Modern German Music: Recollections and Criticisms, Volume 2 by Henry Fothergill Chorley

By Henry Fothergill Chorley

Henry Fothergill Chorley was once song critic of The Athenaeum for over thirty years, and released a number of books at the kingdom of up to date ecu track, together with tune and Manners in France and Germany (1841) and Thirty Years' Musical memories (1862), either reissued during this sequence. within the two-volume smooth German track, released in 1854, he revisits a few of the themes and locations mentioned within the 1841 quantity, yet perspectives them from the opposite part of the 12 months of Revolution, 1848, which, he argues, replaced the cultural in addition to the political surroundings of the German states considerably and completely. vigorous descriptions of German towns, their tradition and particularly their track fairs are observed by means of prolonged essays on Spohr, Beethoven, Schubert and Mendelssohn, yet Chorley is under no circumstances an uncritical observer, and his reviews at the upward push of nationalism and militarism within the German states after 1848 now look prophetic.

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Nor did Herren Breitkopf and Hartel, and Kistner, and Hofmeister, and Peters, content themselves with the coarse paper and coarse type which the German litterateur was in those days obliged to be satisfied with from his publishers. I have never seen music so splendidly issued as by the second establishment. VARIETY OF SELECTION. 31 with the whole of one act and the overture of M. Chelard's opera, cc Die Hermannschlacht," and a grand manuscript concert cantata by Herr Marschner, including an overture, songs, and choruses.

School after school has passed away, form after form been exploded,—and now, when so much has been tried and judged and forgotten, the young musicians of Europe are falling upon the works of Bach as upon a mine of virgin treasure. Thus, we have seen a revival of the love for our Elizabethan drama after its having for awhile passed out of sight — though never into that utter oblivion from which there is no hope of recall or of return to the light of human sympathy. If, while I was in Leipsic in 1839, ^ w a s disposed to rhapsodise about Bach—that least rhapsodical of all composers—it was because every hour's experience confirmed my first impressions that his traditions still leavened the musical taste of the town.

These were the boys of the Thomas-Sckuky who are there educated to take part in all the religious musical services of the town, and who afford, too, their assistance to its secular entertainments; having the privilege, in return, of being present on all occasions when public music is going on. I was sorry to hear (the case demands the reproof of commemoration) that the only instance of this privilege being denied was at the benefit concert of a young English songstress, who had made her foreign reputation by a winter's appearances at the Leipsic Concerts.

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