Gems of English Song.

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Price in Boards, $2.50. In Cloth, $3.00.

Cloth, Fine Gilt for Presents, $4.00. By Dr. Tourjee. 40 cts.

The latest book of Ditson & Co's HOME MUSIJ. W. MOORE.

Containing all of the old songs, and a great CAL LIBRARY, and does not suffer in comparison Price 50 cts.

deal more.

That is, the number of “stock with any other. A large number of extră good

pieces” usually heard in the well-known ancient songs have, during the last year or two, come Mr. Moore has done a valuable work for the concerts is quite limited. Dr. Tourje ehas unpresent, as well as the future of American music. earthed a number more, and all are true antiques these, with a half dozen of classics. (omitted in

into popular notice and approval. The best of Perhaps we do not realize, as our descendants and worthy of performance.

other books), form this first-class collection. will, that we are of the “forefathers” in art on

As the year 1876 will be great for memorial There are about 75 songs. Pages full sheet this side of the Atlantic. Now Mr. Moore has, in his large Cyclopedia, ($6.) industriously noted celebrations, this will be a most convenient book music size. down, everything melodious that has happened from which to extract appropriate music. from the time of Tubal Cain to A.D. 1854, and in the present Appendix brings together musical

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WHOLE No. 907.


VOL. XXXV. No, 21.


The Hero.
« But dream not helm and harness

tide, and would ingenuously profess that "they Sole sign of valor true,

could never tire of hearing Mendelssohn's muPeace hath higher tests of manhood

sic." T:e movement was at its height, per“Oh, for a knight like Bayard,

Than battle ever knew.

haps, on that notable afternoon when all musiWithout reproach or fear;

“Wouldst know hinn now? Behold him,

cal London crowded to Sydenham to hear the My light glove on his casque of steel,

The Cadmus of the blind,

exhumed “Reformation ” Symphony; a work My love-knot on his spear!

Giving the dumb lip language,

certainly not representing the composer's best “Oh, for the white plume floating,

The idiot clay a mind.

powers, and which he himself had practically Sad Zutphen's field above

condemned, but which was paralleled, by The lion's heart in battle,

" Walking his round of duty The woman's heart in love!

Serenely day by day,

“ leading critics of the day, with Beethoven's With the strong man's hand of labor,

Ninth Symphony. "Oh, that man once more were manly,

And childhood's heart of play.

For such unbalanced exaggeration every arWoman's pride and not her scorn!

tistic reputation that is subjected to it has to That once more the pale young mother

“ True as the knights of story,

pay, sooner or later. One voice, and that of a Dared to boast a man is born'!

Sir Launcelot and his peers;

friend and brother artist, hnd spoken with calm "But now life's slumbrous current

Brave in his calm endurance, No sun bowed cascade wakes;

As they in tilt of spears.

judgment even in the midst of the general ap

plause. "I loved him too well,” said SternYo tall, heroic manhood

“ As waves in stillest waters,

dale Bennett, “to wish to see him so absurdly The level dulness breaks.

As stars in noonday's skies,

exag rated.”

It was not long before the "Oh, for a knight like Bayard,

All that wakes to noble action

musical circles of this country found another Without reproach or fear;

In his noon of calmness lies.

object of worship, and dethroned Mendelssohn My light glore on his casque of steel,

“ Wherever outraged nature

from his seat. The reputation of Schumann My love-knot on his spear!"

Asks word or action brave,

was set up as a rival one to that of Mendelssohn Then I said, my own heart throbbiug

Wherever struggles labor,

long since in Germany, at the instance of LeipTo the tune her proud pulse bcat:

Wherever groans a slave,

sic cliqucism; it was not until a recent date "Life hath its regal natures yet,

“ Wherever rise the peoples,

that it became established in England, after True, tender, brave and sweet.

Wherever sinks a throne,

much grumbling on the part of audiences upon "Smile not, fair unbeliever,

The throbbing heart of Freedom finds

whose ears the works which were to form the One mano at least I know,

An answer in his own.

next fashion were with difficulty forced. But Who might wear the crest of Bayard,

society soon learned its lesson, and no amateur

“Knight of a better era, Or Sidney's plume of snow.

in cæsthetic " circles will now play Mendels

Without reproach or fear, "Once, when over purple mountains

Baid I not well that Bayards

solin, except in a kind of apologetic way and

for the sake of old times. Young ladies who Died away the Grecian sun,

And Sidneys still are here?” And the far Cyllenian ranges

have been nourished upon Schumann speak of Paled and darkened one by one,

Mendelssohn with compassionate indifference, Mendelssohn's Place in Modern Music.

or confess that they “rather like some of his " Fell the Turk, a bolt of thunder

(From Concordia, Dec. 25, 1875.)

works; critics have transferred their programme Cleaving all the quiet sky, And against his sharp steel lightnings

English intellectual society, whatever its in- rlapsodies to the newer composer, as the most Blood the Suliote but to die.

terest in and enthusiasm for the art of music powerful genius in instrumental music since (and there is no lack of either at present), seems

Beethoven. And now the Wagner movement, “ Woe for the weak and halting!

