תמונות בעמוד
PDF
ePub

The Cornhill Magazine recently had an article on Mr. Handel Hall, Doddridge Congregational Church, the experiences of a clerical locum tenens in a certain Northampton. - Introduction, Variations and Finale Berkshire village. In regard to an enquiry concerning on the tune 'Hanover,' E. A. Dicks. the choristers, he was told: 'That lad in grey you Mr. Maughan Barnett, St. John's, Wellington, N.Z.— ask about can sing quite nicely, only he can't read. Prière, Callaerts. The boy next to him can read, but he can't sing; the boy on the other side is deaf.' On paying a pastoral visit to an old dame of eighty-three, the conversation turned on sermons and the pulpit generally, when she remarked: You are stouter than the vicar, Sir. I was talking to a neighbour the other day, and she said “ Mr. does look so nice

in the pulpit; he seems to fill it so "'!

The annual service of the London Church Choir Association was held in St. Paul's Cathedral on the 19th ult., under the careful conductorship of Dr. Walford Davies. The music specially composed for the occasion included a setting of the Magnificat and Nunc dimittis in E flat by Dr. G. F. Huntley, and an impressive anthem, Whatsoever is born of God,' by Dr. Walford Davies. Canon Ainger gave a short address on the employment of the beautiful in the worship of God, and nothing could more appropriately illustrate the preacher's theme than S. S. Wesley's devotional anthem Thou wilt keep him in perfect peace,' sung after the sermon. Mr. F. B. Kiddle, organist of Marylebone Church, was at the organ.

Mr. Alfred Redhead is to be congratulated upon having completed, on the 1st ult., twenty-five years' zealous and good work as organist and director of the choir of St. Augustine's Church, Kilburn.

Mr. A. Brown Thompson, Wesley Church, Wellington
Quay.-Introduction and Allegro, F. E. Bache.
Mr. R. Garrett Cox, St. John the Evangelist, Drury
Lane.—Fantasia in the form of an overture, Smart.
Mr. Jesse Timson, First Church of Otago.-At Even-
tide, Dudley Buck.

Mr. Franklyn Mountford, Christ Church, Cradley
Heath.- Fantasie Pastorale, Breitenbach.

Ne Mr. W. E. Belcher, St. Philip's, Southport.-Finale d from Sonata (Psalm 94), Reubke.

Mr. Thomas J. Crawford, S. Michael's, Chester Square -Concerto in G minor, Handel.

Mr. James Tomlinson, Public Hall, Preston.-Offertoire,
J. F. Barnett.

Prelude in E minor (from a Suite), Borowski.
Mr. Maxfield, St. John the Evangelist, Altrincham -

Mr. J. Matthews, St. Stephen's, Guernsey.-Fantasia,
John E. West.

Mr. C. H. Mills, Morningside United Free Church. Edinburgh.-March in B flat, Silas.

Mr. Reginald Goss Custard, St. Margaret's Church Westminster.- Sonata in D minor (first time), Faulkes Mr. H. J. Davis, Christ Church, Bath.-Nocturne in B minor, Lemare.

Mr. Chastey Hector, S. Michael's, HandsworthProcessional March in A, George Halford.

ORGAN RECITALS.

Dr. M. J. Monk, Truro Cathedral.--Festal March, E. T. Chipp.

Mr. Alfred Hollins, St. George's United Free Church, Edinburgh.-Theme, with variations, in G, Faulkes.

Mr. T. Tertius Noble, Owens College, Manchester.— Theme, with variations, T. T. Noble, and Requiem Eternam, Basil Harwood.

Mr. W. G. Whittaker, St. Paul's Presbyterian Church, South Shields.-Symphony No. 5, Widor.

Mr. R. H. Turner, Parish Church, Portsmouth.Theme in F sharp minor, S. S. Wesley.

Mr. H. C. Tonking, Parish Church, Dudley.-Fantasia in F, Best.

Mr. Rowland Hiles, Parish Church, Bedminster.Fantasia in C minor, Behrens.

Mr. H. E. Mackinlay, St. Stephen's, Walbrook.— Offertoire in B flat, King Hall.

Mr. J. B. Hallas, Congregational Church, Buttershaw (Opening of new organ).-Idylle at Evening, Dudley Buck. Mr. Frank Pullein, Parish Church, Wrexham.Fantasia on 'O Sanctissima,' Lux.

