ENGLISH MUSIC

Waikato Times, Volume 121, Issue 20263, 4 August 1937, Page 9

ENGLISH MUSIC

AMONG BEST IN WORLD. MANY LEADING COMPOSERS. VISITING MUSICIAN’S SURVEY. “In the nineteenth century there was a renaissance of English music and since that time England has been In the forefront and has had. many of the best composers,” remarked Mr W. H. Kerrldge, M.A., Mus.Bac., Trinity College examiner. In the course of an address to the Hamilton Muslo Students’ Association last evening, when he reviewed English muslo and briefly detailed the trend In European compositions. There was a large and interested gathering, which found particular enjoyment In Mr Kerridge’s pianoforte selections of European folk songs at the conclusion of the lecture. Mr Kerridge said that the most extraordinary feature of English muslo was that during the pioneering era In the fourteenth and fifteenth centuries Britain was in the forefront of the world of music and had developed considerably before the great German composers were born. About the year 1700 English composers almost did not exist and at this time there was a great movement In Europe. The revival of the art in England commenced during the nineteenth century. Development of Harmony. At the opening of his address the lecturer gave a brief outline of muslo generally, saying that the Greeks had no idea of harmony in their music, a peculiarity of Eastern compositions even to-day. It was not until the twelfth or thirteenth century that Europeans gained a knowledge of harmony. Mr Kerridge related one explanation of the start of harmony which was that on- one occasion a party of monks were singing In unison when one was unable to reaoh a note and sung a fourth or fifth below. The effect was pleasing and so developed the simple harmony which has been so finely developed to-day. As time went on music became more extended. Balance and architecture were fused into the compositions, which later took on contrast. ' This was early noticed in the fugues of Bach. Then came the great symphonic period in Europe with Mozart, Beethoven and Hayden in the eighteenth century. Then followed the romantic school of Schumann and lohubert. At the end of the thirteenth century In England the previously crude harmony began to develop with Dunstable the pioneer. Later, during the Elizabethan period the music became more complex. It was in the sixteenth century that the Germans and Italians became more prominent in the world of muslo. Fine Choral Muslo. Mr Kerridge, with the use of gramophone records, gave examples of the different stages in English music to illustrate bis remarks. He said that nowhere in Europe is to be heard boy soprano choirs of the quality of those In England. The speaker drew the attention of his listeners to the faot that a noticeable point In a survey of English music was that a greater advanoe had been made in choral music than anywhere else. It preceded instrumental and most certainly operatic. Italy was more famous for operatio works, while Germans had developed all classes very well. During the insignificant period of English music small delicate and charming pieces had kept the country’s music flowering. Mr Kerridge paid attention to the great English composers of the last century, with particular reference to Sir Edward Elgar, whose orchestral work w-as famous, and who developed i a remarkable range. Sir Thomas I Beeeham, in the speaker’s opinion, did more than any other composer to revive orchestral work. Two modern English composers who at present led the country’s music were Constance Lambert and Lew Walton. At tiie Conclusion of his address Mr Kerridge played several varied types of European folk songs. He pleased the audience with his charming renditions. Folk songs from Holland, Norway, Germany, Russia and Hungary were played. Mrs A. English thanked Mr Kerridge on behalf of the Muslo Students’ Association.