to be swayed to an unusual and unfortunate which has reached England, is working another The crescent blazed behind

extent, in its musical judginents, by the mere change in popular musical predilection, and the A curving line of sabres

influence of fashion and of cliques. Strangely feeling in regard to Mendelssohn seems to have Like fire before the wind.

enough, too, this tendency, commonly supposed become, with the one-sided and violent critics “ Last to fly and first to rally,

to be a “note” of provinciality, is in regard of this school, one of absolute antipathy and Rode he of whom I speak,

to music more specially exemplified in London even something like contempt. When groaning in his bridle-path

than elsewhere. In the more musical of the A consideration of these apparently unreaSank down a wounded Greek,

chief provincial towns it is possible to find a soning and unreasonable variations of opinion " With the rich Albanian costume

musical society with no special affiche, and ought at least to be instructive in leading peoWet with many a ghastly slain;

which is disposed honestly to admire that which ple to be cautious of attaching too much'imGazing on earth and sky as one

has always been thought worthy of admiration, portance to popular enthusiastic movements, Who might not gaze again.

as well as to give some heed, when opportunity such as that in favor of the new form of oper" He looked forward to the mountains,

offers, to new lights. But musical London so atic music and its hero, or regarding the man

ciety is like Wordsworth's celebrated cloud : who receives the homage of the hour as necesBack on foes that never spare,

sarily placed thereby on a secure pedestal of Then flung him from his saddle

“ That moveth altogether, if it muve at all."

fame. But, apart from such general considerAnd placed the stranger there.

This is most specially illustrated in the musical ations, one is sometimes tempted to ask, what “ Allah! hu! thro' flashing sabres,

history of the past twenty years. There was a is the real truth, as between the excessive Thro' a storing hail of lead,

rage for Weber previously, but that may be laudation of Mendelssohn in his lifetime, and The good Thessalian charger

regarded as in part arising from the personal for some time after, and the comparative Up the slopes of olives sped.

influence of the composer's visit to the country indifference with which he is regarded now? "Hot spurred the turbaned riders,

where he found his grave. But the tide of “How shall we find the concord of this disHe almost felt their breath,

enthusiasm for Mendelssohn rose to its height cord ? " Where a mountain stream rolled darkly down subsequently to the composer's death. It is not That Mendelssohn's genius was overrated at Between the hills and death.

so long since journals and drawing-rooms were one time will probably hardly be disputed by

at one in the most hyperbolical adoration of any thoughtful critic at the present moment; u One brave and manful struggle! He gained the solid land,

the composer of St. Paul, and of all his works, and it may be added that the very circumAnd the cover of the mountains

known and unknown. It was not unusual to stances of his personality and social position And the carbines of his band."

speak of him as a composer who combined, in would have rendered this almost inevitable.

his own genius, the qualities of Bach and Of the influence and fascination of his personal “It was very great and noble,”

Beethoven—who had achieved the union of disposition and manners, there are many now Said the moist-eyed listener then;

constructive power with warmth of feeling and living who can speak from their own knowl“But one brave deed makes no hero,

coloring more completely than anyone else. edge. But in addition to this he had, almost Tell me what he since hath been."

Taunts and sarcasins were levelled at the “nar alone among the composers who have laid “ Still a brave and generous manhood,

row minded and stolid ” relatives who kept his claim to the highest rank, the chance to be born gull an honor without stain,

posthumous MSS. under lock and key, “when to affluence and social position. Strange Io the prison of the Kaiser,

the world was absolutely panting to hear every enough is the contrast between the daily life of By the barricades of Beine. note that Mendelssohn had committed to pa Beethoven, as far as its nature can be gleaned

from scattered letters and anecdotes, and that DR. SAMUEL Q. Howe, born in Boston in 1801, died per.” Worthy people who laid little claim to Jap, 9, 1876.

general musical enthusiasm were caught in the of Mendelssohn. In the pleasant letters of the

