Imágenes de páginas

parts of the kingdom, when the fiddler | years (A. D. 1773). When Corelli's music thinks his young couple have had music was first published, our ablest violinists enough, he makes his instrument speak out conceived that it was too difficult to be pertwo notes which all understand to say kiss formed. It is now, however, the first comher."

position attempted by a scholar. Every

year also now produces greater and greater Tue Partridge run. A.D. 1796.—Miss prodigies on other instruments, in point of SEWARD's Letters, vol. 4, p. 244.


p. 132.

GALLINI's Treatise on Dancing.-M. Re- “ PHILOSTRATUS tells of one who desired view, vol. 26, pp. 347-9-56.

that his son might not be musical, and there

fore sent him to learn of the worst musicians A.D. 1764.

The opera of Castor and in the city, that their scraping and jarring Pollux at Paris. “ On admire le dernier might put him out of liking with the art."ballet, qui vraiment est de génie. C'est le Bishop Hacket, Sermons, p. 275. systéme de Copernic mis en action ; il est très bien exécuté: reste à savoir, pourquoi

“ CONSIDERING the great influence which le systême de Copernic dans cet opéra.”— music bath over the minds of men, it is no BACHAUMONT. Mus. Lec. vol. 2, p. 14.

small policy in ecclesiastics to assign the use

of organs in churches, which gets men a The English nuns at Ghent told Mrs.

stomach to their devotion, whether it be Carter that country dances were one of good or bad.” — Blount's Philostratus, N. their amusements, and that they had the newest from England.-Mem. vol. 1, p. 264.

This person says

women often decline " – L'on dance plusieurs à la fois, se te in modesty proportionably to the progress nant toutesfois deux à deux, et se prome- they make in music.”—Ibid. nant le long de la salle, sans avoir autre soucy, que de marquer an peu sentiment

FROBERGER, organist to the Emperor la cadence; l'on l'appelle le grand bal, et Ferdinand III. is said to have represented semble qu'il ne soit inventé que pour don- in an allemand the passage of Count Thurn ner une honneste commodité aux chevaliers

over the Rhine, and the danger he and his de parler aux dames."— Astrea. Part 3, army were in, by twenty-six cataracts, or

falls in notes; which, it seems, he was the

better able to do, having been present." — "He does not mince it: he has not learnt Ibid. vol. 4, p. 183. to walk by a courant or a boree." (?)

Kuhnau represented in a sonata David's STEEL's Tender Husband, p. 29.

victory over Goliah.

Buxtehude represented the nature of the planets in a series of lessons for the harpsi

chord. Music

And Handel himself imitated the buzzing Wallis on the effects reported of it in of the flies and the hopping of the frogs in former times.-Phil. Trans. Abr. vol 4, p. the plagues of Egypt. — Sir J. HAWKINS, 309.

vol. 1, p. iii.

p. 623.

Ibid. vol. 13, p. 446. “ AMAZING improve- “ARISTOXENUS expressly asserts that the ments in execution which both singers and foundation of ingenuous manners, and a players have arrived at within the last fifty regular and decent discharge of the offices


[ocr errors]

of civil life, are laid in a musical educa- “ Thales cured a raging pestilence at


Sparta by music; the oracle having so ad

vised.” — HAWKINS, History of Music, vol. in an Epistle, 'scimus 1, p. 318. musicam dæmonibus etiam invisam et in- Hismenias the Theban cured many of tolerabilem esse :' and Dr. Wetenhall ap- sciatica by music. Hawkins thinks Boeplies this passage to the music of our thius takes this from Aulus Gellius, lib. 4, church, and on the authority thereof pro- c. 13, q. v. nounces it to be such as no devil can stand against."-Ibid. p. lxi.

“I'LL re you, I'll fa you ; do you note me?"

