various typical animals it may be intended to congregate together according to the Zoological Gardens and "happy family" schemes. The opera of the future-as involving the representation of daily human life by the light of artistic processes more or less unusual in the practices of this very daily life—it is logical to suppose, will be less likely to find acceptance upon the basis of form indefiniteness than upon

posals, in the assertion that given forms largely rise pre-eminent logical powers of the human mind. The from given uses, and this evolutionary doctrine is per- neglect of form in any art scheme-even in one so fectly reasonable up to a certain point. But then grand as that involving the combination of many comes the question, how far, if at all, is individuality members of the great art family-must be a policy or objectivity subservient to its uses? The reply might fraught with disaster in some direction or other. Just be unfavourable to the plastic form doctrine, by the as animals, trees, and all objects within the grip of a assertion of the rights of given forms as really supreme human mind must resolve themselves into forms, so over the various uses assigned to them. Thus, the must artistic impulses of real definiteness resolve human frame is adapted to many various uses and themselves into pattern forms also. Originality, as far occupations without any sacrifice of form. Nay, form as it is permitted to be exercised by "finite" human in humanity is so distinct and positive in its assertion, minds, must come of principles dictated by the as to forbid as much as to facilitate; and one of the "infinite" CREATOR. So, originality in art is best first lessons of life is that of learning how much the expressed as the power of "justifying" rather than mind proposes which the body cannot accomplish." defying" the principles of form. MICHAEL Angelo Definite forms again, have a further use which may be in his grand figures; SHAKESPEARE in his mastery described as the avoidance of confusion. The story over 'the subtle impulses of the human mind; and of Robinson Crusoe gains one of its many charms BEETHOVEN in his stately musical forms, are all strictly from the profound human interest which its author and truly original upon the ground that true origicreates in the working out of the great life problems; nality is the best utilisation of the pre-existent how can the solitary being erect a sufficient number materials. The proposal to assimilate and regulate to of definite objects or forms to fulfil a given number of one pattern the various artistic processes, may be purposes? and how can he make life comparatively compared with the proposal to assimilate in form the free from uneasiness, by securing a number of individual articles of such definite objectivity as will effectually solve the perplexity, the avoidance of confusion? It is certainly curious to note, that as soon as the hero of the delightful eighteenth century romance solves these problems and secures from his visits to the wreck and from once more coming into connection with, even disreputable, links joining him to the great world of humanity-the harmonisation without sacri- the stronger ground of architectural definiteness, so fice of form, of objectivity with purpose, the interest long as this definiteness is not destructive of any of the story evaporates. The author is conscious of personality or purpose. It is, however, important to this in his desire to prolong his charming book, as the grant that the slavery of technical forms is identical reader is in his willingness to still remain under the with the personal slavery of an autocratic government, fascination of a situation genius created through a unsoftened and not united to national and personal characteristic knowledge of human impulses. The requirements by the balancing, blending power of a truth is, the mind accepts, by the force of instinctive constitutional parliament. Every personality and knowledge, the wisdom of supreme individuality, ful- form in art, as in nature and in society, calls for filling without individual sacrifice subordinate purposes. recognition; and the avoidance of confusion is as The halo of romance, at least to inexperienced essentially a doctrine of art, as it is a principle of minds, surrounds with sympathy the man who is compelled to sustain the "responsibility of buttons" without thread or needles; but only supply the man with Manchester thread and Birmingham needles, and one's exceptional interest in his career is gone. Now, duly granting the mistaking on the part of the founder of art-sacrifice for art-sympathy, the application of these words to the Wagnerian proposals is not a matter of difficulty. The assertion of form as a natural principle, may indeed be perplexing to any mind not endowed with the humility "from which ariseth faith"; but it is all the same one of the most essential principles of the grand scheme which governs the universe." heaven." The inhabitants of the earth may assert that the place of their habitation is of any form consonant with the vagaries of the human mind, but the inhabitants of some other world would have no hesitation in THE combination stated in this title has lately asserting that this earth is of a globular form. attracted some attention. This has been owing "Nature," says some one, "seeks form." As Art is chiefly to the artistic and intelligent interest taken in the very mirror of Nature, she must surely follow her the matter by Mr. SAMUEL MILLAR, the Professor of greater sister and "seek form" too. The scheme of the trombone at the Royal College of Music, who has the universe is indeed only possible to the human greatly enforced his interest by his fine performances mind in the way of realisation of forms; thus, the in conjunction with various eminent organ players. comparison of one thing with another is one of the The first duet combination with the organ was