latter, interspersed with what may be termed an interest and admiration for good brarura make his owr. It is true that a considerable art-gossip,” we read of his lively unjoyment performances, for instance, which to Beetho- discount must be made for the proportion of in the best society of the best places; now in ven would have seemed a sinful weakness, a his pianoforte music which is obscure, lengthy, Prince Torlonia's ball-room, "pleasantly con- tampering with the accursed thing; and he and deficient in form, and which only a blind scious that I was dancing with the prettiest treated withi distaste and contempt the theoriz- enthusiasm can consider as worthy of high girl in the room;” now the honored and ing philosophical party in music, who in his admiration. But he displays a vigor of style, favorite guest of all London; everywhere wel. lifetime were beginning to make themselves a constructivs power, and a variety and novelty come, and as pleased with society as society obnoxious. It is probably his feeling on this in effects purely within the sphere of the in. was pleased with him. Under such circum- head, and his recorded experience on the sub- strument, which, in spite of a roughness of stances genius is sure to be rather magnified ject, which, as much as anything else, have form and a frequent almost gratuitous awkthan otherwise by those who meet it in so pleas- exposed his memory to the scarification which wardness in the placing of the music for the ant a personification; and his general culture it now receives from the pens of incorruptible hands, impress the hearer far more intensely and interest in intellectual pursuits beyond his critics of the philosophical school; and it is than does anything in the finished and sparkown art (not, unfortunately, a very frequent impossible not to sympathize to a great extent ling writing of Mendelssohn. The dislike of characteristic of the votaries of music), certain- with Mendelssohn's views as to the new theory the latter composer to extemporizing on the ly would not detract from the estimate of his of music, as well as with his enjoyment of some piano, and his expressed reasons for it, are intellectual power. But the same letters which of the licences of the art. It is not given to all characteristic of what really seeins to have been furnish such lively evidence of these qualities men to be always wise. Yet one may be per- | a deficiency of genius, though it has been furnish also indications of what may be called mitten to think that there is in this character, turned by his admirers into an evidence of his an inherent deficiency in his character, as an regarded as that of an artist, a little more lean refined sensibility. He mentions in one place artist at all events. Clough, in one of his let- ing to the dolce far niente than is quite compat- bis having reluctantly consented to extemporize ters, advises a college-friend whom he seems to ible with the idea of genius of the highest and after a supper, “though I am sure I had nothgo through a course of Dante's "- Inferno".". But of the distinct individuality of Mendels- and adds his conviction of the absurdity of the "it will barn some of the rose-water out of sohn's contribution to the leading types of mu- notion of thus extemporizing off-hand. It is you, old fellow!” That some such prescription sical style and feeling, one would have thought all very well to regard this as an evidence of would not have been out of place with Mendels- there could be no question. Even that very Mendelssohn's intellectual view of his art; but sohn is testified rather perhaps by the general translation of some of the form and spirit of it is evident that the great composers of an tone of his correspondence, than by instances Bach into the language of modern music, which earlier generation had their inspiration at their wbich could be quoted. But he seemed to have was a speciality with him, in its result really command, so to speak, at almost any moment, had a desire to keep on the pleasant side of amounts to a novelty of style; and this combi- and were not dependent on outward circumthings, a shrinking from in any way coming in nation of a manner founded on Bach, with a stances, or compelled to “sit at the receipt" contact with or grappling with the deepest feeling essentially of the romantic school of of ideas. Mozart, taking home to supper the tragedies of human life and feeling. His an which Beethoven is the fountain-head, may clever player he had noticed in the orchestra, gry criticism of Shelley's Cenci as “horrible perhaps be regarded as the real basis of the and extemporizing fantasias to him between and abominable;" his superficial and rather "Mendelssohnian style," and has given rise to the glasses of punch, winding up with, “goody” criticisms on the views of the French the exaggerated estimate quoted in our first "There! now you have heard Mozart for the social reformers, and some other modern move- paragraph. Speaking more in detail, perhaps first time!"-Beethoven, when pitted against mevts of thought; his apparent sympathy with the really individual and characteristic side of Steibelt at a musical party, tossing the violonthe weak sentimental school of neo-Catholic Mendelssohn's genius is most recognizable in cello part of Steibelt's quintet conteniptuously painters of whom Overbeck was the head, are what may be called the “fäerie" element in upside down on the music-desk, and therefrom among the more definite instances of his in- his music. His incidental music to the Mid- evolving a performance which “ drove Steibelt capacity to see far beneath the surface of summer Night's Dream was something absolute- out of the room"—these may seem very prosathings. On this account it has become some- ly new and perfect of its kind; and a great ic and matter-of-fact proceedings, in the light what provoking to be presented so often as we deal of the feeling of this early composition of some modern ideas, but they exemplify that have been with fresh * Recollections” of the reappears frequently in his later works, though peculiar grip of the resources of musical effect composer's talk and opinions, which really are it may be said on the whole that he never sur- and construction which characterized the older not more than the lively and sometimes racy passed, if he ever equalled, that fresh effort of masters, and which does not seem to have observations of a genial but by no means deep- his youthful genius. He treated greater themes been granted to, or attained by, any later thinking man, and which, out of the world of subsequently, but not with the same originali composer. music at least, can lay no claiın to intellectual ty and fire. But that very composition illusimportance; that they shonld be thought so trates remarkably a quality present throughout of Mendelssohn's style and genre, admitting

Yet, admitting the comparative weaknesses much of in the musical world is not flattering his works; a singularly keen and subtle wsthetic his lack of intensity in pathetic expression, his to the general education of those who compose perception of the characteristic feeling of the deficiency in that constructive power which it. Still less has the composer's memory been subject to be treated. Whether illustrating gives the highest solidity to a composition, benefited by eulogistic memoirs, like that by musically the deeds of the Apostle of the Gen- and which Beethoven, even in his most romanMalle. Elise Polko, redolent of the knitting tiles, or the drama of Sophocles, or recalling tic moods, always had "within call,” and and tea-garden element of German life. the sound and scent of the Northern Sea

whereby he astonishes us at a moment when But Mendelssohn had what some critics of whatever subject gives the suggestion to the

we least expect it, can we name any other comthe present day would be disposed to call, in music, in spite of a similarity of style scarcely poser who has filled, and has a claim to fill, so the words of Byron, “the fatal gift of beauty," escaping mannerism, there is always present, both in regard to appreciation and production. distinctly, though indescribably, the peculiar hoven ? 'We may leave Herr Wagner out of If he had little sympathy with the deeper pas- local color and keeping of the subject, consti- consideration for the moment; his place is not sions of human nature, his quick feeling for tuting a charm which is felt perhaps by many yet fixed, and his treatment of the art is too and perception of all that was beautiful and who are scarcely aware of the source of it.

