At the jubilee celebration of Owens College, With his square, somewhat stout figure, hoarse Manchester, held last year, the honorary degree voice and slightly sarcastic smile, he seemed to of Doctor of Music, Victoria University, was be an especial enemy of so-called fine manners. worthily conferred upon Adolph Brodsky. He ""Do I disturb you ?" was Tschaikovsky's first possesses the Olaf Order of Norway. This question, the minute my introduction was over. distinction, which, though given by the King," Not at all," said Brahms with his curiously has to be promoted and approved by the rough voice. "But why are you coming to hear Norwegian Parliament, was bestowed upon the this? It is not in the least interesting.' distinguished violinist in recognition of his Tschaikovsky sat down and listened till the Trio efforts in furthering the cause of Norwegian was finished. The personality of Brahms seemed music-the compositions of Sinding and others- to please him, but the music left him quite cold, at Leipzig. He greatly treasures a handsome and he was too conscientious a man to say anyring presented to him by the King of Saxony. thing pleasant to Brahms which he really did not Dr. Brodsky's reminiscences are as interesting feel about the Trio. A certain unpleasantness, as they are varied. He has pleasant recollec- or at least a want of harmony, might have been tions of Hans von Bülow, of whose generous caused by this circumstance, but at that moment nature he speaks in terms of warm appreciation. the door opened and Grieg and his wife entered! When Bülow conducted some orchestral concerts These two had the art of always spreading in Hamburg he was in want of good players, so around them a pleasant and sunny atmosphere, Brodsky offered to come over from Leipzig to and this was the case now. Tschaikovsky had play in the capacity of a first or second violinist, never seen them before, but he loved Grieg's or viola player. In this he showed his gratitude music, and he was immediately attracted to him. to Bülow, who repeatedly went to Leipzig to In most cheerful mood we all sat down to dinner, play (gratuitously) with Brodsky at his quartet Madame Grieg being placed between Brahms concerts. On one of those Hamburg occasions and Tschaikovsky. It was not long, however, Principal Brodsky appeared in a three-fold before she rose and said that it made her much capacity-solo violinist, conductor of a pianoforte too nervous to sit between them. Grieg sprang concerto (the solo part played by Bülow), and as a player in the ranks of the first or second fiddles quite the odd man about the place.' Tschaikovsky, Brahms, and Grieg he can claim as having been his personal friends. We have already referred to the fathering and the saving by him of Tschaikovsky's violin concerto, therefore it is no wonder that the composer of the 'Pathetic' Symphony had a special regard for his gifted fellow-countryman and brother artist. The compositions of Brahms were repeatedly played at the Brodsky quartet concerts in Leipzig, and they have largely entered into the repertoire of this artistic combination. Among Dr. Brodsky's pleasantest recollections is a meeting, under his own roof, of Tschaikovsky, Brahms, and Grieg. The incident must be related in his own words. 'During Tschaikovsky's visit to Leipzig he was repeatedly our guest, and I recall especially one most delightful occasion. Tschaikovsky had accepted our invitation to dinner on Christmas Day. I had not told him that I was expecting Brahms for a rehearsal of his (Brahms's) Pianoforte Trio in C minor, Op. 101. When Tschaikovsky entered the room we were in the midst of it, and he was greatly astonished to find Brahms there. They had never before met. I introduced them to each other. It would be difficult to find two men more different. Though Tschaikovsky never recognised his own noble descent and, indeed, made fun of it, yet his whole appearance, his carriage and bearing, had in them something distinguished. His voice was gentle, his manners of the most perfect politeness; from the first word and glance you knew you had to do with a man of the world who had moved in society. Brahms was exactly the opposite. to his feet and changed places with his wife, and said: "But I have the courage." So the three composers sat together and there was a great deal of fun. I seem to see Brahms now as he drew towards him the dish of strawberry jam and said that no one else should have any, and how Tschaikovsky laughed. It was more like a children's party than a group of great musicians. 