Musical Times Publications Ltd. Chats on Current Topics. III. Present: A Composer, a Singer, an Amateur Source: The Musical Times and Singing Class Circular, Vol. 31, No. 565 (Mar. 1, 1890), pp. 137-139 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3362370 Accessed: 21-10-2015 11:55 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 160.36.178.25 on Wed, 21 Oct 2015 11:55:36 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-MARCH 1, I890 I37 S. I forgiveyou, A. THE MUSICAL TIMES C. Be quiet,you two. The frivolityof the age is apparentenough without exemplification here. I was AND SINGING-CLASSCIRCULAR. trying to draw your volatile minds to the probable MARCH I, I890. eSects of the demandnow made by Anglo-Saxondom in generalupon the executiveart of this country. _ A. Anglo-Saxondom(what an ugly compound!) CHA1S ON CURRENT TOPICS. will take the best, and leave some chancesfor second- rate talent. III. S. Like mine. Go on, A. Present: A COMPOSER,A SINGER,AN AMATEUR. A. Yes, like yours,if you will have it so. A. I have just come from the Pachmann Concert C. Not far fromthe mark,I think. But I objectto in St. James's Hall a conjunction of husband and the term" second-ratetalent," and prefer undeveloped wife, master and pupil, pianist and pianist. That is or unrecognised,as not onlymore polite,but possibly to say, a very perfect blend indeed. morecorrect. C. Excuse me if I seem ignorant, but, to tell you 5. A fig for yourfine distinctions. the truth, I no longer follow the developments of C. Very well; I drewthem to take the point out " pianism." Had not the occasion a specialty of of a possible and personalapplicatio}z. Do let me some sort ? proceedwith my argument. No one,even in thought, A. Yes; the Concert was the first of two farewell depreciatesthe value of great executiveartists; but performances. The Pachmanns are going to the circumstancesare conceivablein which they appear United States, don't you know. scarcely an unmixedgood. Our own country is a S. We are all going to the United States in these small one, for example,and a few establsshedsingers days, and Farewell Concerts are becoming an insti- of commandingtalent may take all the best engage- tution amongst us. Perhaps I should add that they ments I don'tmean the best in a pecuniaryso much are becoming a nuisance also, since they illustrate as in an artistic sense. What is the result? Dis- not only the art of music but that of the showman. couragementin the lower but still aspiringranks. When I am engaged to visit a country of Greater As the colonelsin Parliamentsay of their profession Britain you will see me depart without beat of drum, "the flow of promotionis stopped,"the avenues to clothed in the modest dignity of a true artist. distinctionare blocked. Spreadyour great vocalists A. Hm ! sorry, my dear fellow, that there is no over pardonme Anglo-Saxondom,and you make immediate likelihood of your setting so admirable an an openingfor those who wouldbe great. example. S. There'sa good deal in what you say. I, as a S. That's for all you know; but I must say we baritonewith possibilities(don't laugh), have watched singers behave ourselves under such circumstances Charles Santley's Australian progress with an much more becomingly than others. Santley went interest not wholly unselfish. I am delightedwhen away to Australia without formal farewelling; I readthat he is happy and makingmoney. I hope Edward Lloyd, when he departs for America, makes he will stopthere. In his absenceI makemoney and no fuss- am happyI C. And Adelina Patti ? A. That remindsme. I met Flatton,the tenor,at S. Oh, come now! Leave the ladies alone. A an " at home" last evening,and found him in high female singer is always a duality, so evenly balanced spiritsover Lloyd's approaching departure to America. as to its parts that one can hardly say whether He declares that his book is full for the period of the woman exists for music or music for the woman. Lloyd'sabsence, and thatJat last, he hasgot a chance A. Indeed ! I thought the distinction easy to make. of cuttingE. L. out. S. Well, say that it is. Anyhow, very much of S. What ! Flatton! We used to call him throaty the woman enters into the compound, and if the Jim at the Academv. woman likes a little fuss, a special offering of cheers C. Pray don'tdiscuss Flatton save as a witnessfor and bouquets, and an opportunity to air