Romeo and Juliet, act iv. sc. v. "THE Pythagoreans," says STANLEY, “define music an apt composition of contra

Metastasio on the corruption of music, ries, and an union of many, and consent of and the effect of open theatres on that of differents ; for it not only co-ordinates the ancients, and consequently on church rythins and modulations, but all manner of music.— Tom. 10, p. 362-3. systems. God is the reconciler of things discordant, and this is his chiefest work,

“ There is somewhere in infinite space," according to music and medicine, to recon- says CowPER, a world that does not roll cile enmities. In music consists the agree- within the precincts of mercy; and as it is ment of all things, and aristocracy of the reasonable, and even scriptural to suppose universe. For what is harmony in the that there is music in beaven, in those disworld, in a city is good government, in a mal regions perhaps the reverse of it is family, temperance.—Ibid. p. 170.

found ; tones so dismal as to make woe it.

self more insupportable, and to acuminate " Il Ciel parte del vanto

even despair.” — Hayley's Life, vol. 2, p. Mi dia, che solo in questa unir poteo,

E a dite anch' io n'andrò senza paura
O pur di Tebe a rinnovar le mura."

See in MACROBIUS, Som. Scip. for a pas-
Metastasio, tom. 8, p. 245.

sage to prove that music "

persuades to

clemency and heals diseases." ALKHENDI compounded medicines in geometrical and musical proportions.-Spren- Ananonymous discourse upon the analogy GEL, vol. 2, p. 281.

between the seven planets and the chords

included in the musical septenary, says, RHazes had been the most celebrated " that in the motion of the Earth F is made; professor of music at Bagdad. — Ibid. p. in that of the Moon, A; Mercury, B; V 285.

nus, C; the Sun, D; Mars, E; Jupiter, F;

and Saturn, G; and that here the musical Amatus LUSITANUs combined music and measure is truly formed."—Hawkins, Hisnumbers in his system of physic, blending tory of Music, vol. 2, p. 215. thus the doctrines of Pythagoras and of the Cabalists.-Ibid. vol. 3, p. 157.

" THERE was once a musical herald who

undertook to show the analogy between Struthius plays to Sigismond II. King music and coat armour."— Ibid. p. 247. of Poland, “ explique le rhythme du pouls d'après les lois de la musique, et cherche à “ PIETRO FRANCESCO VALENTINI gave le rendre sensible par des figures inintelli- Kircher a canon which he called Nodus gibles."--Ibid. p. 169.

Salomones; which Kircher at first per


ceived might be sung by ninety-six voices, out of Yorkshire to Hampton Court."
twenty in each part, treble, counter tenor, Ibid. vol. 3, p. 117.
tenor and bass ; and yet there are only four

“Some remarkable instances of blind per. notes in the canon ; but it is to be observed, that to introduce a regular variety of har. sons, who have been excellent in music, mony, some of the ninety-six are to sing all might lead to an opinion that the privation longs, some all breves, some semi-breves, of that sense was favourable to the study

of it.”—Ibid. p. 209. some minims, some semi-minims. “ He afterwards found out that this same

* M. FAVARD ridiculise la singulière incanon might be sung by 512 voices, or, vention de composer de la musique par la which is the same thing, distributed into chance des dez, qui avoit été sérieusement 128 choirs; and afterwards proceeded to proposée dans un de nos Journaux.” — M. show how it may be sung by 12,200,000 BRET MOLIERE, vol. 5, p. 766. voices; nay, by an infinite number. Then he says the verse in the Apocalypse, xiv. 3,

- JAMES I. in a letter to his sons from is made clear, and may be interpreted lite. Theobald's, a. D. 1623, desires them to keep rally. For he shows that this canon may up their dancing privately, “ though they be so disposed as to be sung by 144,000 whistle and sing to one another for music.' voices.-Ibid. p. 376.