'I personally had this impression to such an extent that when the table was cleared and we still remained in our places, I brought out a conjurer's chest which I had bought as a present for my little nephew and showed them the tricks. It gave them great pleasure, especially Brahms, who made me explain each trick as soon as I had performed it. When our other guests had taken their departure, Tschaikovsky remained behind, and as we were going out into the street I asked him: "Were you pleased with Brahms's Trio?" Don't be vexed with me, my friend," he said, "but I don't like it." One 'What is your hobby?' we ask Dr. Brodsky. Chess,' he replies, and we have reason to know that, like the Knight of Windsor, he is a remarkably good player of the game. of the most genial of men, Principal Brodsky is held in the highest respect by his colleagues at the College and is greatly esteemed by all who know him. The King has been graciously pleased to give his patronage to the Handel Triennial Festival to be held at the Crystal Palace, in June. The dates of Thursday, 25th (Selection), and Saturday, 27th the Festival are: Tuesday, June 23 (the Messiah'), Israel in Egypt'). The public rehearsal is fixed for Saturday, June 20. DR. ELGAR'S NEW ORATORIO 'THE APOSTLES.' A new work by so distinguished a composer as Dr. Edward Elgar is a prospective and important event which naturally arouses considerable interest, curiosity, and great expectations. Dr. Elgar has therefore very kindly furnished, in the course of a pleasant conversation, some particulars of his oratorio The Apostles' specially for the readers of THE MUSICAL TIMES. เ 'I have been thrilled with the subject of the Apostles ever since I was a boy,' he says, ' regarding them from their human side, as men, not as theological figures.' And here it may be remarked that Dr. Elgar is fully alive to the importance of the book-or libretto, to adopt the usual designation-of an oratorio if it is to have any chance of living. Without so firm a foundation the superstructure of the music, however good it may be, will be like a house built upon the sand. Following the example of Charles Jennens, the compiler of the words of Handel's Messiah' that is my ideal oratorio,' says Dr. Elgar-the text of The Apostles' consists, with one exception, of the words of Scripture. Coming to some of the details of the new oratorio, the composer has not attempted to individualise all the twelve Apostles. Peter, John, and Judas only are speaking' characters. He has had before him (1) the Christ, (2) that the Christian Gospel has to be preached, and (3) that there is need of assistance in proclaiming Let us see in what manner he has its message. worked out his idea. who now first appear on the scene, give utterance to their responsibilities, e.g., Thou wilt show us the path of life,' and this initial section is brought to a masterful conclusion in a concerted number of great power and beauty, intensified with the voice of the angel Gabriel floating above the chorus. Our Saviour's teaching of the Apostles affords ample scope for a composer of poetic temperament in that the Beatitudes form its subject-matter. The scene, By the Wayside,' opens with the utterance of Christ, 'Blessed are the poor in spirit: for theirs is the Kingdom of Heaven.' The next Beatitude may serve as an example of Dr. Elgar's treatment of these sayings of our Lord, and the choice of appropriate texts : This The lesson of Forgiveness of Sins'-the spirit of the Christian faith-is next portrayed: Mary Magdalen is the type chosen. section includes the scene on the Lake with its familiar incidents of the storm and Christ walking upon the water. Here again the subject matter is one of entrancing interest, and one that calls forth the highest aspirations of the composer, and here comes also Peter's great declaration 'Thou art the Christ, the Son of the living God.' The defection of Judas follows, the betrayal, and Golgotha. The reappearance of Christ, and His Ascension, brings Part I. to a close with a mystic chorus in heaven, a setting of the words I have done Thy commandment, I laid down My life for the sheep. sung ppp. in strains ethereal, while the Apostles on earth utter their own prayer, 'Give us one heart and one way.' The Prologue begins, after a few bars of orchestral prelude, with the prophecy contained in Isaiah lxi. (the Authorised and Revised Versions are both used throughout the work), assigned to the chorus. To this succeeds the first section, or scene, 'The Calling of the Apostles.' The 