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Leader (1850-1860), 29th April 1854, Edition 1 of 1, Page 403, Untitled Article

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      Xfttratart .

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      TfBB sermons drfhrered test Wednesday morning were scarceiy-worftiy of the occasion . T % e subjeert "was not in . fault . Every preacher , Eke every soldier ian 3 every seaman , -was « xpecte < l to do Iris dnty , but "vre are botmd to say that m tk > Instance , so far as v « have read or hesrd , did they rise to the height of ^ beir great argument . And stHl there are distinguished names among the 1 > 0 e * ors df the Church . Mihmm and Groly have aearned their hrarels , an 3 " £ here « re others , like Mr . Dale df Sto . Fancras , - whom it-w » tA 4

      be « a insnft to class -yinth me commonplace orators of the pulpit . Dullness , Atflhess , ianfecss » iJte incritaWe a , ttd univeraal Criticism proaounced "b y a profane ' jjubKe upon Christian teachers , and the sermons of Wednesday t * ili TiOt alter the decree . We toast -aekno-wtedge , ftowever , to having passed judjgment tipOn an ectto . In oratory , language ifc only one of jnanx $ ngtr « - metrts ^ nplioyed to jnrodnce * given end . Who now-a-days reads Hthe speeches of Charles Fox and yeH , those who ^ hetBrd Tmn . "heard never to'forge * the eloqaence wHfeEtcharmed all neartsand fixed-ail'thought ?

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      Edinburgh has rescrfT » d to " gfewj jMfblie afad'perMSMjent expression to -the ifeelifigs « f aAasirmtian wnd grcttetate * &h «* & < & iiae memory- « f Brofeewv Wilson , hue £ < miuB aad cha ^ c * erv « re regarded lay tUe people ^ Seafclttwi . * A great nation is invited t » par a , fitting tttbute to oae ^ of bercidfelest Bern ; TI& memory of "Wftaen Trill Hve fob fevers ' Who can forget * th » t majestic form , that flashing eye , that lrow-like fltwngth , that matchl « 98 courage ? But it is not the lees ! fiftthig to stassapa iiattion ^ s low aridgratitude in mcmumental titftiss or marfrte . Ttvras i ^ . saitH > J . tliep « mttf FacuBy , an . Baturda ^ $ & ; rttiaV « W $ Hraversal f ^ i ^ ^ ^ of men . Is notmerely th&t our youth Aiave lost Qfn $ of their most favorite ; , oucui honoured , aadgiiied infltructow , but that &H , of ^ h * te * er ooadifciatt or = age , have lost » wise * goi < le , pbil « oph « r , jmd friend ' - ^ * inip !« -mraded , huiaWe , punts * fetaow * Ghrisiiato , aaiii 6 noixi ^ and benevolenfe ^ gentleman . ^

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      We cannot pass a railv ^ ay statibn 3 We certainly - cannot enter a single Tillage ' ni any corner of ihe Kagdom , Without encountering a ^ anshrscbooi . So matter what ijbe quality of the Instruction , ev ^ ry child fats the opportunity of Learning his alphabet . But in oux jueal ibr the education of pauper infants , we have forgotten an important cJaea In English Society wh 6 m * never Ifrtjjgttr to unSCe and spell . We htfvtf ; nd tasshlv for ^ Sfeng of their irrthmetic , but we fear that ttey are as deficifirit ia that elementary art as m tnept ^ ers we lave mentionftd . 3 lere uXo ^ d . Cardigan ier instance , * & «* Elites a tlg # ex to ta « Tdmes , of whieii a ^<^ ity / sd « iolfcoy # in t&e aeooridJor

      third class , would have been thoroughly ashamed . We find capitaMattere where imall ones iwwlA hav « B « rv <^ *« he'purpt » e , adJectirBs octittpying . the place df substantives—in short , amg ? & bfcompt > sltion which we can conapare to nothing but a charge of ( saYaljrjK . Why is . tluaF-Is ortfcqgrapTjy the perquisite of humble coouxMHiers as a . Bet off agaiBat the many advaatages enjoyed by our ancient and aceompliahed aristocracy ? We have Bagged Schools—wili jm » ShAftesbwry get up * fenr Gold-laoe Schools ¦?