-Hawkins, vol. 4, p. 14. LUTHER spent the greater part of the “ Thomas CAMPION, who was a doctor of night before he appeared to give an account physic, and published a work upon music, of his doctrine to the diet at Worms in justified himself by the example of Galen, playing on the lute,“ in order to compose who, he says, became an expert musician, and calm his mind.”—Ibid. p. 444. and would needs apply all the proportions

of music to the uncertain motions of the “ Francis I. sent a band of musicians to

pulse."—Ibid. p. 24. his ally Solyman II. Solyman received them graciously, and had three concerts at EFFECTS OF Music.—“ In the Reperhis palace, in presence of all his court. Then toire Medico Chirurgicale of Piedmont, for having observed the effect of the music upon June, 1834, Dr. Brofferio relates a case himself, he sent them back with a handsome illustrative of the morbid effects of music. reward, but ordered their instruments to be A woman twenty-eight years of age, of a broken, and prohibited them from settling robust constitution, married, but without in his empire, on pain of death. He fully children, attended a ball which was given believed it to be a scheme of the French on occasion of a rural fête in her native king's for diverting him by this amusement village. It so happened that she had never from the business of war, “just as the Greeks heard the music of an orchestra before; sent the Persians the game of chess for the she was charmed with it, and danced for same purpose.' And this he said to the three days successively, during which the French ambassador.”—Ibid. p. 481, N. festivity lasted. But though the ball was

at an end, the woman continued to hear the “ MYSELF," says PLAYFORD the musician, music; whether she ate, drank, walked, or " as I travelled some years since near Roy- went to bed, still was she haunted by the ston, met a herd of stags, about twenty, harmonies of the orchestra. She was sleepupon the road, following a bagpipe and less, her digestive organs began to suffer, violin, which, when the music played, they and ultimately her whole system was dewent forward ; when it ceased, they all stood ranged. Various remedies were tried to still; and in this manner they were brought drown the imaginary music, but the more

her body became enfeebled the more in- “ FLUDD supposed the world to be a tensely did the musical sounds disturb her musical instrument; and that the elements mind. She sunk at last, after six months' that compose it (assigning to each a cernervous suffering. It should be added, that tain place, according to the laws of gravithe leader of the band having occasionally tation), together with the planets and the indulged in a discordant capriccio for the heaven, make up that instrument which he amusement of his auditors, the notes which calls the Mundane Monochord.”—Ibid. p. he played produced the most torturing 168. effect when they recurred to the imagination of the patient: 'those horrid sounds!' FLUDD decorated his Tract De Musicâ she would cry, as she held her head between Mundanâ with devices for “ musical dials, her hands. There is nothing so very ex

musical windows, musical colonnades, and traordinary in this case, as it regards the other extravagancies.”—Ibid. p. 173. mere repetition of sounds in the sensorium, in

consequence of a long-continued impres- KIRCHER explained the fall of the walls sion originally made, but that it should be of Jericho to the mechanical effects of the carried to the extent of causing a nervous trumpets.-Ibid. p. 215. affection, terminating fatally, is what seems to render the case unique. An anecdote is told of the celebrated Mademoiselle Clairon, his countenance used to be distorted, his

Wuen Corelli was playing on the violin, which has some analogy to the preceding eyes to become as red as fire, and his eyeA man once shot himself on her account.

balls to roll as in an agony.-Ibid. p. 310. Ever after, as regularly as one o'clock at night came, Mademoiselle Clairon heard the report of a pistol. Whether she was at a

“The Flemish and Italian editions of Coball, in bed asleep, at an inn, on a journey, relli's Operas and Sonatas were printed in no matter ; when the moment arrived the

such an obscure and illegible character, that shot was heard : it was louder than the many persons in England acquired a submusic of the ball, startled her from her

sistence by copying them in a legible characsleep, and was heard as well in the court

ter. Thomas Shuttleworth, a music master, yard of an inn as in a palace.” — Medical who was living in Spital Fields, A. D. 1738, Gazette.

brought up a numerous family by his in

dustry in this practice."-Ibid. p. 312. “ About the year 1730, an Italian teacher of the guitar arrived in London, and posted

M. DE LA VIEUVILLE DE FRENEUSE says, up in the Royal Exchange a bill inviting that being in Holland in 1688, he went to persons to become his scholars, and with a see a villa of Milord Portland, and was figure of the instrument at the top, miser- struck with the sight of a very handsome ably drawn. The bill began thus, De gallery in his great stable. At first, says delectabl music calet Chittara fit for te gan- he, I concluded it was for the grooms to lie tlman e ladis camera.' The poor man

in ; but the master of the horse told me that offered to teach at a very low rate, but met it was to give a concert to the horses once a with none that could be prevailed on to week to cheer them, which they did, and learn of him." -H AWKINS, History of Mu

the horses seemed to be greatly delighted sic, vol. 4, p. 74.

therewith."-Ibid. vol. 5, p. 205.

