Mitchell Estimating UltraMate

v7.1.232.0 [10.2018]
To download the complete and correct content, please visit:

https://manualpost.com/download/mitchell-estimating-ultramate-v7-1-232-0-10-201
8

Mitchell Estimating UltraMate v7.1.232.0 [10.2018]Size: 3.75GbLanguages:

English, German, Spanish.Region: All regionsType: Service, Repair, Wiring
DiagramsLanguages: English, German, Spanish.Version: v7.1.230OS: WinXP,
Win7,WIN8, WIN10 23BIT & 64 bitDVD/CD: 1 DVDYear: 2018Date of update:
10.2018High speed link downloadInstruction: PresentMitchell UltraMate is an
advanced estimating system with proven technology that helps you create
estimates that are accurate, verifiable, and readily accepted throughout the
industry.UltraMate combines database accuracy with Windows ease-of-use, plus
automated calculations and repair procedure pages that virtually eliminate errors.
These features make it easier to produce estimates that are right the first time, and
reduce the need for supplements. With intuitive, uncomplicated navigation, clear
graphics, and simple-to-follow help instructions, UltraMate delivers powerful
estimating technology.UltraMate is fully equipped to handle a wide range of
estimating scenarios with alternative parts selection products and can also help
you with critical business management functions with an integrated basic shop
management product called ShopPak. You can click on the products below to find
out more:Mitchell's Alternate Parts Program (MAPP)Quality Recycled Parts
(QRP)ShopPakFEATURES:Powered by the Mitchell Database - the #1 database
in the industryTab Menu StructureConfigurable Repair ScreenRight Click and Drag
and Drop FunctionalityAutomatic VIN decodeProcedure PagesBased on CIECA
standards facilitating open communicationsCommunicate electronically to retrieve
assignments and send estimatesWebCom Broadband Communications (TCP/IP,
DSL, T1 and ISP connections)New Model Releases:New Cars and
TrucksAsian2012-17 HYUNDAI ACCENT HATCHBACK2012-17 HYUNDAI
AZERA *2016-17 HYUNDAI SONATA HYBRID2014-17 INFINITI QX802013-17
LEXUS GS 350/200t(16-17) GS 200t(13-17) GS 3502013-17 LEXUS GS
450h2014-17 LEXUS IS 250/350/200t/300(14-15) IS 250(14-17) IS 350(16-17) IS
200t(16-17) IS 3002017 MAZDA CX-52016-17 MAZDA CX-92011-17 NISSAN
LEAF2017 NISSAN TITAN REGULAR CAB2017 SUBARU IMPREZA
SEDANChrysler2014-17 RAM PROMASTER CARGO VAN(14-17) 1500
ProMaster(14-17) 2500 ProMaster(14-17) 3500 ProMaster2015-17 RAM
PROMASTER CITY CARGO VAN2015-17 RAM PROMASTER CITY
PASSENGER VANEuropean2017 BMW 7 SERIES HYBRID (G12)(17) 740e2017
PORSCHE 718 BOXSTER (982)2017 PORSCHE PANAMERA (971)2016-17
VOLVO S60 CROSS COUNTRY2017 VOLVO V90 CROSS COUNTRY2016-17
VOLVO XC902016-17 VOLVO XC90 HYBRID(16-17) XC90 Plug-InFord2015-17
FORD EDGEGeneral Motors2014-17 GMC SIERRA 1500(15-17) 1500 Sierra(14)
C1500 Pickup Sierra(14) K1500 Pickup Sierra2015-17 CHEVROLET SILVERADO
2500/3500(15-17) 2500HD Silverado(15-17) 3500HD Silverado* US only†
Available via barcode‡ Canada onlyNew Motorcycles2014-17 BMW S 1000
R2016-17 BMW S 1000 XR2012-17 HONDA GOLD WING2016-17 HONDA
VFR1200X2008-17 KAWASAKI KLR6502017 KAWASAKI NINJA 10002017
KAWASAKI Z125 PRO2015-17 YAMAHA YZF-R1New Medium/Heavy-Duty
Trucks2017 SUPER DUTY CHASSIS CABMitchell Has Trailers!UltraMate RV
Database now includes the following generic trailers:5th Wheel Toy HaulerPop-up
TrailerTrailer / Toy Hauler
Download all on: manualpost.com.
