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Musical Courier 1894-06-20: Vol 28 Iss 745, 1894
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1surroundings, there can be no doubt. But the music must be free from all manner of triviality and from all suggestion of material interest.
3Though it is difficult to closely define the essential character of sacred music in general it is true that biblical subjects have inspired our composers with a certain religious style quite different from that of their secular works. The church cantatas of Bach, the requiem of Mozart, Haydn's "Creation," the masses of Cherubini and Beethoven, the oratorios of Mendelssohn, and especially his remarkably beautiful XLII. Psalm, are evidences. In the latter work, for instance, we have all the essential requisites of religious music—dignity of style, seriousness, pathos, forceful expression and in the final chorus a bright, majestic fugue which well suits the words, "Praised Be the Lord."
5But as a general rule there are movements which cannot be classified as religious. "The Heavens are Telling" is an instance.
7And thus Gounod in his St. Cecilia mass begins the "Kyrie" with the motive of a Gregorian chant (the same which Mozart used in the finale to his "Jupiter"), but ere long this ecclesiastical style is relinquished and the composer of "Faust" appears. All this is, however, so superior to the average church quartet and hymn tune that no one should hesitate to set against the psalms a theme from Beethoven's op. 131, or from Wagner's "Parsifal"—for what musician will deny that all good music is sacred?
9A. J. GOODRICH.
11The Power of Music
12Over the Human Mind and Nervous Diseases; Over Children and Animals; With Remarks on Other Subjects.
13By JAMES M. TRACY.
15THE medicinal effects attributed to music are so numerous, so well authenticated, that to reject them or deny them in part would be casting discredit on some of the most profound thinkers of ancient and modern times, for historians, philosophers and physicians alike have experimented and written upon their discoveries in such a positive manner as to leave no room for doubt as to their sincerity and truthfulness in their published sayings and reports. Martianus Capella assures us that he knew of fevers being removed by song and that Asclepiades cured deafness by the sound of a trumpet. Plutarch says Thelates, the Cretan, delivered the Lacedemonians from the pestilence by the sweet music of his lyre. In fact, many of the ancients speak of music as a specific for every kind of disease.
17Buretti, a very eminent physician, who made the music of the ancients his particular study, thinks it not only possible, but even probable, that music, by repeated strokes and vibrations given to the nerves, fibres and animal spirits, may very often alleviate the sufferings of epileptics and lunatics and sometimes even overcome the most violent paroxysms of those disorders. Buretti is by no means alone in his opinions, for many modern philosophers and physicians, as well as ancient poets and historians, have often declared that they have no doubt but that music has the power, not only of influencing the mind, but of affecting the whole nervous system in such a manner as will certainly cure many diseases, but that the process must proceed by somewhat slow degrees in giving relief or effecting a permanent cure. In the memoirs of the Academy of Sciences for 1707, and the following year, are recorded many accounts of diseases, which have obstinately resisted all the remedies prescribed by the most able of the faculty, and have at last yielded entirely to the powerful impression of melody and harmony, administered to them by artists called in for that purpose. Mr. de Maison, in the same memoirs, speaking of the medicinal powers of music, says that it is from the mechanical, involuntary connection between the organs of hearing and the consonances, excited in the outward air, joined to the rapid communication of the vibrations of these organs to the whole nervous system, that we owe the cure of spasmodic disorders and fevers attended with delirium and convulsions, of which these memoirs give many examples. Dr. Bianchini, a noted professor of medicine, who has searched the writings of numerous ancient authors and collected all the passages relative to the medicinal application of music to disease, says that it was considered by the Egyptians, Grecians and Romans as a remedy, both in acute and chronic disorders, and that he has verified it in his own practice.