Mr. Henry S. Plummer, St. Mary's, Hornsey Rise.Fantasie overture, Garrett.

Mr. J. T. Field, Christ Church, Lee Park.-Sonata in G minor, Purcell.

Mr. Roger Ascham, Wesley Church, Pretoria.—Sonata in A minor (Op. 98), Rheinberger.

Mr. J. W. Pearson, S. Paul's, Cliftonville.-Grand Choeur in D, Guilmant.

Mr. Harry E. Wall, St. Michael's, Burleigh Street, Strand-Toccata in G, Dubois.

Mr. H. Mathias Turton, S. Aidan's, Leeds. -Sonate Pascale, Lemmens.

Mr. F. H. Sawyer, St. Leonard's School, St. Andrews. -Pastorale, Kullak.

Mr. W. W. Starmer, St. Michael and All Angels, Withyham. Andante in D, Silas.

Mr. A. G. Colborn, Holy Trinity, Stapleton.-Andante con moto, Hoyte.

Dr. E. D. Naylor, St. John's College Chapel, Cambridge.-Choral Prelude, Vater Unser,' Bach.

[blocks in formation]
[ocr errors]

WHERE THE MESSIAH' WAS FIRST PERFORMED.

Many performances of the Messiah' will be given during the next few weeks, therefore we have pleasure in giving a photograph of the place where Handel's immortal oratorio was first performed the New Musick Hall, Fishamble Street, Dublin, on April 13, 1742. Fishamble Street is one of the oldest thorough fares in Dublin. In a record of the 19th year of Richard II. (1396) it is called 'Vicus Piscatorius, in parochia Sancti Johannis' (Fish Street in the parish of St. John), but its date may be traced to a much remoter antiquity. It runs at the east end of Christ Church Cathedral from Castle Street to the

er Liffey. In former days it often witnessed a gay ong of fashion and aristocracy-the Viceregal tège, ladies in hoops and feathers, 'white-gloved tux,' in bag, and sword, and chapeau; while scores iveried footmen and pages, waiting to call coaches, riots, and sedan chairs, gave additional animation a typical scene in the Irish capital during the h century. Sic transit gloria mundi might well be cry of the stones in Fishamble Street to-day, but isit thereto, even in imagination, recalls a great nt in the realm of music. The New Musick Hall, It by a Dublin music-publisher named Neale Neal), was opened October 2, 1741. The room 1 600 people, and at once took its place as the

kind in the Kingdom before; and our Nobility and Gentry, to shew their Taste for all kinds of Genius, expressed their great Satisfaction, and have already given all imaginable Encouragement to this grand Musick.

Handel was delighted with Mr. Neal's Musick Hall. Soon after his first Entertainment' he wrote a long letter to Charles Jennens, the compiler of the words of the Messiah,' which shows that the great George Frederick was in splendid form on his arrival in Erin's Isle. He says: The Musick sounds delightfully in this charming Room, which puts me in such Spirits (and my Health being so good) that I exert myself on my Organ whit more then usual success.' The

[ocr errors]
[graphic][subsumed][subsumed][merged small]

dezvous for important concerts and assemblies. ithin three months of the opening of the Hall andel arrived in Dublin. He gave his first' Musical tertainment' in the new building on December 23, 41, at which were performed his L'Allegro' with o Concertos for several Instruments, and a oncerto on the Organ.' Faulkner's Journal of ecember 26 to 29, 1741, thus records Handel's first pearance in the Emerald Isle:

Last Wednesday, Mr. Handel had his first Oratorio at Mr. Neal's Musick Hall in Fishamble-street, which was crowded with a more numerous and polite Audience than ever was seen upon the like Occasion. The Performance was superior to any thing of the

details relating to the first performance of the Messiah' 'in this charming room'-when the Ladies considerately left their hoops at home, and the gentlemen appeared swordless-are too well known to be recapitulated.

The historic Musick Hall, subsequently used by a Musical Society under the presidency of the Earl of Mornington, was added to the premises of Messrs. Kennan, a firm of Dublin ironfounders, established in the year 1773, and, having since been rebuilt, is still in the occupancy of that firm. the courtesy of Messrs. Kennan we are enabled to give the accompanying view of the old place so interestingly associated with the production of 'Mr. Handel's Sacred Grand Oratorio, THE MESSIAH.'

