Singing was one of the principal social pastimes of the Dutch nation during the eighteenth and far into the nineteenth century, and the North Hollander was especially fond of vocal music. When young girls went to spend the evening at the house of a friend they always carried with them their 'Liederboek '--a volume beautifully bound in tortoise-shell covers or mounted with gold or silver. The songs contained in these books were a strange mixture of the gay and grave. Jovial drinking-songs or 'Kermisliedjes' would find a place next to a 'Christian's Meditation on Death.' It was an olla podrida, in which everybody's tastes were considered. Recitations were also a feature of these little gatherings.

Nowadays these national songs are rarely heard. French, Italian, and German songs have taken their place, and it is but seldom one hears a real Dutch song at any social gathering. The 'people,' too, seem to have forgotten their natural gift of poetry, for the only songs now heard about the streets are badly translated French or English ditties. If England brings out a comic song of questionable art, six months later that song will have made its way to Holland, and will have taken a popular place in a Dutch street musician's rÉpertoire; it will be whistled in many different keys by butcher and baker boys, and will be heard issuing painfully from the wonderful mechanism of the superfluous concertina. For almost every one in Holland possesses some musical instrument on which he plays, well or otherwise, when his daily work is over, or on Sunday evenings at home. And here a notable characteristic of the Dutch higher classes must be mentioned by way of contrast. Musical though they are, trained as they generally are both to play and sing well, they yet seldom exercise their gifts in a friendly, social, after-dinner way in their own homes. They become, in fact, so critical or so self-conscious that they prefer to pay to hear music rendered by recognized artists, and so a by no means inconsiderable element of geniality is lost to the social and domestic circle.

The decay of folk-song is the more regrettable, since Holland is rich in old ballads, some of which, handed down just as the people used to sing them centuries ago, are quaint, naÏve, and exceedingly pretty. The melodies have all been put to modern harmonies by able composers, and published for the use of the public.

'Het daghet in het oosten,
Het lichtis overal,'

is a little jewel of poetic feeling, and the melody is very sweet. The story, like most of the songs of the past troublous centuries, tells of a battlefield where a young girl goes to seek her lover, but finds him dead. So, after burying him with her own white hands, with his sword and his banner by his side, she vows entrance into a convent. The story is a picture in miniature of the times, and as a piece of literature it ranks high.

Music of some sort finds a place in the homes of the poorest, and the concert, theatre, and opera are as much frequented by the humble of the land as by the wealthy and noble born. The servant class on their 'evening out' frequently go to the French opera, and there is not a boy on the street but is able to whistle some tune from the great modern operas, such as 'Faust,' 'Lohengrin,' and other standard works. And no wonder, for the choristers in the operas walk behind fruit-carts all day long, and often call out their wares in the musical tones learnt while following their more select profession as public singers. Some, of course, cannot read a note of music, and the melodies they have to sing have to be drummed, or rather trumpeted, into their ears. To this end they are placed in a row, and a man with a large trumpet stands before them and plays the tune over and over again until they know it off. In the summer-time whole parties of these Jewish youths--for Jewish they chiefly are--go about the woods on their Sabbath day singing the parts they take in the operas in the winter season, and crowds of people flock to hear them, for their voices are really well worth listening to.

Concerts are naturally not so largely patronized by the people as are operas and theatres. In the larger towns of Holland especially theatricals take a very prominent place in popular relaxation, and even the smaller towns and villages, should they lack theatres and be unable to get good theatrical companies to pay them periodical visits, arrange for dramatic performances by local talent. The popularity of the opera may be judged from the fact that at Amsterdam, The Hague, Rotterdam, Groningen, Arnhem and Utrecht, operas in Dutch and French are regularly given, and occasionally works in German and even Italian are produced. Money is scarce in Holland, the people generally have little to spare, so grand opera-houses, such as are thought necessary in most European cities of any pretension to culture, are impossible, and the singers can seldom count on liberal fees. But most of the best works are heard all the same--which, after all, is the principal thing--and the enjoyment and edification which result are not less genuine because of the simplicity of the properties and the humble character of the entire surroundings.