nature. Consequently, musical forms-so long as opera acknowledges the presence of music as an essential ingredient in a scheme of artistic conglomeration-must be duly considered and respected; and this respect for the spirit of artistic form, is as imperative in the case of music as it is in connection with any of the sister arts; nay more so, for music is the most subtle form of art, and can least of all afford to sacrifice those logical, sequential, and shape-making powers by means of which the human mind grasps, and brings down from "heaven to earth" sounds, which in turn carry the human heart from "earth to E. H. TURPIN.

ORGAN AND TROMBONE.

the Clergy and Profession off every make of Pianofortes, American Organs, etc.

Correspondence.

KEY-COLOUR.

TO THE EDITOR OF THE MUSICAL STANDARD." SIR,-During the recess I met with "A. M.'s" invitation to give my views on this subject. That a distinctive quality is absolute height or lowness of the tonic. Each key has unassociated with different keys, I will grant, and this apart from doubtedly a characteristic texture of its own. I doubt, however, whether, were our fixed-note instruments tuned to a perfect scale for all keys, the necessary addition being made to the keyboard for the purpose, this would be so. If "A. M." will have one pianoforte tuned perfectly to the C scale, and a second one to B flat, also perfect, and will then compare the same ar played on both, in the respective keys, I think he will admit that there is no key-colour; the difference being one solely of height or lowlight on the nature of the distinctive colour which we undoubtedly ness of key. I will now endeavour to throw what may be a new recognize as attributable to each key. Let us, for the present, the pianoforte as our illustration. leave voices and instruments generally out of the question, taking It is necessary to take a brief view of the operations of a tuner in setting the bearings of a piano,-in other words, the process by which the middle septave is put to the equal temperament, from which notes the rest of the instrument is tuned.