By

[blocks in formation]

SIR HERBERT STANLEY OAKELEY.

The death took place at Eastbourne on October 26 of

XVIII) Volume Quarto. Composizioni a più voc.
Secolo XVII.

[G. Ricordi and Co.]

Sir Herbert Stanley Oakeley, formerly Professor of Luigi Torchi-L'Arte Musicale in Italia. (XIV Secolo : Music in the University of Edinburgh. The second son of Sir Herbert Oakeley, the third baronet, he was born at Ealing, July 20, 1830, and received his education at Rugby and Christ Church, Oxford. He studied harmony under Stephen Elvey, and the organ with Johann Schneider at Dresden. Much surprise was expressed when, in 1865, Herbert Oakeley, an amateur musician, obtained the post of Reid Professor of Music in the University of Edinburgh. Among various criticisms passed upon the appointment, that which appeared in the Revue et Gazette Musicale was one of the most characteristic: The vacant chair of music at the University of Edinburgh has been given to Mr. Herbert S. Oakeley, doubtless better known in Scotland than elsewhere.' At the inauguration of the Scottish National Memorial at Edinburgh to the late Prince Consort, in 1876, the Professor was knighted by Queen Victoria at Holyrood; he subsequently received the curious appointment of Composer to the Queen in Scotland. Sir Herbert Oakeley, who did much for the promotion of high-class music in Edinburgh, was a somewhat prolific composer, but he is best known by two excellent hymn-tunes (settings of 'Saviour, blessed Saviour' and 'Sun of my soul, Thou Saviour dear') which have found their way into most hymnals, and by a quadruple chant. He received many distinctions, and in 1891 resigned his Chair at Edinburgh, to the occupancy of which he was succeeded by Professor Niecks. We make further reference to Sir Herbert Oakeley's election to his Professorship on

[blocks in formation]

We regret to record the somewhat sudden death of Mr. Samson Fox, which took place at Walsall on October 24, the result of blood poisoning following an operation. He had only recently returned from a tour with his family through Canada and the United States. We cannot do better than reprint the notice of his career which appeared in The Times, at the same time calling special attention to his munificent gift of £46,000 to the Royal College of Music, whereby the present commodious buildings were erected :

'Mr. Samson Fox was a self-made man. John Thomas North and Alfred Cooke were his companions in his youth, and the trio rose from the position of poor lads to that of rich men. The son of a Yorkshire weaver, he discarded weaving at 10s. a week and became a mechanic, being apprenticed to Messrs. Smith, Beacock, and Tannett at the Royal Foundry in Water Lane, Leeds. He superintended the machinery sheds of the firm at the exhibition in London in 1862. When still a young man, under 30, Mr. Fox joined his brother and another partner in the business of Fox, Brother, and Refitt, at the Silver Cross Works, Leeds, the business being that of making special tools. In 1874, having previously embarked on the manufacture of iron, he started the business of the Leeds Forge Company, making boiler plates, and this business developed into the present great concern in Armley Road, Leeds. He was a man of many inventions, and the corrugated flue was one of them. He also invented the machinery by which the flues for machine and stationary 'boiler purposes can be most effectually corrugated. Pressed steel frames and plates associated with railway rollingstock also received his attention, and he took out in all some 150 patents relating to metallurgical and mechanical engineering processes; and in most of these he was more successful than in his venture on water gas, in connection with which his name was associated. Ardently devoted to music, he, at the age of 50, offered £30,000 to the then Prince of Wales for erecting the buildings of the new Royal College of Music at Kensington Gore. This handsome gift was made up to £46,000, of which £1,000 was for the adornment of the vestibule. Mr. Fox served both Leeds and Harrogate in municipal life, and was mayor of Harrogate three years in succession, 1889-91. He represented Harrogate on the West Riding County

Council.'

