I do not blame the American people for... hero-worship: they are often victims of it. We treat the British composer with far more respect than the American composer is treated by his own compatriots. There are cases of undue neglect in this country, owing probably to ill-luck. On the other hand, I have during recent years seen glimpses of astonishingly enterprising and imaginative music written by composers living in the States and South America; but I have yet to read of its performance. The most wily press-agent could not bring that about, and moreover he would not try, because there is no money in it: composers cannot pay the fees advanced by interpretative artists.

Perhaps I am a trifle jealous of the artist, who is often aided by judiciously placed press-matter, and in America by costly advertisements. No such course is open to American or to English composers, who are left to the casual notices of critics, when space can be spared from the mention of artists, the reviews of books, and appreciation of gramophone records. I remark also that rarely is the quality of the music spoken of more than once, though the artist gets away with it every time! I do not wish to be ungracious, but composers do provide the material, good or bad, out of which the Shaws weave some very comfortable garments, and through which the favoured few among artists live in affluence. What baffles me considerably is that neither in England nor in America is there a society approximating to the German Allgemeine deutsche Musikverein, which exists for the purpose of bringing forward the works of unknown and little-known German composers. Something similar was attempted when the Musical League, more than twenty-five years ago, gave festivals in Liverpool and Birmingham. It included among its members many musical notabilities, and certainly it should never have been disbanded, for good work lay before it.

The drift of my remarks is that similar good work could be done in England by a new Musical League. I suggest a revival of the old league by those who played their part for the two successful festivals held in Liverpool (1909) and Birmingham (1913). They are, I believe, quite free from official association with either the BBC or the Triennial Festivals. It may be that Sir Thomas Beecham, Sir Hugh Allen, Sir John McEwen, Sir Granville Bantock, Sir Landon Ronald, are higher placed than they were twenty-five years ago, but a committee comprised of these men would at least win the trust of the young composer.

I have received several letters concerning the suggestion I made about the revival of the old Musical League. I do not think it obligatory to retain the previous name: so perhaps Confederation of British Music might be substituted with the possible later addition of Royal! If the men who helped the movement in the past are now too busy to identify themselves with similar work, well, we have a quite a plethora of talent in Bax, Bliss, Lambert, Howells, Ireland, Dale, Harold Samuel, Myra Hess, and others. Out of these could surely come a committee capable of launching a movement having so definite an object. I recognise that a leader having the gift of initiative and organisation would be necessary; but such men have come forward in the past.

Probably the first best thing would be to call, with the assistance of an energetic young music-lover with commercial training, an open meeting. He could tell the public and the press that British music had arrived, and that those who wished to give their support must do so now. Obviously, musicians have small means: so it would be necessary to have within the confederation a group of music lovers who could attract and supply the necessary funds [4].

I am painfully aware that, as soon as one offers a suggestion such as this, the answer is that something similar is already in existence or has failed. Well, what of that? Mr Harrod did not trouble about the existence of Mr Maple: he went in and won. Whatever exists now, I believe that more can be done through the federation of choral societies and orchestras that would bring them into personal association with the flower of British music.

On the occasion of the first festival of the Musical League, which was held at Liverpool, the Lord Mayor showed his appreciation of the effort by inviting composers and principals to lunch; in Germany the burgomasters of the towns where the Allgemaine deutsche Musikverein are held give and receive similar hospitality; and thus the success of the festival is pretty well assured from the beginning. I can conceive a vast awakening following every festival, and from that stirring-up support going to every group connected with music.

Look at the success that has come to the Federation of Music Competition Festivals, and of the good work that has attended Dr Sydney Nicholson's work of federating English church choirs. Each and all of us would feel the stimulus of a week's festival of music, more especially when we have before us the hope of doing even better next year. Remember how German musicians honour Liszt for his work in founding the Allgemaine deutsche Musikverein. Similar honour will go to the English musician who will step forward and undertake similar work.

[1] This name is an enigma to me - any information gratefully accepted!

[2] (1883-1938). The work in question may have been his Frauentanz for baritone, chorus and orchestra.

[3] It looks as if Brian should have written ‘twenty-one’ - authorities seem to agree that Bartels' music was first used in a production in 1911.

[4] Readers who are members of the British Music Society may experience a slight sensation of deja vu...