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this incomparably greatest maestro of modern times . Mr . Horsley has invention ; perhaps " adaptation " ¦ would be the more proper term ; but in «• David " there is not much originality , and still less continuity of melodic thought . He depends too much upon his instrumentation and choral scoring . Frequently we have a phrase mellifluous arid tender , but it almost instantly is resigned , and an elaborate and florid accompaniment is mad e to give an effect which might be far better , and more satisfactorily produced by a melodious passage . It is impossible from one work to form a judgment of whether this arises from an absence of melodic genius , or whether Mr . Horsley
has sacrificed melody for the sake of massive instrumentation and scientific elaboration . His capacity for taking advantage of all kinds of material and fusing them in his own crucible is wonderful , and upon this power he has drawn largely throughout his oratorio . We continually hear phrases with which we are familiar , but so scientifically wrought " up # that it is almost impossible to trace them to their source . It is quite evident that in treating the choruses , Mr . Horsley has made the effect dependent entirely on the elaborateness of his score , the instrumentation of many passages being
really marvellous . The principal choruses in which we find the combination of highly wrought fugue , massive instrumentation , and more fluent melody , are the magnificent chorus in the first part , " Have ye seen this man ? " " Sing unto God , " the concluding chorus of the first part ; " The King shall joy , " in which there is a complete fugue on two subjects ; and the concluding chorus , " Give unto the Lord , " the treatment of which is very massive , introducing an interesting chorale , and terminating in a very original and sparkling fugue on the " Hallelujah . "
The redundancy of the words and the paucity of melodic invention exercised are exhibited in the choral recitatives ,, of which we have no less than seven instances . Mendelssohn has used these but sparingly , and , being written with great breadth , they come out with a declamatory force the greater for the contrast with theindividuality of the ordinary recitatives . But the effect here is burdensome . Not only are they too many in number , but they add weight to an oratorio overburdened already by uninteresting and seemingly extraneous matter .
The airs for the part of " David , well sung by Mr . Lockey , are among the most graceful and flowing . " The Lord is my Shepherd , " is a very sweet pastoral melody ; and the aria , " Thy servant kept his father's sheep , " has an opening phrase of singular beauty . But the most original melody is the very exquisite aria , * " Who am I , OLord ? " which has the enrichment of an obligato accompaniment on the hautboy . Mr . Lockey ' s delivery of the solo , " Praise ye the Lord , " each phrase of which is repeated by the chorus , surpassed , we think , any of his previous efforts . The duet , " The Lord preserveth , " beautifully sung by Miss Birch and Mies Williams .
We do not think that Mr . Horsley h , as paid sufficient attention to the declamatory portions of his work . His powers in part-writing are not only shown in the choruses , but in the trio , " How Amiable , for soprano , contralto , and tenor ; the legitimate quartette , Behold thou art wroth ; " and the very exquisite double quartette , which is treated in a style of peculiar originality : the first quartette being for female voices , sopranos and contraltos—the second for tenors and basses ; the two bodies joining afterwards in eight real parts . But then there is such an air of repose in all these , that their effect is more dependent upon the smoothness
of their harmony ; and in the production of this , Mr . HorsLoy has been perfectly successful . The principal duet of the whoie work , however , " Am I a dog , " in rendered wholly ineffective from the absence of declamatory force . It has been suggested that a weightier voice than that of Mr . Weiss would have produced a different effect on the mind . We do not think ho . The inefficiency of the duet lies in itself , not in the executant . First , it in written too low , it ih a complete growl , and giants , we apprehend , talked in a tone to be understood . Secondly , the
phruseology is altogether lmposmble for declamation . It is the tone of woliloquy , not of deflunco . It would give the idea of Goliath parading before Iiis tent with folded arms und in a grumbling tone giving utterunce to hia contemplations of the events of the day : but certainly the whole duet affords no idea of the actual scene , the defiance of David und the incensed diadiiiu of the wrathful Goliath . We do not think , as it btands , that two Stuudigls would produce one giant . This is another reason why we imagine that declamation und dramutic effect have been neglected portions of Mr . Horsloy ' s study .
