the secretary, then 
 Mr. Hilton Carter. Mr. Charles P. Smith, our 
 former loved and esteemed secretary, who had 
 done so much to further the interests of the
 
 "ARS LONGA, VITA BREVIS" 219 
 
 School, having been claimed by death during Sir 
 Joseph Barnby's short principalship. 
 
 The election of the third Principal of the School 
 was conducted on the same lines as the previous 
 election, and was very closely contested, the Cor- 
 poration in the end selecting Mr. (now Dr.) 
 W. H. Cummings, who was at that time one of 
 the most popular professors of the School. In 
 selecting from the teaching staff, they showed their 
 wisdom, for Mr. Cummings was more likely to be 
 familiar with the working and requirements of the 
 School than an outsider could possibly have been. 
 As Treasurer of the Royal Society of Musicians, 
 and of the Philharmonic Society, his business 
 capacities had been thoroughly tested, whilst as a 
 musician of varied attainments and vast experience 
 he had long before made his mark.
 
 CHAPTER XXIV 
 
 WELSH HOLIDAYS SNOWDON 
 
 TN speaking of the daily routine of the Guild- 
 -^ hall School, with its ever-recurring programme 
 of work, many perhaps will think that the pro- 
 fessors must have a hard time indeed, especially 
 as some among their number, like myself, are 
 engaged in other institutions. 
 
 During the term, the work that the professor 
 has to accomplish is, no doubt, very arduous ; but 
 he enjoys one great advantage which is not shared 
 by those engaged in business pursuits. A fort- 
 night's holiday is about as much as the City man 
 can afford to take from his work ; whereas the 
 musical professor has a very liberal margin allowed 
 to him for his summer excursions. The allowance, 
 in fact, is so Uberal, that he could easily go to 
 South AMca and back during the time. 
 
 Many of my vacations have been spent in 
 different parts of Wales and its neighbourhood, 
 and about some of these I propose to give a 
 description and record my impressions. 
 
 aao
 
 WELSH HOLIDAYS SNOWDON 221 
 
 The first holiday I spent in Wales was a good 
 many years ago, somewhere between my return 
 from Germany and the production of my "Ancient 
 Mariner." 
 
 It so happened that a young friend of mine, 
 Mr. W., whose society I always enjoyed, had 
 arranged to go with his sister for a short tour in 
 North Wales, and he asked me whether I would 
 accompany them. 
 
 Never having been in the principality before, his 
 proposition was very welcome to me ; I was obliged, 
 however, to limit the time I could devote to the 
 trip to a week, owing to the date fixed for my 
 eldest sister's wedding, at which I had to be 
 present. 
 
 My stay in Wales being so short, I resolved not 
 to encumber myself with any luggage, but just to 
 take a small handbag containing what I thought 
 necessary. It will be seen later on that this light 
 mode of equipment, although it gave me greater 
 freedom, was not unattended with certain risks. 
 
 I met my friend and his sister at an hotel 
 in Llangollen, and as I arrived there after dark 
 I had to wait until the following morning to 
 satisfy my yearning for seeing the beautiful scenery 
 of which 1 had heard so much. 
 
 I rose early, and from my window, whilst dress- 
 ing, I caught a glimpse of the turbulent river
 
 222 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 which, swollen by heavy rains, poured its foaming 
 waters under the arches of a picturesque bridge, 
 losing itself among the rocks and boulders. 
 
 Fortunately for us, the waterfalls and cascades 
 were then in fine form, as the weather had been 
 for some weeks previously the reverse of dry. 
 We had, nevertheless, a fine day to start with, 
 and in the morning we ascended the highest hill 
 near Llangollen, from the summit of which we 
 obtained a splendid view of the surrounding 
 country, and after we had returned to the hotel 
 and had partaken of some lunch, we were in time 
 for the Llanberis coach, which was to convey us 
 to Capel Cwrig. It was in this primitive hamlet 
 that we intended to pass the week, making such 
 excursions as the weather might permit, one of 
 which was to ascend Snowdon itself. 
 
 We put up at a little inn which was close to 
 many interesting bits of typical Welsh scenery. 
 One or two of these I added to my sketch-book,* 
 and I commenced the view of Moel Siabod, which 
 was opposite our inn ; but I found it very compli- 
 cated. I am ashamed to say that this sketch still 
 remains unfinished. 
 
 Of course we went to Bettws-y-Coed and saw 
 the Swallow FaUs and the Miner's Bridge; but 
 
 * In my boyhood I had studied water-colour and pencil sketching 
 with William Varley, the artist whom I alluded to in my introductory 
 pages.
 
 WELSH HOLIDAYS SNOWDON 223 
 
 these are so well known that description is un- 
 necessary. We also made an excursion to the 
 fairy-like Lake Ogwen, and explored the wild and 
 rocky region which is adjacent to it. It proved to 
 be very rough work climbing amidst these rugged 
 mountains ; but we went as far as the " Devil's 
 Kitchen." With this I was disappointed, for it did 
 not look nearly diabolical enough. 1 was told that 
 in order to convey this sinister impression it should 
 be seen in the gloom of a coming thunderstorm, 
 the absence of which, notwithstanding, I did not 
 deplore, as it happened to be one of the finest 
 days we had during the week. 
 
 The ascent of Snowdon we put off until the 
 last day of our visit, which happened to be a 
 Sunday. All through the week we had been 
 looking forward to this excursion, and, as the day 
 opened with a fine morning, we determined upon 
 making the ascent. We had the aid of a guide, 
 and a pony, which was intended for Miss W. 
 
 We started in good spirits, and commenced the 
 ascent in brilliant sunshine. W. and myself found 
 it hard work, for the ascent from Capel Cwrig is 
 very difficult, but as it affords some of the grand- 
 est views known in Welsh scenery it is well worth 
 the toil it costs. 
 
 We had reached a point commanding a fine 
 view of the scenic panorama about which the
 
 224 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 guide already had given us a glowing description. 
 We were exulting over the beautiful scene that 
 the grand old mountain had set before us, 
 when the fair view began gradually to fade away 
 until it was entirely hidden by mist. This we 
 thought would soon disappear, as it might be only 
 a drifting cloud. Unfortunately, the mist not only 
 refused to clear away, but gradually developed 
 into a drizzle. Still we did not lose hope that the 
 weather would mend ; but to our disappointment 
 the drizzle increased to rain. We could now see 
 naught except objects immediately before us, so 
 that our only occupation was to follow the guide, 
 who did his best to reassure us regarding the 
 prospect of the weather clearing. 
 
 At last we arrived at the Httle cabin on the 
 summit of Snowdon that bore the inappropriate 
 name of an hotel. It was a wretched little place, 
 but we were thankful for the protection it afforded 
 us, for it was then raining in torrents. 
 
 Whilst I was sitting down to rest a gentleman 
 turned to me and said, " Hallo 1 Mr. Barnett, who 
 would have thought of seeing you here? Allow 
 me to introduce myself, as I know your father well. 
 I am Henry Lincoln, and am musical critic of the 
 * Daily News.' " We then entered into conversation, 
 and were both extremely amused at the idea of our 
 meeting for the first time at the top of Snowdon.
 
 WELSH HOLIDAYS SNOWDON 225 
 
 After waiting and waiting, in the hope that the 
 storm would give some signs of ceasing, W. and I 
 decided upon our little party descending the 
 mountain by the Llanberis side. This indeed had 
 been part of our programme, as we intended to 
 have explored the lake and pass of Llanberis. 
 
 The descent would have been easy work but for 
 the rain ; the wind, too, was so high that my 
 umbrella was blown to shreds, and, becoming 
 utterly useless, I threw it away. 
 
 When we arrived at Llanberis, the guide 
 took us to the house of a friend of his, who 
 promised to provide us with a dog-cart to 
 take us back to Capel Cwrig, fourteen miles dis- 
 tant. We dried ourselves as well as we could at 
 the kitchen fire whilst waiting for our conveyance. 
 
 Before starting, the guide and his friend did all 
 they could to protect us from the weather, by the 
 aid of horsecloths and other wraps. These proved 
 to be of Uttle use against the deluge of rain which 
 soaked through everything; so that when we 
 reached our inn we were as wet as though we had 
 been fished out of a river. 
 
 Not having a change of attire with me, I at 
 once went to bed, giving instructions for my 
 clothes and boots to be dried at the fire during 
 the night. 
 
 I rose early the next morning in order to 
 Q
 
 226 MUSICAL REMINISCENCES &> IMPRESSIONS 
 
 catch the stage-coach going to Llanrwst, at that 
 time the nearest railway-station. This was the only 
 coach that ran during the day, and if I had missed 
 it I should have been too late for my sister's wed- 
 ding, which was to take place on the following 
 morning. 
 
 I had not allowed myself much time, so my 
 friend W. promised to stand at the door ready to 
 stop the coach as it came down the hill. 
 
 Meanwhile, I was in a most unenviable position, 
 for I was endeavouring vainly to get my feet into 
 my boots the only pair I had with me. 
 
 These boots were of a pattern but little worn 
 now. They were Wellington top-boots, reaching 
 half-way up the leg. They were saturated when I 
 left them to be dried, and the servant, thought- 
 lessly, had placed them too near the fire, which had 
 shrunken the leather to such an extent that, do 
 what I would, it was impossible to force a way 
 into them. 
 
 Whilst exhausting myself in vain efforts, I heard 
 the distant rumbling of the approaching coach. 
 In desperation I took my penknife and cut away 
 the upper part of the boots, converting them into 
 shoes. Even in that condition they were far too 
 small to get on. The coach was now at the door. 
 I called to my friend, telling him of my predica- 
 ment, for I could hardly travel shoeless to London.
 
 WELSH HOLIDAYS SNOWDON 227 
 
 He thereupon lent me a pair of buckle-shoes he 
 had with him ; and although they were rather small 
 for me, I was never more grateful in my life than 
 I was for the loan of those buckle-shoes, as they 
 saved the situation. I got my feet into them as 
 well as I could, made one rush from the door of 
 the inn to the coach, just as the driver, in his 
 impatience, was on the point of starting. I had 
 scarcely time to say good-bye to my friends ; in 
 fact, we were all laughing so heartily at my 
 undignified exit that words were drowned in 
 laughter.
 
 CHAPTER XXV 
 
 WELSH HOLIDAYS A FLOOD 
 
 TjIOR several years after my visit to Capel Cwrig 
 -* I always spent my summer holidays in Wales, 
 and generally prolonged my stay to within a few 
 days of the commencement of my engagements in 
 London. But once every three years, notwith- 
 standing the attractions of fine scenery, I did not 
 hesitate to shorten my holiday, in order to be pre- 
 sent at the Birmingham Festival, which was then 
 held about the end of August. 
 
 During one of my Welsh trips, previous to the 
 Festival of 1879, I was stajdng with my wife^ 
 at Penmaenmawr ; our plan being to remain there 
 three weeks, and then go on to Birmingham in time 
 for the Festival. 
 
 The first few days of our visit to this picturesque 
 place were very enjoyable, as we had some fine 
 weather, and were thus able to explore the Sychnant 
 Pass which, with its winding terrace-road, affords so 
 many enchanting views. 
 
 ^ This was my first wife, whose maiden name was Alice Dora Booth, 
 and whom I married in 1876. She was the daughter of Lorenzo John 
 Booth, a clever artist. She died in the year 1882. 
 
 228
 
 WELSH HOLIDAYS A FLOOD 229 
 
 At the foot of the mountain which overshadows 
 this pass lies a deep valley, so deep that one is 
 surprised to find no water in it. Owing to this 
 peculiarity it is called the *' Dry Valley." 
 
 It could not have been long after our excursion 
 to this region that the terrible floods set in, which 
 made the summer of 1879 a memorable one for 
 Wales. The so-called "Dry Valley" must then 
 have belied its name. 
 
 We were at this time still at Penmaenmawr. It 
 was fortunate for us that we had chosen so elevated 
 a spot for pitching our holiday tent, for if we had 
 selected one of the vales instead of a mountain, 
 we should not have enjoyed our experience. As it 
 was, notwithstanding its high position, many houses 
 in Penmaenmawr were flooded. Where we were 
 lodged we escaped this inconvenience ; but in the 
 house opposite, the hall, as far as the staircase, 
 appeared to be a running stream of water. 
 
 During the three or four days of incessant rain 
 we spent most of our time in watching the swirling 
 flood, as it poured down the road in its heedless 
 course like a mountain torrent. 
 
 This same flood, we were told, had converted in- 
 significant streams into mighty rivers, whose waters 
 moved with an unnatural and deadly velocity, carry- 
 ing all before them with relentless force. It was 
 one of those small streams which, in a dry season,
 
 230 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 one could step across, that, swelled by the flood 
 into an irresistible torrent, washed away the entire 
 viaduct of Llandulus.^ 
 
 Fortunately no train was passing over it at the 
 time, otherwise a disaster would have occurred 
 rivalling in magnitude some of those appalling 
 railway accidents in America. 
 
 I am here reminded of a charming episode that 
 occurred several years ago in the United States, 
 when a train was saved from destruction by a little 
 girl only eight years of age. The incident took 
 place not far from a station, at a part of the 
 country where a river is spanned by a railway- 
 bridge. The child (the daughter of the station- 
 master) happened at the time to be on the bank of 
 the river close to the bridge, and was watching the 
 turbulent waters eddying under its arches, when to 
 her terror, without any warning, the structure gave 
 way before her eyes. At the same moment she 
 heard the whistle, and, turning, saw in the distance 
 a train approaching and nearing its doom. With- 
 out an instant's hesitation she snatched off her little 
 red skirt and, running on to the line, waved it to 
 and fro as a signal of danger. The engine-driver, 
 fortunately, understood it as such, and was able to 
 pull up in time to save his train from being precipi- 
 tated into the river. 
 
 ^ This viaduct consisted of about sixteen arches^ and the catas- 
 trophe took place on 17 August, 1879.
 
 WELSH HOLIDAYS A FLOOD 231 
 
 I have no doubt there were several narrow 
 escapes in Wales during the great flood of 1879. 
 Besides the viaduct of Llandulus numerous bridges 
 were destroyed, among these being the bridge of 
 Aber, a massive stone construction. This was very 
 unfortunate for Penmaenmawr, as railway commu- 
 nication had already been cut off on one side by the 
 Llandulus disaster. Now that the bridge of Aber 
 had likewise succumbed, we were absolutely severed 
 from all communication with the outer world. In 
 consequence, we received neither letters nor news- 
 papers. Our supplies in regard to milk and other 
 necessaries of life ran short, so that, in a mild way, 
 we tasted some of the experiences of a beleaguered 
 town. 
 
 Luckily for us, the rain ceased in time for our 
 journey to Birmingham. 
 
 Owing to the destruction of the viaduct between 
 Colwyn and Abergele, when we arrived at Colwyn 
 we had to leave the train and find some convey- 
 ance to take us to Abergele, in order to resume our 
 journey. As to this there was no difficulty, for 
 the railway company had made ample arrange- 
 ments for carrying their passengers over the break 
 in the line, a distance of about four miles. 
 
 I do not think I ever saw, before or since, such 
 a motley collection of vehicles. It seemed as if 
 all the old and disused omnibuses had been sought
 
 232 MUSICAL REMINISCENCES iSr' IMPRESSIONS 
 
 out, after their existence had been wellnigh for- 
 gotten. Then there were dog-carts, tradesmen's 
 carts, victorias, cabs, and four-in-hand brakes drawn 
 by two horses, all looking equally shabby and out 
 of date. 
 
 In spite of their unattractive appearance the rush 
 for them was great. It was quite a scramble of 
 every one for himself, for we were all afraid of being 
 left behind and so losing the train. We succeeded in 
 getting a dog-cart. Whilst on our way a boy ran 
 after it, and told us some of the experiences he had 
 had at Abergele, where he was staying. He said 
 that, in consequence of the bakers' ovens being 
 flooded, the visitors had been without bread for 
 many days, and had been obliged to put up with a 
 substitute in the form of thin cakes made of flour 
 and water, fried in pans. These I expect very 
 much resembled a specimen of bread a friend of 
 mine once brought with him as a curiosity from 
 Norway, and which looked more like the bottom 
 of a bandbox than anything edible. 
 
 During our journey to Birmingham we wondered 
 what had become of our boxes. The last we had 
 seen of them was at Colwyn Station, where we 
 had left them amid a huge pile of trunks, port- 
 manteaux, and luggage of every description, strewn 
 about in the wildest confusion. On reaching our 
 destination, therefore, we were not unprepared to
 
 WELSH HOLIDAYS A FLOOD 233 
 
 hear that our luggage could not arrive until the 
 following day. How our boxes ever found their 
 way to Birmingham was a mystery I But, fortu- 
 nately, they succeeded in doing so, for when we 
 called at the station the next morning we espied 
 them awaiting, and were thus able to go to the 
 first performance of the Festival in more suitable 
 attire than a travelling get-up.
 
 CHAPTER XXVI 
 
 WELSH HOLIDAYS MUSIC O'ER THE 
 
 LAKE TRESPASSERS 
 
 AN AWKWARD DESCENT 
 
 A MONG the places in Wales that possess the 
 -^--*- greatest attraction for me, none surpasses in 
 beauty that of Barmouth and the surrounding 
 neighbourhood. 
 
 My earliest visit to Barmouth was just prior to 
 the Hereford Festival at which my "Raising of 
 Lazarus " was performed. 
 
 On the occasion of another visit to this town we 
 found my friend W. and his sister staying there. 
 W. was very fond of boating, and as in calm 
 weather the estuary of the Maudach is like a 
 smooth lake, it afforded him splendid opportuni- 
 ties for enjoying this pastime. 
 
 Hearing one day that he and his sister were 
 going to row on the Maudach, I thought I would 
 give them an agreeable surprise. My father and 
 three of my sisters were with me at the time, and 
 we directed our steps from Barmouth along 
 a bridle-path parallel to and overlooking the 
 
 234
 
 MUSIC O'ER THE LAKE 235 
 
 Dolgelly road which skirts the estuary. The 
 path here is fringed with trees, and between them 
 every now and then we obtained beautiful views of 
 the placid lake-hke scene beneath, bounded by the 
 many-tinted mountains. 
 
 Presently, in the distance, we saw the boat ap- 
 proaching that contained our friends ; so we hid 
 ourselves behind some of the trees and bushes, 
 and then we arranged to sing as much of the 
 opening chorus from my "Ancient Mariner" as 
 we could recollect. Two of my sisters were to 
 take the soprano part, the other the alto, my 
 father the tenor, whilst I was to sing bass. 
 
 When the boat was sufficiently near, 1 gave the 
 signal to commence, and by the aid of our memory 
 we sang through the whole of the chorus. 
 
 When, later in the day, we met my friends, they 
 told us that they had had a really charming ex- 
 perience, for our little vocal performance, coming 
 unexpectedly, produced a most fairy-like effect. 
 Our voices passed over the smooth surface of the 
 waters and blended in such a manner as to make 
 
 the tone sound quite silvery and ethereal. 
 
 
 
 To me, in these mountainous districts where civil- 
 ization has not parcelled up the country into roads 
 and fields, one of the most delightful sensations is 
 to find myself in a wild region midst wood and
 
 236 MUSICAL REMINISCENCES &> IMPRESSIONS 
 
 dale, where, as far as the eye can see, no trace is 
 visible of the ever-busy hand of man. 
 