'lonely Christ' continues all night in prayer to God' when the angel Gabriel sings 'The voice of thy watchman' (Isaiah lii. 8), and Behold, my Servant' (Matthew xii. 18-22, quoted from Isaiah xlii. 1-3). The Dawn' brings with it the opening of the Temple. The authentic notes of the Shofar are heard in the distance, and the watchers (chorus, altos and tenors) on Part II. opens with the first gathering of the Temple roof sing (the words from the the Apostles, the descent of the Holy Ghost, Talmud)It shines! The face of all the East is and the exhortation of Peter. The troubles and now ablaze with light, the Dawn reacheth even trials go on till we arrive at Antioch. This is unto Hebron,' and the choir within the Temple the culminating point, as the new name, pour out their hearts in the familiar words of Psalm xcii. 1—4, 9 & 12. After an imposing interlude for the orchestra, a tenor recitative announces what may be termed the germ of the oratorio: And when it was day, he called unto him his disciples, and of them he chose twelve, whom also he named Apostles, that they might be with him; and that he might send them forth to preach. The chorus then proclaim that The Lord hath chosen them to stand before Him to serve Him,' and so on, while John, Peter and Judas, Christians, was here given to the followers of Jesus for the first time. The Gospel had now been started on its great mission, the life of the Apostles, with its wider influence, ceases to be concrete and personal, and belongs to the history of the world. Here the libretto ends, save for the Epilogue. This embodies the message as stated in the Epistles of Jude (17-25), and I. John (v., 3, 4, and 5) Authorised and Revised Versions, and the work is brought to a conclusion-not by a fugal Amen beloved by the majority of oratorio Honourable mention must here be made of the labours of Vincent Novello, who, with enthusiastic zeal and untiring industry, copied many volumes of the music contained in the Fitzwilliam Museum. By special permission of the University authorities he published the following pieces in a collection known as 'The Fitzwilliam Music ': BONNO. Cum Sancto. BONONCINI. Eterna fac. Amen. Dulce te. CAFARO. CARISSIMP. Continuing the description of some of the volumes of manuscript music in the library of the Fitzwilliam, reference may be made to a Dixit Dominus, in ten parts (two choirs) and orchestra, by Pergolesi. It would seem that this work was performed at the concert given by the Academy of Ancient Music on April 19, 1787; but for this occasion Dr. Callcott considered it necessary to write an Introduction to Pergolesi's strains. There is a fine collection (fourteen volumes) of madrigals and other vocal works by Marenzio. Dr. Bever (c. 1780), to whom the collection formerly belonged, has written in the first volume these words: This, with 13 other volumes, contains as many of the works of Luca Et sic laudabimus. Marenzio as I have hitherto been able to meet Gaudeamus omnes. with. It is more than probable that the MS. O felix anima. music preserved in this library could furnish Surgamus, eamus. material for further developments in Handel Amen. (Orch.) plagiarisms. Two specimens (referred to by Mr. J. S. Shedlock in his articles in THE MUSICAL TIMES, July to September, 1901, on Handel's Borrowings) may be instanced. Against a duet by Člari (Quando col mio s' incontra ') there has been placed a MS. copy of part of the overture to Handel's Theodora,' endorsed as follows: Dr. Aldrich is desir'd to place this Fugue in Page 3rd in the 2nd madrigal Book the first.' Above the music is written: Fugue in the Overture of Theodora the two subjects taken note for note from the second movement in the second madrigal in the first vol. of Sig. Clari 1740'; and above, possibly in Lord Fitzwilliam's hand: 'N.B. The Oratorio of Theodora was perform'd the first Time in the year 1749.'. 