naturally that of the violin; but delightful as are panionship with the organ. His fine smooth tone, many effects produced by the union of the violin and marked power of evenly sustaining the sounds, excelorgan, the combination was one not calculated to lent legato, and well studied control over the resources employ the full strength and resources of the organ, of the trombone, enable him, when acting with an as the single stringed instrument, notwithstanding its accomplished organist, to produce such artistic results wonderfully expressive voice, called for such gentle as point to the still further successful employment of companionship on the part of the gigantic organ as a combination which, if thought strange at first sight, tended to limit the combined efforts of the two presents to the eye of the musician remarkable powers instruments to soft movements. The trombone, on for the production of dignified, one might almost say the other hand, though incapable of yielding the preaching, music. E. H. T. same delicate, expressive companionship as the violin, nevertheless stands boldly and nobly by the side of a large organ, and is capable of supplying, with the enormous advantage of a greatly to be varied expression, the dignified presence of a grand solo medium such as no heavy pressure organ reed stop. can approach in artistic value. The whole question is of course open to the criticism of those who feel that no isolated orchestral instrument can be made to work in a completely satisfactory way with the organ. This view has much of truth in it, as tone-colour should be a developed building-up and blending of all tone qualities; but the organ, notwithstanding its fixed wind pressures, want of accentuation, and calm, not to say cold, tones, has an enormous aggregate of light and shade effects, and is to a considerable extent able to approach and sympathise with any single-toned instrument, such as the violin or trombone. There is, again, something very dignified in the massive effects to be gained by the combined use of brass instruments with the organ; such combinations, when judiciously made, are capable of the realisation of notable solemn The most usual way is that in which, after the middle C has been set, perfect, from the C above, the tuner advances by fifths religious effects. The trombone, too, has ever been and octaves in the following order :-CG-GG-GD-DA— recognised as one of the instruments specially adapted AE-EB-BB-BF sharp-F sharp, F sharp-F sharp, C sharp for the enunciation of the stately, solemn sentences of octaves backwards, CF, FF, FB flat, B flat B flat, B flat E flat, -C sharp, G sharp. He then commences again, by fifths and sacred music, and its varied powers to some extent and his bearings are set. Another method is by tuning in fifths supply an accentuation absent from the organ. It is allude are the same in each case, there is no necessity to take up and fourths, but as the principle and results to which I shall a matter of surprise to find that a really large amount space by exemplifying this method. I would only ask that it be of music has already been written for the organ and remarked that in each manner the tuner starts anew after reaching the G sharp. In the second mode, he tunes the F above trombone, much of it having been produced in from middle C, having just previously been engaged with C Germany, where both instruments have been so greatly sharp, G sharp. In order to temper the scale it is necessary to tune all fifths a little flat, octaves being perfect. This applies to appreciated and cultivated. Mr. SAMUEL MILLAR both methods mentioned, but in the latter it is also necessary to has, in addition to the collection of a large amount of see that the fourths, when taken from the already flattened fifths, such music, inspired several English composers to general scale. In one text-book it mentions that the fifths should are not made perfect to them, but bear their just relation to the write original and arranged works for the two instru- be tuned a little flat, and the fourths a little sharp. This seems ments. The enumeration of a few of these composi-out, the tuner would clearly be undoing his own work. For a very loose way of stating directions, as, were it literally carried tions-which in duet form represent a new field of instance, if I tune G from C Lelow, and flatten the G, and then art, though the two instruments are among the most below from G, sharpening the D, I should be impairing the relation between the already Blattened G, and the D (sharpened) ancient of musical instruments-will not be without above, octaved from the sharpened D below. In other words, interest Fantasia on a chorale of Bach (Jules the interval between this last fifth would be increased, instead of diminished. In practice, both fifths and fourths are flattened. Schneider); Fantasia "Ein feste Burg" (Braemer); Concerto (F. David); Concerto (A. Langey); Ballade (Muller-Berghaus); Ballade (Lange); Ballade (H. J. Stark); Sonata in D minor (H. Dart); "Cujus Animam (Rossini), arranged by Liszt; Largo (Warman); Fantasia (H. Dart); Fantasia, "Moses in Egypt" (Rossini), the Rev. Miller. the combination of the two noble instruments with so many sympathies in common, and yet so different in their capacities and mechanism, should be in the hands of players of large artistic powers and experience, who can skilfully blend and judiciously associate two strongly pronounced individualities. The eminent trombonist already named seems, indeed, to have specially cultivated the art of playing in com

Of course,

A fresh start is

Now, as to key-colour. Referring to the first system of tuning, one may notice that, after commencement, every subsequent exception of the octaves, is flattened again. This process goes interval is taken from an already flattened note, and, with the on until the G sharp is reached, by which time the accumulated then made from C to F. This continued depression of fifths has flattening is taken as far as it is safe to carry it. the effect on the thirds of making them, by progressive degrees, slightly sharper than in the scale of nature. By continued flattening of fifths from already flattened notes, the thirds are not all, in the same degree, sharp, and the influence of a third on the colour of a chord all know, viz., the major and minor, characfor his second start, it is quite time to do so; the thirds would terised by their respective thirds. When the tuner turns back not bear more derived sharpening, nor the fifths the continued flattening.

I submit, that the above considerations have almost everything to do with key-colour. Let us examine the result of the process starting note, has the concomitants E, derived from the fifth sketched above, as applied to a chord of C, B flat, &c. C, the remove of tempering, and G, from the first remove. B flat, the

root of our second chord, is itself the third remove in the second
start, whilst D is the third of the first start, and F the first of the
same. Take the chord of F sharp major-root from the eighth
(first) operation; third from the fourth (second), and the fifth
from the tenth (first) removes of tempering. In the last in-
stance, the fifth was getting very flat, and the third sharp. The
words in brackets mean, first start, second start. I have kept
to the first system of tuning to avoid confusion. Comparing the
relation of intervals in this light, I think key-colour may be
accounted for. I am quite aware that there is much more to
say, but must, as it is, apologize for trespassing on your space.
I am, Sir, yours faithfully,

Kensington, Jan. 3rd, 1885.