It much involved with, and part of, innumerable gracious in art and nature is apparent in

was this kind of æsthetic sensitiveness which dramatic surroundings to be fairly compared

every page of his letters. In a certain sense his tem- made Mendelssohn so fastidious in regard to a

with such purely musical music as that of perament might be describod as "sentimental,' subject for opera as eventually to prevent the Mendelssohn. The latter has, no doubt, been and the same character belongs to his compo- chance of his leaving any complete work of definitely surpassed in certain branches of the sitions. Their merit is not per excellence either importance, and excited the indignation of art by later composers. The favorite dictum constructive or in the highest sense pathetic, the English author who, in his Recollec-of concert-room programmes, that bis Concerbut of that intermediate order in which senti- tions, seems to insinuate that Mendelssohn to in G minor is the leading work of its class inent is carried sometimes almost to the height ought to have been satisfied with a libretto since Beethoven, is probably to be considered of pathos, and constructive device just so far from his pen, because Weber was.

But that, out of date now.

In sovgs, as well as in pianoused as to give variety, and a lasť touch of pace Mr. Planché, is hardly a logical sequence. forte music, it can hardly be questioned that completeness to the effect. It is yousic in In regard to pianyforte composition -no bad Schumann has surpassed him in variety and which, without any stress or strain on the lis- test of the real musical resource and power of pathos, if not equalling him in pure beauty tener's feelings or comprehension, a remarka a composer—those, amateurs especially, who and grac'. But if we take his works en masse, bly satisfying effect is produced by the balance compare Mendelssohn with Schumann to the we must surely recognize him as the most genof form and the due proportion always kept advantage of the latter, have a good deal to erally gifted musician of the recent period: between the idea and the language in which it show in their favor. The individuality of for what other composer can be named who has is set forth. And this completeness and fulness Mendelssohn's treatment of the instrument is done so many things so well, or shown such a of effect, which is one of the secrets of Men- incontestable, but neither can its constant same veritable and well balanced musical faculty? delssohn's popularity with the mass is, is the ness of form and manuer be denied. The com- | There is a great run just now on Schumann's natural result of a temperament to which art poser himself, with that ingenuousness which Symphonies, upon which enthusiastic critiques was pre-eminently an enjoyment, a thing to was so charming a feature in his character, are written; and full of powerful, vigorous make life brighter and more cheerful. With confessed his inability to invent effective pas- writing they are, and deeply pathetic at times; a sufficiently declared faith in the se:ious ends sages or “figures” for the piano. Schumann, but on the whole it may be fairly surmised that of art, he could combine a keen enjoyment of on the contrary, is perhaps at his very best in 80 artistic and finished a work as the “Italian its lighter and more ornate side. Hi evinced treating the instrument he had designed to Symphony," which has given pleasure to a far

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more extended circle than Schumann has most favorably with the 18th and the 17th ; indeed, more shrill-toned they (the Sussex people) may be, reached, will retain the fresliness and reality with all the centuries, for aught we know, that pre- the more valued they are, and in Church'they sing of its charm, in virtue of its spontaneous melo- ceded it

. For if there be one thing more conspicu. psalms, by preference, not set to the old and simple dy and finished detail, longer than any more

ous than another by its absence in the archæologi. tune, but as if in a tragic chorus, changing about recently-known symphony; not to speak of the cal records of Sussex, it is all reference to Music. with strophe and antistrophe, and stanzas, with A minor, the greater in style but the less boAs a Science it certainly had no existence out of the good measure; but yet there is something offensive

to my ear when they bellow to excers, and bleat out mogeneous work of the two. It can hardly be Cathedral at Chichester; in which, as in all Cathepretended that there is any more recent choral astical school of music, dating from the Tudors, drals, the practice and the traditions of an ecclesi. some goatish noise with all their might(!)

One might think the learned Doctor was talking work to dispute the palm with St. Paul, which

were kept up with more or less ability, according as of a set of savages in some newly-discovered land, will probably be a more lasting monument to the Cathedral dignitaries were more or less inclined and not of his fellow-subjects in an adjoining Counthe composer than Elijah, in that it is more to music, or their organist was more or less a musi- ty. But, in fact, to the polished clergyman of Ox: real: for the genius of Mendelssohn, despite cian. But, setting this aside as an exceptional and ford these Sussex boors were savages. A few words his direct Jewish descent, was not what Mr. exoteric growth, scarcely touching the people, music of explanation are needed as to the “ chorus” (“ an. Matthew Arnold would call “ Hebraistic" in had no existence in Sussex or other rural English them” they called it) sung by the choir of Shertype, and his sympathy with the tone of Luth- Counties as a Science, and scarcely any as an Art, manbury instead of' “ the old and simple tune.” eran Christianity, which is the basis of the 100 years ago. There were, of course, both in The old and simple tunes, introduced chiefly from feeling pervading St. Paul, was a genuine ele- towns and villages, instruments, and people who Germany in the days of the Reformation, and of ment of his nature. His Organ Sonatas, few

played upon them, and here and there, of course, which "the Old Hundredth” (that was its numeri.