 [Unrelated content]
Another random document on
Internet:
The day is coming when English composers will have to endure as
much adulation as their predecessors did neglect. When that day
arrives I hope they will show some consideration for the memory of
William Sterndale Bennett. It was with sincere pleasure that many
observed the inclusion of one of his overtures on the historic
occasion of the production at the Queen's Hall in London of Sir
Edward Elgar's first violin concerto.
This was a tribute payed to him by his greatest successor, and was
worthy of the man who did it and the occasion which prompted it.
Enough has been said to shew how complete foreign supremacy had
become. Its days are now numbered, it is true, but the effect
remains.
It is idle to suppose that the work of a few men, however gifted they
may be, can undo in a decade what has taken two hundred years to
accomplish. Only by patience and sustained effort in the direction of
making students endeavour to think English music rather than
German, can any national character be developed.
This can be done by English masters only. It is evident that there is
a spirit of revolt abroad against the position as it stands to-day. That
a nation with four or five hundred years' musical history behind it
should yet be in foreign leading-strings is as absurd as it is uncalled
for, and national respect alone should insist on its suppression.
English musicians have recently shewn in manner absolutely
convincing, that they can hold their own in any department of music,
either as creators or exponents.
The north of England and the Midlands teem with men erudite and
enthusiastic.
In Manchester, Sheffield, Birmingham and other towns they are ever
in evidence, and it is mainly from these parts of England that the
most striking of recent developments have come, and which give the
greatest hope for the future. The fascination of a capital city and the
apparently limitless opportunities for advancement naturally attract
the consciously gifted young musician. He expects to be greeted on
arrival with sympathy and encouragement, at least by people of his
own race. He probably knows something of the history of music in
London, but even that does not stay him.
His first experience is one of disillusion. He finds himself in an
atmosphere of cosmopolitanism where the dominating influences are
largely foreign, and if he enters one of the principal schools, he finds
himself in a centre whence those influences largely radiate. If he
elects to stay there, he will eventually emerge from it as an added
unit to that vast army of foreign-taught Englishmen whose work has
hitherto proved so abortive.
I would like to say here that there is not the least intention to cast
reflections on the capabilities of these foreign teachers. Indeed, it
would be a work of supererogation to insist upon the individual
excellencies of many of them.
What words, for instance, could adequately portray the work of such
men as Oscar Beringer or Johannes Wolff? to mention only two of
them.
But that is beside the point.
What we have to consider is the wisdom or unwisdom of continuing
a system that has obtained for a hundred years or so, and is still
encouraged by the leading authorities. We may assume, or we ought
to be able to assume, that what gave rise to it was a dearth of
sufficiently competent Englishmen, and that the mission entrusted to
the foreigner was to train the students up to his own high standard.
Well, has he succeeded after his hundred years' trial? It is evident
that in the opinion of these authorities he has not, else, why should
Herr this be made to succeed Herr that, and Signor this, Signor that,
with such monotonous regularity?
How much longer then is it intended to continue on these lines? If
there are still no native musicians fit to hold these important posts
(and this in the days of Elgar!), what a commentary on the system!
Such an idea, however, is altogether untenable. There is not the
slightest doubt that there are numbers of them fully capable of
sustaining the prestige of any institution, were once the chance
accorded them. One can only suppose that internal jealousies and
foreign-acquired predilections are responsible for what seems such
an insensate policy.
There is another point of view that deserves consideration.
Let it be remembered that by all the resources of the latest
developments of advertising, these schools attract thousands of
pupils from all parts of the kingdom, thus feeding the already
congested state of the musical profession, and yet at the same time,
bolting and barring the door against their eventually succeeding to
these foreign-held posts, however great their claims to them or their
fitness to fulfil the duties attached to them may be.
It is like addressing the English student thus: "Yes. It is true you
have paid your fees for five years, during two of which we have
availed ourselves of your services as an unpaid teacher, thus
acknowledging your capabilities, but we are sorry to be unable to
give you the post you seek as it is reserved for that inestimable artist
Signor ——, who is so unaccountably neglected in his own country."