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      MODERN OEItMAN MUSIC . Modern German Music . Recollections and Criticisms . 3 / Henry F . Chorley . Smith , Elder , and Co . THwna two volumes are not altogether new to the public . Parts of them appeared in Mr . Ghorley '« « Music and Manners itt France and Germainy ' which waspublishad in 1841 ; bat-so much of the ^ book is ettfnrely nev , and , of the remaining portion , the chapters already published kav « been in so many instances » -writften and interwoveai with &e&h matter , that vre are justified nn t « eatrnr the woa *; * s a new o » e . » fc . Cboriey informs us th * t his purpose * in the many vfolts * o Germany irfwhici these pages are records , -was t *> acqura-e *' a knowledge of the state ot mmsaeal cremtion , perfomimce , wnd artistic life , as they existed there previous to the jmr of confusion , 1 ® 4 S , " that is , during the earlier half of the present century . He bas brought to hie subject considerable knowledge 01 innnte

      inugre , « i ( Fve and reverence for rt , and , on tbft wfcole , much otf dmt candour asnd catholicity of appreciation which a * e unfeifing accompanianents of a true artist spirit . He Tios prodwced two Very pteasant v « Jumes , written m . an A ^ Meabl * sty le , with perhaps an occasional verbal affixation : —4 ufl of « necdone and illustration , and very full of criticism . The abundant criticism bolonp to the type of mind ; but it Is at least careful and conscientious , and S ^ l 2 SK * T M * / S fi , ^ ™ UBical P ^ antry-that rmost Wearisome and uaoitelhgible of all the pedantries . O » e j fthefct generalisations tnade by « ie traveller m ^ Germany , is die umv ^ rssiitT of a tm * Mcal tart « . Every place , however small , has itaWiil of amateurs

      , Us carefully teainod chorus . Therein lies to * secret of the won-• Sr ?' P ? rll ; 3 of German pomilar music , of which we in England speak SSSST ^ r T ' v fee r raany m ««« « everybody '^ business ; in mttt ^ nfT ^ , T ch lVant ? ° ««*« ple of the Eastern in the fLttl danc , ng , ~ wc - hire people to do this for us . " It is to be hoped « uit tfc « amateur musical societies , which are ik > W springing up m otxr X moutl towns , ttay tend to dovelope and extend the musTcaf feSi ^' vhich is wTth ^ whth aIltm g , in Kn - ^ ' W V ™™« ^« t to be * IW ^ apifhy With Art which woufa restrict its service to worthy interpt-etera . A truer

      Untitled Article

      worAip holfasit ^ a . treasury wherein the poonest » nd * ke h « rabl « t Mllv cast hia mite . * T * he pesrsonai interest ia musioTMt bv the ^ mnM ^^ SS f * G ^ m ^ W . cannot fefl to ha . e its -ftS ^ X ' S ^ TSSS teffigance of the wiole performance . Hear Mr . Cfiorley m Ihia ookS-i ?^ " ^ 'fti ^^ 'T ' SS ?* " **^ ?* eb 8 CWJ """^ ofHSe ^« n Jhe ^ * wa over such Bobordin » toinstraiB « M ! 3 as thedmra , « r tlw ktefc wanted wind ^ wt ™^' - ?^! which the same homelr but he «* tr attachment to their axTSj W ^ SSS ^ SftK same respect for any distinguished talent whom chance has sent among themTto te ™ openly read as when their ownftrsrwere fifteen . It was carious and interesting to catch a chmpsw of like admiration wludtl one * caught bohiwi tLe scenes of a GerAian opera ia London , on an evening when chance Tmmgnt a handful oT aistineuiahed instrumentalists just at the moment ? wfhon -ih * ^ nat chofub of ^ Der-Frefeehti ; ta * was * m »'^ TBe > - % i «^ « ener at tUe-ondof ithe senfr « or « ie Wite a huge ooaree -niacn , wifli wfinrt and ' «* wer Ibntvt in . « verj lin&af iiia fju » , ;« nd every ^ o ^ pare inch of his body ; hot whan the . aamaa ^ f w- ^^ d were pronounced , howtfe face lft up as he passed thenr on tohia neigKbour l Xna fllrtrainatJtm h ^ ted ^ on ^ ramsiBent t lust an it l * y thr secret of the success «¦ the ( Jerttato jdhora s ^ ' . . ,.., _ . .. ; . ,, . . . , . . . .