 Every day it becomes more difficult to find such 
 romantic scenes. Many a local that afforded fine 
 opportunities for indulging unmolested in the love 
 of nature, on revisiting, I have found enclosed, 
 and a respectable family mansion erected on it, 
 surrounded by grounds. The annoying part of 
 this arrangement is, that the site selected is always 
 the one where the most beautiful view could be 
 obtained, and henceforth it is shut out from the 
 gaze of the visitor by an ugly wall, too high even 
 to look over; while, to add insult to injury, one 
 sees a board with the words painted upon it, 
 " Trespassers will be prosecuted with the utmost 
 rigour of the law." 
 
 In many parts of North Wales it is most diffi- 
 cult to know whether you are trespassing or not ; 
 for the low walls constructed of loose stones, 
 which take the place of our hedges in England, 
 and which mark the boundaries of farms, are not 
 infrequently so arranged that, whether you are in- 
 side or outside an enclosure, is quite a puzzle. 
 
 I remember one day, when we were rambling in 
 the wild mountainous regions near Little Borth, 
 where these walls abound, we came across some 
 very tempting blackberry bushes. My father, my 
 sisters, and my children were with me, and most
 
 TRESPASSERS 237 
 
 of us availed ourselves of the rustic dessert Nature 
 had provided by picking the blackberries, which 
 were particularly fine. We had no idea at the 
 time that we were actually trespassing on one of 
 the enclosures belonging to a small farmer; and 
 when we heard from the valley beneath a man's 
 angry voice calling threats, we were not in the 
 least aware that he was addressing us. I was in 
 fact rather interested in noticing what wonderful 
 power of voice he possessed in making himself 
 heard from such a distance. As his vocal efforts 
 became alarmingly fierce in tone, it dawned upon 
 me that he was addressing us, and moreover, that 
 he was evidently not entering into the fun in 
 the same spirit that we were ; from which 1 con- 
 cluded that perhaps we were trespassing upon his 
 blackberry orchard. 1 tried to explain matters, 
 but the distance prevented my words from reach- 
 ing him, and he called out in a voice, the harsh, 
 grating tones of which I have never heard equal- 
 led, " I will go and fetch a policeman I " This 
 amazing threat tickled our fancy greatly, for the 
 nearest place where this formidable officer of the 
 law could be obtained was Portmadoc, at least 
 three miles away. 
 
 Little Borth, which I have mentioned, and 
 which is a fishing village, is about a mile from 
 Portmadoc, and is beautifully situated upon the
 
 238 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 estuary of the river. The fishermen, notwith- 
 standing the small size of the cottages they in- 
 habit, contrive to let rooms to tourists. These 
 rooms were very well kept, but so tiny that, to 
 have accommodated our party, I think we should 
 have required that at least half a dozen of the cot- 
 tages should have been placed at our disposal. 
 Fortunately, we found ample accommodation in 
 one of a block of three houses which had origin- 
 ally been an hotel, and opposite one of the finest 
 examples of Welsh scenery that I know. The bay- 
 window in the drawing-room had three separate 
 views, each distinctive and interesting. From the 
 centre of the window a grand panorama of the 
 lake-like estuary presented itself, bounded by 
 the distant mountains, near one of which the 
 ruins of Harlech Castle could be discerned. 
 
 The dim outHnes of the castle, as I saw them 
 from afar, recalled to me an incident which oc- 
 curred in connexion with it two or three years 
 previously, and which is still ifresh in my memory. 
 
 I had been often curious to explore the ruins of 
 this mediaeval stronghold, so that on one occasion, 
 when we were staying at Barmouth, being com- 
 paratively near, we arranged an excursion to them. 
 
 This visit to Harlech Castle was full of interest 
 for me, as not long before I had heard, for the 
 first time, the celebrated "March of the Men of
 
 AN AWKWARD DESCENT 289 
 
 Harlech," given with great effect at the inaugural 
 Welsh Concert at St. James's Hall, under the 
 baton of Mr. John Thomas. Whether this in- 
 fluenced me or not, I cannot say, but I determined 
 if possible to leave no part of the castle un- 
 explored. My enthusiasm might, however, have 
 cost me dear. 
 
 We had been round the ramparts, when 1 
 noticed a little wooden bridge leading over a gap 
 that led to an opening by which entrance could be 
 obtained to the watch - tower, and which is the 
 most elevated part of the structure. I proposed 
 ascending it ; but my father and sisters thought it 
 dangerous, and were too nervous to attempt it. 
 I accordingly crossed over the wooden bridge, 
 entered the tower, and began to ascend the stone 
 steps that led to the top. These were very rough 
 and irregular, and so broken away that the 
 greater number of them were not more than 
 two feet in width. 
 
 When I had climbed nearly to the summit of 
 the tower, it occurred to me that I should have to 
 go down again, and that the process of descending 
 might be a hazardous undertaking. Accordingly, 
 I thought it wiser to proceed no farther. On 
 turning, I saw at once the danger I was in. From 
 where I stood there was a sheer descent of some 
 two hundred feet to the basement of the castle.
 
 240 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 The steps by which 1 had to make my way down- 
 wards were barely wide enough for even one 
 person to walk upon ; they were Ukewise so 
 broken away that it was very difficult to get any- 
 thing hke a sure footing upon them. One slip or 
 false step would have precipitated me to the bottom. 
 There was no rail or balustrade by which to steady 
 myself. I paused, and debated in my mind as to 
 which mode of descent would be attended with 
 least danger. To crawl down backwards was 
 rather ignominious. I consequently resolved to 
 face the danger and walk down manfully, keeping 
 as close to the wall as possible, and taking care 
 that every step was well planted. It was as much 
 as I could do to keep my steadiness of nerve and 
 avoid any feeling of giddiness that might be 
 caused by the great depth I saw beneath me, and 
 which probably would have brought on an attack 
 of vertigo. If for one moment I had given way 
 to such a feeling all would have been over with me, 
 and certainly I should not be writing my experience 
 of it at the present moment. But I fortunately 
 succeeded in controlling my nerves. When at 
 last I emerged from the opening in the tower and 
 stood again upon the wooden bridge, my father 
 and my sisters, anxiously awaiting my reappear- 
 ance, exclaimed : " Why, John, you look as if you 
 had seen a ghost I "
 
 U'ltoto^raph /} JuiriaiiiU Ltd. 
 JOHN FRAN'CIS BARNETT
 
 CHAPTER XXVIl 
 
 CHEPSTOW A RUSTIC CEREMONY- 
 ASTRA Y! 
 MEETING IN THE FARMHOUSE 
 
 I HOPE my readers will not think that 1 am 
 bent upon giving a detailed account of my 
 visits to all the castles that I have been over ; but 
 I must ask indulgence for devoting some space to 
 one of my holiday excursions, on which occasion I 
 stayed some weeks at Chepstow, and, of course, 
 explored the ruins of the celebrated castle which 
 is one of the principal attractions of the place. 
 
 My sojourn in the charming neighbourhood of 
 Chepstow has impressed itself upon my memory, 
 not only on account of the picturesque character 
 of its castle, but likewise owing to two or three 
 incidents that occurred during the time. 
 
 We stayed at a farm-house on Tat's Hill, which 
 is close to Chepstow, on the opposite side of the 
 River Wye. It was an old and primitive place, and 
 evidently had been the largest of its kind in the 
 locality. From the dining-room window a beau- 
 tiful distant view was obtained of a spot in the 
 
 R 241
 
 242 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 landscape where the waters of the Wye and 
 Severn meet. It was, perhaps, rather spoilt in 
 the foreground by the tubular bridge through 
 which the railway runs, this iron structure being 
 so peculiar in form that it looks as though the 
 engineer had by mistake erected it upside down. 
 
 Our water-supply at this farm was rather a novel 
 feature. It was contained in an underground tank 
 of huge proportions, into which was collected the 
 rain-water from the roofs of the house and ad- 
 joining buildings. We understood that the people 
 of the village used to come to the farm for water, 
 so that the huge tank harboured there formed a 
 kind of reservoir for the neighbourhood. 
 
 Contrary to what might have been expected, the 
 water was beautifully clear and very pure and soft, 
 and, I think, agreed with us all the better for 
 being devoid of lime or other mineral properties. 
 It was, likewise, as cold as spring water, even in 
 the hottest weather. 
 
 We found everything in the way of food won- 
 derfully cheap at Chepstow, especially salmon, 
 which we used to buy at one of the reaches 
 belonging to a gentleman in the neighbourhood, 
 and not unfrequently we saw the salmon caught 
 that was afterwards to be served at our dinner. 
 
 The arrangements at the farm for the boiling of 
 fish were not altogether satisfactory ; for one day,
 
 CHEPSTOW 243 
 
 after we had been profuse in our eulogiums upon 
 the delicious flavour of a very fine specimen of 
 the king of fish, and had congratulated ourselves 
 upon our good fortune in being at one of the 
 headquarters of the salmon industry, our nerves 
 received a severe shock, inasmuch as our landlady 
 inadvertently disclosed to us that the salmon had 
 been boiled in the scullery copper. As this old- 
 fashioned contrivance for washing clothes was still 
 used for that purpose, it not a little disconcerted 
 us. After this unpleasant discovery, we lost no 
 time in supplying the good woman with a fish 
 kettle at our own expense. 
 
 One of the incidents that occurred during our 
 visit to Chepstow was the ceremony of the open- 
 ing of the castle grounds, or Castle Dell, as it is 
 called, to the public by the Duke of Beaufort, on 
 11 August, 1886. This afforded an opportunity 
 to the townspeople for organizing a procession 
 through Chepstow. On a small scale, it reminded 
 me of the one I witnessed in Leipsic on the cen- 
 tenary of Schiller's birth. The various industries 
 were represented by the artisans belonging to 
 them, working at their respective trades in wagons 
 or caravans specially arranged for the occasion. 
 These vehicles were tastefully decorated with 
 flowers and emblems of the various trades repre- 
 sented, and were drawn by horses wearing favours.
 
 244 MUSICAL REMINISCENCES <&- IMPRESSIONS 
 
 It was a very pretty sight to watch this pastora 
 procession wending its way through the quaint 
 street in Chepstow, and passing under the antique 
 archway by which the old town is entered. The 
 men belonging to the various orders, known as 
 those of the Foresters and the Band of Hope, 
 sported their gayest uniforms on the occasion. 
 Then there were young girls, prettily dressed and 
 wearing garlands of flowers. Altogether the pro- 
 cession was rich in colour and variety. Presently 
 one heard the distant music of a band approaching, 
 and producing, as it came nearer and nearer, a very 
 fine crescendo^ which worked up to a splendid 
 forte as it passed immediately opposite to us ; and 
 then again, as it disappeared under the old arch- 
 way, an excellent effect of diminuendo was ob- 
 tained, that might have served as a useful lesson 
 to many an orchestra as to the manner in which a 
 diminuendo should be managed. 
 
 When the procession had passed we went into 
 the castle grounds that had just been declared free 
 to the public. They form a permanent addition to 
 the attractions of the town, being like a sylvan 
 park in miniature. 
 
 We had previously been over the castle itself, 
 which is so well known as to render a minute 
 description superfluous. 
 
 On entering the ruins of Chepstow Castle one
 
 CHEPSTOW 245 
 
 does not experience that depressing feeling which 
 such time-worn and dilapidated buildings are apt 
 to inspire. The ivy-clad walls and towers are quite 
 ornate in appearance ; then there is a magnificent 
 walnut tree, whose spreading branches cast their 
 shadows on a well-kept lawn. All is peaceful and 
 soothing to the eye, so that one can scarcely 
 realize that in the remote past many a prisoner 
 may have pined away in some dark or gloomy 
 dungeon, or may have met his fate by being 
 secretly put away. There is, however, one dun- 
 geon that certainly conveys the impression that 
 dark deeds may have been perpetrated in it, and 
 that it may possibly have been an oubliette. It, 
 moreover, on one side, presents an unprotected 
 opening through which any prisoner, either by 
 accident or force, could easily have been precipi- 
 tated into the river. As we looked down this 
 awful gap, which, when we saw it, was unpro- 
 tected, we could see the swirling and rushing 
 waters of the Wye hurrying on their headlong 
 course, and we could easily appreciate how effec- 
 tive a means it must have been for getting rid of 
 a troublesome enemy or rival in love. For any 
 one falling into the rapids of the river would be 
 carried by the current into the great Severn, and 
 lost to view for ever. 
 
 Few rivers can boast of such romantic scenery
 
 246 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 as the Wye, in the vicinity of Chepstow. Rich 
 foliage and broken outHnes of rocky cUfFs mingle 
 together apparently in wild discord, and yet they 
 form a harmonious whole that is absolutely per- 
 fect. It is strange that this melee of rock and 
 woodland, which some freak of nature has scat- 
 tered haphazard, should, with the swift-flowing 
 river, combine to form a picture which the eye 
 loves to dwell upon, and which conjures up 
 thoughts of romance. Yet so it is, and it is one 
 of those mysteries, akin to music itself, which defies 
 solution, and which would rack the brains of the 
 most profound philosopher to build up a tangible 
 theory of explanation. 
 
 At Tat's Hill we had a fine opportunity of 
 realizing the scenic effects I have described, as, 
 quite close to where we were staying, there is a 
 terrace-walk, hewn out of the cliffs that skirt the 
 river, commanding one of the grandest views in 
 the neighbourhood. The way to this fine point of 
 observation was through the grounds of an adjoin- 
 ing house, which belonged to an old lady who gave 
 permission to visitors to explore the surroundings 
 amidst which she dwelt. 
 
 First we went through the pretty garden near 
 the house, but by a little detour we soon came 
 upon the terrace- walk to which I have just alluded. 
 There we found ourselves perched up half-way
 
 CHEPSTOW 247 
 
 between the top and the base of the cliffs, on a 
 narrow and unprotected pathway overhanging the 
 river. Although not nearly so dangerous as the 
 broken steps in the watch-tower of Harlech Castle, 
 it still demanded caution, but the reward for any 
 possible danger was immeasurably greater. In 
 the watch-tower there was nothing to be seen but 
 gloomy walls and a cavernous depth, whereas from 
 where we stood a glorious panorama unfolded 
 itself. I should certainly have enjoyed the view 
 still better had my children not been with me, for 
 I was constantly enjoining them to exercise cau- 
 tion, with such admonitions as " Keep close to the 
 rocks ! " " Walk only one at a time ! " and I felt 
 greatly relieved when we had passed over this 
 rocky ledge. I think, however, that when we 
 explored the river from the opposite side a few 
 days after we ran a greater risk, but of another 
 kind. 
 
 Access to this side of the river is obtained by 
 passing through the grounds which adjoin a house 
 situated on the road to Tintern. This house is an 
 ugly, square, white-painted building, and as it 
 stands alone, without even a tree being near it, it 
 affords an excellent landmark. 
 
 It was a fine afternoon when we started on our 
 excursion, and it was not long before we found 
 ourselves on the banks of the Wye, if the rough,
 
 248 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 rocky pathway could be so called. From here we 
 had an opportunity of seeing the river and its 
 surroundings at closer quarters. All is as wild 
 and solitary as it was hundreds of years ago. No 
 one has been tempted to interfere or tamper with 
 nature. Foxes and other wild animals roam about 
 unmolested by the sportsman, for the ground is 
 too rugged and broken for sport. The wily rey- 
 nard is sly enough to know that here he is per- 
 fectly safe, so we frequently came across him in 
 our rambles. The rustling music of the trees, 
 swayed to and fro by the breeze, with now and 
 then the note of some woodland songster, is accom- 
 panied by an ever-prolonged pedal note, as we 
 musicians call it, emanating from the drone and 
 hum of myriads of insects, attracted by the waters 
 of the busy river flowing beneath. Their millions 
 of tiny wings seem to accord in the sound vibra- 
 tions they produce, conveying the effect of one 
 note well defined. One might almost imagine that 
 some mysterious instinct leads them to join in 
 unison. 
 
 My father and my sisters, who were with me, 
 entered fully into the poetry of this scene of river 
 and woodland, but I think my children thought 
 more of the blackberries, which were very abun- 
 dant, and which were as large as mulberries. 
 Altogether, we were spending a most enjoyable
 
 CHEPSTOW 249 
 
 alfresco afternoon, and were loath to turn back. 
 When we did so, the shades of evening were gradu- 
 ally approaching, for the shorter days of a well- 
 advanced September were already overtaking us. 
 
 On all excursions of this kind I have generally 
 acted as guide, so that I took the precaution of 
 making such observations of the different paths as 
 would enable us to find our way safely back. But 
 I must have made some mistake in returning, as 
 the path that I chose, instead of leading us away 
 from the river, brought us back to it at another 
 point. 
 
 The situation was now becoming serious, for 
 soon the light of the setting sun would have failed 
 us. If we could not find our way by daylight, it 
 was exceedingly improbable that we should do so 
 in the darkness of night ; added to this, my 
 younger little daughter was growing so tired that 
 alternately we had to carry her in order to pro- 
 gress at all. If I had had a pocket compass with 
 me it would have been of great assistance, but all 
 I could do then was to make for one of the other 
 paths, from which there were several to choose. I 
 exercised the wisest discretion I could call forth, 
 and led our httle party on until at length we were 
 free of the wood, and found ourselves on rising 
 ground covered with thick, coarse grass, so high 
 that it might have been part of an Indian jungle.
 
 250 MUSICAL REMINISCENCES ^r' IMPRESSIONS 
 
 Through this we had to wade as best we could, 
 but, to our joy, on looking into the distance we 
 saw the ugly white house which we had thought 
 such an eyesore, but which was then more welcome 
 to us than any of the beautiful scenes we had left 
 behind. 
 
 All cause for alarm was now at an end, and it 
 was not long before we were safe in our farm-house 
 at Tat's Hill, resting our wearied limbs and re- 
 viving ourselves by the cup *' which cheers but not 
 inebriates." 
 
 During our stay at Chepstow an opportunity 
 was afforded me of seeing again my uncle John 
 Barnett, who together with his wife came over 
 from Leckhampton, near Cheltenham, where they 
 lived. This visit was in response to an invitation 
 that we gave them to dine with us and spend the 
 evening at the old farm-house. 
 
 I had not seen them for many years, so their 
 coming was quite an event. My uncle at that 
 time was well advanced in years, but looked, 
 nevertheless, wonderfully young for his age. He 
 was a most entertaining conversationalist, and it 
 was a thousand pities that during the latter half 
 of his life, living away from the world, almost in 
 seclusion, few had the opportunity of enjoying his 
 society and listening to the many well-told anec- 
 dotes he had at his disposal.
 
