nor effect any alteration in our habits.' Compare
this with the teaching of the founders of tlie
Chinese legislation — a system of government in which music was regarded as a powerful political instrument for smoothing away ruggedness of disposition, and making men more amenable to law and order, and which has existed in much the same form till our own day—expressed more than 2000 years before. One quotation must suffice, from Mencius, remarkable for its similarity to that of the modern statesman. 'If the king's love of music is great, the kingdom will be near a state of good government.' This idea naturally suggests the late Prince Consort, a devoted student of music, who did much to promote general culture and refinement, by fostering the arts of peace, and giving an impulse to all intellectual pursuits. It is largely due to his influence and example that music has so rapidly attained a more prominent place in our social system.
The true value of music as a means of expressing our spiritual and emotional nature, and as a necessity of our lives, has certainly not yet been fully apprehended in this country. Assuming, however, that among more thoughtful minds the importance of encouraging a healthy delight in music throughout the community has been clearly recognised, let us see what has been accomplished in Glasgow in this direction. For the last twelve or thirteen years we have had, through the liberal-mindedness of some public-spirited citizens, a series of orchestral concerts in the winter season. These concerts, after experiencing various financial vicissitudes, have at length become practically self-supporting, the debt due to the deficits in the earlier years being now paid off. The orchestras are of exceptional excellence, and perform the finest classical and modern orchestral music, besides taking part in the oratorio performances of the Choral Union. In addition to these concerts, we have from time to time heard the orchestras under the direction of Mr. Halle and Herr Richter; and we have also had many opportunities of hearing, both with orchestra and in smaller concerts, most of the prominent soloists, vocal and instrumental, now before the public. As far as music brought from the outside is concerned, we in Glasgow can congratulate ourselves on being as well supplied as, if not better than, any town in the three kingdoms, except London.
The question naturally arises, however, what influence have these facilities for hearing good music exerted on the general taste of the community? Have they to any very marked degree raised the standard of appreciation of music, or caused it to be regarded as more worthy of serious study? Have people generally begun to appreciate more keenly the power of good music to bring peace and sunshine into their workaday lives, to awaken their nobler emotions, and enable them to grow more in sympathy with their fellow-men? Do persons who either in public or private undertake to interpret the exquisite creations of the great masters of melody and harmony feel more deeply the responsibility of their task, and study these works more carefully and reverently in the effort to discover all their latent beauties, and reveal them to, and make them felt by, others?
To these questions it is difficult to give a satisfactory reply. We can only judge from the public exhibitions of musical societies which are given from time to time, and from a few other sources of information open to all interested in the subject. With regard to choral societies, other tlian the Choral Union—which does good work, and has existed for many years—we regret to say that things are eminently unsatisfactory. The members of these societies do not as a whole show an appreciation of the responsibility of their position. In many cases they seem to regard their meeting together to study the works of the great composers as in a great degree a matter of amusement, which may be neglected if anything more attractive turns up. The rehearsals are badly attended, and in anything but a thoughtful spirit. A concert is given; and their friends are invited, and come in full dress, to see the poor conductor labouring to make the chorus present anything of a musical appearance—and failing. How often do we turn away from such an exhibition, knowing the troubles of the conductor, and feeling grieved that his earnest efforts to make the glorious music enjoyed and appreciated are thus miserably seconded. Is it not possible to get together even a small body of earnest-minded amateurs who are willing to devote themselves to the serious study of choral music for its own sake, who will value as a privilege their power to interpret to others, and to make them feel the charm and beauty of the music when it is rendered as perfectly as possible? In one society we know of, the giving of a concert is made the occasion of an evening's dancing; while in another, fashionable philanthropy seems to be the excuse for an unappreciative performance. The solos sung by members of the choir usually suffer most—for being originally written for thoroughly-trained vocalists they are beyond the powers of an amateur. The impression, however, seems to prevail, in the charity musical organisations particularly, that to make music appeal to the general public—the less-cultivated especially—a very moderate performance of a work will do well enough. It seems to be overlooked that, besides the