Yet outdoor music possesses a powerful attraction for the Dutch humbler classes, as for the same classes in most, if not all, countries; and when in the summer-time there is music in the Wood at The Hague on Sunday afternoons or Wednesday evenings, the walks round about the 'Tent' are alive with servants and their lovers, parading decorously arm-in-arm. Happy fathers, too, with their wives and children in Sunday best, perambulate the grounds or rest on the seats amongst the trees and listen to the 'Bosch-muziek.' People of the better class only are members of the 'Witte Societeit,' and sit inside the green paling to listen to the music and drink something meanwhile. For it is strange but true, that a Dutchman never seems thoroughly to enjoy himself unless he has liquid of some sort at hand, and never feels really comfortable without his cigar. Indeed, if smoking were abolished from places of public amusement, most Dutchmen would frequent them no more. In winter concerts are given every other Wednesday at The Hague--and what is true of The Hague applies to Amsterdam and all other towns of any size in the country--and the Public Hall is always packed; but besides these 'Diligentia' concerts there are others given by various Singing Societies, so that there is variety enough to choose from.

In the summer-time there is another attraction besides the Wood for the people of The Hague, for the season at Scheveningen opens on the 1st of June, and there is music at the Kurhaus twice a day--in the afternoon on the terrace of that building, and in the evening in the great hall inside. On Friday night is given what is called a 'Symphony Concert.' To this all the world flocks, for no one who at all respects himself, or esteems the opinion of society, would venture to miss it. Whether every one understands or enjoys the high class music given is another question, which it would be imprudent to press too urgently, but then it belongs to 'education' to go to concerts, and so all enjoy it in their own way. For the townspeople and the working-classes, who have no free time during the week, concerts are given at the large Voorhout on the Sunday evenings in summer, so that on that day even the busiest and poorest may enjoy recreation of a better kind than the public-house offers them, and this effort on their behalf is greatly appreciated by the people, who gladly make use of the opportunities of hearing good and popular music.

The national love of music is assiduously fostered by the Netherlands Musical Union, whose branches are to be found all over the country. Every town has musical and singing societies of some kind--private as well as public--and these make life quite endurable in winter, even in the smallest places. Nor do these 'Zangvereenigingen' derive their membership exclusively from the higher classes, for the humbler folk have organizations of their own. Even the servant girl and the day-labourer will often be found to belong to singing clubs of some kind. Music is also taught at most of the public schools, though it was long before the Government capitulated upon the point, and gave this subject a place side by side with drawing as part of the normal curriculum of the children of the people.

Happily for the musical and dramatic tastes of the nation, both the concert and the theatre are cheap amusements in Holland. As a rule, the dearest seats cost only from 3s. to 5s., while the cheapest, even in first-class houses at Amsterdam, Rotterdam, and The Hague, cost as little as sixpence. The only exceptions are when renowned artists tour the country, and even then the prices seldom exceed £1 for the best places. There is one musical event which makes a more serious call upon the purse, and it is the periodical operatic performance of the Wagner Society in Amsterdam. As a rule, two representations a year are given, and some of the best singers of Europe are invited to sing in one or other of Wagner's operas. The best Dutch orchestra plays, and chosen voices from the Amsterdam Conservatoire take part in the choruses. The scenery is worthy of Bayreuth itself, and such expense and care are bestowed upon these choice performances that, though the house is invariably filled on every occasion, the fees for admission never pay the costs, so that the musical enthusiasts of Amsterdam, Haarlem, and The Hague regularly make up the deficit each year, which sometimes amounts to as much as £1000.

While, however, the Dutch may with truth be classed as a distinctly musical nation, they would seem to have outlived their fame in the domain of musical art. For it should not be forgotten that Holland has in this respect a distinguished history behind it. So long ago as the times of Pope Adrian I. a Dutch school of music was established under the tuition of Italian masters, and it compared favourably with the contemporary schools of other nations. Even in the ninth century Holland produced a composer famous in the annals of music in the person of the monk Huchbald of St. Amand, in Flanders. He it was who changed the notation, and arranged the time by marking the worth of each note, and he is also remembered for his 'Organum,' the oldest form of music written in harmonies. It is often lamented that the compositions of to-day lack the originality which marked the earlier works. The country has none the less produced some noticeable composers during the past century. Of these J. VerhuÏst, W.F.G. Nicolal, DaniËl de Lange, Richard Hol, and G. Mann are best known, though of no modern composer can it be said that he has any special 'cachet,' for the younger men, fed as they are on the works of other nations, grow into their style of thinking and writing, and follow almost slavishly in their footsteps. It is unfortunate that many rising composers cannot be persuaded to publish their works. The reason is that the cost of publishing in the Netherlands is almost fabulous, and if they do publish them at all it is done in Germany. But even then the circulation is so limited, owing to the smallness of the country, that it does not repay the cost; and so they prefer to plod on unknown, or to cultivate celebrity by giving private concerts of their own works.