Books › Klers' violin repository of dance music : comprising reels, strathspeys, hornpipes, country dances, quadrilles, waltzes &c., 1885 › scan 108
Scan 108
Klers' violin repository of dance music : comprising reels, strathspeys, hornpipes, country dances, quadrilles, waltzes &c., 1885
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1"A life on the ocean wave," "Ye Mariners of England," &c. Several solos, duets, and trios were also interspersed. The rendering of the whole programme was much appreciated by the audience. Mr. Hunter, teacher, Tongland Public School, moved a vote of thanks to Mr. Welsh and his class for the great musical treat provided, and expressed surprise at the state of perfection attained in so short a period of training. He also spoke in laudatory terms of the excellent purity of tone and attention to expression evinced throughout. This is the second annual concert given here by Mr. Welsh, who has established himself a favourite in the district.
3SCOTSMEN AND SCOTCH MUSIC.
5The following instance shows that Scotch music will make a Scotsman do anything when out of his own country:—A gentleman, who was a first-rate performer of Scotch music on the violin, spent a winter in Exeter, and of course soon became acquainted with the musical dilettanti of the place. Dining one day with a professor, the conversation turned upon Scotch music, and a strong argument arose as to its bearing competition with foreign music; the Scotsman, whom we shall for the present designate the fiddler, insisting that, when properly played, nothing could excel it—the professor on the other hand, insisting that it was only fit for the barn-yard. "I'll tell you what," says the fiddler, "I'll lay you a bet of five pounds, that if a party of Scotsmen can be got together, I'll make them shed tears one minute, sing the next, and dance the third." "Done," says the professor; "and if your music is capable of that, I will not only pay you the five pounds with pleasure, but will be convinced that it is the most enlivening, pathetic, and best music in the world." The difficulty arose as to getting an opportunity for a trial. But this was soon obviated by a third party informing them that a number of young Scotsmen dined annually at the Old London Hotel on the anniversary of Burns' birth-day. This was a capital opportunity for the fiddler; for these young men, being principally raw-boned, over-grown Scots lads who had recently left their own country to make their fortunes in the great metropolis, were the very ones upon whom he was sure to make a hit. All being now arranged, and the utmost secrecy being agreed upon, the eventful day was anxiously looked for. At length it came; and the fiddler and professor, by an introduction to one of the party, got an invitation to the dinner. There were twelve altogether sat down, and a right merry party they soon became, for the whisky toddy was not spared when the memory of any of Scotia's bards was proposed. The fiddler was not long in perceiving that he had got among a right musical set, and he waited patiently till they were in that happy state when they were fit for anything. At length he gave a wink to the professor, who at once proposed that his friend should favour them with a Scotch tune on the violin. "Capital! capital!" cried the whole party. The violin was brought, and all were in breathless anxiety. The fiddler chose for his first tune, "Here's a health to them that's awa'," and played it in the most solemn and pathetic manner. "That's a waefu' tune," said a great, big, raw-boned youth to his next neighbour. "It is that, Sandy; there's muckle in that tune, man. It reminds me o' ane that's gane;" Jamie at the same time giving a deep sigh, and drawing his hand over his long gaunt face to hide the tears which were trickling down his cheeks. The fiddler with his keen eye soon perceived that before he got through the second part of the tune he would have them all in the same mood. He therefore threw his whole soul into the instrument, played the tune as he had never done before; and as the last four bars of the tune died away like the distant echo, there was not a dry cheek amongst the company. Now is the time, thought the fiddler; and, without stopping a moment, struck up, in a bold, vigorous style, "Willie brew'd a peck o' maut." Out went the handkerchiefs, away went the tears. "Chorus!" cried the fiddler; and in an instant all struck up—
7"For we are na fou we're nae that fou,
8But just a drappie in our e'e;
9The cock may craw, the day may daw,
10But aye we'll taste the barley bree!"
12The song ended, up struck the fiddler, in his best style, the reel of "Jenny dang the weaver." "Hey, ye devils!" cried Sandy. "Scotland for ever!" cried Jamie; and in an instant tables, chairs, and glasses, were scattered in all directions, and the whole party dancing and jumping like madmen. Out ran the affrighted professor (for he did not know what might come next); up came the landlady with her terrified train of inmates. But none durst enter the room, the hurras and thumps on the floor being so boisterous; and it was only upon the entry of a Scots traveller, who had just arrived, and who cried to the fiddler for any sake to stop, that order was restored. It is needless to say that the professor paid his bet cheerfully, and was fully convinced of the effect of Scotch music when properly played; and that the landlady took care that the fiddler never came into her house again on Burns's anniversary dinner.
14PAGANINI.
16(Continued from last month.)
18PAGANINI's playing made an extraordinary impression on Liszt, who was twenty years of age when the great violinist took Paris by storm. It is generally admitted that Paganini's violin capriccios and wondrously expanded art of violin-playing gave Liszt the impulse towards the treatment of the pianoforte which resulted in the creation of a new school of pianists. Liszt was in London when news of Paganini's death reached him, and the following essay may be taken as his tribute laid upon the fresh grave of Paganini, the artist. It has also the strongest interest as self-expression:—
20* * * * * * * * * * * *
22The flame of Paganini's life is extinguished, and with it one of those mighty breathings of Nature for which she appears to rouse herself only to reinspire it immediately. With it has vanished a marvellous apparition, such as the whole compass of art has seen but once—this great and marvellous occasion.
24The height of this unsurpassable and unattainable genius excludes all imitation. No one will ever tread in his footsteps; no fame stands on equal ground beside his reputation; his name will be breathed without a compeer. Where is there an artist life which, in so high a degree, can point to so shadowless a sunshine of glory, to so kingly a name accorded him by universal judgment, to so infinite a chasm as that which the verdict of mankind has opened between him and all competitors?
26When Paganini, already forty years old, came before the public with a talent that had reached the highest point of all attainable perfection, the world wondered at him as at a supernatural appearance. The sensation which he excited was so tempestuous, his power over the imagination so mighty, that it could not be kept within the limits of
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