Thus the game goes on and, I suppose, will go on until the pressure
of public opinion or the determination of the native students forces a
change. The specious argument that the demand justifies the means
may be and probably is adduced. To this, I say that what is
applicable to one who has lived long in the country and justified his
position, is totally inapplicable to another who is brought here
although absolutely unknown.
Now, there cannot possibly be a demand for an unknown quantity.
What I would urge is that upon the honourable retirement of the
foreign master, an Englishman should be appointed in his place, and
be given a chance equal to that of his predecessor in the quality of
the students placed under him.
Of the average foreign musician scattered broadcast over the
country, it may be said that if he has done no particular good, he
has done no particular harm, except in a collectivist sense. This,
however, cannot be said of at least one of the most successful of
them.
To Sir Michael Costa is due the official adoption of the high pitch,
and what that conveys can only be properly appreciated by the
trained musician. The British Government, finding themselves under
the necessity of supplying instruments for the Army bands, and
being informed that these must be tuned alike to a definite pitch—a
question to them, probably, of the "tweedle-dum and tweedle-dee"
order—characteristically called in a foreigner to advise them on the
subject, doubtless thinking he would be the most competent to
whom they could appeal.
It may be casually mentioned that among the prominent British
musicians at this period, were such men as Sir Sterndale Bennett, Sir
George Macfarren, and Sir John Goss.
Now, it is universally recognised that an accurate sense of pitch is of
the highest importance to the musician, and seeing that many of the
most prominent singers—among them Sims Reeves—refused to sing
to it, and some of the leading conductors declined to use it, the
confusion that has resulted may be easily realised. Its adoption,
however, by the Italian Opera and Philharmonic Society in London,
the Birmingham Festival, and all the other institutions where Costa's
influence was paramount, brought it into general use, and until quite
recently, it has so remained.
Yet the protests against it were never silenced, and, constantly
increasing in volume, resulted in its abandonment by one after the
other of the leading orchestras in the country,[21] thus isolating the
numerous choral societies in the provinces, who are necessitated to
seek the aid of military band players to supplement the local ones in
forming a band for their performances, and are forced accordingly to
continue its use.
The effects of this discordance have been, and continue to be
positively incalculable.
Happily for England there are few men who have had similar
opportunities for doing mischief; he has had imitators, it is true, but
none possessed of his talent or force of character.
Indeed, it may be said that he has had few equals among foreign
resident musicians, the majority of whom are men of just average
ability, who have made such reputations as they possess in this
country, and are, in most cases, quite unknown in their own, except
perhaps in the immediate neighbourhood of their birthplaces.[22]
In order to explain their presence in thousands, it will be necessary
to touch on a subject that cannot be altogether avoided. I do not
think, for a moment, that English opinion on the relative merits of
the native and foreign musician as teacher is so decidedly in favour
of the latter as figures would suggest. I look, rather, in other
directions for a solution of the problem.
In the first place, I cannot but think that internal differences,
rivalries and jealousies among prominent British musicians have
afforded opportunities that he has not been slow to take advantage
of. It would not be difficult to refer to many remarkable
appointments of foreign masters that one could only explain on
these grounds, so utterly unjustifiable do they seem.
Again, in the art of advertisement which appears so essential to-day,
there can be no question that Englishmen are not a match for the
foreigner, who uses it with surprising effect on the unsuspecting
public. It is certainly one of the secrets of the astounding position
they have gained in musical education in this country.
If one may compare teaching with public performance, the point
becomes clearer.
Whilst recognising with frankness and spontaneity the genius of such
giants as Hallé, Joachim, Piatti, Norman Neruda, Pachmann, Kreisler,
and Paderewski, I absolutely fail to see equal merit in the many
foreign artists who are so extravagantly advertised at the present
time. It seems to me that in many cases the agent displays more
skill in his art than the artist advertised.
One may surely be permitted, without being invidious, to contrast
the performances of an Englishman like Mr. W. H. Squire with those
of such exponents of their respective schools as Señor Casals and M.
Gerardy, and express a preference for the northern virility and
dignity of the Englishman.
Granted that many foreign artists who appear here display great
ability, there are many more who do nothing of the kind, and the
day should be past when every alien musician endowed with long
hair and a pallid complexion is to be accepted by the British public as
the highest type of musical genius. This delusion has lasted long
enough.