there was a man of genuine musical taste and cal place in the Psalm-book) is almost the sole rem. as they are, are certainly the best things for knowledge. who, in happier days for music, might nant, were superseded in the Stuarts' days by a more the instrument since Bach-indeed, there is

have acquired faine as a musician. But they were florid and pretentious kind of hymn, “ with," as Dr. really nothing to name in the interim that could

rarce aves, and their musical taste and talent obtained Burton says, “ strophe and antistrophe and stanzas," be considered as in the highest class of music; little fame for them, and not much profit. Still

, and these were often “ bloated out.” to use his lanand the first one in particular is most remarka- there was a certain demand for music, and, in this guage, with more vigor than taste or discretion. ble as a succesful attempt to engraft modern as in other cases, the demand brought a supply. They have been superseded by a simpler and higher feeling and effect on the great time-honored | There were then, as now, festive occasions on which class of hymn in our own days. instrument, without for a moment overstepping music was required, if only for dancing or proces In few things, indeed, affecting social life and

And when sions or its special character and resources.

waits at Christmas. In almost every manners, has there been such a change in England, the writer of these remarks saw, a few weeks | village, at the commencement of this century, what and for the better, as in instrumental music. Vocal

was called “a case of viols” was to be found, consince, the crowded and certainly very “mis.

music, in some form, must always have held its cellaneous" audience at one of the Covent sisting of the treble viol (or violin), the tenor (or ground, and we know that in Elizabeth's and the Garden Promenade Concerts kept in hushed alto), and the bass viol; the latter a title by which ist James's days it was widely cultivated, and hence

the 'violoncello is still known in country places. the rich inheritance of madrigals, glees, rounds, attention by the song “ On Wings of Music,'

And there were certain persons who could play catches, and other part songs that we boost of, and and then demanding the whole over again and these instruments after a certain fashion, singly or which used to be sung, and still occasionally are, listening to it in the same breathless stillness,

in concert. The “ fiddle” has always served for without accompaniment. But in instrumental muhe could not avoid the reflection that to keep the votaries of Terpsichore, and a fiddler was seldom sic there was almost a blank up to the invention of 50 large an audience of all classes thus wanting in country-places. It may be questioned the piano. Even Handel's scores were only writ. entranced by a mere simple melody in succes- whether greater difficnlty would not be found in ten for violin, alto, bass, and hautboys, with an ocsive verses, with a single voice and a pianoforte getting one,-that is, a local fiddler, " to the manner casional flute accompaniment, -- that was, the Eng. accompaniment, might be, in its way, as true born,"—now, than there was 50 or 100 years ago.

lish flute,—and now and then a bit for the French a test of grpius as the production of “roman

And for this reason: the pianoforte has superseded horn. The more recent introduction of the German tic" operas in which the hearers are taken by the fi-Idle, and there are few houses now above the flute gave an impetus to the study of music by men. storin, as is were, with whirlwinds of sound cottage class in which a pianoforte is not to be found and, 50 years ago, there was scarcely a house of from the orchestra and a whole phantasmagoria and also sorne one (of the feminine gender, as a rule) the middle classes without a German flut. But it able to sit down and play a quadrille or a waltz.

was the improvement of the harpsichorl into the of stage effects. One important species of homage, that of eration what the violin was to the man of the last. The pianoforte is to the woman of the present gen. pianoforte that, by giving an instrument suited for

wonnen, caused music to be introduced into the homes imitation, Mendelssohn has certainly received

In our grandfathers' days, there was really no in- of the English people, and has done more to soften, to an ample degree. No composer of so recent strument for a woman to play upon. A Queen, like refine, and polish their manners than, perhaps, any. a date can be named whose works and whose Elizabeth, might play on the virginal, and, after thing else. If it has not made us a musical people, style have exercised such an effect upon the the virginal, the spinet

, might be found in a few like the Germans, the Bohemians, the Hungarians music of his contemporaries and immediate "great houses,” and, at a later date, the harpsichord and wher Sclavonic races—and only Nature could

But these were the rare successors, and been so continually reproduced became more common.

have done that, it has made us fond of music, and imitated with more or less success. Indeed, luxuries of the rich and great. The middle classes, which is next door to it. The rest may come in it is probably this very imitation of his style and even the classes above them, the gentry and good time! Poets, and great poets too, we have which has tended to lessen the repute of his clergy, knew little or nothing of them, and, though had in Sussex. but there has been no Sussex comgenius, by reducing its peculiarities to common- Fielding might make Sophia Western play her fath poser yet, nor is there that we are aware of sucha

er to sleep upon one, and Scott depict Flora Mac. thing as a genuine Sussex air. place. In this respect the history of his works: donald as fascinating Waverly with her harp-playing,