 CHEPSTOW 251 
 
 My uncle, as those versed in the history of 
 English Opera can fully attest, was practically the 
 founder of the romantic school of English Opera. 
 Purcell, who may be looked upon as the Gluck of 
 England, had, like the great Palatinate composer, 
 immortahzed himself by operatic works founded 
 upon mythological subjects ; but at the time my 
 uncle gave forth his "Mountain Sylph" to the 
 world, English Opera as high art was really non- 
 existent. The so-called opera of that period 
 was actually nothing more than a kind of melo- 
 drama. If any chorus were introduced, it was 
 generally sung without any appropriate action. 
 Thus, in the first rehearsal of the "Mountain 
 Sylph," my uncle told me that when the chorus, 
 representing an angry crowd, was uttering threats 
 against the wizard, Hela, the chorus singers sang 
 their parts without the slightest attempt at any 
 gesture indicative of anger ; nor did the stage 
 manager attempt to show them what they should 
 do. Whereupon my uncle stepped upon the stage 
 and personally illustrated how they should give 
 life-Uke reahty to the words they were singing. 
 The effect was magical ; it was like galvanizing a 
 corpse 1 When the opera was produced, the 
 audience for the first time saw a chorus acting as 
 well as singing. It was quite a novel experience 
 to them, and set off as the action was by spirited
 
 252 MUSICAL REMINISCENCES e^ IMPRESSIONS 
 
 and effective music, it went a great way towards 
 ensuring the success of the opera. 
 
 Naturally, my uncle's success in his first opera 
 caused him to write others ; so that at not very 
 long intervals apart appeared, first, " Fair Rosa- 
 mund," and then "FarineUi." At a state per- 
 formance of the latter opera. Queen Victoria was 
 present. And here I will take the opportunity of 
 narrating an interesting episode which occurred not 
 many years ago at one of the concerts at Osborne 
 given before the Queen. Sir Walter Parratt had 
 included in the programme of this concert my 
 " Liebeslied " for orchestra, and he told me that 
 after the performance Her Majesty expressed to 
 him, in graceful words, the pleasure this piece had 
 given her, and asked if the composer was still 
 living, evidently thinking it had been written by 
 my uncle. For she alluded to the occasion on 
 which she had heard John Barnett's "Farinelli." 
 Sir Walter, of course, explained that the music of 
 the " LiebesUed " was composed by the nephew 
 of that composer, whom he often met at the Royal 
 College of Music. This little incident showed how 
 wonderfully retentive Queen Victoria's memory 
 must have been, as she not only recollected my 
 uncle's name, but hkewise that of his opera, not- 
 withstanding the many years that had elapsed 
 since she had been present at its performance.
 
 CHAPTER XXVIII 
 A CHAPTER OF ANECDOTES 
 
 nnHE recollection of my uncle John brings to my 
 -^ mind some of the anecdotes he was so fond of 
 telling. He had quite a stock of them, and many 
 were very amusing. I am sorry that I can only 
 recall a few of them, my memory for anecdotes 
 being nearly as bad as it is for riddles. I used to 
 envy the wonderful facility Sir George Grove 
 possessed in recollecting innumerable anecdotes 
 and riddles. As for me, often, when I try to pro- 
 pound a riddle, I find myself beginning at the 
 wrong end, and putting the answer in place of the 
 question. 
 
 Notwithstanding my shortcomings as to mem- 
 ory, 1 will endeavour to recall some of the anec- 
 dotes I heard told me by my father and my uncle, 
 and will include amongst them one or two inci- 
 dents in which I myself took part. For as in my 
 reminiscences I have not had the opportunity of 
 describing any hairbreadth escapes or exciting 
 scenes, a few anecdotes may not be unacceptable. 
 
 253
 
 254 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 In any case, a chapter of anecdotes is better than 
 a chapter of accidents. 
 
 I will commence with a very quaint episode that 
 occurred during my uncle's childhood. 
 
 When he was about ten years old he was taken 
 to a concert which took place in a theatre, in 
 order that he might hear Braham, the renowned 
 tenor. Braham had just sung " The Death of 
 Nelson," when little John Barnett, who was in a 
 box, to the great amusement of all assembled, 
 called out at the top of his voice, " I think I can 
 sing that song quite as well myself." "Let us 
 hear the little fellow," said several of the audience ; 
 whereupon, the boy stood upon a seat, so that he 
 could be seen by the audience, and sang the song 
 in question most charmingly, and wdth such effect 
 that the people rose to their feet with enthusiasm 
 and applauded the little fellow to the echo. The 
 manager of the theatre sent round at once to 
 inquire who he was, and, that very evening, offered 
 him an engagement at the theatre. Thus it was 
 that, by an unlooked-for incident, the boy was 
 introduced to the musical world. 
 
 At the time my uncle was writing his operas 
 he had many admirers, but, on the other hand, 
 others depreciated his compositions. Amongst the 
 latter was a certain musical professor, who was 
 always finding something amiss with what my
 
 A CHAPTER OF ANECDOTES 255 
 
 uncle wrote. This professor was a great lover of 
 Mozart's works, and was continually parading his 
 devotion to that immortal composer. A rather 
 neat practical joke was played upon him by a 
 gentleman, an acquaintance of his. This gentle- 
 man came in one day to the professor's rooms, 
 and told him that he had brought a manuscript 
 of Mozart with him, which he was desirous his 
 friend should play over. Now this manuscript was 
 nothing more nor less than a portion of one of my 
 uncle's compositions, which a few days before he 
 had lent to the professor's friend. The professor, 
 believing the composition to be by Mozart, went 
 into ecstasies of musical rapture, every now and 
 then bursting forth into such ejaculations as 
 " How charming 1 " "See what fine writing ! " and 
 so forth. At last, the facetious friend, thinking 
 that he had kept up the joke long enough, brought 
 the Mozart admirer down from the celestial regions 
 in which he was revelling to the prosaic sphere we 
 dwell in, by telling him the plain truth that the 
 manuscript was written by my uncle. At this the 
 professor's face fell, and all he said was, "Hal 
 Hem I Not at all bad for Barnett I " 
 
 Some men are very fond of boasting their 
 acquaintanceship with men of note. One of my 
 uncle's friends had this weakness. This gentleman 
 happened to come in one afternoon, when my uncle
 
 256 MUSICAL REMINISCENCES esr' IMPRESSIONS 
 
 was giving a reception. He had not been long in 
 the room before he began telHng every one that 
 he had had such a treat, as he had just come from 
 his friend, John Cramer, who had been playing to 
 him most delightfully for over an hour. As John 
 Cramer was then the doyen of pianists, every one 
 was, of course, most interested. A few minutes 
 after, who should enter but John Cramer himself, 
 when, after staying a few minutes, he apologized to 
 my uncle for having to leave so soon. When he 
 had gone, the gentleman who had boasted of being 
 so intimate with the great pianist went up to my 
 uncle and said, " Can you tell me, John, who is 
 that gentleman who has just left ? He seems to 
 speak as if he knew a good deal about music." 
 " Why," replied my uncle, " that is your old 
 friend John Cramer, who was playing to you for 
 over an hour before you came here." Tableau. 
 
 A little incident that occurred during my boy- 
 hood just comes to my memory. My father at 
 that time frequently took me with him to the 
 breaking-up parties given at the schools where he 
 taught ; for I suppose I was then regarded as 
 being a child wonder, and my playing was looked 
 forward to with great interest. One of these break- 
 ing-up entertainments to which we went took place 
 at a school at Stamford Hill. After the concert 
 was over, and an agreeable evening had been spent,
 
 A CHAPTER OF ANECDOTES 257 
 
 my father and myself slept the night at the school 
 house, as it was too far for us to return to Kentish 
 Town, where we lived. We shared the same bed- 
 room, and my father before retiring to rest put 
 his purse carefully under his pillow, having pre- 
 viously locked the door of the room. These pre- 
 cautions were not altogether without cause, as 
 the purse contained over sixty pounds in bank- 
 notes. 
 
 The next morning, when we had completed our 
 toilet, and were about to descend to breakfast, my 
 father felt under the pillow for his purse ; but what 
 was his consternation to find the purse gone. Was it 
 possible he had forgotten to put it there ? No, he 
 recollected distinctly doing so. We tried the door ; 
 that was as securely locked as it had been the 
 night previous. Then we commenced a minute 
 search. We removed the pillow-cases, shaking 
 them, as though it were likely a purse would cUng 
 to them. We took the sheets and blankets and 
 shook them also. We carefully examined the 
 bolsters and even the bedding. We looked under 
 the bed, in fact we looked under everything that 
 was in the room ; but no purse was visible. We 
 had been diligently searching for over an hour, 
 and I was beginning to feel hungry. I suggested, 
 therefore, our going down to breakfast and having 
 another hunt afterwards. "No," said my father,
 
 258 MUSICAL REMINISCENCES &> IMPRESSIONS 
 
 "if I leave the room now, I shall never see the 
 purse again." But what was to be done? We 
 stood looking at one another vacantly. We felt 
 nonplussed. Round about us were the sheets and 
 blankets strewn on the floor, leaving the mattress 
 exposed to view. Suddenly, without warning, 
 my father darted forward towards the mattress. 
 I thought he had been overcome with excitement 
 and had fallen ; but it turned out that he had 
 noticed, somewhere near the middle of the mattress, 
 a very slight bulge. On pressing it he felt some- 
 thing hard underneath. Then was the mystery 
 concerning the disappearance of the purse effec- 
 tually solved. We discovered that there was a 
 very small rent or opening in the mattress, through 
 which my father must have, unknowingly, pushed 
 his purse, instead of under the pillow, and the 
 purse must have worked its way during the night 
 towards the middle of the mattress. Had we 
 abandoned the search as hopeless, perhaps twenty 
 or more years after, an old mattress would have 
 been sent to be reticked, and there would have 
 been great joy upon one of the work-people 
 having discovered a purse containing over sixty 
 pounds in bank-notes. Thus would the adage have 
 been fulfilled which tells us, "It is an ill wind 
 that blows no one any good." 
 
 An amusing story anent a well-known comedian
 
 A CHAPTER OF ANECDOTES 259 
 
 who was very popular during the earUer part of 
 the last century, I have often heard my father tell. 
 This actor rejoiced in the curious name of Suett. 
 It appears that Suett had mortally offended a local 
 shopkeeper, as in some play the actor had un- 
 mistakably alluded to him in most uncompli- 
 mentary terms through the medium of "gagging." 
 This so offended the man of business that he 
 determined to give Suett a lesson which the latter 
 would not be likely to forget. He accordingly 
 ascertained the whereabouts of the stage-door at 
 which Suett was in the habit of entering, and the 
 time at which the actor might be expected to 
 arrive, and determined to lie in wait for him ; not, 
 it is true, with the same murderous intentions as 
 those of the lunatic who stabbed poor Terriss at 
 the stage-door of XUa^ggE itn e Theatre. But our 
 mahgned tradesman was fully prepared to let 
 Suett know what effect a horsewhip well handled 
 was Ukely to produce. Whereupon, at the proper 
 time, he hid himself behind a wall close to the 
 stage-door, awaiting the arrival of the actor. The 
 night was very dark, added to which it was raining 
 in torrents. Presently Suett appeared upon the 
 scene, looking as wet and miserable as a man with- 
 out an umbrella would be in such a downpour, 
 the water literally pouring off his cape. His 
 enemy thought he recognized the object of his 
 
 . Uitllni
 
 260 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 vengeance ; but wishing to make quite sure that 
 he had got the right man, called out, "Are you 
 Suett ? " " No," replied the actor, " I'm dripping." 
 This spontaneous and witty answer came so un- 
 expectedly that, do what he would, the man with 
 the grievance could not restrain his laughter, and 
 he then and there forgot his grudge and shook 
 hands with the actor. From thenceforth the two 
 became the best of friends. En passant, I may 
 say that recently, in the review of a book dealing 
 with the history of the Haymarket Theatre, I 
 saw the name of Suett mentioned as one of the 
 leading actors in the earher history of that 
 theatre. 
 
 My father once told me about a curious inci- 
 dent that occurred at one of the orchestral trials of 
 new compositions given by the Society of British 
 Musicians ; a society that existed many years 
 ago. One of its members had brought forward 
 an overture of his composition, which proved to 
 be a gross plagiarism on Rossini's well-known 
 Overture to " Tancredi." So closely, indeed, was 
 the introduction of this light work imitated, that 
 when the orchestra arrived at the allegro of the 
 new overture, as if by mutual consent, they one 
 and all struck up the merry tune of the allegro of 
 Rossini's Overture.
 
 >.-. 
 
 X 
 
 A CHAPTER OF ANECDOTES 
 
 261 
 
 $ 
 
 JJ r r J 
 
 ff^ 
 
 s^^ 
 
 Of course, there were roars of laughter from 
 the audience, during which the unfortunate com- 
 poser beat a hasty retreat. 
 
 Whilst my father and myself were at Warwick 
 Street Church, where, as I have already stated, 
 I was as a boy the organist, we made the ac- 
 quaintance of a Mr. Winter, a member of the 
 congregation, who often came to our house. He 
 was one of those bluff, outspoken men, who not 
 unfrequently emphasize their dicta with an oath 
 of more or less high flavour. He was fond of 
 music, but knew nothing about it or its composers. 
 Thus, perhaps, after my father had asked me to 
 play through to him a concerto that I had been 
 studying, he would turn to my father and say, 
 
 " That's d d fine music ; did your son compose 
 
 it?*' "No," my father would answer, "that is 
 one of Beethoven's." " Never heard of him," he 
 would reply. 
 
 The name of Winter brings to my mind a neat 
 little dialogue between Theodore Hook and his 
 servant, which I once came across :
 
 262 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 Servant : " Please, Mr. Winter has called for the 
 taxes." 
 
 Theodore Hook : " Then give Mr. Winter what- 
 ever he axes. Mr. Winter's a man who'll stand 
 no kind of flummery ; his name may be Winter, 
 his process is summary" 
 
 I have already alluded to the kindness and 
 attention that the local representatives of the 
 Associated Board show to the examiners when 
 opportunities present themselves. I recollect on 
 one occasion, after we had finished examining, the 
 local representative, who happened to be an 
 American, telUng us some very interesting anec- 
 dotes. One of these I thought so novel that, 
 although it is quite unconnected with music, I 
 will endeavour to recall it. 
 
 It appears, that a friend of this representative 
 who resided in one of the southern states of North 
 America was, a few years ago, disturbed in the 
 middle of the night by a noise as of some one 
 moving about in the room beneath. He assumed 
 at once that a burglar was at work in his drawing- 
 room, so dressing hastily, as well as arming him- 
 self with a revolver, he determined to interrupt 
 the thief in the spoliation of his household goods ; 
 but when he entered the room he found that the 
 burglar had already decamped with a considerable 
 number of valuables. Knowing the difficulty of
 
 A CHAPTER OF ANECDOTES 263 
 
 detection in cases where no clue is left, he resolved 
 upon carrying out a unique plan in order to discover 
 the author of the robbery. He went to work on 
 exactly the opposite method to what most people 
 would have done. Instead of raising a hue and 
 cry after the burglar, or giving information to the 
 police, he did everything in his power to keep the 
 matter a secret. Before resuming his night's rest, 
 he carefully rearranged the furniture and articles 
 in the drawing-room, which the burglar had left 
 in confusion, so that no one could have divined 
 that an5rthing unusual had happened. He more- 
 over took care not to say a word to any one about 
 the occurrence, not even to his wife ; for he 
 reasoned that, by adopting this course, only two 
 people could possibly be aware that his house had 
 been feloniously entered one was himself, the 
 other was the burglar. He bided his time. One 
 morning, about a month after this event, a work- 
 man whom he occasionally employed came into 
 his office, and, being a talkative fellow, began 
 detailing some of the local gossip, in the course of 
 which he said : " I hear that a burglary was com- 
 mitted in your house some weeks ago." " Yes 1 " 
 replied the gentleman, " and you're the man who 
 did it." Whereupon the workman was promptly 
 given into custody, and some of the stolen articles 
 being found in his lodgings, proved that this novel
 
 264 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 mode of detecting a crime had been entirely suc- 
 cessful. 
 
 A few of my experiences with pianofortes may 
 not be out of place in this chapter. 
 
 When I was studying at Leipsic I purchased a 
 small grand of Irmler's, at Plaidy's recommenda- 
 tion, and before leaving Germany arranged to 
 have it sent to me in London. It was on this 
 piano that for several years after my return to 
 England I was wont to practise. In the end it 
 became so worn with work that I resolved to sell 
 it and get a Broadwood grand. In order to obtain 
 a fair price for my Irmler, I had it nicely done 
 up ; so that I succeeded in disposing of it to a 
 furniture dealer very advantageously. Shortly 
 after this I was one day at an upholsterer's shop, 
 when the manager came up to me and said : "If 
 you should be wishing to purchase a piano, we 
 have a very good second-hand grand to show 
 you." After expatiating upon the beautiful 
 qualities of the instrument he was offering, he 
 led me to where it was placed ; but what was my 
 surprise to recognize an old friend amid new sur- 
 roundings. There was my Irmler, on which I so 
 often enjoyed Bach and Beethoven, and upon 
 which I had made my first acquaintance with 
 Chopin and Schumann. I felt almost incUned to 
 repurchase it. Its tone was still sympathetic.
 
 A CHAPITER OF ANECDOTES 265 
 
 notwithstanding the trying work I had given it 
 in assiduously practising scales, arpeggios, double 
 thirds, and all kinds of technical studies that I 
 used to invent for myself. How the poor instru- 
 ment had survived such a trying ordeal seemed a 
 miracle. I played something of Schumann on it 
 by way of farewell ; and when 1 left the shop I 
 experienced that feeling which comes to one but 
 too often in one's life the feeling that another 
 link with the past is broken ; for I had indeed parted 
 for ever with an old friend and companion. One 
 is sorry at parting with a favourite dog ; but the 
 dog cannot speak Uke the piano, nor sing like the 
 violin. 
 
 It has sometimes happened that when out of 
 town for my summer holidays I have been fortu- 
 nate in meeting with a fairly good pianoforte in 
 the apartments I have chosen, and which has given 
 me an incentive to writing some new composition 
 for the instrument. At Pwllheli, for example, 
 I wrote my "Autumn Leaves," whilst at Conis- 
 ton, in the Lake district, I commenced my "Home 
 Scenes"; at both these places there having been 
 a pianoforte where 1 stayed. Indirectly, the com- 
 posing of my "Home Scenes" was due to the 
 bad weather we had for several days whilst we 
 were at Coniston. I was with my wife at the 
 time, having married for my second wife a daughter
 
 266 MUSICAL REMINISCENCES ^r' IMPRESSIONS 
 
 of the late Joseph Tussaud. We stayed first at 
 a house where there was an upright piano of very 
 antique origin. It was really unplayable, for the 
 unisons were in a most disturbed condition, one 
 note in many instances sounding like two. After 
 we had been a week at this house we went to 
 another close by, at which there was a beautiful 
 cottage piano, nearly new and quite in tune. The 
 presence of the piano, however, would hardly have 
 tempted me to compose had the weather remained 
 fine, for I should have felt little inclined to have 
 given up any of the excursions arranged with my 
 wife in the charming country surrounding Lake 
 Coniston. But as the weather for the first few 
 days after we had settled in our new house was 
 atrocious, rain falling in torrents without cessation, 
 I amused myself at the piano by sketching out 
 the commencement of two or three numbers of 
 my " Home Scenes." 
 
 As a rule, be it said, I do not compose whilst 
 I am away on my holidays ; but frequently on my 
 return from the country I find my ideas fresher for 
 the rest and change, and therefore take the oppor- 
 tunity of writing some piece before entering again 
 upon my teaching labours. 
 