      The growth of Art aawng a & pe ^ le must he spontaneous aad aaiver 8 # l it cannot be fostered UIcq a J ^ pt-house plant . The iife-ftppomtojauts ., « f artasts at € he various German courts , the tribute of respect-paid ^ to Arf ni iihe person of Its " votaries , the power okd ^^ ii ^ t ^^^ i Woo ^ ^^ e ^ aP ^ o pertain io d silualt ^ OH of this-fcind , tnight s % em , ii ^ a ^ ft st ^ g ^^ ' to j ) r « inise anoie advaaXiages ^ both < t 6 Art and tbe Artist , tbast tio la ^ ifUct' rasuWfinni such a social position * Ale Chorley has aoBde rxe&yf ' &mff v > ohaesr « aticMBif < m this subject . ; . ' ¦ ¦ ' . ; ' . ¦ •/¦ - ^ , - } , ; ...- . ^ . . ^ , ^ „ "A . man must bo of the fii ^ t . strength togesiatthe ^ infliigncfeanf ^ jn ^ tj-h ^ T ? flft p i f * p ) i at ^ fld « m « ng those withWliom simpfitnty ^ of habits "« does not mean an e * &mptten fhim ' c ^ tsa-d ^ pnte Jtioic ju > djclus ^|» g o £ tesv « grrtli » disotnaragencient 6 f a ^ eoaciri oaatib d ^ aKsi pihf ^^ te' ^^ hilaL as tho » erFant of '^ a ooutt , 'r-s ^| rtehF is : not-alsuyw « omposod-of . sucb ^^ rafiio ^ a <« ndiCfllttv » tea personages as a Princess Amelia , of Saxony , or the families { hat now presicfe over Ssxe Weiiojir . —fb * artist « na * t Bftmst « r tfr-every -mode , nomatWr ht 5 W * orrotSt--W « Ter » difertS .

      ^ oinat 4 w 4 M ^^ AaB ^ r ^ A ^»^^^ . t ^ CTea ^ thMrarJfiHterapi | d ^ in | OL ^ ' # pjiMnj 4 ^ f « lf 7 « H ^^ a entfr < Mn Jthye ^ ojnent jt ^ t ie 1 ^ his fortune to , ^\ Mcw ^ a ^^ ^ ntioa AjK » H » ne 4 Y wtlim ^ ease o ^ WipngAhe public « ver saintwh . If lie be adnwecL I ^ ruaaa dagger o'fWrag pnfiba' up if ^ be misundferstooq , he is pretty aure ^ to i ^ ' led jnt ? ii ^ wm t -witblSs atiaieirtWjTn ^ -p l ^/ ofcaBajaerJa ^ ' ^ dw / hfc'cte '• ^> V ' ' ' ¦' - * " ^' ' ^> Jtl Phimrii hitiit > liiljTiirihn Tti < h " imriin djirinitijuifiinf qf iiiMiViilkii n « MJ tnwii lijlj lilij « ae < Usteno « itf « i@r *^ r < ffea ^^^ u « liasDdtk ^ faeen- eith&r' th £ wiii mh ftw it as wwwirfa Kic » i » t « r < oWft wkaliasznot eBioirfiAJsk « Rain petence with such a per-centage of soreness , serise of injusace , ana jealousy , as InalK one sigh for * the dinner of herbs and peace therewith '—for the stroller ' s cart , or" til ^ jg j psy ^ tent —« a better than 4 he iii « t » ri «*;^ a $ & pawed ia ixtrtdmtofhett & * n&JtoriiSlmtYTfatoe is araoiw Beottanokia « jafv ^ eupient ^ Twha , &m ^ i fN thiliwii ^ irn « ad the 4 ohaoe » 4 > oi £ , toae twhateyeribnghti > e ^» j < ir < ntery ia e ihty ^^ ^ w ^ 'te ^ ttltiL ^« , ^ p J » ng as they wem / cpmpedled to at-n'frjit irifh lift Tfnt rm nrrifinn Iffir IliMn , hnjjiihiihiiLil thrown aw » v . ' ? Withrt 6 « mi > iBit » ufity-mtt » t iaaphr HMtwriyntnij ] rkt tnini rnt ithnir jtoari ant