A propos of music, and, in-leed, of Art generally, Tennyson's satirical little poein, in which he yet to play on any instrument 150 years ago was a

we may quote the recent remarks of Mr. Gladstone rare accomplishment for an English lady, because compares his poetic genius to a flower raised in musical instruments for

at Greenwich, Mr. Gladstone's mind is large

almost his garden, and pronounced by the people at unknown. The only music heard in the cottage, enough to take in every thing, from the politicaì first to be "a weed,” until it grew and blos- the farm house, and even the manor house, was that

wants of a great Einpire to the artistic wants of a

cottage, and his remarks on the cultivation of inusic somed, was called a “splendid flower," and of the spinning-wheel.

in England at the present moment bear out the facts erery one sought for cuttings and seeds, until So, in the diaries of the Gales and the Stapleys we have given above. “Now most can raise the flower, and the Marchants, we find no mention of music; it

You know very well,” he said to his Greenwich For all have got the seeddid not enter as it now does into domestic life, or

constituents a few weeks ago, "that, when we look And now again the people form a common source of public entertainment.

at the popular instruction of the country, the public Call it but a weed."

Even in Churches it was of a very rude kind. Or- mind is becoming more and more habituated to the

gans are of modern date in Sussex county churches, universal teaching of music; and, of course, the This is almost as applicable to Mendelssohn and there was either no instrumental music at all, universal teaching of music implies the universal as to Tennyson; and no doubt the fact that only a pitch-pipe to give the note to the choir or practice of it in one shape or another. No doubt it his style was susceptible of this general imita- congregation, or it was a rude kind of orchestra, is infinitely various in degree, and no doubt there tion is, to a certain extent, a proof of his man made up of the before mentioned treble tenor, and

are certain unfortunate individuals here and there Derism. But though the flower may be held bass-viol, with, perhaps, a hautbois or Aute. This who have no sense of it at all, who have no sense rather cheap at present, in consequence, it has served our forefathers pretty well up to the end of of melody or of harmony, whose ears tell them noth. probably vitality enough to outlive its spurious the last century, and, indeed, to a much more recent ing of concords or discords, and who are alike shut imitations, as well as many of the ranker aud period in many places. We ourselves have listened

out from the pleasures of music and from the pains to the dulcet tones of a village band in a West Sus- that discord will inflict on the cultivated ear. more luxuriant growths which may seem at

We sex Church within the last thirty years. We be

are now coming, we have almost come, to the belief present to threaten it with extinction.

lieve they are all now extinct. One of the last to that music is a general inheri ance,-that the facul. H. H. STATHAM. hold its ground was in Sidiesham, near Chichester, ty of music is a coinmon faculty of the people form. where the village band and choir (with their "An ing an intelligent community:

Was that so 50 Glimpses of our English Ancestors. them," as it was called) flourished up to about 30

years ago ? I remember the time when you were years ago; and when the then Vicar, the Rev. E. laughed at in this city if you contended, as I was MUSIC IN SUSSEX.

Goddard, proposed the introduction of simple psalm- stoutly contending, that the human being as such (From The Brighton Herald, Dec. 18.) oưy, the whole of the performers, with their instru

was musical; you were considered a fool, a dreamer, A hundred years hence, whoever looks back upon

ments and books, rose and indignantly left the an enthusiast. People used to say 'I can't tell one

Church ! onr age as we are looking back upon the century

note froni another; I don't care a bit about music;' that preceded us, will have no reason to note the The only reference we have found to the vocal and I replied by saying“If the nurse who carried absence of evidence of the love and practice of music performances of our Sussex forefathers in the you when you were three or six months old had amongst the people of Sussex, not only in towns but Archeological records of the last century, is in the continued to carry you until you were 40, you would in the emallest country villages. In this respect Journal of Dr. Burton (1750), who, à propos of the not be able to walk.' (Laughter.) I believe that, the 19th century will contrast most remarkably and church-psalmody at Shermanbury, writes:-“The | making allowances, and not attempting to urge the



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application of the illustration too far, it is sound to wind cut off your breath; you wonder if architecture will, of affection, the following Sonnets, They did not the extent that a faculty uncultivated dies away.

on the whole, pay you for the battle. You know by mem

ory, and just one hasty glance, how rich the outside of the appear in print until some years later, after Kauff. The human mind is not like that description of church is in beautiful stone-carving, where the cunning mann's death. No more graceful tribute can be im. rich and luxurious soil that casts off the finest fruits workmen have wrought birds and animals, and abundant and fo vers of itself without care or culture; but it foliage, with all the strength, grace and variety of nature. agined from friend to friend, and as we perused the has within itself capabilities wisely adapted to call

chapel, you pause to regain your breath, only to lose

it poetic gems, so fraught with keen appreciation, we for the application of labor in the development of again with delight and wonder when the door opens and

were strongly impressed with the feeling that the faculties; and if the labor is applied, the faculties yon see before you countless myriads of white-winged arwill be developed. If there be those who have no

gels soaring into the deep blue heavens, while below the great Philosopher and Theologian probably owed sense of music, they are analogous to those who are together. It is the great window behind the pulpit—that his highest culture to the exalting, refining inilaborn deaf or blind, and, consequently, are entitled is all. There are other splendid windows telling all the ence of that Divine Art into whose innermost sanc. to sympathy as being excluded from one of the

story of the life of Jesus, a vi little windows with only the

stories of flowers and delicious combinations of color; and tuary he was conducted by the hand of friendship. purest enjoyments Providence has ordained for bu. man nature."