 Each of my pizzicato pieces, " Elf-land " and 
 " Fairyland," were in this way the sequel of summer 
 holidays, and both were introduced at the Crystal
 
 A CHAPTER OF ANECDOTES 267 
 
 Palace Concerts about six months after I had written 
 them; their companion pieces, "The Ebbing Tide" 
 and " The Flowing Tide," being also included in the 
 respective programmes. I may here incidentally 
 mention that the initial melody of " The Flowing 
 Tide" occurred to me under circumstances the 
 reverse of romantic. I had just entered an omnibus 
 in Piccadilly, when, despite the turmoil, the melody 
 came to me and made itself heard in my imagina- 
 tion above the noise of the traffic, and 1 dotted it 
 down in my notebook. Perhaps, however, my 
 ideas may have been stimulated by having heard 
 at my publishers, whom I had just left, that 
 Mrs. J. L. Roeckel, of Bristol, had suggested to 
 them my writing another pianoforte piece some- 
 what in the character of " The Ebbing Tide." 
 
 The inducement to compose caused by the 
 presence of a good piano at seaside apartments 
 is, perhaps, of rare occurrence ; but even if it is 
 not of much worth, there is something companion- 
 able about the instrument being in the room. 
 
 I recollect, many years ago, I had a surprise in 
 the way of a piano. This was at Littlehampton. 
 I noticed in our drawing-room there was what 
 appeared to be an old square pianoforte, rather 
 like the one 1 used to practise on when a boy. 
 It was shut up, several ornaments being upon it. 
 These I took the hberty of removing, in order to
 
 268 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 raise the lid and ascertain whether the instrument 
 was worth playing upon. 
 
 I struck a fiill chord with considerable vigour; 
 but not a sound came. What could be the 
 matter? I looked inside, and soon discovered 
 the cause of its being dumb. It had evidently 
 been one of the earliest specimens of a grand ever 
 manufactured, as its compass showed, and probably, 
 being found to be too large to get into the room 
 in which it was placed, and too old to be saleable, 
 a carpenter had been employed to sever it in two, 
 leaving the front part in the room to be utilized as 
 a kind of chiffonier for placing ornaments upon. 
 Such was the sad fate of a pianoforte that, for all 
 one knew, might, from its age, have once belonged 
 to John Cramer. 
 
 The mention of this time-honoured name re- 
 minds me that, when a boy, I was introduced by 
 my father to the composer of the celebrated 
 studies. This introduction took place in Regent 
 Street, and I can, in imagination, even now see 
 John Cramer before me, an old man of benign 
 appearance, looking as if he had wellnigh finished 
 his labours in the cause of musical art. Well I he 
 still lives in his beautiful studies, and although 
 they not unfrequently recall the feeling of some 
 of the preludes of Bach, there is an individuality 
 about them which will ever secure them an hon- 
 oured place in the literature of the pianoforte.
 
 CHAPTER XXIX 
 
 CELEBRITIES OF THE PAST MUSICAL 
 "AT HOMES" 
 
 AS at the close of the last chapter I incidentally 
 -^^ described my meeting with John Cramer, I 
 will take the opportunity of giving an account of 
 similar occasions on which I have been fortunate 
 in coming across men who have made their mark 
 in the history of music. 
 
 I recollect, not long after my return from 
 Germany, seeing Meyerbeer bow his acknowledg- 
 ments from the gallery at the old Hanover Square 
 Rooms, in recognition of the hearty greeting that 
 a Philharmonic audience gave him when he was 
 present at one of the concerts of this society. 
 
 Dvofdk I made the acquaintance of a good 
 many years ago at an interesting gathering of 
 musicians who had met, at the invitation of 
 Oscar Beringer, to greet the illustrious composer. 
 Dvorak was then a rough, sturdy-looking man, 
 somewhere between forty and fifty years of age. 
 1 recollect, too, seeing him when he conducted his 
 
 369
 
 270 MUSICAL REMINISCENCES &= IMPRESSIONS 
 
 " Spectre Bride " at the Birmingham Festival of 
 1885, of which I will speak later on. 
 
 Tschaikowsky I met two or three times whilst 
 he was in London. The first time in the artists' 
 room at the Philharmonic ; again at one of those 
 interesting " at homes " Frederic Cowen so fre- 
 quently gave in Hamilton Terrace. Tschaikowsky 
 had a striking personality. He was a finely-built 
 man, and held himself so well that he looked quite 
 military in appearance. To see him then, one 
 would scarcely have thought that his days were 
 numbered. 
 
 Rubinstein 1 not only heard at his recitals, but 
 on more than one occasion had the opportunity 
 of holding some conversation with him. The first 
 time 1 met him was in the artists' room at a Phil- 
 harmonic concert at the Hanover Square Rooms. 
 I was indulging in a glass of sherry between the 
 parts, and I invited him to take one with me ; but 
 he said, " On no account before playing," as he 
 was due for a concerto in the second part. 
 
 On another occasion I saw him at the house 
 where he was staying in London. I think Carl 
 Rosa was there too, and both of them were 
 smoking cigarettes. Rubinstein offered me one, 
 which of course I accepted. 
 
 A fine head for a painter had Rubinstein. It 
 reminded me of the portraits of Beethoven, al-
 
 CELEBRITIES OF THE PAST 271 
 
 though it must have been on a grander scale, for 
 he was a man of large proportions, and evidently 
 of splendid muscular development. I recollect 
 when I was with my friend, the late George 
 Norbury, at a Crystal Palace concert, where 
 Rubinstein was playing one of his concertos, that 
 when he started the pianoforte solo with b. fojtis- 
 simo chord at the top of the instrument, darting 
 with hghtning speed to the opposite extreme in 
 the bass, followed by a rapid arpeggio up again, 
 my friend turned to me and, in his astonishment, 
 said, " Why, he's an athlete I " 
 
 Rubinstein, without doubt, set the example for 
 the athletic style of pianoforte playing, where so 
 many chords are taken from what seems to be a 
 dangerous height. Certainly pianists of this school 
 must be seen as well as heard, in order to fully 
 appreciate their great feats of bravura. 
 
 Von Billow, whom I have already mentioned 
 among the pianists I heard at Leipsic, was another 
 musical celebrity that I often came across when in 
 London. The last time I met him was at Stanley 
 Lucas's music-rooms in Bond Street. He was 
 quite a contrast to Rubinstein, being short and 
 of slight build ; but what he lacked in stature he 
 made up in energy. As a conductor, I am told, 
 he was unsurpassed ; but with the English public 
 he is best remembered as a pianist through the
 
 272 MUSICAL REMINISCENCES 6- IMPRESSIONS 
 
 series of recitals he gave at St. James's Hall, 
 which were the "draw" of the season of 1873. 
 His performance of Schubert's placid Impromptu 
 in G was a notable instance of true expression, and 
 it left a lasting impression upon me. In brilliant 
 passages he was most effective, but he sometimes 
 missed notes. This was probably due to the fact 
 that, instead of looking at the keys, his face was al- 
 most always turned towards the audience, so that it 
 was wellnigh impossible for a late-comer to enter 
 the hall while he was at the piano without escaping 
 his observation. At one of his recitals he indi- 
 cated in a very characteristic manner his disapproval 
 of any one disturbing him whilst playing. It so 
 happened that two ladies were making their way 
 to their seats at the very moment he finished the 
 introduction of the first movement of Beethoven's 
 Sonata Pathetique. This so irritated him that he 
 purposely commenced the allegro at such an ab- 
 surdly slow pace as to make the quavers in the 
 bass correspond exactly to the time of the ladies' 
 footsteps. As may be imagined, they felt on 
 thorns whilst walking to their places, and hurried 
 on as fast as they possibly could, whilst Von 
 Billow accelerated his tempo in sympathy with 
 their increasing pace. It was only when they had 
 seated themselves that he took the proper speed 
 of the allegro. The musical efTect of this extra-
 
 CELEBRITIES OF THE PAST 
 
 273 
 
 ordinary proceeding was probably somewhat as 
 follows : 
 
 Adasrio 
 
 accell 
 
 -A- 
 
 se^ 
 
 ^^ 
 
 a 
 
 =^== 
 
 ^^ 
 
 -s?- 
 
 Sfc 
 
 ^ 
 
 . , W . 
 
 ^ 
 
 ^^ 
 
 i 
 
 ;;2tf//<7 accell 
 
 14 ^ ' ' - ' 
 
 I 
 
 :r=ftf: 
 
 ^^^1 
 
 Allegro 
 
 
 ^ 
 
 5l=gi 
 
 ^P I j_4 
 
 ^^ 
 
 1 ^ # ^ 
 
 ^ 
 
 I have already said that I heard the Swedish 
 nightingale, Jenny Lind, sing at many concerts, 
 both in England and Germany. In addition to 
 this, on one occasion I was fortunate enough 
 to have the privilege of spending an evening at 
 her house. This was not long after the perform- 
 ance of my Symphony in A Minor at the Musical 
 Society of London. I received a very courteous 
 letter from her husband. Otto Goldschmidt, ex- 
 pressing a wish to make my acquaintance, and 
 asking me whether I would come to dine at his 
 house and meet my fellow-student, Arthur SulUvan. 
 Needless to say, I accepted the invitation, and
 
 i 
 
 274 MUSICAL REMINISCENCES &> IMPRESSIONS 
 
 spent a most enjoyable and interesting evening, 
 which I shall always look back upon as being one 
 of the most agreeable episodes in my life. 
 
 During the dinner we talked about Leipsic and 
 its musical doings. Sullivan was amusing as usual, 
 and I think I left most of the conversation to him, 
 since I found it could not be in better hands. 
 
 Then we went into the drawing-room, and 
 Madame Goldschmidt sang several of her husband's 
 Lieder. How beautifully she interpreted them 
 can readily be imagined. When 1 left, I felt how 
 refreshing it was to find greatness allied to such 
 charming simplicity and amiability. 
 
 In regard to Wagner, I was only fortunate in 
 catching a view of him on one or two occasions. 
 
 These were during the Wagner Festival at the 
 Albert Hall, which took place in 1887, and which 
 introduced Hans Richter to the British pubUc as 
 a conductor. On one occasion I saw the Bayreuth 
 composer to especial advantage. This was between 
 the parts of one of the concertos, when he was 
 going to the artists' room, arm-in-arm with Dann- 
 .^^Weuther. Wagner's face wore a very animated 
 expression, for he was evidently excited with the 
 success his music had achieved with an Enghsh 
 public the same public that not long before had 
 looked upon him askance as a ruthless musical 
 revolutionist, bent upon destroying the older school
 
 CELEBRITIES OF THE PAST 275 
 
 of music the music of Mozart, of Haydn, and 
 even perhaps of Beethoven and of substituting 
 in its place what he styled the music of the future, 
 a form of musical language foreign to its ears and 
 sounding chaotic to the lovers of the old school. 
 
 Time has shown that Wagner was not only a 
 great composer, but a great prophet as well, for 
 the music of the future has indeed become the 
 music of to-day, although, if one goes into the 
 history of the Wagnerian school, it is really now 
 the music of the past not of the remote past, but 
 of the nearer past, if one may so express it. For 
 was it not inaugurated by Berlioz and placed in 
 a more attractive and dramatic Hght by Wagner 
 more than sixty years ago, although it was not 
 then universally acknowledged ? Right was it, 
 therefore, that Wagner should wear an abnost 
 triumphant look as I saw him pass near to me, 
 since he beheld in the success of his music at the 
 Albert Hall the dawn of his ultimate popularity 
 in England. 
 
 There are still, however, many in this country 
 who shake their heads ominously if you speak to 
 them about Wagner, showing that they are not 
 yet converted to his school of dramatic music. 
 They would gladly hail the performance of such 
 works as "Faust," "Rigoletto," and "The Hugue- 
 nots." Perhaps the greatest proof of Wagner's
 
 276 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 triumph is to be found in the remarkable influence 
 he has exercised upon the style of modern com- 
 posers. Imitation is said to be the sincerest 
 flattery ; and in this case, surely no composer 
 since Mendelssohn has ever been the recipient of 
 so much homage indeed, scarcely a new compo- 
 sition for orchestra is brought before the public 
 but unmistakable traces of the Wagnerian in- 
 fluence are present. 
 
 Not only has orchestral music been influenced 
 by his style, but, to a great extent, pianoforte 
 music as well. This is all the more remarkable, as 
 Wagner wrote nothing of importance for the in- 
 strument of our homes. It was, perhaps, in a 
 great manner due to Liszt that the Wagnerian 
 methods were brought to bear fruit in regard to 
 pianoforte music. For the wonderful flights of 
 bravura which the Abb^ infused into his piano- 
 forte compositions, made it possible, in a way, to 
 imitate, or find an equivalent in that instrument 
 for, the extra brilliancy of instrumentation which 
 Wagner introduced into his orchestral scores. 
 
 Liszt, moreover, had characteristics of his own. 
 He was also a musical revolutionist. Many say he 
 went too far that in endeavouring to produce 
 new and weird effects of harmony he disre- 
 garded the first principles of art, which should, 
 before all things, have beauty for its model ; that
 
 CELEBRITIES OF THE PAST 277 
 
 he let his music run riot, and so forth. It is not 
 for me to pose as an arbitrator on such a momentous 
 question, but it is certain that he too, like Wagner, 
 has exercised a remarkable influence upon the 
 style of modem pianoforte music. Undoubtedly 
 he is heard to the best advantage in compositions 
 for that instrument, on which he was, according to 
 all accounts, the most marvellous exponent that 
 the world has ever produced. Unfortunately, he 
 never performed in public whilst I was in Leipsic, 
 so that it was not until 8 April, 1886, that I had 
 an opportunity of hearing him. This was on the 
 occasion of the reception given in his honour by 
 Walter Bache on that date. Then, of course, he 
 was very old, so old-looking, with his white hair 
 reaching wellnigh to his shoulders, that it seemed 
 almost uncanny to hear him perform feats of 
 virtuosite that would have been wonderful in a 
 vigorous young pianist. He played twice that 
 evening. One of his performances, if I remember 
 rightly, was the improvising on a theme of 
 Schubert. 
 
 It was a most interesting occasion, this fwmviage 
 a Liszt ; and certainly the late Walter Bache, my 
 former fellow-student at Leipsic, deserved the 
 thanks of all present for the opportunity afforded 
 of hearing the far-famed Abb^, whose name will 
 be handed down to posterity as the king of pianists.
 
 278 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 But for this occasion, the majority of those 
 assembled, myself included, would never have 
 heard him. I saw him again, however, at the 
 splendid reception given in his honour at Mr. H. 
 Littleton's palatial house at Norwood. Liszt did 
 not play, and many of those present were disap- 
 pointed, as all nursed a lingering hope that he 
 might be prevailed upon to give them yet another 
 opportunity of hearing him before he quitted our 
 shores for ever. 
 
 Sir Arthur Sullivan was at the reception, and 
 after its conclusion he drove me to town in his 
 brougham. I was glad to find myself again in 
 Sullivan's company, and I think, whilst we chatted 
 together, we each felt the same enjoyment in one 
 another's society that we used to experience when 
 we were fellow-students at Leipsic. He showed 
 me the cigarette-case that the Duke of Edinburgh 
 had given to him, and, of course, pressed me to 
 smoke a cigarette. 
 
 One of the greatest champions in the cause of 
 the music of both Liszt and Wagner was the late 
 Dr. Francis HuefFer, who succeeded Mr. J. W. 
 Davison as musical critic of "The Times." 
 Davison had unmistakably been opposed to the 
 Wagnerian theories, but Hueffer not only believed 
 in them, but actively propagated them through 
 the medium of the powerful journal in whose
 
 CELEBRITIES OF THE PAST 279 
 
 columns he represented the cause of music. He 
 also became editor of a new weekly musical 
 journal started by the firm of Novello & Co., and 
 called "Concordia." This gave him increased 
 opportunities of furthering the cause of the 
 music of the future. 
 
 Dr. HuefFer, it may be interesting to state, was 
 married to a daughter of the late Madox Brown, 
 the celebrated painter. It so happened that Miss 
 Brown had been a school companion of my sister 
 Emma, so that the early friendship formed between 
 the two girls, in after years led indirectly to my 
 becoming very intimate with Dr. Hueffer. 
 
 Like many of us, he was not entirely free from 
 some popular superstitions. He told me that on 
 one occasion, contrary to his custom, he walked 
 quite bravely under a ladder, which, as every one 
 knows, is considered to be very unlucky. He felt 
 quite complacent at his courage, and was prepared 
 to boast of this feat to his wife, when, on returning 
 home, he found that a fire which had broken out 
 in his study had done a considerable amount of 
 damage. He resolved never to incur the risk 
 again. 
 
 My memory recalls a very interesting reception 
 that Dr. HuefFer gave at his house in Brook 
 Green in honour of Saint-Saens, the great French 
 composer. I was delighted to have had an oppor-
 
 280 MUSICAL REMINISCENCES &> IMPRESSIONS 
 
 tunity of speaking with the most prominent repre- 
 sentative of the French school of classical music. 
 During the evening I played my Romance in A flat, 
 which I originally wrote as a supplement for " Con- 
 cordia," and I was very gratified at what he said, 
 both in regard to the little composition and to my 
 playing. He was most charming in society, and 
 also highly appreciative. 
 
 The receptions of the late Madame Lemmens- 
 Sherrington, the accomplished soprano singer, at 
 her house in Finchley Road, were often both in- 
 teresting and enjoyable, and 1 heard there to great 
 advantage many of the popular artists of the day. 
 At one of these entertainments a contralto singer 
 brought with her some MS. Swedish songs, but 
 as the copy was written for soprano, and conse- 
 quently too high for her, she inquired whether any 
 pianist present would volunteer to transpose these 
 songs a fourth lower. This being a rather big 
 order in the way of transposition at sight, no one 
 seemed inclined to respond to the invitation, al- 
 though several well-known and able musicians 
 were appealed to. Madame Sherrington then 
 asked me whether I would undertake the task ! 
 I looked at the songs, and seeing a way, through 
 imaginary clefs and keys, I eventually consented. 
 When my task had been accomplished, I was 
 complimented on the manner in which I had 
 manoeuvred the transposition with such success.
 
 MUSICAL "AT HOMES" 281 
 
 En passant, I will say a few words about an 
 " at home " I gave not many years ago at my 
 house at 8 Marlborough Place, St. John's Wood. 
 I had invited one of my pupils, Miss Gwendoline 
 Toms, who was then studying under me at the 
 Royal College of Music, and who was an excellent 
 pianist. Having asked her if she would bring 
 two of her fellow-students with her, she accord- 
 ingly introduced a singer and a violinist. Both 
 Miss Toms and the violinist. Miss Chew, had 
 played with great effect, when I asked the other 
 young lady to sing. 
 
 She had not sung many bars before we became 
 aware that we were listening to a contralto voice 
 of remarkable beauty and richness of tone. When 
 she had finished we said to one another, " What 
 a grand voice this girl possesses ; surely a great 
 future is in store for her ! " And we were right, 
 for the Royal College student that had so en- 
 thralled us was no other than Clara Butt, then 
 unknown to fame. 
 
 The late Mrs. Henry Wylde was wont to give 
 many a brilliant reception in connexion with the 
 London Academy of Music. Some of them took 
 place at the Portman Rooms. On one of these 
 occasions, several years ago, she introduced me to 
 Miss Mary Tussaud, whom I married, as I have 
 already mentioned, in the year 1891. On the
 
 282 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 evening of our first meeting, at the reception 
 just alluded to, I found that she was in the com- 
 pany of a lady and a gentleman who had escorted 
 her to this festive gathering. Somehow or other, 
 upon being introduced, I had not caught their 
 names. Inquiring of Miss Tussaud, I learnt that 
 they were Mr. Max Pemberton and his wife, one 
 of Miss Tussaud's sisters. It was not surprising 
 that the name of Max Pemberton was then un- 
 known to me, as at that time he had not given to 
 the world those stirring works of fiction which 
 have made his name a household word amongst us. 
 