Jodocus PRATENSIS set the first chapter The monkish writers on music say, “ Mi of St. Matthew to music.— Ibid. p. 200. contra fa est diabolus.” — BURNEY, N. to The genealogical part.

King Lear, p. 43.

[ocr errors]

“ A Curious and beautiful method of to Prove that the Principles of Harmony observation devised by Chladni, consists in prevail throughout Nature, but especially the happy device of strewing sand over the in Mankind, 4to. plates, not printed for sale, surfaces of bodies in a state of sonorous vi- sewed, 4s. bration, and marking the figures it assumes. This has made their motions susceptible of Pockrich and his musical glasses. He ; ocular examination, and has been lately perished in the fire which broke out at much improved on and varied in its applica- Hamlin's Coffee House, Cornhill, 10 Nov. tion by M. Savart.

1759. “ Sound is a subject the investigation of See his whole strange history, Monthly which promises important consequences in Review, vol. 24, pp. 14-19. its bearing on others, and especially, through the medium of strong analogies on that of

“ Senesino and Farinelli when in Eng. light.” — HERSCHEL on Natural Philosophy, land together, being engaged at different p. 289-90.

theatres on the same night, had not an op

portunity of hearing each other; till, by “ The doctors of our theology say that one of those sudden stage revolutions which God made the world by number, measure, frequently happen, yet are always unex. and weight; some for weight say tune, and pected, they were both employed to sing on peradventure better.”—PUTTENHAM, p. 53. the same stage. Senesino had the part of

a furious tyrant to represent, and Farinelli “ I HAVE known good men that were that of an unfortunate hero in chains; but skilled in music, and much delighted in it, in the course of the first song, he so softand yet had a conceit that it was unlawful ened the obdurate heart of the enraged in a psalm or holy exercise. I so much tyrant, that Senesino, forgetting his stage differed from them, that I scarce cared for character, ran to Farinelli and embraced it anywhere else; and if it might not be him in his own.”—BURney's Francis Ruly, holily used, it should never have been used Monthly Review, vol. 45, p. 340. by me."-Baxter, Restituta, vol. 3, p. 187. Farinelli confirmed the truth of this an

ecdote to him. “ If it be true, as Athenæus says, that Pindar wrote an ode in which he purposely “ In the Hong-fan, or Sublime Rule, a omitted the letter s, it must have been be- chapter of the Chou-king, the elements and cause it was designed to be sung." – Curi- powers of nature are expressed by numbers; osities of Literature, vol. 2, p. 62.

the tones of music correspond with the sea.

sons and months, with the duties of mo" It is a received maxim with all com- rality and the ceremonies of Chinese reliposers of music, that nothing is so melodi- gion, and music is made the basis of all the ous as nonsense. Manly sense is too harsh sciences, and more especially of morals and and stubborn to go through the number- politics.”Monthly Review, vol. 58, p. 537. less divisions and subdivisions of modern French Mem. of the R. Acad. music, and to be trilled forth in crotchets and demiquavers. For this reason thought “Tue Che-hiang, from which the Chinese is so cautiously sprinkled over a modern procure their musk, can only be brought song, which it is the business of the singer within shot by means of music. One of to warble into sentiment.”. Connossieur, the hunters plays lively airs on a flute, No. 72, vol. 2, p. 136.

and the shy animal is so delighted that it

gradually draws near. The notes of a child WEBB's (F.) Panharmonicon, an Attempt | are said to be still more alluring than those

[ocr errors]
« AnteriorContinuar »