of the church, or the preaching-room it ought to be called, It were defranding those of our reading-public, who There can be little doubt that, at one period of for I suppose the whole building is the church. The room

are unable to make their acquaintance in the Ger. is sufficiently light without possibility of glare; all the our history, music in Sussex-as known and prac

colore are warm, soft and rich, in fantastic but pleasing man, not to clothe in English garb these Sonnets, tised by the people—had all but died away; and it combination. The wood-work is oak, or something of and we therefore take the liberty of herewith preis still a belief with some that Sussex people lack

that color, the carpet dark olive-green, with small set' figboth ear and voice for music. Certainly the singing

ures of dull-red and other subdued tints. The carving in senting translations of the entire ten, together with at Sheep-shearing feasts and other rural meeting3 mens of art. Each bit of wood-carving is a lovely little the author's poetical dedication, having earnestly gives little token of either; it is a dreary monoto

study by itself, and would seem so at an art-store; but striven in our work to preserve the true flavor of

here there is such a wealth of it, and it is so unobtrusive, nous sing-song of two or three notes, repeated

that you must seek if you would find it. But still

the eyes the original. through interminable verses of equally dreary turn always to the angel choir, half fearing that they will rhyme. Some specimens of these rude rhymes have floated far beyond sight. I can't imagine any clerwere given in our paper on


gyman expecting to be listened to in such a church' until

his congregation have grown familiar with every detail of ers," and Mr. M. A. Lower, in his “ Old Speech and 118 beauty, and are willing at last to turn their eyes from Throughout this Carnival's dull mummery, Manners in Sussex," after stating that there are still beholding its loveliness and give some heed to what is be. When ev'ry Hall its concerts is delaying, in existence “two or three rhythmical compositions

ing addressed to their ears. Perhaps clergymen will preach Light waltzes only violins are playing,

from the windows, taking them for illuminated texts; and once familiar to Sussex men,” quotes, as one of these, I am sure if the wonderful golden flowers on rich red

And flutes swect polkas pipe with jollity; a Sussex whistling song, which," he says,

grounds could be classed with the lilies of the field, the When ev'ry stage but flat buffoonery formerly popular and is not yet entirely forgotten.” preacher could safely declare that Solomon in all his slo: Unto n gaping audience is displaying, Here it is :

luminated place to preach in, where the morning light The sunrise and the skating-jubilee

brings out all the wealth of artistic detail, and the sunset Make in the “ Prophet" maddest revelry-
pours a golden glory on the sacred scenes, touching a

Could I, mid all this desolation dreary,
There was an old Farmer in Sussex did dwell,

face or a flower for one moment with fire, and the next [Chorus of Whistlers.

leaving it poftened and subdued as the shadow gains upon Fly unto thec, grand master-works thou'dst proffer, There was an old Farmer in Sussex did dwell,

it, and the glory moves upwards, there are many other Master thyself, O friend, of Harmony.

rooms for all the purposes that a working-church requires: Yet since we're parted now by distance weary, And he had a bad wife, as many knew well.

A chapel, and large, quiet class-rooms, all with refined (Chorus of Whistlers.

and warm ornamentation but little of it, as puits such I'll conjure up the Muse 'tis thine to offer, Then Satan came to the old man at the plough

There is a parlor, and a great work-room for. la- That it in solitude may comfort me.

dies, both han somely furnished, a kitchen, a nice china. “One of your family I must have now.”

closet, and a dining hall; all possible conveniences for the
minister; and dressing-rooms near the parlor and work-

1. HAENDEL. " It is not your eldest son that I do crave,

room. The parsonare joins the church; doors and entries But 'tis your old wife; and she I will hāve,', are wide and convenient; the organ is said to be sweet and

Aye, that's a man! He's like the oak-tree hoary, powerful; and the architects had the crown to thir work Amid whosc lofty tops God's storms are housing O! welcome, good Satnn, with all my heart;

when trial proved that the acoustic properties of the church And their primeral melodies arousingI hope you and she will never more part!”

were perfect--that to speak and hear in it were easy.
The architecis are Messrs. Cummings and Sears.

An immemorial sign of German glory.
Now Satan he got the old wife on his back,

E'en though a century may pale his story, And he lugged her along like a pedlar's pack.

Though fashion other Arias be espousing,

For Dwight's Journal of Music. He trudgéd away till he came to his gate,

His chorals grand, his rich fugues, wild carousing, Says he--" Here, take an old Sussex man's mate.”