 Whilst on the subject of receptions, I ought 
 not to omit mentioning the very enjoyable enter- 
 tainments that the late Mrs. Roche used to give, 
 many years ago, at Cadogan Gardens, at not a few 
 of which I was present. Mrs. Roche was a 
 daughter of Moscheles, and her daughter Nina, as 
 I have already said, studied piano in my class, 
 when at the National Training School of Music. 
 
 At Mrs. Roche's receptions there were often 
 quite a large number of representative musicians, 
 with many celebrities from the art world, no doubt 
 friends of her brother, Felix Moscheles, the dis- 
 tinguished artist. 
 
 Apart from music, the principal attractions at 
 these evenings were the dramatic performances 
 got up by Mrs. Roche's family, in which the late
 
 MUSICAL "AT HOMES" 88 
 
 Charles Dickens, son of the famous novelist, fre- 
 quently took part. Not only did Mrs. Roche's 
 daughters paint all the scenery, which was very 
 effective, but many of the pieces performed were 
 written by them, and very cleverly written too. 
 
 I recollect, in one of the French plays in which 
 they acted, the scene represents a narrow street in 
 some old French town. At one of the windows 
 in this street, in an upper story, a young girl is 
 seen watering a plant, and whilst she is so engaged 
 she accidentally knocks over both the plant and the 
 flower-pot. They fall upon the head of a young 
 gentleman passing beneath, crushing his silk hat 
 out of recognition. This, of course, leads to an 
 amusing scene between him and the girl. 
 
 The gentleman is at first indignant with the 
 author of his misfortune, and, to add to his dis- 
 comfiture, the young lady is unable to refrain 
 from laughing at the sorry figure he presents with 
 his battered hat ; but, as may be expected, the con- 
 sequence of the accident is a match between the 
 two. 
 
 Another piece performed at one of these even- 
 ings took the form of a charade. This particular 
 evening had been given specially in honour of a 
 celebrated singer and composer from the Father- 
 land, who had then not been long in England, and 
 the charade had been written by one of the Misses
 
 284 MUSICAL REMINISCENCES &- IMPRESSIONS 
 
 Roche. The first syllable of the proposed word 
 was easily guessed, as meaning " hen." The next 
 also was not a difficult problem to solve, and it was 
 soon discovered that " shell " was the solution to 
 it. It was at once perceived that the answer to 
 the charade was present in the room to represent 
 bodily the entire word ; which, as may be surmised, 
 was " Henschell." 
 
 Every one was greatly amused by the charade, 
 Henschell himself as much as any one in the room. 
 
 One evening Charles Dickens, son of the famous 
 novelist of that name, gave a fine recitation of his 
 father's " Boots at the Swan," which the audience 
 enjoyed immensely. The father's style of recita- 
 tion seemed to have found its reflex in the son's 
 method, and we felt that, next to hearing the 
 original, we did not fare badly in listening to so 
 charming a rendering of the humorous sketch. 
 Mr. Henry Dickens, the distinguished advocate 
 and K.C., and brother to the above, was fre- 
 quently present on these occasions with his wife, 
 a daughter of Mrs. Roche. A conspicuous figure 
 at these receptions was Mrs. Roche's mother, 
 Madame Moscheles, widow of the celebrated com- 
 poser and pianist. She was quite a handsome old 
 lady, with an almost youthful contour of feature, 
 and hair so white and venerable that in its pro- 
 fusion it might have rivalled even that of Liszt.
 
 MUSICAL "AT HOMES" 285 
 
 It was a face that such an artist as Rembrandt 
 would have delighted in. 
 
 I had many an interesting conversation with 
 Madame Moscheles about music and musicians 
 connected with the time in which her distinguished 
 husband flourished.
 
 CHAPTER XXX 
 
 THE TOY SYMPHONY: LEIPSIC AND 
 LONDON "THE BUILDING OF THE SHIP'' 
 
 T OOKING back upon my student days at 
 -*-^ Leipsic, I recollect that at the end of the 
 summer quarter the earnestness of study was re- 
 lieved by some festivities, or entertainments, in 
 which the pupils of the Conservatorium took part. 
 At one of these we performed the Toy Symphony 
 of Romberg. Amongst those who took part in 
 it were Arthur Sullivan, who conducted, Carl 
 Rosa, and Franklin Taylor. I was also among 
 the performers, and I believe I played the rattle. 
 Whilst conducting, Sullivan assumed a mock 
 seriousness that was very droll, and altogether our 
 playing caused much amusement amongst the 
 professors, students, and others who were present. 
 History is ever repeating itself, and so, many 
 years afterwards, a performance of the same Toy 
 Symphony took place at St. James's Hall on 
 14 May, 1880, in which Sullivan and myself again 
 took part. On this interesting occasion every toy 
 
 instrument was played by some well-known 
 
 286
 
 niO 
 
 in = 
 
 ;^K 
 
 S 
 5 "5 
 
 u c 
 
 ^. c 
 
 U 
 
 ad
 
 THE TOY SYMPHONY 287 
 
 musician of the day. The concert at which this 
 symphony was performed was got up by the 
 Countess Folkestone for a charity, and the details 
 were carried out by Henry LesUe, who conducted. 
 
 It was very funny to hear Sullivan play the 
 cuckoo with just the same air of importance that 
 he would have worn if he had been handling a 
 legitimate instrument. Then there was Ran- 
 degger hitting hard at a toy drum ; Benedict was 
 engaged with the bells ; Halle played the quail ; 
 Barnby, the nightingale ; Blumenthal, the rattle ; 
 Stainer and Kuhe, the toy trumpets ; whilst 
 Frederick Cowen and myself rendered the sym- 
 phony as a duet for the piano, in order to 
 strengthen the few real orchestral instruments that 
 represented the strings. These were performed by 
 the following well-known musicians : 1st violins, 
 W. G. Cusins and August Manns ; 2nd vioUns, 
 Carl Rosa and Charles Santley ; viola, W. Ganz ; 
 and 'cello, Daubert. 
 
 The pubhc were dehghted at seeing so many 
 celebrities in the musical world pla)ring upon gro- 
 tesque toy instruments ; but to those who took 
 part in it the rehearsal was even more amusing, as 
 we all enjoyed the affair as a huge musical joke. 
 
 To return to more serious events, I will say 
 something about the composing of my cantata,
 
 288 MUSICAL REMINISCENCES ^^ IMPRESSIONS 
 
 " The Building of the Ship." This, in the order of 
 production, was the fifth of my works for chorus 
 and orchestra, and it was written for the Leeds 
 Festival of 1880, and produced on 13 October of 
 that year. 
 
 The idea of writing a cantata on Longfellow's 
 well-known poem was the result of looking over a 
 book of the poetical works of the great American 
 bard. 
 
 I think I was at first attracted by "Evangeline" 
 as being a suitable subject, but I found the lengthy 
 metre of the poem likely to be a stumbling-block, 
 musically speaking. After glancing at some of the 
 other poems, I came across " The Building of the 
 Ship," and at once saw that it presented many 
 good opportunities to the composer. It also opened 
 a new field of ideas for musical illustration. In 
 my " Ancient Mariner " and " Paradise and the 
 Peri " the subjects of the poems had more or less 
 to do with the supernatural or purely imaginative ; 
 but in "The Building of the Ship" the poet treated 
 a theme of everyday life. Around such ordinary 
 and prosaic details as are to be found in a ship- 
 building yard he had ingeniously evolved a halo of 
 romance by introducing the episode in which the 
 master promised the hand of his daughter to his 
 apprentice when the building of the ship should 
 have been accomplished. Although the love epi-
 
 "THE BUILDING OF THE SHIP" 289 
 
 sode is one of the most attractive features in the 
 poem, much interest attaches to the graphic de- 
 scription of the construction of the vessel and the 
 toil of the workers engaged upon it, and to this I 
 was anxious to do full justice. Fortunately, an 
 opportunity presented itself which enabled me to 
 study to the best advantage the local colour re- 
 quired. 
 
 It happened that in the year 1878 a performance 
 of my " Ancient Mariner " had been arranged at a 
 concert given in Portsmouth for the benefit of the 
 widows and orphans of those who had perished in 
 the ill-fated "Eurydice," which capsized off the 
 Isle of Wight in the March previous. The concert 
 was got up by Mr. MacChean, of Southsea, an 
 amateur singer with a charming tenor voice. He 
 invited me to stay at his house not only on the 
 night of the performance, but for several days fol- 
 lowing it. Moreover, he proposed the very thing 
 I had been wishing for that we should go and 
 inspect the Portsmouth dockyards. Whilst wit- 
 nessing the construction of a great battleship, I 
 endeavoured to imbue myself with the wondrous 
 feeling that fills an eye-witness of the busy scene 
 so finely described by Longfellow in the Hues : 
 
 And soon throughout the shipyard's bounds 
 Were heard the intermingled sounds 
 Of axes and of mallets plied 
 With vigorous arms on every side.
 
 290 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 During the few days I was at Portsmouth I saw 
 as much of the famous dockyards as it was pos- 
 sible to see in so limited a time. 
 
 Had 1 been a prince from foreign lands, I could 
 not have received more attention and kindness from 
 the officials. I was first invited to hear a lecture 
 on torpedoes and mines, which left me in a mur- 
 derous frame of mind, with sufficient knowledge, 
 as I thought, to have blown up our enemies' finest 
 battleships, had occasion presented. 
 
 I was asked to spend a morning on one of the 
 great transports, and was shown over it by the 
 captain, who explained its wonderful arrangements. 
 Captain Thunder was his name a name sufficient 
 in itself to strike one with awe. His appearance 
 and manner, however, belied his name, for never 
 had I met a more amiable and kind-hearted man. 
 At luncheon he proved himself to be an excellent 
 host, although at a sea-fight I had no doubt he 
 could prove a host in himself. I was likewise 
 present on one of the warships whilst the gunners 
 were practising with the gatling, and was sur- 
 prised at the wonderful range to which these 
 weapons can carry havoc and destruction. 
 
 Then below decks I saw the bluejackets mov- 
 ing one of the big guns from one port-hole to 
 another on the opposite side of the vessel. In the 
 gloom of the nether deck they appeared rather
 
 "THE BUILDING OF THE SHIP" 291 
 
 like weird gnomes than men. At the word of 
 command they rushed at the gun as a pack of 
 hounds seizes its quarry. It might have been a 
 child's toy-gun, so easily did they handle it. I 
 must confess, however, to a certain amoimt of ner- 
 vousness on the ground of what my organs of 
 hearing might suffer should they have fired the 
 gun. It is well known that a sudden shock to the 
 tympanum is not unattended with danger to the 
 delicate tissues of which this organ is composed. 
 
 When I was at Leipsic, Hauptmann told me 
 that the popular song-writer Abt on one occasion 
 was standing very close to a steam-engine when he 
 was quite deafened by the shrill noise of the whistle. 
 Fortunately, he recovered his hearing, but it left a 
 curious after-effect: he found that the power he 
 had in recognizing the actual pitch of notes was 
 curtailed, so that all the upper notes beyond the 
 treble C above the staff were undistinguishable by 
 him. I therefore felt relieved that the gun was not 
 given an opportunity of showing off its stentorian 
 powers, especially as 1 had no cotton-wool at hand. 
 
 Rowing back from the warships to the shore, 1 
 saw something quite new to me. It was a fish 
 torpedo skimming along the surface of the sea, 
 like some marvellous flying fish. It passed really 
 within a very short distance of our boat 1 thought 
 almost too near to be safe.
 
 292 MUSICAL REMINISCENCES 6- IMPRESSIONS 
 
 When I returned home from my visit to Ports- 
 mouth, I felt aglow with the novel sensations 
 caused by my exciting experiences at Portsmouth, 
 and I lost no time in setting to work to give 
 musical colour to those words of Longfellow in 
 which he describes the building of the ship. 
 
 The line, "With axes and with mallets," es- 
 pecially interested me ; and I sought in the instru- 
 mentation to give it as reaUstic an interpretation 
 as was practicable. This I have contrived by short 
 notes in unison for the wind, alternating with the 
 kettledrum. Eugene D'Albert, who heard the 
 cantata at the London rehearsal, particularly con- 
 gratulated me upon this orchestral effect as being 
 very descriptive. 
 
 When I had completed the music for the first 
 half of the poem, and was becoming more than 
 ever entranced with the beauty of Longfellow's 
 verses, I could not refrain from writing to the 
 author, to tell him of the work I was engaged 
 upon. He wrote me in reply a very courteous 
 letter, which I have carefully preserved. I give 
 below some extracts from it : 
 
 Bandridge, 26 Dec, 1879. 
 My dear Sir, 
 
 I am glad to hear by your letter that you 
 
 find in " The Building of the Ship " a theme for a 
 
 cantata. It is a compliment which I appreciate,
 
 "THE BUILDING OF THE SHIP" 293 
 
 and I look forward to its completion with great 
 interest. . . . 
 
 With many thanks for your good intention, and 
 all good wishes for Xmas and the New Year, 
 
 1 am, my dear Sir, 
 
 Yom-s very truly, 
 
 Henry W. Longfellow. 
 
 The poem, I found as I went on with my work, 
 presented great variety for musical treatment. 
 This, to me, was a source of much satisfaction, 
 for opportunities continually unfolded themselves, 
 tempting me to exert myself to the utmost to do 
 them justice. There were not only occasions for 
 descriptive, but also for dramatic music. Of the 
 latter, I may instance the wonder and joy to which 
 the people gave vent when they saw the ship being 
 launched, and which the poet has set forth in these 
 beautiful lines : 
 
 Take her, O bridegroom old and grey, 
 Take her to thy protecting arms. 
 With all her youth and all her charms. 
 
 Then how inspiring are the impressive words 
 uttered by the pastor who performed the marriage 
 service on board the newly launched vessel : 
 
 Like onto ships far off at sea. 
 Outward or homeward bound are we.
 
 294 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 At the Leeds Festival I was delighted to find 
 how well the cantata was received by the audience. 
 The grandeur of tone the choir imparted to the 
 chorus, " Thus with the rising of the sun," called 
 forth an irresistible encore. 
 
 Two other numbers also were redemanded ; 
 these were the tenor air, " Ah ! how skilful grows 
 the hand," and the bass solo and chorus, "The 
 prayer is said." The solos were taken by Miss 
 Anna Williams, Madame Patey, Edward Lloyd, 
 and Henschell. 
 
 After the performance of my work, which occu- 
 pied the first part of the concert, I received the 
 congratulations of the president of the festival, 
 the Duke of Edinburgh, to whom I had dedicated 
 the cantata. 
 
 At the Worcester Festival of 1881 my "Build- 
 ing of the Ship," which had gone the round of the 
 choral societies, was performed. I conducted on 
 the occasion, and the work met with a very warm 
 reception. At its conclusion I went to the 
 chapter-house of the cathedral, which was used 
 as the artists' room. There, among the other 
 artists, I saw Joseph Maas, one of the most gifted 
 tenors of the last century. 
 
 In the autunan of the same year in which this 
 performance of my cantata took place, I had 
 promised an orchestral work for the Norwich
 
 "THE BUILDING OF THE SHIP" 295 
 
 Festival. This was my suite, "The Harvest 
 Festival," and I dedicated it to Lady Brassey. 
 
 The day on which it was performed happened 
 to be one of the stormiest on record ; in fact, a 
 hurricane was raging which uprooted trees and 
 did much damage all over the country. 
 
 During the interval in the morning I went to 
 the artists' room to look over my work, which was 
 to be produced in the evening, and which needed 
 a few corrections. This room was a kind of ad- 
 jimct to the hall, built out from it, and with a 
 skylight for roof and ceiling. The storm was 
 raging with increased fury, and I was not unpre- 
 pared for the terrific crash of a fallen chimney, 
 which seemed as if it had crushed in the ceiling of 
 the room we were in. Pieces of brick and slate 
 came flying about us. The artists' room had a 
 very narrow escape. If the chinmey-stack had 
 been blown over in an opposite direction, it must 
 inevitably have fallen through the skylight upon 
 those of us assembled below. No wonder we con- 
 gratulated one another upon our escape ! 
 
 Several years after the Norwich Festival at 
 which my "suite" was produced, I added a new 
 movement to it, besides making many important 
 alterations in the instrumentation. In this form 
 it was given at the Philharmonic Society of 
 London on 31 May, 1888, under the title of the
 
 296 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 " Pastoral Suite." I may incidentally mention that 
 not many years ago I conducted an excellent per- 
 formance of it at Leeds ; the concert at which it 
 was given was one of a series inaugurated by 
 that indefatigable and accomplished musician, Mr. 
 Edgar Haddock, who has done so much good to 
 the cause of music in Yorkshire.
 
 CHAPTER XXXI 
 
 "THE WISHING BELL" 
 
 TUST twdve years after the production of my 
 ^ " Harvest Festival " I was again down for 
 another work for the Norwich Festival ; this was 
 my cantata for female voices, " The Wishing Bell," 
 to which I have already alluded in an earlier 
 chapter. 
 
 As I had originally written this cantata with a 
 view to its performance on a large scale, its intro- 
 duction at the festival was only in accordance with 
 the general character and scope of the work. 
 
 There are many who regard the cantata for 
 female voices as a form of art of a less elevated 
 class of work than that written for a full choir of 
 mixed voices. This idea is the outcome of the 
 fact that so many short works of an ephemeral 
 character have been written for female voices, suit- 
 able for performances at ladies' schools. Such 
 cantatas are usually very simple indeed, and the 
 subjects chosen are generally about flowers or 
 .airies. 
 
 When Miss Jetta Vogel sent me the libretto for 
 
 297
 
 298 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 the cantata, I saw at once that the subject of 
 " The Wishing Bell " presented some fine opportu- 
 nities for a composer. It was altogether on a 
 broader scale than any libretto I have had sent 
 me on approval for this class of cantata. 
 
 The story of the poem is founded upon an old 
 custom still in existence amongst the simple people 
 who inhabit the neighbourhood of the Lake of 
 Veldes, Carniola, South Austria. There is a small 
 island in this picturesque lake, upon which centu- 
 ries ago the convent church of St. Mary of the 
 Lake was built, and in the tower of which hangs 
 the Wishing Bell. The belief was, and still holds 
 good in this locality, that the ringing of this 
 bell, as an accompaniment to their prayers, secures 
 the fulfilment of their wishes. When, therefore, 
 the bell is heard from the shores of the lake, it is 
 known that some one in distress is praying to 
 Heaven for help. 
 
 It is supposed in the libretto of the cantata, the 
 story of which relates to mediaeval times, that a 
 raid is being made upon the inhabitants of Veldes 
 by some hostile bands. The leader of the force 
 that is defending the homes of the peasantry sends 
 his mother and his bride to the little island upon 
 which the church stands to ring the Wishing 
 Bell and pray for victory, as a battle is imminent. 
 Returning, the two women are met by a crowd of
 
 "THE WISHING BELL" 299 
 
 others who have been watching the fight from the 
 hills, and from them they learn that their loved 
 ones have vanquished the foe and gained a com- 
 plete victory. 
 
