year or two since, in the book now before me, I found with delight the following passage.
“The most remarkable circumstance in his music, independently of the genius displayed in it, is the novel way in which he employs the orchestra, especially the wind instruments. He draws surprising effect from the flute, an instrument of which Cimarosa hardly ever made any use.”
Ere bidding adieu to Mozart, to whom I have only turned your eyes, as the fowler directs those of the by-standers to the bird glancing through the heavens, which he had not skill to bring down, and consoles himself with thinking the fair bird shows truer, if farther, on the wing, I will insert three sonnets, so far interesting as showing the degree of truth with which these objects appear to one, who has enjoyed few opportunities of hearing the great masters, and is only fitted to receive them by a sincere love of music, which caused a rejection of the counterfeits that have been current among us. They date some years back, and want that distinctness of expression, so attainable to-day; but, if unaided by acquaintance with criticism on these subjects, have therefore the merit of being a pure New England growth, and deserve recording like Sigismund Biederman’s comparison of Queen Margaret to his favourite of the Swiss pasture. “The queen is a stately creature. The chief cow of the herd, who carries the bouquets and garlands to the chalet, has not a statelier pace.”—Anne of Geierstein.
| INSTRUMENTAL MUSIC. |
| The charms of melody, in simple airs, |
| By human voices sung, are always felt; |
| With thoughts responsive, careless hearers melt, |
| Of secret ills, which our frail nature bears. |
| We listen, weep, forget. But when the throng |
| Of a great Master’s thoughts, above the reach |
| Of words or colors, wire and wood can teach |