19Drs. Mead, Buretti, Bogive and all the most eminent physicians of their time throughout Europe seemed to entertain no doubt but that the bite of the tarantula could be cured by music; that the application of music always throws the patient into a violent fit of dancing, which brings on a plentiful perspiration and thus effects a cure; that this dancing keeps the patient awake, for, according to their testimony, if the patient goes to sleep before the poison is extracted it proves fatal to the patient. Cicero asserts the amazing power of music over disease, and Plato supposes that the effect of harmony on the mind is equal to that of air on the body. Its divine influence is fully proved by the case of Saul. The Eastern monarch Alexander, the son of Philip of Macedon, after having conquered the greatest part of the world, was himself subdued by the harp of Timotheus. Dr. Lake, a very celebrated lecturer on medicine, says that music produces its salutary effects by exciting the peculiar sensation on the nerves of the ear, which communicate with the brain and general nervous system, and as the inordinate passions of the mind all make their first impressions on these parts, they occasion low spirits and melancholy; no remedy he thinks can be applied with equal hopes of success to counteract their malignant power as that of music, which excites a contrary pleasurable sensation and acts immediately on the same organs. He says that its great influence over the mind cannot be disputed, that it is a balm to the wounded spirit, exalts the soul above evil thoughts and wraps it into a perfect state of elysium.
21It is conceded by all writers that music has a fascinating power over the affections, but one cannot believe all the wonderful accounts which both ancient and modern historians have asserted and awarded to it. There is no doubt that it affects different persons differently, according to their nervous organizations and susceptibility to musical sounds. I know a gentleman of education and veracity, who told me that the first impression music made on him was of the most pleasing kind; that in the course of time he found its effects increase on his nerves to such an extent that he could not remain in the room where there was fine playing or singing; that he had for several years tried to get the better of his feelings, fearing he might appear ridiculous in the sight of his friends; but the last experiment of the kind he had made prevented any further attempts, because his friends had to carry him out of the room, while he was in a state of convulsions, and which nearly brought on lockjaw. One evening while playing with friends trios for piano, violin and 'cello, preparatory to giving a concert, a gentleman, a stranger, came to the door and wished to know if he might come in and listen a short time. As none of us had any objections, he came in, took a seat, and we proceeded with a trio, which we had already commenced to rehearse. After sitting about ten minutes he fainted, and we had to take him out into the air. Upon recovering he said music always affected him that way, but he could not resist the temptation to listen to good music whenever he could get an opportunity, though he had to pay so dearly for it.
23When giving concerts I have many times been seriously interrupted by people crying so loud as to be heard all over the hall. Music often affects people this way, especially the female portion of an audience. At one time, after playing a Chopin waltz—the one in A minor, op. 34—a lady of elegant dress and looks rushed up on the stage, put her arms around my neck, and without saying a word gave me a kiss, the report of which was heard all over the house. I was dumbfounded for a moment, thinking her insane, and I commenced to retreat to a place of safety; but she calmed my fears by saying the music so affected her she could not resist the temptation to kiss me. She then begged my pardon, and also that of the large audience present. I have often seen people carried out of music halls in fainting fits, and hysterical laughing fits, caused by the effect of the music. I know of a minister who could not listen to any music of the organ without pain; in fact any instrumental music would nearly drive him crazy. An experiment was tried on him by a surgeon of my acquaintance, and it was this: One ear was filled with putty, which is a non-conductor of sound, and while this was in the ear a lady played several pieces on the organ, which perfectly delighted the minister. The conclusion drawn from this is that one of the ear drums was thicker than the other, and of course caused irregular vibrations; hence noise instead of musical sounds was heard. The minister declared he never had experienced any such conception of musical transport till then.
25Music the fiercest grief can charm,
26And fate's severest rage disarm;
27Music can soften pain to ease,
28And make despair and madness please;
29Our joys below it can improve
30And pave the way to bliss above.—POPE.
32A musical anecdote is recorded of Farinelli, one of the most distinguished singers of his time (1734); that is, he visited England that year. He was listened to with the greatest delight and astonishment wherever he sang. From London he went to Madrid, where his fame as a singer had preceded him, for he had sung in all the principal cities on the Continent, and always with extraordinary success. Philip the Fifth was then the reigning monarch. He had for some time before been seized with such a fit of severe melancholy as to deprive him of the ability to transact any affairs of state, and had rendered him incapable of conducting even his own private business; he had for a long time refused to be shaved or have his hair cut, and, as may be supposed, his appearance was anything but respectable for a king; he was in fact totally dejected in spirits, and very much reduced physically. All the remedies in such cases had been tried on him in vain, and many experiments had been resorted to, but without any beneficial results; he had the best medical advice possible to obtain, but without the least effect, and his case had been given up as past all hopes of recovery.
