Even more important than these flying visits of master composers from abroad, for their influence on the formation of taste, were the more regular visits of distinguished Continental performers, some of whom, indeed, not only came regularly but came to stay. Of these the most important were Mr. (afterwards Sir Charles) Hallé, who in 1857 founded the Manchester concerts that still bear his name; Mr. August Manns, who became conductor at the Crystal Palace in 1855; and Dr. Richter, who has been our regular visitor since 1877 and is now, to the great credit of the Hallé Committee and their supporters, living in our midst. Scarcely less important among such foreign influences making for the welfare of musical art in this country is the violin-playing of Dr. Joachim, who has been our constant visitor ever since 1844.
Pursuing the signs of awakening musical life in the second and ensuing decades of the century, we note the foundation of the Royal Academy of Music in 1823, and of the Sacred Harmonic Society in 1832. That Society, now defunct, was originally founded with the idea of replacing an older institution called the "Antient Concerts," which had come to grief through depending too much on aristocratic patronage. The Sacred Harmonic Society did good work by performing Handel's "Israel in Egypt," "Dettingen Te Deum," and other works, besides the "Messiah." They also did something to make Mozart's church music known in London, though with little encouragement from the public, and they rendered a service to art by insisting on complete performances instead of the scraps and tit-bits from oratorios that were popular at that day. Soon after the founding of the Sacred Harmonic Society, that is about the beginning of the Victorian era, came the palmy days of Italian opera in London. But though the expensive warblings of Grisi, Lablache, and Rubini were no doubt found highly exhilarating by the privileged few who could afford to hear them, it is doubtful whether they did anything for the development of the national taste, except, perhaps, by firing the ambition of Sims Reeves.
Great as is the value of such fine stimulating influences--the visits of distinguished players, singers, composers, and conductors, and performances of master works by musical societies,--they are not enough to leaven the mass of the people without systematic educational endeavour. Reference has been made to the founding of the Royal Academy of Music. Sixty years later the Royal College was instituted, with a view to bringing educational opportunities more into conformity with the wants of the time. Among the work done for the improvement of musical education during the intervening period Mr. John Hullah's is worthy of specially honourable mention. After studying popular musical education in France, and especially the Orphéon movement, Mr. Hullah began classes at Exeter Hall for the musical instruction of schoolmasters, and thus originated the vast development of musical training in English elementary schools. In opposition to Mr. Hullah's principles, Mr. John Curwen in 1853 founded the Tonic Sol-fa Association, which has since spread its branches all over England. There is supposed to be some sort of connection between staff notation and Church principles, tonic sol-fa and Dissent. Some day, it may be hoped, the history of choral singing in England will be written with the care that the subject deserves. It remains to this day the principal contribution of this country to musical art in modern times. Theoretical mastership originated with the Germans, refined and exact orchestral playing with the French, and brilliant solo singing with the Italians, but it has been reserved for this country to perfect the art of choral singing. Certain persons, more patriotic than truthful, try to make out that the English are best in everything, but this claim in regard to choral singing bears investigation.