Had England shown herself barren in producing sons possessing
great musical gifts, the position to-day would at least be explicable,
but this is not the case. There has been no time in the centuries
since Purcell's death destitute of some living representative of the
old English genius, although, perhaps, living in the comparative
obscurity of a cathedral town, and far removed from the garish lights
of the Metropolis.
Certain it is that of native composers who have shown any English
characteristics in their music, the majority of them have been reared
in our cathedral cities, and have imbibed their earliest impressions in
cathedral choirs.
To go no further back than the Wesleys, Samuel and his son, Samuel
Sebastian, we need only cite a few of them: Atwood, Pierson, Goss,
Sterndale Bennett, Arthur Sullivan, Sir Frederick Bridge, Sir Walter
Parratt—and crowds of others, both living and dead.
Removed from the centralised cosmopolitanism of London, many of
them had a chance of giving expression to their thoughts in music
not characterised by foreign idiom.
If the fine work of such men as Hubert Parry, Edward Elgar, Granville
Bantock, Walford Davies, William Wallace, Joseph Holbrook, and
others of the new British school does not convince the country of the
fatuity of perpetuating the state of things existing at present,
nothing will, and we must accept the fact that the idea of foreign
supremacy in every branch of musical work, is so engrained in the
blood of the "man in the street" as to be absolutely ineradicable.
But I do not believe it.
One hardly dares to question the sanity of a nation, even on so
elusive a subject as music.
To-day, even, we can see the Dawn: the Penumbra is vanishing.
Not long ago it was considered essential that a singer of any
exceptional merit should go to Italy to "finish"—or be finished, as
the case might be. Not only so, but it was often thought necessary
to Italianise the Anglo-Saxon name, and this was occasionally done
with grotesque result!
In some cases the possessor of so characteristic a name, say, as
Smith (Miss Smith might be a "discovery" by some knowing person
and promptly packed off to the "land of song")—after a stay of a
year or two in Italy, emerges from that country, having adopted,
with a profound sense of the genius of Latin languages, the name of
Smith-ona.
The fact that such great singers as Sims Reeves and Charles Santley
went to Italy and achieved great success there, has, no doubt, been
a fruitful source of attraction to the country; but of the many
thousands who have followed their example, how many have
returned with the least promise of emulating in ever so faint a
degree their illustrious careers?
No Englishmen, assuredly.
A few years ago I had the pleasure to spend a day in the company
of that great singer, the late Signor Tamagno.
In the course of conversation he expressed the opinion that the old
school of Italian singing which had produced so many artists of such
extraordinary merit, was practically dead, and that he was the only
living exponent to carry on its traditions. As he was speaking in
French, I give his actual words in a foot-note.[23]
Without venturing to subscribe to such a pronouncement, I think it is
worth while recording. Whilst admitting that Italy occasionally
produces singers that electrify the world, such as Madame Tettrazzini
and Signor Caruso, I think that a little consideration will convince
anyone that the majority of great singers in modern times has
emanated from the northern races.[24]
In a memorable address given recently by Madame Melba to the
students of the Guildhall School of Music, on which occasion I was
fortunate enough to be present, that great singer insisted on the
importance of diction, and expressed the opinion that in this respect
young English singers had much to learn. One is obliged to
recognise the justice of the rebuke, but I think that, at least, a
partial explanation may be ventured.
In illustration Madame Melba instanced many words that were
constantly maltreated, and among them was that of love.
This irresistibly brought to my mind an incident that occurred many
years ago. When I was, as a boy, acting as accompanist in the studio
of a celebrated foreign singing master, an English lady was having a
lesson and was singing an English song in which she had to
articulate this very word. Suddenly there came a clapping of hands
and a voice called out, "No, no, dat will not do. Ze word is—" and I
give the pronunciation as nearly as letters will permit—"'loaf.'"
As soon as the lady had gone and we were left alone, I said, "But,
maestro, that lady sang the word as it is pronounced in English."
The retort came instantly: "Dat is so? Den it ought to be as I say it."
This aspersion on the intellectual intelligence of the Anglo-Saxon
race struck me as decidedly amusing.
