Modern music and musicians : [Encyclopedic] . English oratoriowhich owes its existence to the peculiar bias of our national taste as trulyas does the literature of the Elizabethan era or the pointed arch of EarlyEnglish architecture. And the school is for all time. As long as Eng-lishmen are Englishmen it will speak to their religious faith and artisticsense of beauty as no other music has spoken since the days of Tallisand Byrd and Farrant and Orlando Gibbons, for it is as truly English asthe cathedral music of the sixteenth century. This is a rather radicalview, and by an Englishman, but I t
Modern music and musicians : [Encyclopedic] . English oratoriowhich owes its existence to the peculiar bias of our national taste as trulyas does the literature of the Elizabethan era or the pointed arch of EarlyEnglish architecture. And the school is for all time. As long as Eng-lishmen are Englishmen it will speak to their religious faith and artisticsense of beauty as no other music has spoken since the days of Tallisand Byrd and Farrant and Orlando Gibbons, for it is as truly English asthe cathedral music of the sixteenth century. This is a rather radicalview, and by an Englishman, but I think it well founded. Like every great composer, Handel inherited all previous music. Heknew the music of the past thoroughly, and nearly all that of his contem-poraries, and he did not scruple to use parts of it if they seemed suitableto his purposes. Dr. Crotch, in his Lectures on Music (1831), statesthat Handel quoted or copied from the works of Palestrina and others,giving a list of twenty-nine names, ending with a most significant ;[ i-iM; hi mimnmw mi i i,i-m mih urn; m n 11;; nl SINGERS IN HANDELS ORATORIOS IN LONDON. Sir Frederick Bridge, in the Gresham lectures for 1899, draws apicture of Handel as a genial old musical pirate with only a faint ap-preciation of the difference between mine and thine. The German Handel Society prints five volumes of Sources of Han-dels Composition, including an entire Magnificat of large dimensions,which Handel appropriated almost bodily and diverted to his own these days, when many critics spend their energies and intellects in thehunt for reminiscences, and their sarcasm on them when found or ima-gined, this seems a shocking, a scandalous thing. The natural inferenceis that if he stole an entire cantata he certainly would not call on his owninventive powers for smaller things. It may be that this practice wassometimes due to absent-mindedness. But this can hardly account forHandels use of the who
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Keywords: ., bookcentury1900, bookdecade1910, bookidmode, booksubjectmusicians
