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than talent, to which that term is restricted, namely, genuine feeling and a true enthusiasm. We do not think the author has exaggerated, nor exhibited more enthusiasm than all who feel, as well as love to hear, music, would choose to express, and in much the same language, if they possessed an equal power with Mr. Story over a very various vocabulary, and an equally vigorous imagination. He sometimes hovers just upon the verge of the obscure, just enough, perhaps, to inspire a deeper interest in his flights, and just also upon the verge of all we hate in the New Dialect, but on the whole steers his way with so good discretion, that we are obliged to confess he almost seenis to borrow a grace from his offences, which is a great deal for a natural enemy of all forms of Euphuism to say. There is no great method in the discourse, but it is none the worse for that; - a great deal of method in a short performance reminds one of small buildings all outside — crushed by too much architecture - examples of which are not wanting.
Were we to please ourselves with taking exception to any principal position of the discourse, it would be with the rank so confidently claimed sor Beethoven. He is clearly, to our mind, not of the Shakspeare and Homer class, but a lower order — great, but not greatest — and there is all the difference in the world between the two. In the class of “ great ” one would be ready to allow him the first place — but would by no means permit him to stand within the sacred precincts of the temple, where dwell the master-spirits of poetry and song. We do not pretend to have heard a tythe of the music of this great composer. But from what we have heard his genius may be understood and measured. It is not difficult to see that he wants that attribute of the greatest minds, to produce perfect satisfaction, an absolute fulness of delight, and force the conviction, that human power can no further go. One has the feeling that he may be surpassed – that many greater may arise. But we look for no more Shakspeares. Our highest conceptions of what is possible to human genius are fulfilled in him. We do not look for a greater. So of the other monarchs of art, Michael Angelo, Dante, Flandel. Beethoven may not be compared with them ; but rather with such a genius as Richter, whom he seems greatly to resemble, - wild, erratic, fantastic, with gushes of nature and bursts of power, which at times melt the heart and fill the mind with astonishment; but never presenting in a long-sustained movement that completeness and perfect development of thought, which are seen in the works of the greatest minds, and ever assert their supremacy by subduing not only the souls of the few to their sway, but of all. Beethoven, like Richter, is for a clique, not for mankind; for — we dare to say -- an age, not for all ages. And what adds to the strength of this conviction is, that as we listen, we are compelled to question the perfect simplicity and sincerity of his nature — ever the characteristics of the highest genius - reminding us here again, notwithstanding all his moral beauty, of Richter. You see too much, Beethoven, as, too much, Richter, — too little, original, spontaneous, irresistible, unaffected nature. Handel is not Handel, but greatness, sublimity, inimitable tenderness, surpassing magnificence. Shakspeare is not Shakspeare, but nature, poetry, truth, absolute and unapproachable. Of neither can mannerism be affirmed; except in the sense, indeed, that their greatness ever betrays them, as manner does inferior souls. If the world sings for six thousand years longer, we cannot conceive that it should ever raise a sublimer strain than the hallelujah chorus, or a sweeter, holier, than “ He shall lead his flock like a shepherd,” or, “I know that my Redeemer liveth," – all worthy of the tongues and harps of angels. What is the impression made by the far-famed symphony in C. Minor? Is it one, single, immediate, homogeneous, overwhelming? or not rather, mixed, doubtful, confused, partial — an impression of incompleteness and even irrelevancy, of possible, not certain greatness, of a wonderful mingling together of the true and the half-true, the great and the grotesque, the simple and the insincere - of a striving, in a word, after what is not attained. There are strains beautiful, affecting, dreamy, as ever the soul conceived; but others bewildering, mysterious, anomalous, which interest intensely, and excite the curiosity, but at the same time produce effects absolute music never could — perplexing the mind, and throwing it into a state of criticism, rather than one of calm enjoyment, abandonment to the power of art, breathless admiration.
But we have said more than we intended. We congratulate the Harvard Musical Association on accomplishing so successfully the objects which it placed before it. Its library has already become valuable, and is increasing. We trust it keeps steadily in view what we consider its main object, the establishment of a professorship of music in the University. With this, as one chief fountain of influence, and the Boston Academy, with its annual concerts, as another, we might look confidently for a wide and rapid spread of a more pure musical taste in the country.
1. A Discourse, occasioned by the Death of William Ellery
Channing. Preached in Hollis Street Church, Oct. 16, 1842. By John Pierpont. Boston: Printed by Oliver Johnson.
