The Musical Standard. *VOL. XIV. JANUARY 7, TO APRIL 29, 1871. "We cannot too often point out that the monotonous is not necessarily church-like, that the melodious is not LONDON: MUSICAL STANDARD OFFICE, 102, FLEET STREET, E.C. AND SOLD BY CHAPPELL & C., 50, NEW BOND STREET; CZERNY, 81, REGENT STREET; MILLS & C., 140, NEW For the beautiful "Grace" by the late T. B. Southgate we are indebted to his son, No. 336.-VOL. XIV. LONDON, SATURDAY, JANUARY 7, 1871. A BEETHOVEN MEMOIR.* PRICE TWOPENCE. literature in bygone years. People who "like music in the ordinary acceptation of those words have, JO one who in any degree affects literature or within our own experience, been often known to book-collecting will, we opine, neglect to express surprise that an essay or article on a musical read or add to his library the newest, topic should be "so interesting" and "so intelligible prettiest, and most readable sketch of the to them; and have been free to confess the uneximmortal Master of Music upon whose pected pleasure which the glimpse into the supposed divine gifts so much that is enthusiastic, and yet after unfathomable mysteries has afforded them. Many a all (considering the difficulties of verbally expressing reader who knows little and has no interest for the musical merit) inadequate to the portraiture of musical technicalities of architecture would feel himself inexcellence, has been lately said. Every volume, structed by reading the life of Sir Christopher Wren every article (we had almost said every paragraph) or the lamented genius Welby Pugin; nor ought it to which treats on the art of music in such a manner as be necessary for any one to be deeply versed in the to be intelligible, and better still attractive, to the mysteries of what is still so absurdly denominated. general reader, is in our opinion a benefaction to us "thorough bass," to take up with some degree of all; for if a musical biography be written in a style to profit the life of men like Mozart or Handel, Schubert enlist the sympathies of those who may perchance or Beethoven. The more the uninitiated public can have small acquaintance with the theory or even with be induced to look at musical subjects by means of the practice of the art, some good is effected, even sketches elegantly written and in a seductive literary should this be limited to proving that the character of style, the better in the long run for the art itself. In a great musical artist is as worthy a subject for advocating a tolerably light and sketchy style of treatdelineation, for commemoration, and for admiration, ment of musical subjects, we need not be understood as the more popularly understood painter, architect, to depreciate the laborious collection, and precise, or sculptor. Music has much to contend against in unornamented relation of the minutest facts; the the lofty and supercilious contempt with which many trivial character of many musical productions and the still habitually view it; and musical literature has exceedingly dry minuteness characterising others, have long had to work against a correlative disadvantage. perhaps satisfied the limited public to which they Had not this been the case, our population would not appeal, while failing, as might be expected, to extend have remained year after year destitute of a single the charmed circle of musical readers. To shew that journal devoted to the disinterested consideration of music has its literature, and to make that literature as music as a fine art; destitute of any musical organisa- attractive as possible to the general public, has, we tion such as those so jealously defending other pro- think, been the tendency of several publications of fessional interests and so amply exalting the merits of recent years. Reference to the past volumes of the other professional pursuits. It can but occur to any Musical Standard will form a ready means of ascertainone to enquire why this derogatory view of music ing the measure of this improvement, one to which should have been held in this country (foreigners are the elegant and interesting "Memoir" published in not amenable to censure on the point); seeing that honour of the Centenary just passed, is the very every year brings evidence of the fact that to be latest contribution. The "sketch lays no claim to musicless is impossible;, that with the vast majority of originality; it presents itself as a slight resumé of the English people love of musical sound seems naturally principal events in Beethoven's life (from the works of implanted, and that whether it shall remain a rude Schindler, Ries and Wegeler, and of Marx, and instinct or develope into another sense is a question Thayer); and it is intended for those who "without solved only by the educational advantages or oppor- the leisure to go deeply into the subject, yet desire to tunities at hand. The reason (at least, one great know a little more about the great Tone poet than can be gathered from the pages of a concert programme, however skilfully annotated." This presentation of its claims is sufficiently modest considering reason) is, the barrenness and deficiency of musical * Beethoven: A Memoir by Elliott Graeme. Charles Griffin and Co., Stationers' Hall Court. |