The Story of Chamber Music

CHAPTER II.

CHAMBER MUSIC INSTITUTIONS AND CONCERTS.

John Banister's concerts - Thomas Britton, the musical coalman - Britton's concerts - "Music Meetings" - Oxford Music School - Pepys's Diary - Evelyn's Diary - Frederick the Great - Bach and the Emperor - The Emperor Frederick's compositions - Dando concerts - John Ella and The Musical Union - Analytical programmes and position of platform - Quartett Association - Dannreuther's Musical Evenings - Sir Charles Hallé's recitals - Monday Popular Concerts - Joachim - Various chamber music institutions - Japanese chamber music.

With the general advancement which we thus see had taken place in instrumental music, there naturally arose a desire for its performance, and this led to the establishment of Concerts, both private and public.

Burney in his History of Music tells us that upon the decease of Baltzar the Lubecker, who was the first leader of King Charles the Second's new Band of Twenty-four Violins, John Banister (1630-79), the first Englishman who seems to have distinguished himself on the violin, succeeded him. This musician was one of the first who established lucrative concerts in London. These were advertised in the London Gazette, and in No. 742, for December 30th, 1672, there is the following advertisement:-"These are to give notice that at Mr. John Banister's house, now called the Music School, over against the George Taverne in White Fryers, this present Monday will be music performed by excellent masters, beginning precisely at four of the clock in the afternoon, and every afternoon for the future, precisely at the same hour."

There are a number of such advertisements, and in the Gazette of December 11th, 1676, Banister's performance is announced to be held at the Academy in Little Lincoln's Inn Fields, where it was to begin "with a parley of instruments composed by Mr. Banister, and performed by eminent masters."

In Mr. North's Memoirs of Music we have a more minute account of these performances:-"Banister having procured a large room in White Fryers near the Temple Back Gate, and erected an elevated box or gallery for the musicians, whose modesty required curtains, the rest of the room was fitted with seats and small tables, alehouse fashion. One shilling, which was the price of admission, entitled the audience to call for what they pleased! There was very good music, for Banister found means to procure the best hands in London, and some voices, to assist him, and there wanted no variety, for Banister, besides playing on the violin, did wonders on the flageolet to a thro' base, and several other masters likewise played solos."

Banister had his first lessons from his father, who was one of the waits in the parish of St. Giles-in-the-Fields. He left behind him a son, John, who became an excellent performer on the violin, and was one of King William's band, and also played first violin at Drury Lane when operas were first performed there.

In 1678, a year before the decease of the elder Banister, a club for the practice of chamber music, established by Thomas Britton, the celebrated small-coal man, had its beginning, and continued until 1714. Britton[7] (1651-1714) was born in Northamptonshire, and apprenticed to a London coal-dealer; he afterwards carried on business in Aylesbury Street, at the corner of Jerusalem Passage, Clerkenwell, as a small coal (probably charcoal) dealer. He seems to have been a man of progressive mind, and to have cultivated an extensive knowledge of many subjects, including both theoretical and practical music. His learning indeed seems to have led to his being regarded with suspicion on the part of certain narrow-minded and superstitious people, who attributed to him even so strange a mixture as atheism, Jesuitry, and magic.

There does not, however, seem to be any foundation for the imputations which were made against him, for he appears to have been a sincere, plain man, but endowed with fine natural tastes, which raised him so far above his class that he had to pay the usual penalty for such superiority.

As a result of his study of music he established the club to which reference has been made. Here weekly concerts were held in a large room over his place of business in Clerkenwell, and these became exceedingly fashionable. The performers were drawn from among the most distinguished musicians, professional and amateur, such as Pepusch, Wollaston (the painter), John Banister, John Hughes (the poet), and Abel Whichello. It is also said that Handel frequently played the harpsichord, but the records do not entirely agree on this point. These concerts, which seem to have been due to Britton's personal influence, together with the mutual love for bibliographical and other studies held by many of his audience, were at first free, but afterwards a subscription was levied. There appears to be no doubt that many learned and titled people, such as the Earls of Oxford, Pembroke, Winchelsea, and Sunderland, were subscribers, and that they fully appreciated and acknowledged the high conversational powers and book learning of the musical small-coal man.

Britton's books were sold after his death, and the catalogue was issued as "The Library of Mr. Thomas Britton, small-coal man, deceased, who at his own charge kept up a consort of musick above forty years in his little cottage. Being a curious collection of Books in Divinity, History, Physick, and Chimistry, in all volumes."

His portrait by J. Wollaston, who was one of his supporters, hangs in the National Portrait Gallery in London. So recently as 1892 concerts called the Britton Concerts were given in his memory at the Hampden Club, Phonix Street, St. Pancras, London.[8]

About the year 1680 the principal music-masters in London, perceiving an eagerness in the public for musical performances, caused a room to be erected in York Buildings and purposely fitted up for concerts, where the best compositions and performers of the time were to be heard. This was called the "music meeting," and this room was for a long time the place where the lovers of music assembled at the benefit concerts of the most eminent professors of the art.

As regards the provinces, in 1665 a music school was founded at Oxford by the members of the old Oxford meetings which were suppressed during the Rebellion. Anthony Wood speaks of these meetings when King Charles was driven to Oxford. This new (1665) school, it is quaintly recorded, was furnished "with a number of instruments, including an organ of four stopps, and seven desks to lay the books on, at two shillings each." Subscription concerts were given, and these Oxford gatherings were the first of which any account is to be met with, indeed they seem to have been the only association of the kind in the kingdom. (Hawkins, History of Music.)

For the common and ordinary people there were entertainments suited to their notions of music; these consisted of concerts in unison, as they were called, of fiddles, hautboys, trumpets, etc., performed in booths at fairs held in and about London, but more frequently in certain places called music-houses, of which there were many in the time of King Charles II.

Among the first of this kind was one known by the sign of the Mitre near the west end of St. Paul's Cathedral. This was about the year 1664. The name of the master of this house was Robert Hubert, alias Forges, who besides being a musician was a collector of natural curiosities.

Another well-known place of this kind was in Stepney, where there was an organ and a band of fiddles and hautboys, and here at times dancing was allowed.

As quaintly casting light on the musical condition of things during this period, the following extracts from Pepys's Diary may be given:-

"Oct. 1, 1667. To White Hall: and there in the Boarded Gallery did hear the musick with which the King is presented this night by Monsieur Grebus, the master of His musick; both instrumental (I think twenty-four viols.) and vocall; an English song upon Peace. But God forgive me! I never was so little pleased with a concert of musick in my life. The manner of setting words and repeating them out of order and that with a number of voices, makes me sick, the whole design of vocall musick being lost by it. Here was a great press of people, but I did not see many pleased with it, only the instrumental musick he had brought by practice to play very just."

"Febry. 27, 1668. With my wife to the King's House to see The Virgin Martyr, the first time it hath been acted a great while; and it is mighty pleasant; not that the play is worth much, but it is freely acted by Beck Marshall. But that which did please me beyond anything in the whole world was the wind-musique when the angel comes down; which is so sweet that it ravished me and indeed, in a word, did wrap up my soul so that it made me really sick, just as I have been formerly when in love with my wife; that neither then nor all the evening going home and at home I was able to think of anything, but remained all night transported, so as I could not believe that ever any...