[Gutenberg 39925] • A Short History of English Music

A Short History of English Music by Ernest Ford (Annotated)

Contents

I. Music Before and During the Reformation

II. Music Before and During the Reformation—(continued)

III. Early English Composers

IV. The Decline of English Music

V. Musical Education in England

VI. Progress of Orchestral Music

VII. Oratorio in England

VIII. Opera in England

IX. Distinguished Musicians in England during the Nineteenth Century

X. General Survey

Transcriber's Notes

Some part from a book.

To what an extent music had been banned by the intolerant and fanatic spirit of the times, is shown by one fact which is almost picturesque in its weirdness. When, on the Restoration, boys who could sing were wanted for the choirs of the Chapels Royal, none could be found! The treble parts of the music had to be played on cornets or similar instruments. Music had been banished from the home as well as the Church, and this astonishing fact proves with what profound results.

What years of silence those, during the Commonwealth, must have been. It makes one shudder to think of it. What an infancy for those born during those dark days. So completely had all ear for music been, apparently, lost, that it took some years of training before any children could be fitted to take their places in these choirs. The effect of those terrible years was destined to remain, as may be seen by the number of people who may be found in England to-day, possessed of no ear for music whatever.

Oratorio was to prove, in after years, the means of reconciliation between the art of music and the English people. Divested of the taint of frivolity with which, with good reason, they had for so long associated it, music was once more presented to them as the ally of religion. How eagerly they grasped the olive branch held out to them, will be seen later on.

Oratorio doubtless sprang from the mystery plays of the Middle Ages, and its inception arose in Italy at the beginning of the seventeenth century. The earliest specimens would, naturally, have little resemblance to the great creations of two centuries later, but to the genius of the early Italians we owe its birth. It is seen in embryo as early as the fifteenth century or even before,[Pg 152] but perhaps the first work known to us, that definitely shows affinity to oratorio is Emilio's "Rappresentazione," which was first performed in the church of the Oratorians, S. Maria, in Vallicella, in the year 1600. A great advance on it is shown in the works of Carissimi, and still more in those of his illustrious pupil, Scarlatti. The development was carried on by Pergolesi, Jomelli, and Stradella, whose "S. John the Baptist" was for long probably the most celebrated of the oratorios in primitive form.

The origin of the word "oratorio" is derived from S. Filippo Neri, who founded the Order of the Oratory in 1577. As its name implies, the first duty of the members was prayer, but what probably brought about the institution, was the humane desire to give shelter to the many thousands of pilgrims who flocked to Rome in various stages of destitution. Each shelter he established, became a religious home—called oratorium—in which services were held, with the sanction of the Pope, the one condition being that the celebration of the Eucharist was forbidden.

In these services music had a prominent place, and there is abundant evidence to prove that scenes from the sacred writings were illustrated both by singing and acting.

For instance, at the production of Emilio's "Rappresentazione," in the oratory of Santa Maria, not only were the arts of music and acting requisitioned, but the additional aid of costumes, scenery and dancing.