34Upon the arrival of Farinelli in Madrid the Queen determined to try the effect of music on her lord, his Majesty being very sensitive to its charms and effect. A concert was consequently arranged in an adjoining room to the King's apartment, where Farinelli sang one of his most captivating songs. Philip soon began to show considerable signs of emotion, and before the song was finished was quite overcome. When the song had been completed Philip ordered the singer into his apartment, where, after bestowing on him the highest praise, he asked him how he could sufficiently reward him, and was so extravagant as to say there was nothing which he would deny him.
36Farinelli told his Majesty that he had but one favor to ask at present, which was that he would be graciously pleased to have one of his servants shave and dress him, and that he would endeavor to get the better of his indisposition, exert himself sufficiently to attend to the affairs of state and appear in council as heretofore.
38From this time onward the King's disorder abated and by daily repeating the same experiment a perfect cure was effected, and Farinelli had all the credit of having worked a miracle. It is also recorded that Farinelli sang the same four airs to his Majesty every night for ten years, becoming such a favorite that his services could not be dispensed with.
40The King settled a pension on Farinelli of $15,750 per annum, beside providing him a coach, horses, driver and footman at the King's expense. Beside this he gave him many valuable presents of diamonds, pictures and other bric-a-brac. The Queen also gave him a gold snuff box set with large diamonds and other presents. He was dignified with the order of Saint Jago. He seems to have been very fortunate, much more so than most musicians of the present day, in that he had everything heart could wish, while we poor fellows are content if we can get the small stipend which the law allows us.
42Music hath charms to soothe the savage breast,
43To soften rocks, or bend a knotted oak,
44I've read, that things inanimate have moved,
45And, as with living souls, have been informed,
46By magic numbers and persuasive sound."
47—Congreve.
49The well known story of Stradella, an Italian musician of eminence, is much to our purpose, beside being remarkably interesting. Stradella was a composer of Venice, also a fine singer and performer on the harp. He was engaged to instruct a young lady of noble family, of illustrious descent, who was betrothed to a Venetian nobleman. Stradella employed all his musical and other powers so effectually, that he soon brought her soul into full unison with his own, and after some persuasion, induced her to break her engagement with the nobleman and to become his partner and share his future fortune with him.
51In accordance with this resolution they embarked one fine night, and the wind favoring, they made good their escape. Upon the discovery of their flight, resentment fired the breast of the Venetian, whereupon he immediately commissioned two assassins to follow and murder them both. It was learned they had gone to Rome, and thither the assassins wended their way. On arriving, they learned that Stradella was to sing the next evening in the Church of San Giovanni. The assassins therefore made arrangements to be present at the performance, and to execute their horrid design, as Stradella with his wife was retiring from the church. Full of hopes of completing their purpose, and stimulated by the thoughts of a large reward, they were present at the concert at the appointed time.
53Stradella soon appeared—the performance commenced, but the beautiful singing of Stradella soon arrested their attention to such a degree, created upon them such wonderful sensations that it got the better of their savage ferocity, and they were seized with remorse, causing them to reflect with horror on the atrociousness of the crime they were hired to perpetrate; in short, they repented and desisted, and determined instead of taking away the lives of their victims, to use every endeavor for their preservation; so they followed them from the church, made known their intentions, and advised them to quit Rome immediately. They also informed Stradella that his singing had brought about the change in their hearts, that it had captivated them and had made men of them. The next morning Stradella and his wife left Rome for Turin, where the laws were more severe against murderers, and so they were safe and out of harm's way while they remained in that city.
55In Smollet's history of the Hebrides he tells us that every clan has a piper, who always marches at the head of the clan with his bagpipe, to animate them to battle with their martial music, and that such is the influence of this music over the people that the piper by modulations of the music can excite them to sorrow, despondence and tears, or rouse them to rage and revenge, to total contempt of danger or death; nay, even in the greatest emergency of war they will not march a step or draw a sword without first being aroused by this unmusical instrument. I can conceive how anyone can be aroused to anger and revenge by the sound of the bagpipe, because it is a terror to nerves and disposition, the most exasperating of all musical in-
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