1 he oratorio wn « exceedingly well performed , the principals being Misses Birch , K . Birch , Williams , and Messrs . Lotkoy , Weiss , Whitworth , and T . WllllUHiH . THAT ODIOUS CAPTAIN CUTTlfilt ! MiH 8 Prudence wub quite xight . There is nothing more provocative of antagonism than to hear Hoirievony wh « I don ' t know and don ' t cure about ,
constantly belauded in my presence for qualities I can ' t appreciate , which , perhaps , have no existence . That Athenian citizen ( so often used to point a moral ) , has my entire sympathy : Aristides deserved his ostracism ! I am quite certain I should have oystershelled him without scruple . Did he think because he was virtuous there should be no more cakes and ale ? How could he expect to enjoy that monopoly of praise and not exasperate his fellow-citizens ? If Homer , the good Homer , sometimes nodded , surely Aristides might have gracefully relapsed into injustice now and then , and so have seasoned with a little human vice that austere banquet of virtue to which he was perpetually summoning us ! Incomprehensible mortal ! Did he never drink ? Did he never
redden with anger ? Did he never gamble ? Did he never love ? Ay , there ' s the point : did he love ? Because if he had any relations with a woman , he must have been a brute to her—all men are . However deserved his name of ** the Just , " I am prepared for any wager that he was unjust to the woman who loved him , poor wretch ! And if so , why didn ' t lie let that redeeming trait in his character appear , and so save himself with his fellow-citizens ? Captain Cutter is an Aristides of a larger mould . 'Tis true his name fills all mouths , and fatigues the printers with incessant repetition in the public papers . His courage , his gallantry , his chivalry—one is never tired of the praises they call forth . All the women dream of him . They cherish his portrait . They compare him with their husbands , poor devils !
and their brothers , the bores ! Maids , wives , and widows —oh ! especially the widows !—are ready to fall in love with him the moment he appears . Among these widows is the charming Widow Harcourt , who doats upon his very name , which , considering that the widow is none other than Mrs . Stirling , makes the Captain an enviable man . But Miss Prudence , her companion , " can ' t abide" him . She is sick of his name . To her he is that " odious Captain Cutter . " She has her private reasons for thinking so , or she would certainly change her opinion when she sees the handsome gallant Captain , who ,, unlike Aristides , has many a wholesome folly to reproach himself with , and who in early youth was so very maculate , that he gave himself out for dead , took a new name , and with it a new lease of life , redeemed his past follies , and is now worthy of a noble woman ' s love .
There is a Greek phrase something to the effect that it is not alwaya the worthy who bear the thyrsm ; nor is it always the man worthy of a noble woman ' s love who wins it . Whnt creatures the darlings will love ! what Bottoms they will worship aa demigods ! If you want to see the power of imagination do not open the poets , but look at the idols women will set up !—However , they are right sometimes , as witness Widow Harcourt's choice of Captain Cutter ( modesty forbids my specifying other examples ) , for whom she is willing to renounce fortune , and does renounce it , though she finds after all that there is no need of anything of the kind , for Captain
Cutter is only the new name of Tom Harcourt , and if she marry a Harcourt her fortune is secure . Upon this canvass , pleasantly varied with cross purposes , Mr . Palgrave Simpson has written an elegant little comedy , somewhat too slight perhaps in structure for the Olympic , and more suitable to the Theatre Franeais or the Lyceum , but charming in its contrast to the blood and thunder of the fierce melodrame which precedes it . A drawing-room air pervades it , and keeps it strictly within the region of comedy ; while the costumes materially aid its effect .
Mrs . Stirling is delightful as the Widow Harcourt , and Leigh Murray stands alone in the representation of such parts as Captain Cutter . But what could induce the management to entrust such a part as Valentine Harcourt to Mr . Kinloch ? Pops require an easy elegance of fatuity , and a distinction of manner to render them endurable ; with Mr . Kinloch the success of the piece was perilled . However , it succeeded in spite of him , and there wua an uproarious call for the author , who bowed from a private box . Vivian .