      ia . ** nmA orittt * yi » lieiiiM « R . x aad ; tbe , « eer ^ &d ta * tobA ^ iai ^ iacaHMiaei /^ edMpfiitiw tert thini ^^ which caUfbefailiffieaB . . •> ... .. •* , ¦¦ * . .:, - * . •> ¦ . ' u a- » *•» :-iv •; , , .-f : >> f < f r ,. }^ r rfr ,., t u liteexfccotfrexrtiife , Kraoeaaltgootatfromtimctotim « , )« xtdi 8 antefly M | ntUBilik # tiher fianoert-hall 8 ianfi tf « xdens tinuk thMe ofi his own town ^ ni * yjraa : i 8 a « i'd > i > g < a ; Jaadac rngfififii , 4 « t , 4 a )« noUier )* iae ,. hk ^ perilisigreater . ? Ihat . i » «< vucltiaiie ^ Jih ^ in ^ u >^» iie ^ th « oarefaUy exercised finget 3 begbir to ilag and trrmhif ; trlinn' tti iiflnlfmiiljriprmibufl tok » beginstolotQ tone « odoorap « te ; wlwn socoHne ^ cft ^« aB ^ £ Urupf $ a « i > cateili »^ oa < ieek . or hide tha wrinkleaon "d > s * r « w ; aad ^ onWy ^ crael : it < it , ^ ifaa gkMtwe f ^ uwpr fjdka into the pensiooei : ^ hftumosb be « ndareav 3 ai ) drw 3 it m jMtPoaBd ,-jm 4 ript » itfiijiMa 6 oM | » ti > gp ^ iikAwiy nttw « notfr * xbibidDgra . £ ^^ . fin # *^ inste « d <« K « f 6 iiri > 8 Bd ^ fift ( f iyaacfrioU . ' Whatr ] eaatke ^ oiM > tb « & io 4 i < L *«^ not 3 uiig l « fk ?« aTO eaeemenito do ^ larta * f « Bt of-adgfafcfateBtiriia icnew thssc * ery uiiiVni nf hairii ^ Mdlwijl . and to professional rivals who yawn at the very efforts which shoiiUte (> TO 9 th « ir ^^ n »|>« iifaBe What canhe ^ aore disj > iritinc ; than the skht-of a crew of younger men waiting for his . saocestikii—what tnore tormenSng than-stf ^ ifer-isWuiaveiiesB ** ji « 8 t inSrtr Suea 'Auggssjt&M as occurred t ^ 'tijeTOtt ™ ii ^ Browni » gV > S () t < JelIo : -- - b ; .., ' : v ¦ . ; , M . ¦ T ? . 1 ; ~ ;¦ : ¦¦

      • : ¦>¦ ,, . « m ¦ . - . i . «« God 4 » l ^ t « fel » r r < ttt » Jh ¦ - r ^ '¦ : ¦ - "» :. My < ehild 9 ea ' 8 gifeed ^ j ^ kKbgi « j « afa *! WstdL ' ; - > w ^ batos-tiiatdonble breM *^ t » . «^ th ^ ya ^ ¦¦ . -, _ , . ; ' . ' ^ omMpr minutes leap tha ^ yestofjaay /* iiM , -. ,,., . . ,, „ ,. ;„ ,, u J ) tisft . fEMfltM » whether Ha ^ an ^ tcoutotrr save Sngland , it isa ^ a ^ rawar ^ t ito'ttWiile hia art iu the place where . h £ liaa passed iiis prime . We . ilave > hejipij ^ . ^ ^ y 4 <^ io . oar public favourites ¦ Croqg within us—too strong , sometinMBC 16 bo coinrt ^ nl with , ajaronrable ¦ p rogress In judgment . The gbfey "hairs of "those win ) tuve gtowii gt * y iii ^ aT sSrtice afo t « 8 pe > ct * a by tis- ^ -ia pkrt from « # w'sup ^ rtdr-co ^ ttwy ^ 'ch » rlwfc ^^ la jp « rt ffpot dmr iniependenee *—tetmusaitikieT ace not imposed ion ma MVBBOBiaffjP : ap ^ eadagfiStto ChAich tti State . SoekhasBoti » Miitl » e «« 8 e ! m ( ji « riQaB 7 , " ¦ .- ' ' (;¦ ¦ ., , . j . a- - ,.