The great enterprise on which Signor Torchi has been engaged for some years the publication of a series of works showing the gradual development of Italian musicis making steady progress. Of the three volumes previously issued, the first and second dealt with the rise of polyphonic vocal music, sacred and secular, while the third was devoted to the works of the early composers for the organ and harpsichord. The volume now before us is in reality a sequel to the second, which contained specimens by the chief composers of the 16th century; this fourth volume is allotted to those of the 17th century. In his preface Signor Torchi says that the object of the volume is to show the development of the madrigal by Gesualdo, the Prince of Venosa, Marco da Gagliano, and Claudio Monteverde, of all of whom specimens are given The editor, in the preface to the first volume of the series, tells his readers Both in the music and in the text I have scrupulously left in their original state both the form and the substance of the compositions. The scores have been compiled by me precisely from the materials I have found, not modifying nor altering anything. In some places in which it would have been easy to introduce improvements in the notation, I have abstained from it.'

While fully recognising the spirit of reverence for the original which has led Signor Torchi to this decision, we cannot but regret it on practical grounds. Two clefs now entirely obsolete the mezzo-soprano and the baritonewere in common use in the 16th and 17th centuries; the bass part of many of the madrigals is written either in the baritone or the tenor clef; in others we find four different C clefs for the different voices, and these are by no means always put in the order of their pitch. As an example of the results arrived at, we give an extreme case-a short passage from a psalm for eight voices by Matteo Asola, published in 1599; it will be found on P. 377 of Vol. II. of this collection:

[merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][ocr errors][merged small]

tions the clefs now used-including, of course, the ano, alto and tenor C clefs-and printing at the nning of each number the clef of the original. Even e-part score, when two of the clefs are the mezzoano and the baritone (as in several numbers in present volume), is needlessly difficult even for rienced score-readers.

le madrigals of Prince Gesualdo are of great musical est, and in places very remarkable for the boldness heir modulation. In this respect the five-part cissima mia vita' is perhaps the most striking quote a short passage, using the modern clefs, and ing at the beginning the original notation, after Chrysander's method above spoken of :

of his predecessors. In the madrigal 'Cruda Amarilli' will be seen at bar thirteen a very fine example of an unprepared dominant ninth leaping to a dominant seventh, also unprepared. A most interesting piece by Monteverde is a sonata for orchestra on a plain-song Sancta Maria.' The orchestra consists of two violins, viola, bass, two cornetti, and three trombones. The style of the music is polyphonic, and considerable contrast of tone-colour is obtained by the alternation and combination of the different groups of instruments.

[ocr errors]

It is a curious thing that about the same time when Peri and Caccini were making the first experiments in operatic music, many of their contemporaries endeavoured to utilize the polyphonic form of the madrigal as the medium for dramatic expression. This they did by setting to music dramatic poems in madrigal form. The result, from its very nature, cannot be other than unsatisfactory. Three entire specimens of this form of composition are given in this volume: 'I Fidi Amanti,' a pastorale by Gaspare Torrelli; 'L'Amfiparnaso,' a musical comedy by Orazio Vecchi; and La Pazzia Senile,' a comic intermezzo or buffoonery, by Adriano Banchieri. It is very curious to find dialogues, solos, choruses, all set in madrigal form. It is unfortunately not in our power to speak of these works in detail, because the words are mostly written in Italian dialects, sometimes with an admixture of Spanish, and we confess our inability to understand much of them. This much can be said, that there is considerable variety of expression in the music. So far as we can judge, Vecchi's work seems the finest. Signor Torchi in his preface is enthusiastic over it, and even compares parts of it, for real comic power, with 'Die Meistersinger.' How far this verdict is correct, we must leave others to judge. We wish Signor Torchi all success in the continuation of his arduous task.

&c.

key of the piece is G minor, and at the seventh bar, e our extract begins, the composer has already ulated to A minor! But the abrupt plunge into nor which follows must, by its daring, have astonished cians three hundred years ago. Our quotation trates also another very common feature of this old c-the unequal length of the bars. Though the al length here is four minims, the fourth bar of this age contains six, and the fifth bar only two; in the r part of the madrigal four minims in the bar, and are used indifferently, without any change of timeiture. Not less remarkable than the above passage is close of the madrigal; an extremely chromatic ression on the words 'O morire.'

the specimens by Marco da Gagliano, the chanalian Madrigal' Euoè Padre Lieo' is remarkable ts form. It is for five voices, and commences with a in 3-2 time, in plain chords, and with hardly an npt at contrapuntal writing. Then follow three t duets in common time, the first for tenor and bass, second for alto and tenor, and the third for two les. These duets all abound in passages of more or strict imitation, and after each of them the tutti is ated. It will be seen that we have here the old do form with three episodes. Another madrigal by liano, Su l'Affricane arene,' is a very fine example ure eight-part harmony for a double choir.