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THE TOUlt OF EUROPE . . Pack up your carpet-bag—no , your opera-glass will do—and come with us for a rapid scumper through Europe , by the grand routes . Mr . Marshall has provided the means . Jlis Diorama has at once the charm of information to those who have not made the tour , and reminiscence to those who have . With him we travel from the Elbe at Hamburg , through Germany to tho Danube—passing through Berlin , Dresden , Prague , and Vienna ; and from thenco to PeHth and Constantinople . Home of these hcciich are graphic and
lifelike . Berlin is tuken from an mlvuntngcous point , displaying tho most remarkable edifices , and its boulovurd , l / tifer den Linden . Dresden in poorly presented . Prague wants tho peculiar characteristic of that old city . Vienna should have been taken from the graben , or tho Prater , or the Waster glacis , to render it characteristic . The Danube is far superior in Uh presentation , and tho Iron Gate is a striking pictorial effect . Poath also stands out well ; bo does Constantinople . The ueeond route opcnti with Home , which is indifferently seized , and cannot for a moment be compared with tho viewn of Lugo Mnggioro
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and of Venice—the latter especially . A genuine glimpse is given of . Venice , and the Place of St . Mark is worth , the price of the exhibition . There are some admirable scenes also in the Swiss portion of this diorama , and in those of the bepainted and belauded Rhine . This diorama as a work of art is very unequal . Some scenes are painted with a breadth of effect and felicity of detail which betray a dexterous and practised hand . Others are patchy , wanting in . aerial
distance and truth of local colour . . Some of the grouping is as bad as some is excellent . Some of the points of view are as happily chosen as need be ; others , again , catch no characteris . tic . But , although the execution is of this various merit , the interest of the exhibition is undoubtedly very great ; and now that all the world travels , such a diorama must appeal to very large masses . We were glad to observe on our second visit that the room was crowded . nf
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[ Agreeing that Democratic and Social rights go hand in hand , we propose to include under one head " Democratic Intelligence , " and " Associative Progress . " Both these departments will continue to receive full attention as before , the only difference being that the reader will find them under that head which suggests the unity of their relations to the essential " Progress of the People . " ]
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LETTERS TO CHARTISTS . V . Weapons not Seizable by the Police . The police buy up the Leader and otherwise display their vigilance , but their activity is both awkward and inefficient . They lately overran the country to seize a Chartist pike , but other weapons , far more dangerous to the commonweal , never attract their attention . If Sir Peter Laurie would " put down " political exaggeration , that sagacious magistrate
would do some service . But bombast is not an evil in the eyes of the authorities . If Colonel Mayne would , be good enough to apprehend personalities instead of persons , his surveillance would have some merit . A law against quarrels would do the Peace Paity some credit . An act of Parliament against superlatives would be patriotic on the part of the successors to the Russell Administration . But these are weapons not seizable by the police . The usefulness of these functionaries lies not in this way .
A report appears in this Journal this week of a public meeting to determine a difference between two leaders or the people . There is some hope that this will be the Iastnight wasted after this fashion . The past twenty years have witnessed in the metropolis innumerable discussions of the same kind . The heroes of those displays have found their way to the oblivion they invoked . No one cares to remember their names . All that survives is the disgrace of
such exhibitions . To the honour of the assembly of Tuesday night there was less violence and pnssion than on any former occasion of the kind , Every body seemed to feel more or less that the employment of the public time on personal disputes , -which ought to be settled by the individuals , was disreputable . Mr . Harncy made a temperate defence . There is still a prevailing belief that popularity is to be won by asking the public for it . Whereas true popularity is commanded by high service and a defiant bearing .
Of old when Kings fell out , all the country was called on to fight the quarrel for them . Monarchy can no longer play this game , and Democracy ought to give it up . The old plea that the people were involved in the disputes of crowns has fallen into deserved neglect . The song of Jeannette atid Jcannot expresses as much political wisdom , as popular feeling on thispoint : — " Ami if Kiniri ! muxt show their mi ^ Let . those who miike the quarrels bo tho only men to light . " When you hour u public mini nay to the people ,
* ' My adversaries are yours ; a blow struck at me ih aimed at you ; I am your servant , you are bound to vindicate my reputation , " it sounds very plausibly . But is not thia the plea of unconsciouM vanity , as the same words in the mouth of a King is the plea ol pride ? A soldier might as well aHk the public to share his wounds , uh a tribune to auk them to tmure the attacks made on him . Tho duty of the true publicist is to serve the public and Buffer for it , and
it need he to . die . for it . But wo find many who profess willingness to die in the causu of the people , who yet will not bear a random accusation in their cuuse . The soldier is assaulted by the bullet or the bayonet ; the publicist by calumny and intrigue ; and both have to defend themselves as well us they aro able ; but ure never juKtiHod in arresting tho public service for their protection . Ho who does not understand this condition , or in not prepared lor the accident of Blunder , hud better reconsider his position .
There would ho no objection to thepublio interfering in all cases of calumny , but tho good public cannot afford the time . Try the case with respect to tho London Executive ? . Accusations have been made involving tho political wisdom of Mr . Kmest JoneH in a much more serious manner than tho recent
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F March 1 , 1851 . ] ® J 0 &t ** tt . 207
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Leader (1850-1860), March 1, 1851, page 207, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct1872/page/19/
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