 The "Wishing Bell" was produced at the 
 Norwich Festival on 9 October, 1893 ; but as 
 the occurrences of that time belong more to the 
 present than the past, it is hardly necessary to 
 enter into any description of the excellent per- 
 formance I was privileged to conduct of my 
 cantata. I may say, however, that, with one 
 exception, it had the advantage of all the re- 
 sources of the great festival, which have been 
 brought to such a pitch of excellence by its inde- 
 fatigable conductor, Alberto Randegger. 
 
 The exception alluded to was the absence of the 
 male voices of the choir, and for which no one 
 was to blame but myself, as I had elected to write 
 a work in which the sterner sex was not allowed a 
 part. Should I ever be permitted, at some future 
 date, to write another choral work for this festival, 
 I shall take care to make amends to the gentlemen 
 of the choir for having left them out in the cold 
 on the former occasion.
 
 CHAPTER XXXII 
 
 MUSIC OF THE PAST: A RESUME 
 
 "\TTE all know how unreliable a faculty is mem- 
 * * ory. I must therefore be pardoned if, in the 
 course of these reminiscences, I have omitted to 
 mention several musical events of special interest 
 that came under my personal notice. I will, how- 
 ever, endeavour to make amends. 
 
 To go back a long way : I was present on the 
 occasion of the first performance in England of 
 Arthur Sullivan's " Tempest " music at the Crystal 
 Palace, on 5 April, 1862. In imagination, I 
 again see Sullivan, who had been sitting in the 
 body of the concert-room, leave his seat at the 
 close of the performance, and hurry on to the plat- 
 form to acknowledge the hearty recall with which 
 the audience greeted him, his face beaming with 
 the excitement of a first triumph. 
 
 Then, I heard Schubert's great Symphony in C 
 at a concert of the Musical Society, when it was 
 introduced for the first time to a London audience. 
 
 With Alfred Mellon as conductor, the work was 
 
 finely played ; nevertheless, it fell flat and evoked 
 
 300
 
 MUSIC OF THE PAST 301 
 
 but little applause. The cool reception awarded 
 to the symphony was, undoubtedly, due to the 
 tempi being far too slow much slower than I had 
 been accustomed to in the performances of the 
 work at Leipsic under Rietz. 
 
 The reappearance of Madame Norman-Neruda 
 (Lady Charles Halld) at the concert of the Phil- 
 harmonic Society, at which I was present, and 
 which took place on 22 May, 1871, was an event 
 of great interest. Her overwhelming success 
 proved to be the death-blow to the prejudice 
 which had previously existed against ladies playing 
 the vioUn, and her example led to its being added 
 to the number of instruments available for the 
 gentle sex. 
 
 It may be here stated that her debut at the 
 Philharmonic Society took place so far back as 
 1849, when she appeared as the child violinist, 
 Mile. Wilhelmine Neruda. 
 
 The performances given by two Italian virtuosi 
 at the Philharmonic Society, somewhere during the 
 sixties and seventies, seem even now quite fresh 
 in my memory. One of these artists was Piatti, 
 whom I had frequently heard before at Leipsic, 
 where I had learnt to appreciate his marvellously 
 clear execution and sympathetic tone. In later 
 years I often used to see him at his house in St. 
 John's Wood. He was a small, spare man, so that
 
 302 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 his perfect command over the violoncello was all 
 the more surprising. The other executant alluded 
 to was Bottesini, quite a contrast to Piatti, as he 
 was both tall and athletic, and well suited to the 
 large instrument he played upon. I heard him to 
 great advantage at the Philharmonic Concert on 
 8 May, 1871, when he performed a concerto of his 
 own. Apart from the beauty of tone he produced 
 from the double bass, he had quite a series of 
 gymnastic feats to go through whilst executing 
 bravura passages. Indeed, one had to see as well 
 as to hear him, in order to appreciate to the fullest 
 extent the difficulties he was overcoming. 
 
 The Novello Oratorio Concerts, begun in the 
 year 1885, gave me an opportunity of hearing 
 several works of great importance. Among these 
 may be instanced Mackenzie's oratorio, "The Rose 
 of Sharon " so poetical in conception which was 
 given on 20 March, 1885. Then on 6 April, 1886, 
 I heard Liszt's "Saint Elizabeth." At this per- 
 formance the aged composer himself was present. 
 On 1 December, 1887, I had an opportunity 
 of hearing Frederic Cowen's "Ruth," with its 
 charming and ideal pastoral music ; and again on 
 15 December, 1887, there was a fine rendering of 
 Stanford's Irish Symphony, in which the Hibernian 
 element in music is placed amid such attractive 
 musical surroundings.
 
 MUSIC OF THE PAST 303 
 
 At the latter concert I conducted a performance 
 of my "Ancient Mariner," in which the chorus 
 excelled itself in beauty of tone and vigour of 
 attack ; whilst the solo numbers were fortunate in 
 having the interpretation of such artists as Anna 
 WiUiams, Madame Patey, Edward Lloyd, and 
 Santley. 
 
 I attended one of the earliest performances of 
 Goetz's Symphony^ given in England, at the 
 Crystal Palace Concerts, under Manns. This charm- 
 ing work one rarely hears now. Another symphony 
 performed at one of these concerts, which greatly 
 interested me, was that by E. Silas, who has so 
 long made England his home that we look upon 
 him as one of our countrymen. Frederick ClifFe's 
 Symphony in C minor 1 heard at the Crystal 
 Palace on 20 April, 1889. This fresh and vigorous 
 work placed its author among the foremost rank 
 of native composers. Hamish McCunn's over- 
 ture, "Land of the Mountain and the Flood," I 
 heard at one of the same concerts on 5 November, 
 1887, and was greatly impressed by its fine 
 orchestral colouring. 
 
 Some recollections of Gounod, Dvorak, and 
 Grieg crop up in my memory in connexion with 
 their doings at Birmingham Festivals. 
 
 ' First [tcrformed in England at Madame Viard Louis' concert on 
 17 December, 1878, conducted by Weist Hill,
 
 304 MUSICAL REMINISCENCES &* IMPRESSIONS 
 
 I was present at a most interesting rehearsal in 
 1882. This was the London rehearsal for the 
 festival of that year. Gounod was in fine form 
 whilst conducting his " Redemption." How proud 
 he looked as he surveyed the splendid orchestra 
 he was about to direct 1 And well he might, 
 knowing that his work was about to be introduced 
 at one of those grand musical gatherings that had 
 introduced Mendelssohn's masterpiece to the world. 
 Then had he not scored a greater financial success 
 in regard to an oratorio than any composer before, 
 and probably than any one since ? inasmuch as he 
 was to be the happy recipient of no less a sum 
 than 3000 for the first performance of his work. 
 At this rehearsal the " March to Calvary " made a 
 deep impression upon every one present. All, too, 
 were more or less excited by the fact of hearing 
 the new oratorio conducted by the composer of 
 "Faust." I heard it in its complete form at the 
 Festival itself, and was greatly struck with the 
 wonderfully weird effects Gounod has produced 
 by the use of chromatic intervals. 
 
 At the following festival, in 1885, I heard his 
 "Mors et Vita." Gounod did not conduct his 
 work, but left it to the care of Hans Richter, who 
 secured for it a fine performance. 
 
 Dvorak's first appearance at the Festival was 
 quite an event in the musical world. As he
 
 MUSIC OF THE PAST 305 
 
 ascended the platform, gi-eat interest was felt by 
 all present at seeing before them a musician who, 
 by his genius, not only had risen from an obscure 
 origin to a high position in society, but who had 
 likewise created for himself an undying name as 
 a composer. 
 
 The first performance of Dvorak's "Spectre's 
 Bride " at this Festival left a deep and lasting im- 
 pression upon me. Near the end of the cantata, 
 when Albani was singing with great dramatic 
 power, and the orchestra was giving forth incanta- 
 tion-like effects with mysterious bells clanging the 
 while, a feeling akin to " creepy " was produced 
 as the horrors depicted in the libretto were in 
 progress, musically coloured in such a realistic 
 manner. 
 
 It was a wonderful specimen of conducting to 
 which Grieg treated us when he directed the per- 
 formance of his " Holberg Suite," arranged for 
 strings, and given at the Festival of 1888. One 
 could never have divined that such novel effects 
 could have been produced out of these instru- 
 ments unaided by the wind. At this same festival 
 I heard Hubert Parry's oratorio, "Judith," in the 
 choral writing of which the ingenious contrapuntal 
 devices employed by the composer are made the 
 vehicle of the highest form of musical expression, 
 combining nobility of thought with religious en-
 
 306 MUSICAL REMINISCENCES &= IMPRESSIONS 
 
 thusiasm. Another opportunity of hearing this 
 fine work presented itself at the Novello Oratorio 
 Concerts in December, 1888. 
 
 In the region of national opera I have had 
 some opportunities of noting its progress in this 
 country. 
 
 As the first performance of my uncle's " Moun- 
 tain Sylph " took place before I was born, it cannot 
 be said that I neglected an opportunity of hearing 
 it on that auspicious occasion. And, in later 
 times, I do not seem to have heard it when it was 
 revived at Drury Lane in 1854. But I remember 
 being present, many years ago, at a musical recep- 
 tion given by the late Charles Salaman, at his 
 residence, when the music from the opera was 
 sung very effectively, the work being greatly 
 admired.^ 
 
 At Covent Garden, in 1864, I heard George 
 Macfarren's " Helvellyn," which ran close on the 
 lines of success. Goring Thomas's " Nadeschda," 
 which achieved much popularity, pleased me 
 greatly, so that I now wonder how it is this 
 work has dropped out of the repertoire of English 
 opera. It was performed for the first time at 
 
 * Since writing these few words about the " Mountain Sylph," I 
 have, at last, had an opportunity of hearing it, as I was present at a 
 most excellent performance of it given in July, 1906, by the students 
 of the Guildhall School of Music, conducted by Richard Walthew.
 
 MUSIC OF THE PAST 307 
 
 Drury Lane on 16 April, 1885, by the operatic 
 company established and conducted by Carl Rosa, 
 who devoted his best energies to the cause of 
 national opera. He gave us the opportunity of 
 hearing with English text foreign operas, rendered 
 by such accomplished artists as Parepa, Santley, 
 Charles Lyall, etc., which in the provinces were 
 conducted by Mr. G. H. Betjemann. 
 
 Stanford's " Canterbury Pilgrims," which I heard 
 at Covent Garden in 1884, struck me as being 
 a work of great power, both dramatically and 
 musically. One chorus in it, where several con- 
 flicting elements make themselves heard, was 
 graphic and exciting, and was on a par both as 
 regards ingenuity and effect with the wonderful 
 choral ejaculations of the crowd in " Lohengrin," 
 when Lohengrin himself appears upon the scene, 
 navigated in so novel a manner that the astonish- 
 ment of the onlookers is certainly not without 
 cause. I am glad, too, that I witnessed one of 
 the performances of F. H. Cowen's romantic and 
 effective " Thorgrim," which took place at Drury 
 Lane on 5 April, 1890. In this opera the com- 
 poser has treated with highly dramatic effect the 
 poetical libretto of Joseph Bennett. 
 
 Another opera written on modem lines was 
 A. C. Mackenzie's " Colombo," the libretto being 
 from the pen of Dr. F. Hueffer. I was present
 
 308 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 at one of the performances of this opera, which 
 took place at Covent Garden in 1883, and at once 
 recognized the able manner in which the composer 
 had availed himself of the opportunities the 
 libretto furnished for writing music of great 
 dramatic power. The Wagnerian theories, in a 
 modified form, are here carried out with con- 
 summate skill, enhanced by all the resources of 
 modern orchestration. 
 
 I will conclude these allusions to English opera 
 with some mention of Sullivan's work in that 
 field. 
 
 There are many among his admirers who regret 
 that this versatile composer did not, during his 
 best years, give his ambition a higher flight than 
 the region of comic opera, or, more strictly speak- 
 ing, opera-boufFe. That the unique specimens of 
 this popular form of light opera, which Sullivan 
 threw off with such an easy hand, and which gave 
 enjoyment to thousands of persons both here and 
 abroad, constitute in the aggregate an achievement 
 of no small value, goes without saying. For our 
 composer, aided by his ever-ready collaborator, 
 W. S. Gilbert, whilst affording unbounded amuse- 
 ment, managed to do so without ever overstepping 
 the bounds of propriety or descending into the 
 commonplace in music. Nevertheless, SulUvan 
 aspired to still higher things, and therefore he
 
 MUSIC OF THE PAST S09 
 
 gave us " Ivanhoe." Unfortunately, for the pur- 
 pose of producing this work a great speculation 
 was entered into by the building and running of a 
 new opera-house, so that the failure of the scheme 
 as a whole damaged the success of " Ivanhoe " 
 itself. This success was really of great magnitude, 
 taking into account the number of times it was 
 performed. I was present at one of the repre- 
 sentations, and was much impressed with the 
 grasp the composer evinced in treating his subject, 
 and the facile manner in which he gave appro- 
 priate musical colouring to the various dramatic 
 situations evolved during the progress of the 
 story. 
 
 There are several other interesting musical 
 events that I could recount had I sufficient space 
 at my disposal. Many of these incidents, how- 
 ever, do not come within the scope of these 
 reminiscences, as the dates of their occurrence are 
 comparatively recent. It would therefore be un- 
 necessary for me to speak of the works of such 
 composers as Sir Edward Elgar, Walford Davies, 
 Edward German, Arthur Somervell, Coleridge 
 Taylor, Charles Wood, and many others, whose 
 achievements in the field of music are fresh in the 
 memory of the public. 
 
 Before closing this chapter, it may not be out 
 of place to make some allusion to two occasions
 
 310 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 on which I appeared before the public in different 
 musical capacities from those I had been accustomed 
 to. At the Crystal Palace Concert on 27 October, 
 1888, I ventured to essay an organ solo, and intro- 
 duced for the first time my OfFertoire for Organ 
 in G. This piece met with so favourable a recep- 
 tion that I was encouraged to commence another 
 work for the organ, my Fantasia in F, which, 
 however, I did not complete until a year or two 
 ago. 
 
 An event to which I shall always look back 
 with pride was my appearing as conductor at the 
 Philharmonic concert on 23 April, 1884. 
 
 Mr. (afterwards Sir William) Cusins, having 
 resigned his post as chef d'orckestre of the Phil- 
 harmonic Society, the directors decided, for the 
 season of 1884, upon appointing a different con- 
 ductor for each concert, and I was fortunate in 
 being one of the musicians selected for that post. 
 At the concert that I conducted, Madame Essipoff 
 played Beethoven's E flat Pianoforte Concerto. 
 She used so much tempo rubato in her performance 
 of the work, that it was not an easy task to keep 
 the orchestra in accord with her varying time 
 changes ; but knowing the concerto as I did by 
 heart, I was able to secure a perfect tout ensemble^ 
 and Madame Essipoff afterwards thanked me for 
 the manner in which she had been supported in
 
 MUSIC OF THE PAST 311 
 
 the orchestral accompaniments. It was a great 
 source of enjoyment to me, likewise, to conduct 
 the symphony at this concert, which happened to 
 be that fresh and spontaneous work, Beethoven's 
 second masterpiece in this form of classic art.
 
 CHAPTER XXXIU 
 
 THE SKETCH SYMPHONY (SCHUBERT'S) 
 
 "TN previous chapters I have more than once 
 -*- mentioned Sir George Grove ; but I knew him 
 during the greater part of his career as Mr. Grove. 
 As a matter of fact, before his knighthood he 
 took a more active part in the musical world than 
 he did after it. Nevertheless, as Director of the 
 Royal College of Music, he did not lose his interest 
 in the Crystal Palace Concerts, to the success of 
 which he had so greatly contributed. For when- 
 ever I went to one of these performances there I 
 saw Sir George, sitting in his usual seat at the 
 back of the press gallery, his face beaming with 
 delight at some exquisite point in a Beethoven 
 symphony that was in progress. For many years 
 prior to his knighthood, in fact from the time 
 I returned from Germany, I had made it my 
 custom to attend the Saturday concerts at the 
 Palace, and seldom, if ever, did I see his seat 
 unoccupied by its owner. Often I would sit down 
 beside him, and thus a friendship grew up between 
 us. Nevertheless, I had not then the privilege of 
 
 312
 
 THE SKETCH SYMPHONY 313 
 
 visiting at his house, though this I often wished 
 for. But eventually my desires were realized, by 
 the agency of Schubert, or rather by a work of 
 this immortal composer. The work in question 
 should rightly be called a sketch, for it was the 
 sketch symphony in E that Schubert had left in a 
 still more incomplete form than that colossal frag- 
 ment known as the unfinished symphony in B 
 Minor. 
 
 One Saturday afternoon about the year 1880, 
 after attending one of these concerts, I was walking 
 with Mr. Grove towards his residence in Sydenham. 
 He was talking about music as usual, when in 
 the course of conversation he asked : " Did you 
 ever see the wonderful sketch of Schubert that I 
 have at home ? I must show it to you one day. 
 It is quite unique ; there is nothing of the kind 
 extant. It is the sketch of a symphony in E 
 which Schubert never completed. Yet in one 
 way it is perfect, for every movement is sketched 
 out on scoring paper and not a bar is omitted from 
 beginning to end." 
 
 Then he went on to tell me that, with the ex- 
 ception of the introduction and a small portion of 
 the allegro, which is fully scored, only the subjects 
 are indicated, generally without bass or harmonies. 
 He also gave me some interesting information in 
 regard to the history of the sketch, from which I
 
 314 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 leamt that it was given by Ferdinand Schubert to 
 Felix Mendelssohn, and it is said that the latter 
 intended to complete it, an intention which, un- 
 fortunately, his premature death prevented him 
 from carrying out. It then came into the posses- 
 sion of his brother, Paul Mendelssohn, who, some 
 years later, gave it to George Grove. 
 
 Whilst listening to these details, an idea, that 
 seemed wellnigh presumptuous, came to me: 
 Could I, perhaps, try to complete the instru- 
 mentation of the sketch ? I had not the courage 
 then to confide my inmost wishes to Grove, but 
 when I left him I carried with me a secret ambition 
 to put this sketch into such shape that it might 
 be available for performance. 
 
 A week or two after this I ventured to disclose 
 to Grove what I had in my mind. He was most 
 interested, and asked me to go home with him in 
 order to see the sketch. This was my first visit 
 to the quaint old house at Lower Norwood. But 
 I do not think that I then paid much attention to 
 its pretty surroundings, for I was so eager to see 
 this wonderful Schubert MS. 
 