one of the the truth; which is, I take it, that musgcalartists dresses which are to witch the New World or the who have not yet made their highest mark never Antipodes, why should she not be indulged ? enjoyedbetter opportunitiesthan now. 1hings are C. Dear creature ! why not, indeed. Anyhow, we spreadingout and givingroom. can't get rid of the Eternal-Womanly. It will always A. That's it. Diffusionis the orderof the musical hang about music, with furbelows and fripperies. day. We don'tpay enough attention to this matter, A. Our talk is becoming not only ungallant, but un- I wrotean article on "Diffusion in Music" for the profitable. The question that has cropped up in it Nineteenth Centugy, but was told that the Editor presents a graver side for our consideration, since it accepts nothing which isn't signed, or strongly must be a serious matter for music at home that our recommended,by a Duke,or a Bishop,or at least an best artists are so frequently lured abroad. Honourable. C. True enough, and remember that we have seen C. Some rival scribblerwas your informant, no by no means the worst of the matter yet. I don't doubt. underrate the native resources of the great Anglo- A. Yes, I discoveredthat later, and the papermay Saxon communities scattered over the earth, but for go to Kn-owlesyet. i remembermost of it. It began a long while hence they will need to draw upon those with a definition- of older lands, especially the motherland, and the S. (izlterruAtig). Oh! for pity's sake! need inevitably tends to become more pressing, C. S. though rude, is right. We don't want the because capacity for the enjoyment of music spreads verbiage,give us the pith. with far greater facility than the power of making it. A. I declarethere's nopleasingyoufellows. Well, S. Take into account, also, the speed and comfort I pointedout, amongstother things, the diffusionof of modern travel. Were I offered an engagement music in the metropolis. Londoncan hardlybe said to-morrow I should think as little of a voyage to to have a musical centre any longer,or, rather,it Melbourne as, in the old days, was thought of a trip now has manycentres dotted about from Hampstead to N[argate. to Sydenham;from Richmondto Bow Piccadilly A . The Fates forbid the test, for the sake of possible Circusis only one of them, thoughthe chief. consequences to Melbourne. S. Truly, a wonderfulchange is goirlg on, as a This content downloaded from 160.36.178.25 on Wed, 21 Oct 2015 11:55:36 UTC All use subject to JSTOR Terms and Conditions I38 THE MUSICAL TIMES. MARCH I, I890. naturalresult of London'samazing expansion. The taste and acquirementsof the mass of the people, metropolisis not one but manycities. nothingcan be fartherfrom the truth. In Germany A. Yes, and there is nothingmore astonishing than you will hearmuch moreindifferent music and worse the measure of completenesswith which private executionthan in England,while whichis evenmore enterprisemeets the musicalwants of those manyr astonishing nobodyseems to be consciousof faults. cities. Let me give you an example. I went up to S. That reminds me. I was once in Hamburg SiouthHampstead the otherday, andheard Sullivan's , duringa meeting of the Germanmale-voice choirs, " Golden Legend" well performedin a fine hallI who, severalthousands strong, performed simple part- belongingto a Conservatoirethere. An excellentpro- * songs and such like. They were supportedby a fessionalorchestra, a good choir,connected with the strong militaryband stationed in the centre of the institution, and solo vocalists of merit, including mass, yet I heardone wing singing in one key, the Edward Lloyd! what do you think of that as a other wing singing in another,and the bandplaying sampleof local energy? I learnthat performancesof ^ in a third. The audience,nevertheless, listened with variouskinds are regularlyprovided on an equalscale perfectgravity and applaudedas though a triumph of efficiency. And this, observe,is only a specimen had been achieved. of multipliedarrangements which have caused central A. No doubt the general state of music in Ger- Londonto lose its musicalsignisScance. many-I am not referringto the high regions of C. It followsthat we mayno longerargue the state culture is an illustration of the proverb about a of musicin Londonby the attendanceat St. James's little knowledge,the danger of which, in this case, Hall.