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Musical Courier 1893-05-17: Vol 26 Iss 689, 1893
63 lines. Read by computer on 25 September 2026, twice; the two readings disagreed in places. Printed page 32. See the scan on archive.org.
1minutes' conversation he turned to the assembled company, and in a strange language began to address them.
3At this every one became silent and the lad saw that all eyes were upon him. When the Prince had ceased, the tall stranger, Berthold's friend, stooped and whispered to him.
5"Now, my lad, do not be afraid," he said kindly, "play your best."
7Berthold raised his violin to his neck and began to play a little song that he had composed himself. It was very simple, but sweet and touching and thrilled every heart. When he had finished the whole company applauded, and the Prince bade him play again.
9After the applause had subsided the tall stranger stooped and kissed the lad, and then took the violin into his own hands and, wonderful to relate, played Berthold's composition with variations; never were heard such ravishing sounds, and the delighted company applauded loudly.
11But suddenly the lad thought of his sick mother at home, and the tears came to his eyes. His tall friend noticed this and when he questioned him the lad told him his thoughts and begged to be allowed to return home, as his mother might be anxious.
13The two strangers bade the company farewell and Berthold bowed very low. At the door of the palace a splendid sleigh was waiting and the lad explained to the driver where to go, and the city was soon left far behind.
15When they arrived at the cottage the lad descended first and opened the door very softly. His mother was awake and Gretchen was sitting beside her; she sprang up with a glad cry when she saw Berthold.
17"My dear boy, where have you been?" said his mother, kissing him, "and who are these gentlemen?"
19"We are his friends, madame," said the one who had played the violin; "we have come to help you."
21They had a long and earnest conversation with the sick woman, and promised to return again on the morrow; on the table they left a letter, and when they had taken their departure the sick woman opened it and found two large bank notes; the letter begged her to accept the money, and promised to give Berthold opportunities to educate his musical talents in the future, and the signatures at the bottom were those of "Ole Bull" and "Hans Christian Andersen."
23—Henry Cole, in "Sun."
25George Alexander Osborne.
27TO many of the present generation who follow music, the work of the gifted composer, pianist and teacher whose name heads this column is almost unknown. And yet in his time George Alexander Osborne has played an important part in the world of music, abroad as well as at home. But he gave up professional work some years ago, and though he still uses his pen, still plays with the delightful charm of old, and is still to be seen at our best concerts, his triumphs belong to the past, and he represents an epoch we now regard as historical.
29Not many among us can claim to have taken part in the festivities which celebrated the victory at Waterloo, and, most interesting to us musicians, to have been on terms of close intimacy with Mendelssohn and Meyerbeer, Cherubini and Chopin, Berlioz and De Bériot, and to have played with Onslo, Thalberg and Heller, to cite a few among some famous names of the past. Perhaps the most remarkable thing connected with Mr. Osborne is the brightness with which he bears the burden of eighty-five years; one cannot assert that his step has the lightness of yore, but it may be truly declared that his heart is still young, and despite his advanced age he still loves dearly his art, and is as eager to listen to the latest symphony or hear the last new executant as any of the most active and enthusiastic lovers of music among us.
31Mr. Osborne was born at Limerick September 24, 1806. The third son of his father, who was organist and vicar choral of the ancient cathedral in the old city of the south of Ireland, he soon showed that he was a born musician, and at the early age of twelve deputized for his father, playing the choral service and accompanying the stock anthems in the cathedral books, written in the old C clefs—there were no concise three-halfpenny copies in those days. The boy distinguished himself by introducing the anthems of Sir John Stevenson, at that time one of our foremost native composers, who resided in Dublin. But Limerick was too small a sphere for young Osborne, and after he had studied diligently with his father, who enjoyed some local renown, the youth began to think of his future career, and longed to go to some of the chief centres of art and hear music of all kinds.
33An unexpected opportunity presented itself. A sister of Mr. Osborne, Sr., who lived in Brussels desired to see her brother on business; as he could not leave his work, young Osborne was sent instead. London at that time was a formidable journey from the South of Ireland, and it took some time to reach the capital. Here he stayed a few days, and was in the musical seventh heaven when he went to the opera and heard Pasta in Cherubini's "Medea;" Spagnolletti played the violin, conducting at times with his bow, and among the orchestral players were Lindley on the 'cello, and the famous Dragonetti with his double bass. He reached Brussels by the way of Ostend and Ghent, and the visit it was purported he should pay his aunt lengthened into a stay of eleven years. The youth went to Brussels with no fixed plans for the future; his family desired him to enter the Church, and consequently he attended Dr. Prince's Classical Academy, a school of some renown, where most of the English people living there sent their sons.