 Grove lost no time in satisfying my curiosity, 
 and I was soon turning over the pages that 
 Schubert's hand had traced sixty years before. I 
 sat down to the piano and endeavoured to fill in 
 some of the harmonies at points where only the
 
 THE SKETCH SYMPHONY 816 
 
 melody was given, but found, to my disappoint- 
 ment, that I could make very little of the sketch. 
 I therefore asked permission to take it with me, 
 promising to guard it as a treasure of great worth. 
 When I arrived home I made a somewhat 
 serious attempt to unravel the mystery of the 
 harmonies Schubert might have had in his mind 
 when sketching out his symphony, and set to 
 work at the first movement, where the second 
 subject commences, the theme of which is for the 
 clarinet, but without any clue as to what other 
 instruments the composer might have intended to 
 be used. I soon found that my self-imposed task 
 was infinitely greater than I had anticipated. Still, 
 I determined not to give it up, hopeless as it 
 appeared, but resolved in the first instance to 
 complete in outline the sketch of the first move- 
 ment, so that I could play it over to Mr. Grove on 
 the piano, and thus enable him to form an opinion 
 of the general effect it would produce. In carry- 
 ing out this idea I tried to imbue myself with the 
 thematic feeling of the subjects. Then came the 
 difficult problem of what Schubert had in his 
 mind when he wrote them. For in almost every 
 case these subjects, as well as the episodal matter, 
 were left by him without any indication of the 
 manner in which they were to be treated. Merely 
 to harmonize them would have been most in-
 
 316 MUSICAL REMINISCENCES &> IMPRESSIONS 
 
 artistic in such a work as a symphony. It was 
 therefore absolutely necessary that I should put 
 in appropriate figures against the thematic matter, 
 and often add elaborate part- writing, so that when 
 finished it should sound effective as a whole. 
 
 Whilst at work upon it, I felt the weight of the 
 responsibiUty I had taken upon myself, for had 
 not Mendelssohn, and it was said Arthur Sullivan 
 too, looked at the sketch with the idea of com- 
 pleting it ? Sometimes I wished that those great 
 musicians had endeavoured to solve the mystery 
 of the harmonies that had been in Schubert's 
 brain when he sketched the themes, and thus have 
 relieved me from so great an undertaking. Not 
 a few points in the sketch were enough to have 
 puzzled the ingenuity of a conclave of musicians. 
 Here is one, for instance, taken from the first 
 movement, and in this case there is some indica- 
 tion of harmony, but notwithstanding the effect 
 as left in the sketch is quite discordant : 
 
 ^ 
 
 4fi-^ 1^- 
 
 j: 
 
 PP *1 
 
 After trying several methods of fathoming the 
 mystery, 1 found that adding a sustained B^^ for 
 the basses at once made the whole passage per-
 
 THE SKETCH SYMPHONY 817 
 
 fectly intelligible. I therefore adopted this note 
 as a solution of the problem, the more readily as, 
 throughout the sketch, with a few exceptions, it 
 is the ground notes of the harmonies that are 
 omitted, even when other notes besides the melody 
 are given. It therefore stands in the score I com- 
 pleted as follows, the small notes being mine : 
 
 No. 3. 
 
 ::;:Mg= 
 
 ^^- 
 
 l^t^S^d: 
 
 ^Sp- 
 
 I 
 
 m 
 
 
 ^1^^- 
 
 l^lziidlii: 
 
 i 
 
 ^- 
 
 fe5-^ 
 
 Celli e B&ssi. 
 
 When I had finished my work in regard to the 
 first movement, I sent the Schubert sketch to 
 Mr. W. S. Rockstro to enable him to insert a 
 description of it in Grove's "Dictionary." A 
 .week or two after I received an invitation from 
 Mr. Grove to dine with him and to meet Mr. 
 Rockstro, who would bring the MS. with him. 
 
 On the appointed evening I made my way from 
 West Wickham, where I was staying, and arrived 
 at Grove's house somewhat earlier than the hour 
 for dinner and found that he was away from home. 
 After waiting some time, 1 heard voices outside, 
 and on looking into the garden I saw Grove and
 
 318 MUSICAL REMINISCENCES iSr' IMPRESSIONS 
 
 Rockstro approaching, both in fiill tide of cheerful 
 conversation. When they had come in, I noticed 
 that neither of them was carrying anything that 
 looked like a score, so I ventured to ask if either 
 of them had the Schubert sketch. Their faces, 
 which had previously been lit with happy smiles, 
 fell in an instant, and without saying a word they 
 rushed back to the garden and disappeared. I 
 guessed but too well what had happened. They 
 had left the precious MS. in the' train. The only 
 copy that existed in the world had gone astray I 
 
 After a considerable time they returned. But 
 although telegrams had been sent up and down the 
 line, no clue as to the whereabouts of the sketch had 
 been obtained. However, as the station-master had 
 given orders to his son to make minute inquiries, 
 we felt that everything possible had been done. 
 
 The loss of the MS. threw a gloom over the 
 dinner, as the chances of recovering it seemed 
 extremely remote, there having been no address 
 or name on the wrapper in which it was enclosed. 
 Nevertheless, I played over my version of the first 
 movement, with which Grove was exceedingly 
 pleased. 
 
 I was really sorry for poor Rockstro, who looked 
 very guilty the whole evening, as he felt directly 
 responsible for the loss of the MS. 
 
 There being no way of getting back to West
 
 THE SKETCH SYMPHONY 819 
 
 Wickham that evening, I stayed the night at 
 Grove's house. The next morning, going down to 
 breakfast, I was full of hope that Grove would have 
 heard something of the missing sketch, but when a 
 message came from the station-master saying that 
 it had not been found, both Grove and myself gave 
 it up as being irretrievably lost. It was therefore 
 with a heavy heart that I bade adieu to Grove. 
 
 An hour or two after I had arrived at my 
 friend's in West Wickham, to my great joy 1 
 received a telegram saying that the MS. had been 
 discovered in a railway-carriage, and that it was 
 then lying at Norwood Junction. 
 
 I was much relieved on hearing this good news, 
 for I had taken great interest in the work I had 
 commenced, and even then I had bestowed a large 
 amount of thought and time on working out the 
 sketch of the first movement. If the MS. had 
 not been discovered, all that I had done would 
 have been in vain. 
 
 After this contretemps I never parted with the 
 Schubert MS. until I had quite completed the 
 filling out and instrumenting of the sketch. 
 
 The details I have just given of the sketch 
 symphony, and the incidents connected with it, 
 formed the subject of a paper ^ which I read at 
 
 * An extract from this paper, containing an account of the incidents 
 narrated in this chapter, is given in the interesting "Life of Sir 
 George Grove," by Charles L. Graves. (Macmillan.)
 
 320 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 one of the proceedings of the Musical Association 
 on 9 June, 1891. In reading this paper I gave 
 several illustrations of the difficulties 1 had to 
 contend with in completing Schubert's sketch in 
 order to make it available for orchestral per- 
 formance. 
 
 The following extracts, in condensed form, will 
 give some idea of the task I had to accomplish. 
 In these examples the large notes are by Schubert, 
 as indicated in his sketch. The small notes are 
 those I have added. 
 
 From the Andante: 
 
 Andante. 
 
 5 
 
 
 ^ 
 
 lis 
 
 it 
 
 s 
 
 4= 
 
 5!j= 
 
 -f-^ 
 
 s 
 
 =^=F 
 
 ii 
 
 I ^ 
 
 tf J J" 
 
 
 i9^i 
 
 
 -^ -^.n^,JF^"fP^ 
 
 &c. 
 
 v-=r-=r 
 
 From the Scherzo: 
 
 Allegro scherzo. | 
 
 ^-s m 3 - 
 
 3 
 
 =1= 
 
 :ct 
 
 ^t;;^ 
 
 zi 
 
 1 Tq 5^1-fi 
 
 zr:^!'-:'^^ 
 
 stacc. 
 
 r r* r^ 
 
 r r r 
 
 T=^- 
 
 S 
 
 &e.
 
 THE SKETCH SYMPHONY 
 
 321 
 
 From the Finale: 
 
 hJr 
 
 Ob, 
 
 
 'Celli e Bassi. 
 
 splii^i^i^Si 
 
 ^ |i ^^^i*- 
 
 ^ 
 
 rTS: 
 
 HM- M._t4i^. 
 
 ^S^^^^S 
 
 M&E 
 
 ' Fag. 
 
 5SS 
 
 J- ^tj' 
 
 P 
 
 :&*; 
 
 Ji 
 
 S^^^^Ej fAj^^j^^ 
 
 ^rr 
 
 ^ 
 
 
 
 r-r 
 
 ^ti^ 
 
 
 :i::i: 
 
 ::: 
 
 Viole. 
 
 P 
 
 
 f- -Vff 
 
 s 
 
 1^1^ 
 
 ^fe;:=l 
 
 '4r 
 
 * Cor. J ,. I .. 
 
 &c. 
 
 nrr9: 
 
 ^ 
 
 See 
 
 n
 
 322 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 When Mr. (now Sir August) Manns saw the 
 score as completed by me, he was greatly in- 
 terested in it, and at once arranged to include it in 
 the scheme of the Crystal Palace Concerts for the 
 following season. It was performed for the first 
 time at these concerts on 5 May, 1883, on which 
 occasion the original MS. of the sketch was ex- 
 hibited in the transept of the Palace, and it 
 excited much interest. The symphony achieved 
 a great success, both in regard to its reception by 
 the public and to the opinions expressed in refer- 
 ence to it in the press. The favourable manner 
 in which it was received led to its being repeated 
 the following season at the Crystal Palace Con- 
 certs. 
 
 By a curious coincidence, the first performance 
 of the sketch symphony took place just two days 
 before the opening of the Royal College of Music, 
 to which I have already referred. So the intimacy 
 that I had formed with Sir George Grove, whilst 
 at work over the symphony, was still further 
 strengthened by my association with him as one of 
 the professors at the great musical institution 
 of which he was Director. Not only did I meet 
 him at the College at least twice a week, but 
 during the summer I spent many a Sunday 
 afternoon and evening with him in his rustic house 
 at Lower Norwood. When I arrived I generally
 
 THE SKETCH SYMPHONY 82S 
 
 found him seated in the garden enjoying a cigar. 
 He always welcomed me with the geniality which 
 was his great charm. " Well, John, what's the 
 news ? Have you been writing anything lately ? " 
 Then, on going indoors, we would find Lady 
 Grove, and he would tell her I was about to play 
 a new piece to him. 
 
 I recollect he was greatly interested on hearing 
 portions of a Mass that I had commenced. I 
 think I had reached the end of the Credo, when 
 I played what 1 had finished to him ; and he told 
 me that he considered it to be the best thing 
 I had done. His encouragement led me to per- 
 severe with the work to the end, and now that it 
 is completed I live in the hope that it may some 
 day be heard at one of the great festivals. 
 
 Several times 1 played to him compositions 
 which were on the point of a first public perform- 
 ance, for I greatly valued any critical remark he 
 made concerning them. Occasionally he would 
 show me some rare song of Schubert, and ask me 
 to try it over; which, of course, I did with keen 
 interest. Then he would let me look over speci- 
 mens of the treasures he possessed in autograph 
 manuscripts of the great composers perhaps a 
 Beethoven sketch, or something equally interesting. 
 After passing the time thus agreeably, we would 
 later on go in to supper, and during the meal we
 
 824 MUSICAL REMINISCENCES 6* IMPRESSIONS 
 
 would be enlivened by many an interesting anec- 
 dote told in Sir George's best manner. 
 
 I always looked forward to those Sunday 
 afternoons at Sir George's house. But there is 
 finality to everything in life ; and one day I heard 
 that he was too unwell to see any one. The shadow 
 of a sad event was already darkening a once happy 
 home ; and, alasl the gloom that had gathered was 
 destined never to be dispelled. 
 
 The death of Sir George severed one more link 
 with the past which was associated with my earlier 
 musical career. Walter Bache, Carl Rosa, and 
 Sir Arthur Sullivan had already passed away, so 
 that few remained with whom I could talk of 
 things gone by. 
 
 Concerning the Royal College of Music, Sir 
 George, a few years before his death, resigned his 
 post as Director. Fortunately for that institution, 
 the work that he had so ably carried out has been 
 continued by his successor. Sir Hubert Parry, with 
 equal energy and tact. For Sir Hubert com- 
 bines with exceptional artistic instincts a thorough 
 knowledge of business details, a combination of 
 quaUties rare among musicians. Under his direc- 
 tion the College has greatly increased its sphere of 
 action, added to which a noble hall has been 
 erected as a home for the College concerts. These 
 concerts, owing to the well-chosen programmes
 
 THE SKETCH SYMPHONY 826 
 
 and the excellence of the performances given by 
 the students, do much to disseminate a love for 
 the higher forms of music, while affording an 
 opportunity for the more advanced students to 
 obtain a hearing. 
 
 I have often thought how many more advan- 
 tages are offered for the cultivation of musical 
 talent at the present day than was the case when 
 I was a boy. Then, in the whole of the United 
 Kingdom there were only the two scholarships at 
 the Royal Academy of Music, one for a male, the 
 other for a female student. 
 
 Now, at all the great musical institutions in this 
 country numerous scholarships are open to com- 
 petition, so that the words of Gray 
 
 Chill penury repressed their noble rage. 
 And froze the genial current of the soul, 
 
 are seldom likely to be apphed to the possessor of 
 musical talent in this age of advancement.
 
 CHAPTER XXXIV 
 
 CONCLUDING REMARKS 
 
 "T HAVE often found it interesting as well as 
 -*- instructive to carry back my memory to an 
 earlier period of my life, and to take note of what 
 were then the predominant musical tastes of the 
 day, and to contrast them with those of the age 
 in which we live. As these ideas are just now 
 uppermost in my mind, I will take the oppor- 
 tunity, before concluding my reminiscences, of 
 saying a few words in reference to the past and 
 present state of music in this country. 
 
 Regarding the past, there is no doubt that 
 during my younger days the tone of musical feel- 
 ing that existed was extremely conservative. There 
 was, in fact, a strong prejudice against anything 
 in the way of composition that was not the work 
 of one of the great classical composers. Bach, 
 Handel, Haydn, Mozart, Beethoven, Schubert, 
 and Mendelssohn were the musical gods we then 
 worshipped, whilst a few lesser divinities, such 
 as Weber, Spohr, and Sterndale Bennett, were 
 
 allowed a certain amount of veneration. 
 
 326
 
 CONCLUDING REMARKS 327 
 
 In respect to opera, this musical religion was 
 probably less restricted, as it was acknowledged 
 that for this form of musical art special qualifica- 
 tions were requisite, and that composers who 
 might be great in such works as oratorios, sym- 
 phonies, and string quartets, were not necessarily 
 so in dramatic music. 
 
 Rossini, BeUini, Donizetti, and Auber were 
 at that time in the zenith of their popularity, 
 whilst Meyerbeer was probably looked upon as the 
 ultimate limit to which sensationalism in dramatic 
 music could possibly attain. Mozart, of course, 
 always pleased, and, strange to say, he has always 
 retained the same unique position in public favour 
 which his charming methods of dramatic music 
 have won for him, and which will doubtless endure 
 as long as music itself, proving that " a thing of 
 beauty is a joy for ever." 
 
 Although Schumann was well known on the 
 Continent before my visit to Leipsic, in England 
 we had heard but little about him. I recollect, 
 when I was studying at the Royal Academy of 
 Music, my fellow-student, the late Henry Baumer, 
 saying to me one day, " Have you heard that 
 there is a new composer of the name of Schumann, 
 who is thought a great deal of in Germany ? " I 
 expect very few of us in those days knew anything 
 about him. This question was put to me probably
 
 828 MUSICAL REMINISCENCES <&> IMPRESSIONS 
 
 about the year 1852, by which time the greater 
 number of Schumann's best works would have 
 been given to the musical world. No doubt some 
 of his compositions had been heard in England, 
 but I believe they were not awarded a very warm 
 reception by the critics of the day, so they were 
 scarcely allowed a fair chance of gaining ground 
 with the musical public. Even after my return 
 from Germany, where I had learnt to appreciate 
 the beauties of this composer, I remember Chorley, 
 the critic of the "Athenseum," saying to me, 
 " Schumann's music is not to my taste ; it is too 
 obscure and unmeaning. What is good in music 
 and art generally, should be clear and intelli- 
 gible." 
 
 As for Wagner and Berlioz, it was considered 
 then a species of high treason to speak of them as 
 composers. They were looked upon as musical 
 maniacs. When W. Mapleson first proposed 
 introducing "Lohengrin" at the opera of Her 
 Majesty's Theatre, the idea was, I understood, 
 scouted as being ridiculous. Probably, had he 
 persisted in presenting the work to the pubUc, it 
 would have been received with a storm of abuse. 
 After all, it was better that Wagner of whom it 
 might truly be said, "Everything comes to him 
 who waits " should bide his time so far as England 
 was concerned.
 
 CONCLUDING REMARKS 
 
 Schumann, Brahms, Wagner, and Berlioz suc- 
 ceeded in the end in breaking down the barrier 
 of musical conservatism in England. How this 
 was accomplished it would be difficult to define. 
 1 beheve that for a long time the ear of this 
 country was not educated up to the tone methods 
 of these composers. Probably, had their works 
 been introduced earlier, to many, perhaps to the 
 majority of listeners, they would have been unin- 
 telligible. 
 
 When Berlioz brought forward his compositions 
 at the New Philharmonic Concerts in 1852, they 
 only created wonderment, and if the audience 
 applauded they did so because they admired the 
 man as a conductor rather than as a composer. 
 
 The change of attitude on the part of the public 
 and the press towards the composers I have men- 
 tioned, and others of the advanced school, has 
 caused quite a revolution in regard to the canons 
 of the art of composition. Formerly a work was 
 judged by the standard of form and subject-matter, 
 clearness of design, and beauty of melody. Now 
 what is principally looked for are eccentricities or 
 novelties in harmony, great complication in the 
 part-writing, and unexpected effects. In point of 
 fact, we in this generation have kicked over the 
 traces, and to a great extent demolished the 
 theories which the old composers, from the time
 
 830 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 of Bach to Beethoven, had laboriously built up. 
 In doing so, I am of opinion that great musical 
 discoveries have been made, not only in writing for 
 the orchestra, but in harmony itself. 
 
 When I was a youth, no one would have 
 thought it possible to weave such ingenious and 
 novel effects of harmony as are to be found in 
 Grieg and other modern composers of the advanced 
 school. Whether these discoveries will lead to 
 others likely to enrich our art is hard to prophesy, 
 but I cannot help thinking that there is a limit to 
 the combinations possible in harmony, beyond 
 which they degenerate into a chaos of unmeaning 
 sounds. I also think that there is great danger of 
 raising a false standard of excellence by attaching 
 too great value to such peculiarities of harmony, 
 so that the ear of the musician may become 
 almost vitiated by the false stimulus which such 
 chords tend to give. There is a risk arising from 
 these causes, a risk great enough to lead us to fear 
 that music itself in time may cease to be the type 
 of beauty it has been hitherto, and which has 
 earned for it the title of the "divine art." 
 
 I ought not here to omit referring to a most 
 important feature in modem music that is the 
 incorporating of national melodies and harmonies 
 in such forms of compositions as rhapsodies and 
 dances. The predilection which composers in
 
 CONCLUDING REMARKS 831 
 
 recent times have had for writing in the style of 
 the countries which gave them birth has led to the 
 production of many interesting works. The most 
 noticeable of these are written either in the Hun- 
 garian, Norwegian, or Polish methods, whilst our 
 own composers have proved how effective a use 
 can be made of the Scotch, Irish, or Welsh char- 
 acteristics in music. Then the quaint and original 
 features of the scales and harmonies of these 
 different nationalities have had an undoubted in- 
 fluence upon modern music, giving it, in certain 
 cases, a special tone- colour. 
 