      The anecdotes' of Mendelssohn , scattered 'tlwough ^ mese-pajffeSi / 'will . iBjOt fail to excite interest in 4 k public who appreciated' and' ibou > ik ^ qi wuttE ' $ rtftft man as , we are prottd taisa ^ our £ ngUsa public did . T < aere-i » mu « k inter resiing matter conoerniiag : other omsical pirofeaeors ^ living « wi < toadf , (< lf which wo will extract tiuecrilidsni on MdUe . J * nny jjind . W ^ Have in « i ; room . ; for the whole ofiit ; it ia , tiiere * bre r but justice to Jir * ^ artey . tofacldfthattjhe -acowpda to Mdlle . X > inu ., £ ili praise for her ananrettoiis v . ocaltaalson , elkunaiMg voice , and poefltcalcreaticinsi Xtisinthexaore ^ ssettUajLiattribtilcs ofthe tcue Artist dtat lie find * her -wantMag ; ia that self-obtte ^ ationf and devotion , mad readmess to immolate pearsonftfain-bitiion at the fahrme « f Art , without vrJifeh all is indeed vanity and vexation of spirit . We leave the question . in Jbis hands .

      41 From the time—it appears to me— "when die became fully iilive ^ * o th » axtnwMUn « tjr power which she could exercise , of her sole self , in music of a far inferior order , sh » became averse to merging the sorceress in the -interpreter— -avoided , more and more distinctly , all operas in which there was anything like combination or contrast of female characters , multiplicity-df parts , or contest : of emotions—oil theatres in / wMcli xivtdcf might be apprehended—all music in which creation did not redound to her in * t » ntaneoiw gtorjr and unquestioned supremacy . Such phenomena were to be seen during MdHe . lana ' s theatrical < m * eer , as the « nceeution of Meyerbeer '* * Uobert Je 2 > ifti > le , " with the oibisaidn < dt »» e entire two * ct » con tawing the part ofJPtwcMs Isabella , for the purpose of -exhibiting -he * ^ Aca m tha fullest x *\\ bL « I cannot think . ' said Mendelssohn , when speakmgof her ia hu most

      enthusiastic manner , ' why she always prefers to be in the baa theatre ; adding , After a moment's pause . ' and she sings bad music tbe best , —which is odd . ^ u Not odd , nwthiutos , to tlia » e who havo < jonsidered the lady , ber -gemoB , and h « roaw « r . dispassionatelv , and as legitimate dbjects of examination and comparison ; and . vrt ** adnut . that there ia a ceniuB which « an only finvl its iield of operation in monopoly and cuOinurtion -4 n an inoessant search for those most feverish emotions , and violent sen 8 atwns--aoa unbroken course of which cannot corao naturally , nor be maintained , without Att « avv Jrice paid somewhere , or by come one . These bystanders , without in the rtigbfcrtt d « gt ^ l Xjp&er valuinc Mdlle Lind ' s rare powers and liigh acoompliahmente as a « ingcr—witftoat fiw a moment questioning the peculiar ( hold on public sympathy posaeaaedby he «~ -m « lBt awe come to Uie conclusion that her own illustration , not the advancement of her aurt j , «»« hor one great motiv * throughout her operatic career ; and that effect , not reality , was the object ever preaont to her ambition . Hence the curiously narrow limits of her repertory—&enoo her frequent migrations from theatre to theatre—hence , in part , that mistrust of , mnd disin-

      Untitled Article

      Ajem&i * 29 , 1854 . ] THE LEi'WE E . ^ gg

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      Critics ' are n . ot the legislators , but th . 6 judges aud poliae of literatiore . They do not make laws—tbejr interpret and try to enforce tiiem . — Edinburgh Review .

  • Citation
    • Leader (1850-1860), April 29, 1854, page 403, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct2036/page/19/