35Young Osborne's bright, imaginative mind, genial manners and facility at the keyboard won him many friends, and notably one who practically determined his future profession. This was the Prince de Chimay, whose generous patronage of music was widely appreciated, and whose name is venerated beyond the confines of his country. His wife was the historical Mrs. Falien, who during the great French Revolution saved the lives of many of the unfortunate prisoners left for execution; his grandson is now the Belgian Minister for Foreign Affairs. The prince's château was the rendezvous of artists of all ranks, but chiefly musical and literary; Mrs. George Sand was a constant visitor there. He himself was an excellent violinist; possessing an exact taste, none but the best music, whether for the church, stage or concert room, was heard at Chimay. The school was a good one for an impressionable youth, and as many of the best musicians of the day were constantly at the château Osborne was brought into close companionship with Fétis and other distinguished men who must have exercised a certain influence on him.
37The prince was indeed a generous benefactor; he sought out young musicians, paying for them to be properly taught. Osborne had no need of this instruction, but he loves to tell of the prince's goodness, and declares that the three months he spent during every summer at the château were among the most enjoyable periods of his life. He learnt orchestration by a diligent study of the full scores in the library at Chimay, and wrote many little pieces for the prince's orchestra; at the parish church he used to conduct the masses of Haydn, Mozart, and one by Auber, to whom by the way he gave a chorus which subsequently did duty in "La Muette de Portici."
39The château was furnished with a bijou theatre, and Osborne here made his appearance as a singer in an operetta "L'Ours et le Pasha," one of the company ascribing its success to his "curious French"—he had not then completely mastered the language. It thus came about that at the age of twenty the young man formally adopted the profession, and he supported himself by giving lessons, contributing to the family chest in Ireland. So successful was he and so highly did the Prince of Chimay rate his abilities that he procured for the young Irishman the post of instructor to the King of the Netherlands' son, the Prince of Orange (the late King of Holland). For his services he was decorated with the Oaken Crown, and named Maitre de Chapelle.
41His concerts in Brussels were among the most popular events of the season, and at one of these he made the acquaintance of De Bériot, with whom he wrote thirty-three duets for the violin and piano, brilliant pieces, admirably adapted for their purpose and pieces which are still popular and played. At that period Holland and Belgium formed one state under King William, but in 1830 a revolution broke out, the Belgians seeking to throw off the Dutch yoke, and in this they succeeded after three days' hard fighting.
43Osborne joined a volunteer party of order formed to protect the inhabitants against pillage; by mistake they were attacked by a knot of Liégeois on the boulevards, one of whom fired at Osborne at close quarters. Fortunately for music the gun did not go off, and all that happened was that the amateur soldier was made prisoner, taken before Prince Frederick who commanded, and after an explanation was released. The division of the country naturally made a great difference to the importance of the capital, and Osborne determined to try his fortune in Paris, although the English Ambassador urged him to stay and press his claims for consideration on the king, who on his part was ready to recognise and make use of the talents of the young Irish musician.
45Osborne went to Paris in the summer of 1831 and was received with open arms by his old friends located there. Chief among these was Chopin; with him Osborne was on the most intimate terms; there is hardly one of the compositions of the romantic Polish composer that Osborne did not hear before publication; he knows and plays them all, and it is no secret that Chopin players often repair to his house at Regent's Park to ask the opinion and advice of the venerable musician as to the rendering of certain passages in Chopin's writings. Berlioz was another friend with whom Osborne was most intimate; in many ways he helped and gave encouragement to this eccentric genius, and one of his published "lettres de voyage" was addressed to his staunch foreign friend.
47Paris at that time was perhaps at the zenith of her letters and art reputation. Osborne, mixing in the best of these circles, found that he had yet something more to learn; he accordingly went to Pixis for lessons on the piano, studied harmony under Fétis and composition with Reicha. Later, he placed himself under Kalkbrenner, then one of the most prominent players and teachers in Paris. Thus completely equipped for his life work, Osborne occupied a prominent position among the musicians resident in the French metropolis, enjoying some excellent teaching, writing numerous morceaux de salon, and giving concerts always well attended. To this period belongs some music of a more serious type; three trios for violin, 'cello and piano, a quartet for wind and piano, and later a sextet for piano, strings and wind, amply showed that when the occasion demanded Osborne could not only write drawing room pieces and brilliant fantasias on airs from the last new opera, but that he could produce music composed in classic form furnished with melodious themes, richly varied harmony, originality of treatment, and replete with a grace and refinement of expression which is to be found in all his works, and indeed forms a distinctive feature of his music.
