firm believers in the supremacy of spiritual ideals: some may definitely regret, some may, with the help of such conceptions as that of progressive revelation, steer a middle course, some (among whom I would number myself) may definitely welcome. But in whatever light we may regard these radical refusals of the old allegiances, we shall naturally expect to find their influence in music, which has had in many ways so intimate a connexion with religion. Indeed, the conception of music as in some special way the handmaid of religion dies very hard. It is still possible, in April 1919, for distinguished musicians, when appealing for funds for the foundation of a professorship of ecclesiastical music, to put their names to the statement that 'the church will always be the chief home and school of music for the people '1: and this when the facts about attendances at places of worship have long been familiar. We must rate the influence of church music more modestly; it has a great influence in its own sphere, but its sphere is only one among many.

We may, I think, envisage this religious development on its practical side as a process of differentiation by which the sincere standers in the old and the middle and the new paths have little by little drawn apart intellectually-but not, in societies that are happily able to take broad views of human nature, otherwise than intellectually-not only from each other but still more from those who, whatever their ostensible labels, are in reality followers of Gallio and routine. And something like the same process is observable in the religious music of the past generation. Many of its old conventions have silently dropped away, unregarded and unregretted: whatever the outlooks, and they are many and various, they are more clear-sighted, more sincere. 1 The Times, April 17, 1919.

Here in England we have somewhat lagged behind: we have had, not perhaps altogether fairly but indubitably, a reputation for national hypocrisy to sustain, and our religious music has only with difficulty shaken itself loose. Not very long ago, Saint-Saëns's Samson and Delilah, now one of the most popular of operas, could only be performed as an oratorio: it dealt with biblical incidents and characters, therefore it was religious music, therefore it could not be given stage presentation. Of course this kind of attitude is never logical: for a long time we closed Covent Garden to Strauss's Salome for the same reason, but no one, so far as I know, ever proposed to endow it with a religious halo. Now, when Sunday secular music is everywhere, its origins seem lost in antiquity; but the chamber-music concerts at South Place in London and Balliol College in Oxford, which are, I think I am right in saying, the twin pioneers, are both little over thirty years old. In most other countries, however, music has suffered far fewer checks of this kind; and it is of more importance to correlate musical and religious development on more general lines. Particularly interesting, I think, is the history of the decline of the oratorio, which I should myself be inclined to date from the production of the German Requiem of Brahms about half a century ago, though the real impetus has become apparent only during the last generation.

Brahms's Requiem was indeed something of a portent : it was a definite herald of revolt. The mere title, 'A German Requiem ', involving the commandeering of the name hitherto associated exclusively with the ritual of the Roman Church and the practice of prayers for the dead, and its adaptation to entirely different words, was in itself of the utmost significance; and the significance was enhanced by the character of the words themselves.

In the first place, they were self-selected on purely personal lines; in the second place, they were, theologically, hardly so much as Unitarian. Brahms claimed the right to express his own individual view of the problem, and at a length which involved the corollary that the problem was regarded in its completeness. The German Requiem' cannot be considered, as an anthem might be, as an expression of a mere portion of a complete conception of the particular religious problem : in an organic work of this length, what it does not assert it implicitly denies or at any rate disregards. And this was at once recognized, both by Brahms's opponents and by himself he categorically refused to add any dogmatically Christian element to his scheme. Similarly with his Ernste Gesänge, written some thirty years later, at the end of his life he balances the reflections on death taken from Ecclesiastes and similar sources with the Pauline chapter on faith, hope, and charity-not with any more definite consolation. And again, with the choral works, the settings of Hölderlin's Schicksalslied, Schiller's Nänie, Goethe's Gesang der Parzen (the firstfruits of the essentially modern spirit which has impelled so many composers to choral settings of great poetry)— they deal with the ultimate things, but the expression is never, so to speak, orthodox: it is imaginative, sometimes perhaps ironical, but never anything but intensely non-ecclesiastical.

Brahms's Requiem represents, as I have said, the beginning of the change in the conception of concertroom religious music, of the abandonment of the old type of oratorio in favour of something much more conscious and individual; and in refusing to take things for granted, religious music has been altogether in line with general religious development. The change can perhaps be observed in English music more markedly

than elsewhere. Oratorio, in the sense in which we ordinarily use the term, is to all intents and purposes an invention of the genius of Handel reacting on his English environment: the form was of course older, but he gave it a specific shape that set the fashion for future times. It had its birth in a business speculation; it was a novelty designed to occupy the Lenten season when the theatres were not available for opera. Like the opera, it supplied narrative and incident and characterization though without scenery or action, and it dealt with biblical history. The history of the oratorio is the history of this loose compromise; it has afforded an attractive flavour of the theatre even to those to whom drama may in itself have seemed disreputable, and it has had the advantage of possessing subjects which combined unquestioningly accepted literal truth with unlimited possibilities for wholesale edification, and at the same time made no intimately personal claims. The libretto of Mendelssohn's Elijah is perhaps at once the most familiar and the most skilfully compiled example of the type; but it is now, so far as great music is concerned, extinct. Here in England-where, for something like a century and a half, the demand was so large that composers, when tired of writing oratorios themselves, still went on producing them out of the mangled fragments of other music-Parry's Judith of 1888 is the last of the old type from the pen of a great composer; and his subsequent works show, in striking fashion, the direction of the newer paths. There is no longer the assumption that everything in the Bible or the Apocrypha is at one and the same time literally true and somehow or other edifying. Job and King Saul are great literature and vivid drama; they stand on their own merits. And the long succession of smaller choral works, in which Parry mingled in curious but

intensely personal fusion his own earnest but somewhat pedestrian poetry with fragments of the Old Testament prophets, represent a still further abandonment of the old routine; they form a connected exposition of his philosophy of life, on the whole theistic rather than specifically Christian, and always transparently individual. Individual—that is the real issue. According to their differing temperaments, different composers may swing towards either the right or the left wing of thought in these non-ecclesiastical expressions of ultimate things: Stanford may join with Whitman or Robert Bridges, Vaughan-Williams with Whitman or George Herbert, Frank Bridge with Thomas à Kempis, Walford Davies with a mediaeval morality-play, Gustav Holst with the Rig-Veda, Bantock with Omar Khayyam. But the essentials, for any composer worth the name, are that his theme shall have its birth in personal vision and shall appeal to personal intelligence. The routine oratorio fulfilled neither of these conditions; and it is dead beyond recall. It was a curious illustration of foreign ignorance of British musical life that Saint-Saëns, when asked to write a choral work for the Gloucester Festival of 1913, should have imagined that he was meeting our national tastes with an oratorio on the most prehistoric lines. However, the unanimous chilliness with which The Promised Land was received must have effectually disillusioned him.

But the liberalisers, though the more numerous force, have no monopoly of sincerity: among the genuine conservatives also we can find, I think, signs of the correlation of musical with religious development. We have had, during the last generation, many works that are in the legitimate line of descent from the great classical settings of ritual words or (as with the Passions and Cantatas of Bach) words that are intended anyhow to