On a quite different occasion I was present at a function in the
course of which another foreign singing master was called upon to
make a speech. I was, it is true, seated at a considerable distance
from him, could not see him, and had not the slightest idea who he
was. After listening carefully for some time, I turned to my table
companion and said, "Could you tell me who is speaking, and what
the language is?" He shrugged his shoulders and replied: "Upon my
word I can't." We afterwards learnt that the language spoken was—
English!
I think that the most unsophisticated of my readers, if I have any,
will be able to draw his own deductions.
It is at least reasonable to ask why the more virile northerner should
subjugate his personality and national characteristics to those of a
southern race of different climate, different morals, and different
physique. Let us consider for a moment the sister art of painting.
It is quite unnecessary to extol the glories of the British school.
Can you possibly imagine Turner, Hogarth, Gainsborough and
Reynolds sitting down and quietly acquiescing, when a set of foreign
painters came over to England and addressed them in such terms as
these: "You English have lost, if you ever possessed it, the art of
painting. We are going to stay over here and shew that we are your
superiors, and you will have to submit quietly while we are taking
time to do it?"
I, at least, would not like to have been a member of that deputation
in case Turner and Hogarth were present. Yet this is not an unfair
illustration of what English musicians have submitted to.
Let us see what Mendelssohn thought on the subject.
In a letter to Edward Devrient, dated Milan, July 13, 1831, he writes:
"You can have no conception of an Italian chorus. As I was supposed
to be in the land of music, I thought I would try and recognise one
good voice among it, but they are all vile and roar like quacks at a
fair.... No German can have an idea of what it is here—that is to say,
no real German; for such a one as I met here is as much a real
German as cheese and beer.
"Fancy, Devrient, the fellow's expenses are paid for two years by the
Ministry, in order that he may study Italian music, and on his return
teach the Italian method of singing....
"Alas, you have no conception of these horrors.... The great fault is
seeking to Italianise themselves, whilst what our northern nature
has given them is the best and only good they have."
Enough of the subject.
Let us simply recall again the words of Sir Edward Elgar, spoken at
Birmingham: "To draw their inspiration from their own country, their
own literature and their own climate. Only by doing so could they
arrive at an English art."

CONCLUSION

Everything points to the fact that in all branches of musical art, the
time has come when England should work out her own salvation.
The result of a hundred and fifty years of foreign tutelage is not one
of which any nation need be proud.

FOOTNOTES:

[21] The lead taken by Sir Henry Wood in this matter is one of his many
claims to the gratitude of the country. His adoption of the French pitch,
known as the "diapason normale," was an act of supreme importance, as
tending to bring England in line with the rest of Europe.
[22] "Music in London: Impressions of a Stranger" (p. 11).
[23] L'ançienne école de chant Italienne est une chose du passé, dont je
suis le seul et dernier représentant.
[24] To cite a few names that come most readily to the mind—Jenny
Lind, Christine Nilsson, Madame Patey, Sims Reeves, Jean de Reszke,
Charles Santley and Edouard de Reszke. Added to these, the great
German singers, inseparably associated with the works of Wagner—all
give colour to the idea.
 CHAPTER VI

PROGRESS OF ORCHESTRAL MUSIC

Former indifference to orchestral music in England—
Handel and his orchestra—Difference in character to the
modern—Haydn's visit—Its great influence—Philharmonic
Society—Great services to England—Celebrated foreign
composers identified with its history—Mendelssohn and
Wagner—Richter and Wagner festival at Royal Albert Hall
—Richter Concerts—Influence on public taste—August
Manns and Crystal Palace Concerts—Sir George Grove and
the programmes—Sir Charles Hallé and Manchester—The
Manchester (afterwards Hallé) Concerts—Influence on
music in the North and Midlands—Sir Henry J. Wood and
Promenade Concerts—Reformation in character—His
establishment of Symphony Concerts—Unique service to
British music—London Symphony Orchestra—Mr. Landon
Ronald and the New Symphony Orchestra—The Royal
Amateur and other amateur orchestral societies—The
good work done.
One of the most striking features in the recent development of
musical progress in England is the somewhat sudden rise into
popularity of orchestral music. One might almost say that as regards
this form of art, the vast majority of English people were at one time
as dead to any appreciation of it, as their descendants to-day, are
alive to its value, and eager to take every opportunity to extend their
knowledge of it.