49These works, together with a fine sonata for violoncello and piano, have been heard in England, but not so frequently as their unquestionable merits entitle them to; it may be assumed that they were written at a period prior to the revival of the taste for classical compositions, and when the demand of the day was for lighter, showy music, and such pieces of the emotional and romantic order as are the character mazurkas, valses, impromptus, and nocturnes that proceeded from Chopin's, Cramer's and Kalkbrenner's pens.
51At Paris Osborne met Mendelssohn, and in two delightful papers he read many years after at the Musical Association ("Berlioz," 1878-9; "Reminiscences of Frederick Chopin," 1879-80) he told us much as to the artistic life of Paris in the "forties," and we get glimpses of the meetings and doings of the famous musicians then resident at the French capital. He relates on one occasion, when Mendelssohn, Chopin and Hiller dined together, the discussion about the manuscripts of authors became so animated that instead of Osborne asking the waiter for the bill, he exclaimed, "Garçon, apportez-moi votre manuscript," a lapsus that amused Chopin greatly.
53A paper he read during Musical Association Session of 1882-3, "Musical Coincidences and Reminiscences," is full of anecdotes concerning the notable musicians he was brought into contact with during his residence in Paris. Among his other friends in Paris he counted Cherubini, Auber, Moscheles, Heller, Baillott, Paganini, Labarre, Ernst, Rossini, Liszt, Hiller, Balfe and Onslo, whose fine string quartets, never heard in public here, are much admired in France.
55With 1848 began what may be termed Osborne's "third period;" and by accident, as it were, he settled in London. Oddly enough when he came here he found himself already famous. A little drawing room piece he had written, entitled "La Pluie des Perles," had found its way over here, and was enjoying such an extraordinary popularity that no fewer than twelve music publishers issued editions of it. "La Pluie des Perles" was quite worth playing, and everybody who could attempted this brilliant little morceau. By the way the piece is still played, not only here, but in France, Germany and Switzerland. To the lucky composer it proved to be better than a shower of pearls, for the copyright was his and it was the commencement of a shower of gold. one of two readings
56With 1848 began what may be termed Osborne's "third period," and by accident, as it were, he settled in London. Oddly enough when he came here he found himself already famous. A little drawing room piece he had written, entitled "La Pluie des Perles," had found its way over here, and was enjoying such an extraordinary popularity that no fewer than twelve music publishers issued editions of it. "La Pluie des Perles" was quite worth playing, and everybody who could attempted this brilliant little morceau. By the way the piece is still played, not only here, but in France, Germany and Switzerland. To the lucky composer it proved to be better than a shower of pearls, for the copyright was his and it was the commencement of a shower of gold. one of two readings
58Orders poured in on him, not only from London, but also from German, French and Belgian publishers eager to obtain transcriptions and original pieces from his pen, 50 guineas being readily offered for half a dozen pieces. Accordingly he wrote an immense number of pieces and enjoyed the reputation of being the fashionable writer of the day. He at once obtained a considerable share of the best teaching in London; members of many noble families owe their knowledge and love for music to him, and not a few own an affectionate regard for their old master, who was ever a conscientious, skillful teacher. Osborne went two provincial tours, the first in 1847 with Alboni, Salvi, Corbari, under Mr. Willert Beale, the second with Catherine Hayes, Ernst, Piatti and Payne.
60At concerts in London he accompanied Malibran, frequently playing one of his violin duets with her husband, De Bériot; when on the tours one of his string trios was usually performed. His playing was ever that of the refined, perfectly trained artist, tintured with an impulsive brilliancy that may be safely ascribed to his Celtic blood. In London, among other important concerts, he played at the "Musical Union," making his first appearance at the season of 1845, when he played the "Kreutzer Sonata" with Sainton. His friendship with Ella, the founder of this famous association of artists, extended to his death only three years ago. As a trait of Osborne's thoughtful, unselfish nature, it may here be mentioned that when the old blind man was forgotten by the many artists he had befriended, and helped in their career, Osborne was a regular visitor, cheering him with the news of the day, and when Sunday came it never failed to bring his old friend to his side to read to him and to talk of something far above earthly things.
62Osborne was a tremendous hard worker. He traveled an immense distance in the course of the week (for some time as far as Malvern), and yet he found time to issue a large number of pieces for his instrument, together with a vocal scena sung by Mr. Cummings at a Worcester Festival; a scena for soprano, sung by Mrs. Rudersdorf, at Norwich; an andante and rondo for the violin, dedicated to Joachim; several songs, part songs, anthems and a communion service singularly earnest and devotional in tone.
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