1842. pp. 23, 8vo. 2. An Address, delivered at the Funeral of Rev. William Elle
ry Channing, D. D., in the Federal Street Meeting-house, Oct. 7, 1842. By Ezra S. Gannet. Boston: William S. Crosby & Co. 1842. 3. A Discourse, occasioned by the Death of William Ellery
Channing; delivered in the First Congregational Church, Providence, R. I., Oct. 12, 1842. By Edward B. Hall.
Providence : B. Cranston & Co. 1842. 4. A Sermon, preached in Amory Hall, Oct. 9th, 1842, being
the Sunday succeeding the Death of William Ellery Channing. By James Freeman Clarke. Boston : Benjamin H.
Greene. 1842. 5. A Discourse, occasioned by the Death of William Ellery
Channing, D. D., pronounced before the Unitarian Societies of New-York and Brooklyn, in the Church of the Messiah, Oct. 13th, 1842. By Henry W. Bellows. New-York: Charles
S. Francis & Co. 1842. 6. The Influence of a Great Mind when imbued with the Spirit
of the Christian Religion. A Sermon, preached in the Meeting-house of the Harvard Church and Society in Charlestown, on Sunday, Oct. 9, 1842, on occasion of the Death of Rev. William Ellery Channing, D. D. By George Ě. Ellis, Pastor of that Church. Boston : William Crosby &
Co., No. 118 Washington St. 1842. 7. An Humble Tribute to the Memory of TVilliam Ellery
Channing, D. D. A Sermon, preached at West Roxbury, Oct. 9, 1842. By Theodore Parker, Minister of the Second Church in Roxbury. Boston : Charles C. Little, and James
Brown. 1842. 8vo. pp. 38. 8. A Sermon, on the Death of Dr. Channing. By Rev.
Charles T. Brooks, delivered in the Union Meeting-house at
Portsmouth, (Rhode Island.) 9. A Discourse, on occasion of the Death of Rev. William El
lery Channing, D. D., delivered in Essex Street Chapel, on Sunday, Nov. 6th, 1842. By Thomas Madge, Minister of the Chapel. London: John Green, Newgate St. 1842.
10. A Tribute to the Memory of the Rev. William Ellery Channing, D. D. A Discourse, delivered in the Chapel, Little Portland St., Regent St., on Sunday, Nov. 20, 1842, by Edward Tagart, F. S. A., Minister of the Chapel. London :
John Green : Newgate St. 1842. 11. A Sermon, preached at Little Carter Lane Chapel, London,
on Sunday, Nov. 6th, 1842, on occasion of the lamented Death of the Rev. William Ellery Channing, D. D. By Joseph Hutton, LL. D. London: John Green, Newgate St.; and John Mardon, Farrington St. 1842.
With the exception of one we have read these discourses, and have been struck with their general excellence. They are of a higher order, we think, than those which appeared on the occasion of the death of President Harrison, and are certainly creditable to the authors and to the church. Our first purpose was to make an article similar to that upon the late President, in order to transmit on our pages an example of the preaching of the day, and through the passages selected for that purpose at the same time present as complete a view as possible of the character and life of Dr. Channing. We have laid it aside for many reasons, but with regret, and preserve merely the titles of the several discourses.
Greenwood's Sermons of Consolation. — In the present Number we can only record the title of this beautiful volume. It is one which we are sure will meet with a grateful reception, not only on the part of the parishioners of Mr. Greenwood, but of all who have ever listened to his preaching, or who seek instruction on the topics most interesting to a thoughtful mind. The plan of the volume we believe is original, in being confined to discourses on some one of the subjects of Christian consolation. It meets a want not before supplied. There are twenty-seven sermons in the volume.
IN D E X.
Channing, sermons occasioned by
the death of, noticed, 399, 400.
Concessions of Trinitarians, by John
of, analyzed, with remarks upon, Curwen's letters and journal, re-
convent question, 391.
word,' 214, 217 — original mode
Dillaway's, C. K., classics, 390.
and discouragements in the study
and indirectly, to the preacher,
Emmons, Dr. Nathaniel, biographi-
and early education, 170-theolog-
- preaches and is ordained, 172
sermons and their character, 174
ions as a Hopkinsian, and his crit his peculiar theological opinions,
Cicero on the immortality of the Fellows's, Charles, tour in Lycia,
soul, a new translation of, 130 – 82-94.
150 — continued, 316 – 338. Follen, Dr. Charles, his works and