Ten Musical Sonnets of David Fr. Will still endure until all time be hoary. 0! then she did kick all the young imps about;


How sweetly he of the good Shepherd singe,

Unto the Master's suff'rings how he clings, Says one to the other, “Let's try turn her out!"


Faith's consolations grasps how fervently! She spied seren derils, all dancing in chains;

David FR. Strauss, the renowned author of the Till Hallelujahs mightily resound, She up with her patiens and knocked out their brains. “Life of Jesus," wrote and dedicated to the friend

As from the Blest, the Lamb's white Throne around, She knocked old Satan against the wall;

And Sin, Hell, Death, are lost in Victory. “Let's try turn her out, or she'll murder us all.”

of his youth, E. F. Kauffmann, a series of Musical Now he's bundel her up on his back amain, Sonnets, which, being first issued in a periodical of

2. GLUCK. And to her old husband he's took her again, extremely limited circulation, may be truly said to

Oft past :hy brazen counterfeit to wander “I've been a tormentor the whole of my life;

have only been rendered accessible to the public at I am im pell’d on clear, bright wintry days, But I ne'er was tormented till I took your wife!” large through their recent republication in that

And in thy austere countenance to gaze;

Each time with satisfaction fresh I ponder. Certainly, when the musical knowledge of the peo- widely circulated German Magazine, the Gartenlaube.

Who knew thee not must say: ''His sp'irit yonder ple was reduced to whistling, it could not descend In his prose introduction to this evident work of Prepar’d for others well-iliumined ways, much lower; but still it sufficed to prove that the love, Strauss says:

No fogs could long withstand its sunny rays, taste for music was not quite extinct, and, in course of time, that musical knowledge which has grown

• Were I a philosophical Emperor giving to the And clouds it swiftly would compel to wander." so rapidly in the middle classes will Joubtless ex

world my confessions, I would, in thanking the Aye, Truth thou did'st restore unto thy Art, tend to the lower,-especially through the instruc Gods for their manifold benefits, express my especial Heedless of public scowl or critic's dart.

Did'st of all flashy garb it well divest, tion of the children at school,—and England-nay, gratitude for their baving blessed me from youth up The Learing of Dramatic Music thou, even Sussex-muy wake up some fine morning and find that it is musical !

with a friend endowed with the rare gifts of Poesie Which soon its Goethe found in Mozart blest;

and Music. He is now, alas ! dead, that noble being The greatest not—but one to whom all bow. The New "Old South" Church.

to whom alone I owe it that my ear hath awakened,

however imperfectly, to the mysteries of the toneThe genial lady correspondent from this city to

While others yield the Son their adoration, world. He was not a musician by profession, yet A name more ancient thou dost glorify, the Worcester Spy (Mrs. GODDARD), writes the follow

possessed a thoroughly musical nature.

He was

I mean thou dost to God the Father cry, ing description of this beautiful addition tu our

equally conversant with the theory and the practi. His name extolling in thy great “Creation." church architecture.

First mak'st thou Light, then with mark'd approbation cal employment of the Laws of Ilarmony; but his The “Old South” is a very beautiful church, surpass. calling in the world was that of Professor of Mathe

Dost paint the germing seed that sprouts on bigh, ing any other in the city; whether it is to be surpassed by

Nor dost the wond'rous form of plants pass by; “ Trinity" remains to be seen. .No one who has not bat

matics. It would have pained him to use Music as Giv'st on the brute Beast too a dissertation. tled with the wind, dust, frost and ice at the bleak cor a means of livelihood; it was the object of his pri. Next showest thou the first dear human pair, ners ou the new land can imagine what it is to get to the vate devotion ; his inner life was enriched by it.

The man, the woman, the first glance of love. “ Old South” at this season. You may go as far as you

The works of the Masters he was not merely famil. Then doth thy heart expand, thou good old man! can in the borre-car, creep as much farther as you can in

Archangels bring to God Hosannas rare; iar with, he lived in them. To him it was a trifle Yet, as to thee, the choicest hymn above, the Ice of the houses, but the time comes at last when you must tuck in your ribbons, make sure that your bonnet is to render on the piano-forte an entire Mozart Opera. Thou know'st, is buman bliss, since earth began. firm on your head, and your head on your shoulders, then, | Ah, how much am I indebted to his skill! How

4. DON JUAY. gathering up your strength and courage, and bending for: admirably could he transport his hearers into the ward, you must make a desperate rush from the last shel

How sportively life's fountain here is piashing! proper mood ! What marvellous power had he to cast tered point to the harbor of the church-porch. The wind at the right moment a ray of light on the groping Love lureth mid dark myrtle bow'rs to stroll

The purple juice of grapes foams in the bowl; is sure to blow in your face, no matter where the vane points and to blow round and round feet, tangling mind!"

Begun the dance in halls with radiance flashing. you hopelessly in yonr skirts unless they are comparative.

Such was the man to whom Stranss in Febrnary Yet heed you well! For treason here is clashing, ly short and scant. Dust whirls into your eyes and nose, patches of ice lie in wait for unwary feet, sharp gusts of 1851, during a long separation, sent, as a memento O'er this wild maze Truth findeth no control;


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