This book is not, in any sense, technical. It is an attempt to give a simple and rational, though in a volume of this size, necessarily incomplete, account of events that have led to the complex state of music existing in England at the present time. Should it offer nothing to the musician or historian, I hope it will be found of interest to the general reader. The desire to make each chapter as complete, on the subject with which it deals, as space would permit, has necessitated a certain amoun

England at one time musical and "merrie"—England before the Reformation—Out-door life—Natural dramatic instincts—Isolation of country districts in early days—Performances of itinerant minstrels—Ban of the Church—Gradual improvement—Effect of the wars of the Roses—Early perfection of sacred music—Difficult times after repudiation of Rome by Henry VIII.—His policy and that of Queen Elizabeth—Edward VI. and his sisters—Popular anger against the monks—Dissolution of monasteries natural result amongs

Secular music dating from the thirteenth century—Origin lost in antiquity—Earliest specimens, dance music—Morris dance traced to Saxon times—Dancing always associated with singing—Gradual independence—Popularity of the month of May—The ballad and its antiquity—Popular specimens—"Parthenia," a collection of pieces for virginals—Life in England during the reign of Queen Elizabeth—Its happiness—Authority of Professor Thorold Rogers—Great men living at the time—Pageantry and the Queen—Her love of da

Most of the pre-Reformation music destroyed—Tallis, the oldest English musician of which anything certain is known—Organist of Waltham Abbey at time of the suppression of the monasteries—Date of his birth unknown—Favourite of King Henry VIII. and Queen Elizabeth—State of difficulty and danger in intervening reigns—Chaotic state of things in the Church—Queen Elizabeth's policy—View of it taken by the present Dean of St. Paul's Cathedral—Greatness of Tallis as a composer—His death. We are, unfortu

Three principal causes leading to decline—Reformation the principal one—The plain-song and the people—Gradual transition in mode of living—Effect of Calvinistic teaching—Excesses of the Commonwealth soldiery—Facts as to life of Calvin—Effects of change of dynasty—The Stuarts and music—The Restoration and resulting excitement—England rid of the Stuarts—Jonathan Swift a Church dignitary—First appearance of opera in England—Handel and Italian opera—He leaves England—Returns and devotes himself to o

The early Church, origin of present development of modern music—Antiphon, precursor of harmony and counterpoint—The invention of the organ and its importance—Tallis, the link between pre and post Reformation music—Purcell and the Augustan age of English music—Acts of Reformation period—Present system of musical education—Principal schools of music—Lack of national character in English music—Suggested explanation—Influence of foreign resident composers—Rival Italian opera companies—Return of Hand

Former indifference to orchestral music in England—Handel and his orchestra—Difference in character to the modern—Haydn's visit—Its great influence—Philharmonic Society—Great services to England—Celebrated foreign composers identified with its history—Mendelssohn and Wagner—Richter and Wagner festival at Royal Albert Hall—Richter Concerts—Influence on public taste—August Manns and Crystal Palace Concerts—Sir George Grove and the programmes—Sir Charles Hallé and Manchester—The Manchester (afterwa

Influence of oratorio in England—Commonwealth period and effect on music—Italy original home of oratorio—Origin of the word—Similarity to opera in early stage—Handel—Absurdity of claiming him as an Englishman—Italy has greater claims—Handel's versatility—Early oratorios—"Messiah"—King George III. and the "Hallelujah" chorus—Greatness of the oratorio—Its hold on the people—Effect on the religious feelings of the country—Joseph Haydn—"The Creation"—Its immediate popularity—Reasons for it—Its claim

Italy, the birth-place of opera—Purcell and opera—English people and opera—Charles II. and his court—Italian opera—Its popularity—Managers and great singers—Royal Opera—Dr. Richter—Opera in English—Dr. Richter and English singers—Mr. Thomas Beecham and opera in English—Alfred Bunn and his efforts—"Bohemian Girl"—Louisa Pyne and William Harrison—The Pyne family—G. A. Macfarren—Carl Rosa Company—His distinguished artists—Madame Valleria and Mr. Ludwig—British composers and opera—Goring Thomas' "Es

Birth—Family connected with English Church music—Enters Royal Academy of Music—Importance of the step—His work there—Proceeds to Leipzig—Schumann's appreciation of his genius—The German impress—His return to England—Life-long association with Royal Academy of Music—Bennett as pianist—Institutes chamber concerts—His conservative views—Rivalry of foreign musicians—His most important compositions—Founds The Bach Society—His place in musical history. William Sterndale Bennett was born at Sheffield i

Facilities for hearing music—Opera an exception—Sir Henry Wood—Dream of Gerontius—Sir Frederick Bridge—Ballad concerts—Ballad singers—Madame Clara Butt and Mr. Kennerly Rumford—Chamber music—Mr. Arthur Chappell and the Monday Popular Concerts—Salome—Question of the censor—Recognition of merit in distinguished musicians—Examination craze—Government enquiry suggested—Musical criticism—Disadvantages of anonymity—The great Festivals—Costa and the Handel Festival—Brass Band Contests and the North of