FRANK QUATREMAYNE,

THE LATE DR. LLEWELLYN THOMAS. TO THE EDITOR OF THE "MUSICAL STANDARD." SIR, It is proposed to endeavour to perpetuate the existing Gold Medal at the Royal Academy of Music bearing the name of the late lamented Dr. Llewellyn Thomas; and as one of the many members of the musical profession who have derived incalculable and lasting benefit from the kind and ever ready advice, and great experience of that skilful and genial gentleman, I confidently ask you to allow space in your columns for this appeal to his former patients and friends in the musical and dramatic professions, trusting they will come forward and assist in raising a fund sufficient to attain so desirable an object. The following gentlemen have kindly consented to act as a committee: Sir G. A. Macfarien, Walter Macfarren, Esq., Frank R. Cox, Esq., and A. D. Duvivier, Esq. Subscriptions sent to Sir Samuel Scott, & Co., 1, Cavendish Square, or to John Gill, Esq., Royal Academy of Music, will be duly acknowledged. Yours faithfully,

3, Wetherby Terrace, South Kensington, Jan. 2nd, 1885.

G. VILLA.

ANALYTICAL PROGRAMMES.

"

Toccata and Fugue in C minor

Andante con moto in A

Adagio and Allegro ("Cuckoo and Nightingale" Con

certo ")

Andante in A minor

Dramatic Fantasia

Gavotte from "The Shepherds' Lottery

SHEFFIELD.

Bach.

Smart.

Handel.

Batiste.

Neukomm,

Boyce.

Mr. E. Houlton Middleton recently gave a recital at

TO THE EDITOR OF THE "MUSICAL STANDARD." SIR, It is rather late now to refer to matters which took place in August last, but, with your permission, I will draw attention to a letter signed "Musical Student," which appeared in the Musical Standard on August 5th, 1884. So as not to put your readers to the trouble of hunting up back numbers, I will quote a portion of the letter in question:-"Can you or any of your readers inform me if the surplus copies (of which there must sometimes be many) are to be obtained afterwards? Why the Brunswick Chapel. The programme contained :should they not be sold by some music publisher at half price? I have attended several concerts in this town, for which analytical programmes were prepared, and can safely say that, after a careful perusal, I found them well worth keeping. I made it my business the other day to call at the house whence these valuable guides are issued, and, for the benefit of Musical Student," am pleased to say that there are a number of such programmes on hand, which can be had at half price, the original charge being-of course for different concerts-sixpence, fourpence, and threepence. I enclose name and address of the firm referred to.

"The Bells of Dunkirk

Prelude and Fugue (No. 8) in A minor
Grand Solemn March
Etude in B flat

Festive March in D

ABERGAVENNY.

Bach.

Smart.

Henselt.

Smart.

Mr. Throne Biggs recently gave two recitals in the Parish Church in aid of the fund for Church expenses. The programme included :

The programme of the fourth recital of the third series, given on December 13th, in the Parish Church, by Dr. Dixon, included :-

"Bell" Offertoire

Adagio from the 1st Sonata.
Fugue in E

Cantabile

"Jernsalem the Golden
"Ave Maria

"

CAVAN.

Batiste.
Mendelssohn.

Bach.

Morandi.

Spark.
Liszt.

The second organ recital of a series, was late'y given in the Parish church by Mr. J. W. Dry, the organist. The programme included: Fugue in G (Krebs): Solemn March (Smart); Offer. toire upon two Christmas themes (Guilmant); Fantasia, "The Storm" (Lemmens). All of which were executed in a masterly manner. Special mention should be made of the rendering of the "Storm" fantasia.

At the "Free Breakfast" for destitute men and women, given on Surday last at the Gray's Yard, Ragged Church and School, near Oxford Street, Miss Mary Davies sang "O come unto me," and "Hark, my soul; it is the Lord," with marked feeling.