laudio Monteverdi (sic)-Signor Torchi does not give is authority for altering the usual spelling of the e-is well known as the first composer that made use e chord of the dominant seventh without preparation. specimens here given of his work show more ng for modern tonality than is to be seen in the music

Five Part-Songs for Men's Voices (T. T.B.B.). The words from the Greek Anthology, in English, by Alma Strettell, Richard Garnett, Edmund Gosse, W. M. Hardinge, and Andrew Lang. Composed by Edward Elgar (Op. 45).

set.

[Novello and Company, Limited.]

These five short part-songs (the longest is only 37 bars) are highly characteristic of their composer. There is a certain vein of mysticism (which has been cynically defined as something nobody quite understands) running through the words, which is admirably reflected in the highly original and beautiful music to which they are Yea, cast me from heights of the mountains' with its vivid contrasts of ff and pppp. striking rhythmic effects, and grim sternness of expression is an impressive introduction. 'Whether I find thee' is light and tender, and After many a dusty mile is similarly dainty in rhythm, and has besides a charming note of naïve cheerfulness. It's oh! to be a wild wind' is a quaint short piece-it consists of only nine bars once repeatedvery simple and expressive.

4

Feasting I watch,' is one of the most important and
the longest of the set. The words (by Dr. Richard
Garnett, from the Greek of Marcus Argentarius) read :—
Feasting I watch with westward-looking eye
The flashing constellations' pageantry.
Solemn and splendid; then anon I wreathe
My hair, and warbling to my harp I breathe

My full heart forth, and know the heavens look down
Pleased, for they also have their Lyre and Crown.

These soulful lines afford ample scope for broad, glowing effects-effects which, it is hardly necessary to say, the composer finely realizes in his music. The climax, molto allargando, is splendid.

All the five part-songs are intended for unaccompanied singing, and the top part is a real tenor part, A being the highest note. Although the whole set would bear consecutive performance they are not necessarily connected pieces. It is safe to predict that men's-voice choirs in English - speaking countries and in Germany, for a German translation is provided-will heartily welcome these notable additions to this branch of musical literature.

Samuel Pepys.
Bridge.

A Lover of Musicke. By Sir Frederick Sonata in E minor (Op. 15), for Violin and Pianofor
By Alberto Randegger, Junr.

[Smith, Elder and Co.]

Mr. Pepys, taken up in any way, is an attractive 17th century Englishman. His foibles, his outspokenness, his journeys, his domestic affairs, and a hundred other things, as set down in the inimitable Diary, are themes fruitful in interest. In the very readable and acceptable volume under notice, Sir Frederick Bridge has given us some pleasant peeps into the old diarist's musical life. Pepys not only practised and loved musique' with ardent devotion, but he was most anxious to inculcate that love into others of his household. Beginning with Mrs. Pepys, he says::

Before dinner making my wife to sing. Poor wretch her ear is so bad that it made me angry, till the poor wretch cried to see me so vexed with her, that I shall not discourage her so much again, but will endeavour to make her understand sounds and do her good in that way.'

He found a more apt pupil in Miss Mercer, his wife's maid. On one occasion he naïvely records after he had been singing in the garden with Mrs. Pepys and

Miss Mercer

Coming in, I find my wife plainly dissatisfied with me, that I can spend so much time with Mercer, teaching her to sing, and could never take the pains with her. Which I acknowledge; but it is because that the girl do take musique mighty readily, and she do not, and musique is the thing of the world that I love most.'

On another occasion Mr. Pepys sang in (or with) the Choir of Westminster Abbey. If this incident had only occurred during the present organistship, how interesting it would have been to know what Pepys thought of Sir Frederick, and the latter could have reported upon the diarist's vocal ability, or debility, as the case might be! Sir Frederick Bridge treats of a congenial subject in a genial manner. The book-which makes an opportune appearance in this bicentenary year of the death of Pepys-is enriched with an excellent portrait and a copy of his song 'Beauty Retire.' It may be mentioned that copious extracts from Pepys's Diary relating to music, with connective comments by the late Dr. Hueffer, appeared in THE MUSICAL TIMES during the first half of the year 1881.

