Old Scores and New Readings

Old Scores and New Readings

The Project Gutenberg eBook, Old Scores and New Readings, by John
F. Runciman
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.net

Title: Old Scores and New Readings
Author: John F. Runciman
Release Date: March 15, 2005 [eBook #15369]
Language: English
Character set encoding: ISO-8859-1
***START OF THE PROJECT GUTENBERG EBOOK OLD
SCORES AND NEW READINGS***
E-text prepared by Steven Gibbs and the Project Gutenberg Online
Distributed Proofreading Team

OLD SCORES AND NEW READINGS ...
Discussions on Music & Certain Musicians
by
JOHN F. RUNCIMAN
London at the Sign of the Unicorn VII Cecil Court
MDCCCCI

CONTENTS
WILLIAM BYRDE, HIS MASS
OUR LAST GREAT MUSICIAN (HENRY PURCELL, 1658-95)
BACH; THE "MATTHEW" PASSION AND THE "JOHN"
HANDEL
HAYDN AND HIS "CREATION"

MOZART, HIS "DON GIOVANNI" AND THE REQUIEM
"FIDELIO"
SCHUBERT
WEBER AND WAGNER
ITALIAN OPERA, DEAD AND DYING
VERDI YOUNG, AND VERDI YOUNGER
"THE FLYING DUTCHMAN"
"LOHENGRIN"
"TRISTAN AND ISOLDA"
"SIEGFRIED"
"THE DUSK OF THE GODS"
"PARSIFAL"
BAYREUTH IN 1897
A NOTE ON BRAHMS
ANTON DVORÁK
TSCHAIKOWSKY AND HIS "PATHETIC" SYMPHONY
LAMOUREUX AND HIS ORCHESTRA

WILLIAM BYRDE ... HIS MASS
Many years ago, in the essay which is set second in this collection, I
wrote (speaking of the early English composers) that "at length the first
great wave of music culminated in the works of Tallis and Byrde ...
Byrde is infinitely greater than Tallis, and seems worthy indeed to
stand beside Palestrina." Generally one modifies one's opinions as one
grows older; very often it is necessary to reverse them. This one on
Byrde I adhere to: indeed I am nearly proud of having uttered it so long
ago. I had then never heard the Mass in D minor. But in the latter part
of 1899 Mr. R.R. Terry, the organist of Downside Abbey, and one of
Byrde's latest editors, invited me to the opening of St. Benedict's
Church, Ealing, where the Mass in D minor was given; and there I
heard one of the most splendid pieces of music in the world adequately
rendered under very difficult conditions. I use the phrase
advisedly--"one of the most splendid pieces of music in the world."
When the New Zealander twenty centuries hence reckons up the
European masters of music, he will place Byrde not very far down on
the list of the greatest; and he will esteem Byrde's Mass one of the very
finest ever written. Byrde himself has rested peacefully in his grave for

over three hundred years. One or two casual critics have appreciated
him. Fetis, I believe, called him "the English Palestrina"; but I do not
recall whether he meant that Byrde was as great as Palestrina or merely
great amongst the English--whether a "lord amongst wits," or simply "a
wit amongst lords." For the most part he has been left comfortably
alone, and held to be--like his mighty successor Purcell--one of the
forerunners of the "great English school of church composers." To have
prepared the way for Jackson in F--that has been thought his best claim
to remembrance. The notion is as absurd as would be the notion (if
anyone were foolish enough to advance it) that Palestrina is mainly to
be remembered as having prepared the way for Perosi. Byrde prepared
the way for Purcell, it is true; but even that exceeding glory pales
before the greater glory of having written the Cantiones Sacræ and the
D minor Mass. In its way the D minor Mass is as noble and complete
an achievement as the St. Matthew Passion or the "Messiah," the
Choral symphony of Beethoven or the G minor symphony of Mozart,
"Tristan" or the "Nibelung's Ring." It is splendidly planned; it is
perfectly beautiful; and from the first page to the last it is charged with
a grave, sweet, lovely emotion.
The reason why Byrde has not until lately won the homage he deserves
is simply this: that the musical doctors who have hitherto judged him
have judged him in the light of the eighteenth-century contrapuntal
music, and have applied to him in all seriousness Artemus Ward's joke
about Chaucer--"he couldn't spell." The plain harmonic progressions of
the later men could be understood by the doctors: they could not
understand the freer style of harmony which prevailed before the strict
school came into existence. Artemus Ward, taking up Chaucer,
professed amazement to find spelling that would not be tolerated in an
elementary school; the learned doctors, taking up Byrde, found he had
disregarded all the rules--rules, be it remembered, formulated after
Byrde's time, just as our modern rules of spelling were made