Until the Philharmonic Society was founded by a few enthusiasts in
1813, there was no permanent orchestra devoted to the
performances of abstract music in the country. Such bands as there
were, consisted of small bodies of performers whose duties were
principally confined to the playing of accompaniments, and were
generally found in the theatre.
For especial occasions, such as the appearance of a celebrated
foreign composer, singer or player, an orchestra would be
temporarily formed, and many of the best musicians of the day
would gladly volunteer their services to do honour to the
distinguished visitor.
I forbear to speak of Handel in this connection, since the band he
required bore little or no approximation to the modern orchestra,
and was used, generally, in conjunction with the organ, in the
production of his operas or oratorios. The orchestra, as we know it
to-day, is of altogether a later date. However, the popularity and
frequent performances of his oratorios doubtless proved a great
factor in arousing interest in the instrumental playing connected with
them, and thus laid the seed that was to bear such golden fruit in
the near future.
Handel died in 1759, and there is little to record of special interest,
until the arrival of Haydn in 1791. With this event may be associated
the birth of the modern orchestra, in this country. That which Handel
had employed seems amazing to modern ideas. To think of a band
that contains as many oboes as violins is enough to take one's
breath away, without insisting on other quaint details; yet up to
Haydn's visit this was what musical people were accustomed to.
The revolution he brought about, the great increase in the number
of stringed instruments, the limitation of the number of oboes to
two, and the many other changes of a like nature, may seem at first
rather startling; a little consideration, however, may perhaps suggest
a quite simple explanation. In those days it was customary for the
great nobles of central Europe to keep a resident band in their
palaces, and it is only reasonable to think that instruments of less
piercing tone than that of the oboe, would be preferred for salon
performances. Haydn had been in the service of Prince Esterhazy for
thirty years, had written most of his music for performance in the
palace, and thus when he came to London at the instigation of
Saloman, a Jewish concert agent, he naturally introduced this new
type of orchestra which, with the occasional addition of novel
instruments, has remained to the present day.
Haydn's visit constituted an epoch in the history of music in England,
for it served to stimulate and give impetus to the interest in abstract
orchestral music, which was hitherto either absolutely wanting or
quite latent. This interest was, happily, either created or aroused,
and soon culminated in the founding of the Philharmonic Society.
To this Society England owes a debt she can never repay, for it is
only through the unselfish devotion of its members, that the regular
presentation of classical orchestral music was, for very many years
rendered possible. In the first place the reasonable supposition must
be borne in mind that only a limited number of people would be
found sufficiently interested in the subject to give it financial
support, and thus the inevitable question of ways and means would
be ever present and, indeed, even to this day it still confronts the
directors who are, and have been from the first, entirely unpaid. In
fact, if the truth were told it would reveal many sacrifices,
sometimes no mean ones either, made by musicians in order to keep
the lamp of orchestral music burning in this country. A high ideal
was aimed at, and nothing meretricious or unworthy was suffered to
detract from the dignity of the performances.
At the beginning it must be admitted, the directors found it
necessary to "temper the wind to the shorn lamb" by offering to
their patrons other attractions beside the purely orchestral, so they
engaged instrumentalists to play chamber music, while one or two
singers also helped to vary the programmes. It was not long,
however, before chamber music was discarded. From that day to
this, the concerts have never changed in character. Under all
circumstances, whether of success or depression, nothing but the
cult of the great classics was regarded as the essential feature of the
aims of the Society. Its history is, assuredly, a fascinating one, not
only on account of the intimate association with the greatest
composers of the nineteenth century and the wonderful galaxy of
genius which has made offerings at its shrine, but of the record of
courage and determination which illumines it.
In order to appreciate at its true significance the present popularity
of orchestral music, it must be remembered that only a
comparatively short time ago, there were but few performances
given, and that even these did not attract sufficient people to pay
the expenses, unless under special and occasional circumstances.
It was then, under such disheartening conditions, that the
Philharmonic continued to live and carry on its work in the highest
interests of art, and although its light may have been at times
somewhat obscured by contemporary brilliancy, its story is one of
which not only the Society, but the nation at large may be justifiably
proud.
As an interesting commentary on the change that has come over
musical taste in England, it may be mentioned that Mendelssohn
conducted one season and Wagner another: the former was the
most successful in the history of the Society, and the latter the most
disastrous.