SHORT ANTHEMS.

Blessed be Thou, O Lord God. By C. H. Lloyd.
Deliver us, O Lord, and Lord, we beseech Thee
Batten.

[Novello and Company, Limited.]

Mr. Alberto Randegger's Sonata in E minor for violin and pianoforte was introduced at one of the Broadwood concerts last January, and the favourable impression created on that occasion can be fully endorsed now that the work is published. Space does not per:: of a lengthy analysis; but attention may be called to a few of the salient points of this original and versatile composition, one that pulsates with brightness and vigorous life. The opening Allegro, given out by the violin

Allegro, ma non troppo.

mp ed espress.

starts quietly enough, but considerable virile force and being gained by some striking passages of sweepi ingenuity are displayed in its development, special efter arpeggi (con arcata larga) for the violin. The Cedat's fine and dignified. The Scherzo (A minor) which is is an agreeable contrast to the foregoing by reason ci its simplicity. Moreover, the Scherzo is further enhanced by the beauty of its Trio (E major), built on a particular happy diatonic theme. Indeed, the composer clear proves in this movement that it is still possible to be bot pleasing and original in a serious work without the aid of abnormal chromaticism. The Andante (A major) is not conceived, and full of rich and artistic colouring Violinists will revel in its broad and well-written themes. The Finale, carried on somewhat after the manner of a sparkling duologue between the two instruments, brings the whole to a spirited and inspiriting climax. If the Sonata demands considerable technical ability from its performers, it must be admitted that Mr. Randegger himself an excellent violinist-knows how to write, and to write well for his instrument.

Mr. Richard Richards, of Handsworth, writes a follows:

[ocr errors]

As a sequel to Dr. E. T. Sweeting's interesting article on Dr. Crotch on Bach's Forty-eight, in the November number of THE MUSICAL TIMES, I ventre to send the following description of a book now in na possession, but which formerly belonged to the Doctor. It is a copy of a full-score of Handel 'Esther,' the inside of the cover bearing the autograph 'Wm. Crotch, 1809. 2, Duchess St., Portland Place. Scattered throughout its pages are various correctionssome notes being sharpened, some flattened, &c. At the e By Adrian of the Allegro of the Overture Dr. Crotch has written'Made from one of his Trios.' The short recit. 'Üz souls with ardour glow' is marked 'better out.' The intr duction to the air Breathe soft, ye gales,' is stated :: be afterwards used in Alexander's Feast' and at the entry of the voice he writes the word 'tame. It is a the imitation between the first and second violins in the good thing for Handel's reputation that his critic allows introduction to the air Watchful angels,' to be clever has slain,' is thus commented upon: This sort of accorThe beginning of the last chorus, The Lord our enemy paniment is clogging, and should not be adopted in givin

[Novello and Company, Limited.] The above numbers of this excellent series of short anthems' well deserve wide recognition. Dr. Lloyd's composition is an interesting example of how much effective variety can be included in a short work by a skilled musician. The alternative passages for voices and organ give freshness to the opening portion, and the subsequent entrances of the voices in imitation impart interest to the brief chorus with which the anthem

concludes.

4

The settings of Deliver us, O Lord,' and 'Lord, we beseech Thee,' have been edited by Mr. John E. West, who manifestly has fulfilled his task well. The composer, Adrian Batten, was organist of old St. Paul's Cathdral from 1624 to 1637, and judging by the anthems under notice he well merited that distinction. It is amusing, however, to note in the first example this old composer writing a false relation' in bars three and fifteen, though nowadays we are not at all squeamish about such things. The influence of the ancient modes is very apparent in the setting of Lord, we beseech Thee,' and it imparts an archaic distinction to the music which increases its devotional character.

out of a subject.'

[ocr errors]

The International Male-Voice Competition to be be in Park Hall, Cardiff, on Boxing-day has in it all potentialities of an important event. M. Laurent de Ri the distinguished composer, is coming specially fro Paris in order to act as principal adjudicator, and a fewer than nineteen male-voice choirs-including one from Paris!-have entered for the principal competition the prize for which is £105 and a cup of the value of t guineas. Many entries, from all parts of England and Wales, have been received for the solo competitions.

« הקודםהמשך »