 But perhaps one of the most striking divergences 
 from old to new, in matters concerning composition, 
 is noticeable in the increased orchestra so frequently 
 employed by composers of the newer school. 
 When Berlioz essayed effects produced by com- 
 binations of instruments, involving the employment 
 of extra timpani, extra trumpets, and other extras 
 innumerable, few thought that his example would 
 ever be followed by others ; yet the augmenting 
 of the old orchestra as we find it in the scores of 
 Beethoven, Mendelssohn, and Schumann, is now of 
 quite common occurrence. I remember when I 
 told a friend of mine that my "Building of the 
 Ship " was about to be performed for the first time 
 in London, after its production at Leeds, he said, 
 in his simplicity as regards music and its workings,
 
 332 MUSICAL REMINISCENCES & IMPRESSIONS 
 
 " Did you write for all the instruments yourself? " 
 Of course I replied in the affirmative. " What, 
 trombones as well ? " he asked. " Bravo ! " he ex- 
 claimed, when he heard 1 had accomplished this 
 feat. But what are trombones nowadays in the 
 fortissimo of a modern score? They are but a 
 small element of what might be termed the war 
 paint of the newer orchestra. 
 
 It is said of Napoleon I that he often complained 
 to Cherubini^ of the way in which the latter hid 
 the voices of the singers in his operas by too 
 much noise (as the great general described it) in the 
 orchestra. Cherubini, to conciliate the Emperor, 
 therefore, on more than one occasion, had all 
 the fortes executed pianissimo. What would the 
 hero of Marengo have exclaimed, had it been 
 possible for him to have heard a modem orchestra 
 at full power? I fear the consequences to the 
 conductor or composer, perhaps to both, would 
 have been little short of banishment from his 
 dominions. 
 
 Whether it is the facilities which the increased 
 orchestra gives for musical colouring, it is certain 
 that composers of the present epoch are constantly 
 searching for new effects ; and as subjects of a 
 tragic character offer, perhaps, the greatest number 
 
 * See " Memorials of Cherubini,** Edward Bellasis (New Edition), 
 p. 82.
 
 CONCLUDING REMARKS 888 
 
 of opportunities of this nature for tone-colouring, 
 we find they are frequently selected for orchestral 
 treatment. 
 
 Indeed, for some time past there has been 
 amongst composers and musical amateurs a great 
 predilection for that which is weird or lugubrious 
 in orchestral music. We love, so to say, to grope 
 about in musical gloom, and when, now and then, 
 we come across some genuine musical phrase we 
 feel, in so doing, that we have made quite a 
 discovery. 
 
 Perhaps, from the same reason that our ima- 
 gination is excited to awe or wonderment by 
 some wild and mountainous region seen in the 
 gloaming, much of the interest we take in music 
 of the newer school may be due to our being 
 mystified by the undefined. 
 
 I recollect, one afternoon, at a Crystal Palace 
 concert, hearing a composition of a very tragic 
 character, illustrating some subject almost blood- 
 curdling in its sentiment. I was sitting next to 
 Sir George Grove at the time, and at the con- 
 clusion of it he turned to me and said : " I do not 
 know, John, why it is that we have become so 
 serious ; music is not so lively and gay as it used 
 to be years ago." Probably this impression which 
 Sir George had in his mind was to a great extent 
 due to the polyphonic character of so much in
 
 334 MUSICAL REMINISCENCES &' IMPRESSIONS 
 
 modem music of the classical school, and to a 
 lack of rhythmical subjects which embody that 
 kind of melody that we can carry away with us 
 after a first hearing. 
 
 No doubt, many very fine specimens of the 
 rhapsodical in music have been the result of this 
 tendency among modern composers. Let us not, 
 however, regard this phase of musical art as the 
 only one worth cherishing or encouraging ; for if we 
 do, a great sameness in music will be the result. 
 
 We look fo^" variety in art. However fascinating 
 a certain form of composition may be, it is no 
 reason why other modes of expression should be 
 considered faulty. The polyphonic in music is 
 now the order of the day ; but it is a question 
 as to whether too much of it does not become 
 wearisome. We are apt, in these days, to 
 place undue value upon that which is complex in 
 music. Should we not rather seek for what is 
 beautiful and simple, yet classical withal? This 
 is why, I think, that a great orchestral conductor 
 is credited to have said : " There is a future for 
 Mozart." For Mozart is the type of all that is 
 clear and defined in music ; and if there is a future 
 for Mozart, why not also for that in art which is 
 constructed upon the same clear and simple lines, 
 and produces some of the same effect ? It would 
 not, however, be consistent for me to conclude my
 
 CONCLUDING REMARKS 335 
 
 reminiscences with speculations as to the future of 
 music ; I will therefore dwell no longer upon this 
 theme. After all, composers of the past have 
 provided us with so many and varied specimens in 
 every form of music, that we should not, in the 
 greed for novelty, inadvertently overlook any of 
 the treasures of art that have been left us as heir- 
 looms for all time. Are there any such art treasures 
 that still await discovery, or has the musical anti- 
 quarian accomplished all that is humanly possible ? 
 In any case, let us continue to revere the great 
 masterpieces we possess ; and whilst we should be 
 ever ready to welcome with alacrity all that is good 
 in the newer school of music, we should not, in our 
 desire to avoid old-world prejudice, go to the 
 extreme of considering as obsolete, those forms 
 and canons of the art upon which the classical 
 composers of the past placed so much value, and 
 which have been handed down to us as models of 
 symmetry and beauty.
 
 INDEX 
 
 Abt, 291 
 
 Alcock, Dr. Walter, 172 
 Anderson, Mrs., 152, 159 
 Ashdown & Parry, 148, 159 
 Ashdown, Edwin, 148 
 
 Bache, Walter, 39, 277, 324 
 Bachofher, 3 
 Barnby, Lady, 213 
 Barnby, Muriel, 216, 326 
 Barnby, Sir Joseph, 141, 143, 211, 
 
 212, 214, 215-19, 287 
 Bamett, Domenico, 39, 56 
 Bamett, Emma, 91, 118, 279 
 Bamett, John, xiv, 27, 28, 54, 87, 
 
 135, 250, 252, 253, 254 
 Bamett, Joseph, 75 
 Bamett, Joseph Alfred, xiv, 9, 19 
 Barnett, Mrs. John, 39 
 Bamett, William, 71 
 Bamett, Zaraeh, xiv 
 Barton, Marmaduke, 183, 196 
 Barton, W. J., 196 
 Baamer, Henry, 111, 327 
 Baxter, Madame Laura, 125 
 Beale, Mr., 13 
 Bellassis, Edward, 165, 332 
 Benedict, Sir Julius, 86, 107, 145, 
 ^62, 155, 156, 167, 168, 182, 287 
 Bennett, Joseph, 106, 307 
 Bennett, Sir Sterndale, 1, 7, OG, 
 
 81, 82, 86, 111, 139, 140, 144, 
 
 218, 327 
 
 Berger, Francesco, 68 
 
 Beringer, Oscar, 269 
 
 Berlioz, Hector, 14, 16, 16, 82, 276, 
 
 328, 329, 331 
 Bernsdorf, 48 
 Best, W. T., 144 
 Betjemann, G. H., 307 
 Blumenthal, Jacques, 16, 131, 287 
 Bottesini, Signor, 302 
 Brassey, Lady, 295 
 Bridge, Sir Frederick, 89 
 Broadwood, Henry Fowler, 31 
 Broadwood, John, & Sons, 31 
 Brown, Madox, 279 
 Bruce, Lord Charles, 186 
 Bull, Ole, 67 
 
 Bulow, Von, 46, 141, 142, 271 
 Butt, Madame Clara, 281 
 
 Carte, D'Oyley, 131 
 
 Carte, W., 131 
 
 Carter, Hilton, 218 
 
 Chew, Miss, 281 
 
 Chorley, F. H., 70, 328 
 
 Clauss, Wilhelmina, 122 
 
 Cliffe, Frederick, 303 
 
 Collard, Drake, 133 
 
 Conway, Hugh, 137 
 
 Cooper, George, 20, 21 
 
 Costa, Sir Michael, 82, 100, 128 
 
 Cowen, Dr. F. H., 64, 270, 287, 
 
 302, 307 
 Cramer, J-IB., & Co., 13 
 
 337
 
 338 
 
 INDEX 
 
 Cramer, John, 46, 266, 268, 269 
 Cummings, Dr. W. H., 68, 84, 
 
 112, 113, 219 
 Cusins, Sir William, 86, 144, 145, 
 
 214, 215, 287, 310 
 
 D' Albert, Eugene, 175, 292 
 Dannreuther, E., 43, 143, 274 
 D'Aubert, C, 287 
 David, Ferdinand, 45, 47 
 Davies, Dr. Walford, 309 
 Davison, J. W., 125, 126, 278 
 Devrient, Shroeder-, 51 
 Dickens, Charles, jun., 283, 284 
 Dickens, Henry, k.c, 284 
 Dolby, Madame Sainton, 7, 19, 
 
 83 
 Dorrell, William, 7 
 Dragonetti, Domenico, 135 
 Dreyschock, A., 46 
 Dupont, A., 46 
 Durand, Charles, 9, 10 
 Dvorak, Antonin, 269, 303, 304, 
 
 806 
 
 Eggers, A. F., 107 
 Elgar, Sir Edward, 309 
 Ella, John, 120, 121 
 Ernst, Heinrich Wilhelm, 169 
 Essipoff, Madame, 310 
 
 Ferri, Signer, 196 
 Foli, Signor, 99, 100 
 Folkestone, Countess, 287 
 Formes, Herr Carl, 19, 125, 126, 
 
 127 
 Fox, Lady, 11 
 Fox, Samson, 184 
 Fox, Sir Charles, 11 
 Francillon, Mrs. Robert, 39, 40, 
 
 87 
 Freake, Sir Charles, 171 
 
 Gadsby, H., 145 
 
 Ganz, W., 14, 16, 167, 168, 287 
 
 Gardener, Charles, 68 
 
 German, Edward, 309 
 
 Gilbert, W. S., 308 
 
 Goddard, Arabella, 142 
 
 Goffrie, Charles, 122 
 
 Goldschmidt, Madame (Jenny 
 Lind), 67, 183, 273, 274 
 
 Goldschmidt, Otto, 46, 273 
 
 Goss, Sir John, 20, 144 
 
 Gounod, Ch., 86, 303, 304, 305 
 
 Grieg, E., 41, 303, 305, 330 
 
 Grove, Sir George, 18, 178, 183, 
 184, 253, 312, 313, 314, 315, 
 317, 318, 319, 322, 324, 333 
 
 Gurkhaus, Herr (Kistner's), 51 
 
 Haddock, Edgar, 296 
 
 Halle', Sir Charles, 148, 175, 176, 
 
 287 
 Harper, Thomas, 164 
 Hauptmann, Dr. Moritz, 32, 33, 
 
 36, 43, 109, 291 
 Henschell, Georg, 284, 294 
 Herbert, Mr., 20 
 Hiller, Ferdinand, 100, 101, 
 
 211 
 Hill, Weist, 193, 201, 202, 203, 
 
 204, 211, 214, 303 
 Horneman, E., 37, 38 
 Hoyte, Dr. W. S., 145 
 Hudson, Cornelius, xv 
 Hudson, Mrs., 4 
 Hudson, Priscilla, xvi 
 Hudson, William, xv, xvi 
 Hueffer, Dr. Francis, 278, 279, 
 
 307 
 Hutchings & Romer, 90 
 
 Jaell, Alfred, 46, 168 
 Jansa, Herr, 122, 123, 124
 
 INDEX 
 
 339 
 
 Jerrold, Douglas, 27, 28 
 Joachim, Dr. J., 47 
 
 Krause, Emil, 40, 41 
 Kuhe, W., 104, 106, 287 
 
 Lazarus, Henry, 164 
 
 Lehmeyer, Herr, 149 
 
 Lemon, Mark, 90 
 
 Leslie, Henry, 129, 130, 131, 287 
 
 Li Calsi, Signor, 209 
 
 Lincoln, Henry, 224 
 
 Liudley, Robert, 135, 136 
 
 Liszt, Franz, 49, 50, 276-8, 284, 
 
 302 
 Littleton, H., 278 
 Lloyd, Edward, 89, 106, 294, 303 
 Lohr, H., 143 
 
 Longfellow, Henry W., 293 
 Louis, Madame St. Viard, 194 
 Lucas, Charles, 7 
 Lucas, Stanley (the late), 7, 276, 
 
 277 
 Lyall, Charles, 307 
 
 Maas, Joseph, 294 
 MacChean, 289 
 Macfarren, Lady, 179 
 Macfarren, Sir George, 7, 144, 
 
 178, 179, 180, 181, 182, 306 
 Macfarren, Walter, 68 
 Mackenzie, Sir Alexander, 302, 
 
 307 
 Maltby, Mrs., xv 
 Manns, Sir August, 18, 73, 102, 
 
 287, 303, 322 
 Mapleson, W., 328 
 Marmontel, 46 
 Mason, Col., 74 
 Mathews, W., 131, 132, 133 
 McCunn, Hamish, 303 
 Mellon, Alfred, 64, 300 
 
 Meyerbeer, xiv, 269, 327 
 Molique, Bernard, 70, 71 
 Morgan, R. Orlando, 196 
 Moscheles, Felix, 282 
 Moscheles, Ignaz, 36, 41, 42, 
 
 152, 282 
 
 Moscheles, Madame Ignaz, 284, 
 
 286 
 Mount, George, 134 
 
 Neate, Charles, 66 
 
 Neruda, Madame Norman- (Lady 
 
 Halle), 124, 301 
 Norbury, George, 112, 271 
 Norbury, John, 112 
 Novello & Co., 90, 144, 279, 306 
 Novello, Clara, 14, 19 
 
 O'Leary, Arthur, 187 
 
 Pachmann, Herr, 166 
 Paderewski, 91 
 Palmer, Miss Bessie, 69 
 Parepa-Rosa, 307 
 Parratt, Sir Walter, 252 
 Parry, Sir Hubert, 305, 324 
 Patey, Madame, 83, 99, 102, 138, 
 
 294, 303 
 Paton, Noel, 74, 75, 93 
 Patti, Madame Adelina, 107 
 Patti, Madame Carlotta, 67 
 Pauer, Ernest, 16, 46, 47, 162, 
 
 153, 176 
 
 Paxton, Sir Joseph, 11 
 Payne, Arthur (of I^eipsic), 40 
 Pemberton, Max, 282 
 Peyton, Richard, 86, 92, 99 
 Piatti, Signor, 135, 301, 302 
 Plaidy, Louis, 36, 36, 41, 42, 49, 
 
 264 
 Potter, Cipriani, 6 
 Pratten, R. S. (the flautist), 164
 
 340 
 
 INDEX 
 
 Prentice, Ridley, 209 
 
 Prout, Professor Ebenezer, 143 
 
 Prudent, Emile, 168 
 
 Radcliffe, Mr., 133 
 Randegger, Albert, 287, 299 
 Reed, German, 19 
 Reeves, Sims, 14, 19, 67, 83, 84, 
 
 112, 114 
 Reinecke, Carl, 46 
 Richter, E. F., 43, 44 
 Richter, Hans, 274 
 Rietz, Julius, 35, 86, 37, 38, 62, 
 
 111, 118, 119, 120 
 Rigby, Vernon, 99, 102 
 Riseley, George, 189 
 Roche, Mrs., 282 
 Rockstro, W. S., 317, 318 
 Rogers, Mrs. Henry, 39, 40, 87 
 Romer, Frank, 90 
 Rosa, Carl, 39, 40, 270, 286, 287, 
 
 307, 324 
 Rubinstein, 49 
 Rubinstein, Anton, 270, 271 
 Rudersdorff, Madame, 69, 75 
 Rudorff, Ernst, 154 
 Russell, Henry, 28 
 
 Sainton, Prospero, 116, 117 
 Saint-Saens, 279 
 Salaman, Charles, 306 
 Santley, Charles, 83, 85, 102, 126, 
 
 287, 303, 307 
 Schleinitz, Herr Director, 61, 63 
 Schroder-Devrient, 61 
 Schumann, Madame, 47, 67 
 Sharpe, Herbert, 172 
 Sherrington, Madame Lemmens-, 
 
 102, 105, 280 
 Silas, E., 14, 303 
 Sivori, Erneste, 168 
 Sloper, Lindsay, 152, 158, 159 
 
 Smart, Henry, 151 
 Smith, Charles P., 201, 202, 218 
 Smith, Mrs. Charles P., 203 
 Smith, Townshend, 116, 117 
 Somervell, Dr. Arthur, 309 
 Spohr, Louis, 15, 16, 116, 326 
 Stainer, Sir John, 176, 287 
 Stanford, Sir Charles, 64, 302, 
 
 3^ 
 Staudigl, 14 
 Sterling, Madame Antoinette, 
 
 105 
 Stevens, Charles, 68 
 Stockley, W., 81, 99 
 Straus, Ludwig, 45, 46, 108 
 Strickland, W., 117 
 Sullivan, Sir Arthur, 38, 40, 100, 
 
 143, 144, 171, 175, 176, 178, 
 
 273, 274, 278, 286, 287, 300, 
 
 308, 316, 324 
 Sweeting, Dr., 172 
 
 Taylor, Coleridge, 309 
 
 Taylor, Franklin, 39, 43, 101, 146, 
 
 286 
 Tenniel, Sir John, xv 
 Thackeray, Makepeace, 28 
 Thalberg, 143, 170, 210 
 Thomas, Goring, 306 
 Thomas, John, 188, 239 
 Thomas, Lewis, 88, 112, 113 
 Thomas, W. H., 145 
 Thunder, Captain, 290 
 Titiens, Mile., 83, 85, 88, 99, 112, 
 
 116, 162 
 Toms, Miss Gwendoline, 281 
 Trebelli, Madame, 112, 113 
 Tschaikowsky, 270 
 Twist, Miss Monimia, 172 
 
 Vanzini, Madame, 102 
 Varley, John, xv
 
 INDEX 
 
 341 
 
 Varley, William, xv, 222 
 Vieuxtemps, Henri, 169 
 Visetti, Alfred, 103 
 Vogel, Misa Jetta, 297 
 
 Wagner, Richard, 274,275-8,328, 
 
 329 
 Wallace, Vincent, 67 
 Walthew, Richard, 306 
 Watson, George, 184, 213 
 
 Watson, William, 17, 69 
 Weiss, W. H., 19, 69 
 Wieniawski, Henri, 169 
 Williams, Miss Anna, 294, 303 
 Wingham, Thomas, 210 
 Wood, Dr. Charles, 309 
 Wood, J. Henry, 64 
 Wylde, Dr., 3, 4, 6, 11, 13, 17, 
 
 63, 67, 160, 161, 162, 167 
 Wylde, Mrs. Henry, 281
 
 PLYMOUTH 
 
 WILLIAM BRKNDON AND SON, LTD. 
 
 FKINTERS
 
 
 THE LIBRARY 
 UNIVERSITY OF CALIFORNIA 
 
 Santa Barbara 
 
 THIS BOOK IS DUE ON THE LAST DATE 
 STAMPED BELOW. 
 
 CIRC. AFTER APR 19 1972 
 
 Series 9482
 
 UC SOUTHERN REGIONAL LIBRARY FACILITY 
 
 Mil III II III III I III II mil iiiii Hill iiii {III 
 
 AA 000107 334 5 
 
 J