6 Everyone knows that Bononcini was hounded out of England for palming off a madrigal as his own which he had copied from Lotti. But Handel appears to have been familiar with the compositions of his rival, the said culprit Bononcini. The following, from the vivace movement of Peno, peno, e l'alma fedele,' is uncommonly like the solo and chorus 'Zion now her head shall raise' in 'Judas Maccabæus.' CLARI. Cujus animam. (Orch.) Cum Sancto. (Orch.) (Orch.) De profundis. (Orch.) Sancta Mater. Amen. CONTI. Gloria Patri. (Orch.) Juravit Dominus. PERTI. Adoramus Te. STRADELLA. Dove Battista. The foregoing list by no means exhausts the and thoroughly described in minute detail by catalogue of Vincent Novello's transcripts, as Dr. A. H. Mann-a Handelian par excellencethe private library of Messrs. Novello contains in the catalogue already mentioned. Only a few ten volumes of unpublished extracts. It may of the most striking features-out-of-the-way be interesting to recall the fact that it was in features, perhaps-of the Fitzwilliam Handeliana the Fitzwilliam Museum that Vincent Novello will therefore be set forth. It is evident that projected his edition of Purcell. He and this collection has become detached from that Samuel Wesley met at Cambridge in 1826, in the Royal Music Library at Buckingham when the latter suggested the printing of the Palace. It ultimately came into the hands of sacred works of the great English composer. Lord Fitzwilliam, who was a devoted admirer Lack of means prevented him from carrying of Handel and one of the principal organisers of out the project, but Novello, the pioneer, at the famous Handel Commemoration held in once took up the idea, and carried it out in the Westminster Abbey in the year 1784. four Purcell volumes he published between 1828 and 1832. Before making mention of the Handel collection of manuscripts, reference may be made to the Fitzwilliam THE BOOKPLATE OF VISCOUNT FITZWILLIAM. splendid collection of music presented by the late Richard Pendlebury, a Fellow of St. John's, A volume of Italian duets supplies us with the signature of the great master during his residence in Italy (1706-1710): it appears thusG. F. Hendel.' Various pieces, not printed, written for Acis and Galatea' are interesting. Dr. Mann is of opinion that they may have been alterations and additions for the London performance of 1732, or that at Oxford in 1733. Handel's well-known adaptiveness is shown in a complete sonata for two violins and violoncello on which he ultimately based the overture to 'Saul'; and Let the bright seraphim' (Samson') is here found originally written as a chorus (S.A.T.B.) with string and oboe accompaniment. A more amusing instance of his economy in using up existing material is shown in the Dead March in Samson' and the Wedding March in 'Joseph and his Brethren,' the music in both instances being practically the same! There is a reference to the use of the Serpent in the oratorios of 'Samson' and 'Solomon'; but as no parts for this instrument exist in the scores, the inference is that Handel directed the Serpentist to play, when necessary, from an ordinary vocal bass part. Is there not a good deal of suggestiveness in this theory of the doubling of the voices by certain instruments? Of a more domestic nature is a memorandum in the great man's handwriting, in pencil, which reads thus: 12 Gallons Port. 12 Bottles French Duke Street Meels. The last word may be either the name of the and Senior Wrangler in 1870. This section of wine merchant who supplied the beverages, or, the Library consists of about 2,000 volumes of on the other hand, Handel's phonetic way of Here is another note music of all kinds-from full scores to single spelling his rations. James. Banker in Lombard Street, pour M. Wesselow en france. songs and pianoforte pieces, chiefly modern having a financial reference :- It is impossible within the limits of this article to do full justice to the priceless volumes of Handel manuscripts in the Fitzwilliam. The entire collection has been most carefully It would seem as if Handel and Charles Wesley, the hymn writer, must have met, but all investigation on the part of Wesleyan experts has hitherto proved futile, there being no reference to Handel in the Wesley literature. The Museum contains the autograph of three hymn-tunes by Handel, entitled: II. I. The Invitation. Sinners obey the Gospel word. Desiring to Love. O Love divine, how sweet thou art. III. On the Resurrection. Rejoice, the Lord is From the portrait by Sir James Thornhill in the Fitzwilliam Museum. Said to have been painted for the Duke of Chandos in 1720, when Handel was thirty-five years of age. hat Handel originally intended the word 'was' to bear a secondary accent. In the same volume is a page of fragments connected with some oratorios, headed thus: The Book of Kings, Ahab, Jezabel Naboth, the Profet Elija. Another memorandum reads : : Mr. Duval medecin in Poland Street. This is doubtless the address of a doctor, as The concertino parts complete (for two clarinets and corno di caccia) of an unpublished Overture in D and in five movements, is the only known instance in existence of the use of the clarinet by Handel. Dr. Mann says: |