Cherubini, Spohr, Weber, Mendelssohn and Gounod, amongst many
others, wrote works especially for it, and, above all, Beethoven's
colossal and immortal Ninth Symphony is denoted by an asterisk in
Grove's dictionary, as having been similarly composed.
In recent years one of the greatest events not only in its own
history, but in the history of British music, was the first performance
at the Queen's Hall in London, of Sir Edward Elgar's first Violin
Concerto on the 10th of November, in the year 1910.
Played by Herr Kreisler and conducted by the composer, it achieved
an instantaneous success with which nothing can compare since the
first performance of the similar work of Mendelssohn's in 1844.
Its appearance was, indeed, epoch-making. It is gratifying to think
that it aroused, among the general public, an interest in the Society
and its history that had long been wanting, and with the arrival of its
centenary year, 1912, together with the many new works promised,
it may be confidently hoped that new life and vigour will be instilled
into this admirable institution.
For Mendelssohn, the Society cherishes a special regard, and no
wonder, since his interest in it and affection for it were so constantly
in evidence, and were of such practical value in raising its artistic
and financial status. In each visit that he payed to this country, in
1829, 1842, 1844, and the last in 1847, he either conducted or
played for the Society and, indeed, retained to the end of his life the
keenest and most unselfish wishes for its welfare.
Of the distinguished British musicians whose names are indelibly
associated with the history of the Society must be mentioned,
among others, Sir Sterndale Bennett (conductor), Sir Arthur Sullivan
(conductor), Sir Hubert Parry, Sir Alexander Mackenzie (conductor),
Sir Charles Stanford, and Sir Frederick Cowen (conductor).
During the past two decades or longer, the Society has been
fortunate enough to have as its leading officials Mr. Francesco
Berger,[25] a distinguished musician whose whole life has been
devoted to high ideals, and Dr. W. H. Cummings, without whose
valuable assistance it is doubtful whether the Society could have
successfully resisted certain years of trial and stress.
It is unnecessary to further insist on the great services rendered to
the country by the Philharmonic Society.
If we wish to find the cause or causes which brought about the
change amongst the masses, from absolute indifference to
orchestral music to the present enthusiasm for it, I think we may
begin by noting the gradual growth of an appreciation of the music
of Wagner, especially among those whose means had enabled them
to attend presentations of his works in Germany. It was, I think, to a
number of these fortunate individuals, aided by the enthusiastic
Schultz-Curtius, that we owe the appearance of Wagner and the
memorable Wagner Festival at the Royal Albert Hall, which he, in
conjunction with Herr Richter, conducted in the year 1877. The
enthusiasm aroused by the marvellous music and the revelation of
the wonderful powers of Richter as a conductor, soon led to the
establishment of the Richter Concerts, and we may, I believe, regard
this as an epoch, as the birth of the new spirit that was so speedily
to alter the whole aspect of things musical in this country.
Not only the enthralling fascination of the music, but the striking
personality of the conductor, who seemed to inspire the orchestra
with his own genius, cast such a spell over the audiences and
aroused such frantic enthusiasm, that no one who attended the early
concerts can ever forget the sensations they inspired.
The success achieved in London naturally resulted in a call to the
great provincial cities, and thus Richter had the gratification not only
of doing great service to his idolised master, but also to England,
that had so quickly learnt to appreciate him.
If anyone could doubt the extraordinary fascination that Wagner's
music wields over the masses, a single visit to a Promenade Concert
on a Wagner night should easily dispel it.
For over forty years the Philharmonic Society stood practically alone
in any serious efforts on behalf of orchestral music. Eventually,
however, another champion entered the lists, and valiantly did he
bear himself. This was no other than the late Herr August
(afterwards Sir August) Manns, who in 1855 was appointed director
of the music at the Crystal Palace.
To appreciate the difficulties he had to encounter, one must know
that when he appeared on the scene, he found a wretched brass
band installed there; no concert room, no proper platform for the
performers, and the music, such as it was, had to be played to the
accompaniment of popping corks, shrieking engines, and all the
multitudinous noises one can imagine in such a vast place of
entertainment. However, he was no ordinary man.[26] He was
energetic, determined, and courageous, and whilst being generally
genial and even persuasive in manner, he was also undoubtedly of a
somewhat combative nature. This was shown some years later when
he took exception to a criticism of Mr. Bernard Shaw, and drew from
him a characteristic letter in which musical critics are described as
divided into "two sorts, musicians who are no writers, and writers
who are no musicians," and classes himself among the latter.
The first thing that Manns set himself to do was to replace the brass
band by an ordinary orchestra. In this he was ultimately successful,
although only after a severe struggle with the Palace authorities,
who, even including the late Sir George Grove, inclined to the
opinion that a string orchestra was unsuitable to the building. Events
justified his judgment, and he ultimately succeeded in evolving, out
of an absolute chaos, the famous band and the celebrated Saturday
Concerts.
That he did an enormous amount of good during his many years of
strenuous work is unquestionable, but it must be acknowledged that
the position of the Palace, being so far from London, made the
concerts as an institution more or less parochial. The majority of
those attending them was mainly composed of local subscribers and
their families, while the London element largely consisted of
professional musicians or others having business connection with
music in various ways. The free list would be, therefore, largely in
evidence, and not calculated to ensure the stability of such an
expensive enterprise.
As communication between London and Sydenham became more
easy, it began to be observed that the local residents were taking
advantage of it in ever increasing numbers, to seek the more varied
attractions of the Metropolis, with the inevitable result of decreasing
subscriptions and gradually diminishing audiences.
When the collapse came at last it caused widespread regret, and
there was a unanimous feeling that Manns had well earned the
highest mark of recognition that could be bestowed on him. Let us
hope that he looked upon his knighthood as an adequate reward for
his services.
Splendid, however, as was the work done, it cannot be said that the
concerts ever touched the imagination of the English people as those
of Richter did, nor can it be claimed for them that, as regards the
people generally, they were in any sense epoch-making. They were
too remote from the masses, and the necessary expenditure of time
and money made the attendance of the middle-class Londoner a
matter of superfluous luxury. Hence the number who were able to
benefit by them was limited.
Of these, it will be willingly admitted, English composers were by far
the most prominent.
If there were but few of their works that have been able to stand
the test of time, the fault was not that of Manns, but simply, they
died through lacking the essence of vitality. It will, nevertheless, ever
redound to his honour and to his happy memory, that if only a few
of the English works he produced had sufficient vitality to live in
these more strenuous days, he, at least, gave the prominent native
composers a chance, and to his efforts many of them owe the
position to which they have since attained, and English art has been
enriched by works that otherwise would probably, have never seen
the light.
The first object of Manns, however, when he had at length come into
possession of the orchestra he had so sturdily striven for, was to
perform and popularise classics that were then unknown, and to
bring into existence a body of supporters of sufficient importance to
justify the large expenditure involved. He would thus not only satisfy
his directors, but carry out a work worthy of the earliest traditions of
the Palace.
When he arrived in England the music of Schubert and Schumann
was practically unknown. Here was a great opportunity, and with the
aid of his friend, Sir George Grove, he took advantage of it, and
literally played and preached them into such popularity, that their
names soon became as familiar on concert programmes as that of
Mendelssohn himself.
From whatever point of view one may look, it is certain that the
name of August Manns will go down in the history of English music
as one of its foremost champions.
German to the core himself (he only naturalised himself when he
had lived here over forty years), he had a natural broad-mindedness
that gradually enabled him to see things somewhat from the point of
view of the country that had sheltered him, and he did his best—and
it was noble—for its interests as he comprehended them.
The next great pioneer of orchestral music that we shall deal with is
the late Sir Charles Hallé.
What Manns was doing in the South, Hallé was doing not less
effectively, and on a larger scale, in the North.
Less eclectic in his tastes than Manns, his efforts were severely
limited to the propagation of strictly classical music. In English
music, or, perhaps we should say, music written by Englishmen, he
never had or pretended to have, the slightest interest, and for many
years no British composer's name could be seen on his programmes.
From this rigid classicalism he never swerved, unless his successful
efforts to popularise Berlioz may be so considered.
He arrived in England in 1848, and soon settled in Manchester,
where his strong personality immediately made itself felt, the first
result being his appointment as conductor of the "Gentlemen's
Concerts" in 1849.
The next and most important feature in his career, from our
immediate point of view, was his establishing the "Manchester