It will be
illustrated
with fac-
these
similes of rare title-pages, &c.
these
similes of rare title-pages, &c.
Athenaeum - London - 1912a
The copy will be made, under exhaustive, clearly and simply written.
THE history of portraiture and costume is
the supervision of Mr. George Henry, A. R. A. , The two classes of contemporary portrait- inseparable, according to M. Léandre Vaillat,
from the original in the possession of the Royal painting-rhetorical and homespun-are du XVIIIe siède et ses Peintres (Paris,
who writes an interesting book, La Société
Society. Prof. Auwers, with characteristic well represented in this volume, and if it Perrin), in which somewhat undue promin.
thoroughness and skill, re-reduced and edited
were not for the masterpieces of Van
Bradley's meridian observations of stars
made at the Greenwich Observatory, and Dyck, one would be tempted to assert treats of the manner in which eighteenth-
published a Catalogue of these stars for the that“ the homespuns have it,” so far do century portrait painters envisaged women
epoch 1755, which to-day forms the basis their transparent truthfulness and brilliant and children, and the relation of portraiture
of our knowledge of stellar proper motions technical accomplishment go to replace and costume. There is nothing in the book
and allied problems of fundamental astro the absence of stylistic pretension.
the
nomy.
tury, and it is to be regretted that M.
Another and a wider class of readers Vaillat has not seen fit to draw upon much
An American scientific publication recently will be attracted to this book. We need valuable material. But it is pleasant to
in the Proceedings of the Australian Wheat value of forming a personal idea of his and exotic Liotard, to whom life was
had a note calling attention to the statement not repeat obvious platitudes as to the find sympathetic chapters on some of the
graminis, or wheat-rust, occurred in Australia torical characters, but the fact remains perpetual comedy—a masque of colour
in 1867, 1878, and 1889. It is further pointed that they need emphasizing from time to and movement with changing scenes, gay
out that these were years of minimum of the time. Any one who has had experience costumes, and the light, fanciful music of
sunspot cycle, with the suggested inference in teaching knows the added interest lent the ballet; or Perronneau, painter and
that the attack of the pest is dependent on to a character when a good portrait of pastellist, anticipating in portraiture by
the sunspots. The author of the note may him is seen. The student of character will twenty years the ideas of Rousseau's 'Émile,
be right when he says that the development note the prevalence of two main types of painting paternal, sentimental, kindly
por-
of the fungus is dependent on rainfall,
but head, not, indeed, absolutely coincident roguishly or frowning and visibly naughty, ,
relation between sunspots and rainfall. It with any of the great lines of division with a sincerity that pierces through the
would be interesting to know what happened of the time, social, political, or religious, mannerism and artificiality of the style. In
at the minimum in 1900, and other years but suggestive of it. Heads like those of these pictures of women at the opera, of
when the sunspots were few.
Hampden, Blake, Monk, Hobbes, Jonson, scented beaux, placid matrons, prosperous
merchants, and the courtiers in a light, gay,
MESSRS. SMITH & ELDER will publish on sideEliot, Leslie, Shaftesbury, Temple, charm that belong almost alone to Perron-
Lauderdale, and the bishops on the one
leisured world, we find a grace and subtle
the 22nd inst. Men and Measures :
History of Weights and Measures, Ancient Ormonde, Locke, and Dryden on the
and Modern,' by Lieut. -Col. Edward Nichol. other-suggest a political as well as a The book is admirably printed, and well
social classification which would bring and judiciously illustrated.
a
neau.
son.
## p. 169 (#145) ############################################
No. 4398, FEB. 10, 1912
THE ATHENÆUM
169
are
more
an
are
CG
prints than by its drawings, which
Most of the other exhibitors command
The English Provincial Printers, Sta- the
spontaneous and free
from
respect by excellent and restrained work.
tioners, and Bookbinders to 1557, by E. the look of having been spurred into We must certainly mention Mr. Cameron's
Gordon Duff (Cambridge University Press), existence by thoughts of artificial handsome drawing of Cir Mohr (91), Mr.
is an excellent little book, written with an public of collectors, to whom the making Clausen's painter-like_The Brook (64), the
authority and a knowledge of early English of an etching is in some mysterious way
marvellous Pantheon, Rome, of Mr. Muirhead
printed books which no one else of the
a virtuous act in itself. Thus, but for his Bone (102), and the woodcuts of Mr. Sturge
present day possesses, and is devoted to knowledge of the existence of a race of Moore. Messrs. Francis Dodd and Havard
a subject which has hitherto, to use the amateurs eager for printed rarities and in- Thomas show careful studies from life.
author's words, hardly received adequate different to unique drawings, we doubt if At the Goupil Gallery the memorial exhi-
attention. It is composed of the four | Mr. Walter Sickert would have troubled bition of works by William Christian Symons
Sandars Lectures for 1911 in the University to disinter the early scraps of experimental affords a copious display of clever, but not
of Cambridge, together with Appendixes etching he shows here. His lithograph, very distinguished painting. Happily, the
giving a list of books printed by or for Joe Haynes and Little Dot Hetherington at water-colours heavily outnumber the oil
provincial printers and stationers, and a the Old Bedford Music-Hall, Camden Town paintings, and in certain flower-pieces and
useful Bibliography of the subject. Mr. (31), is of a very different order—a studiously other rapid studies in the former medium
Duff has little to say of early Oxford printing wrought design, steeped in the sentiment of Symons's power of handling exceedingly
that is new to students, except his vigorous time and place. The same qualities, united brilliant pigment is shown at its best.
treatment of the few remaining defenders with a more astonishing vivacity of draughts: No. 39, White Chrysanthemums, may be
of the “ 1468” Rufinus. If the date had manship, are to be found in his group of cited, along with Nos. 37, 43, 44, and 76, as
been genuine, Oxford would have stood drawings (105–10), which, in this atmosphere examples of his sturdy, direct execution.
before Venice in the list of honour, and one of slightly theoretical correctness, command
would like some explanation of the associa- the attention instinctively accorded to the
At Messrs. McLean's Galleries we
tion of the Corsellis family with the myth. direct and vibrant tones of a man of the pleased to see some signs of the ambition
The second lecture deals with the first world in a pedantic academic debate.
of compact design and idiomatic expression
printers at St. Albans, York, and Hereford.
No books were actually printed at Hereford the language of to-day, and until the coming French etching in colour. M. Jacquoy's
There is something, after all, in speaking emerging from the welter of cheap imitation-
painting which has hitherto overwhelmed
in this period, but three were printed at of Mr. Sickert into their midst, we were
Rouen for sale there.
The third lecture hardly aware how generally the members Repas de Piqueux (63) has an excellent sense
treats of the second Oxford Press and of
of this group were tinctured with conscious of space : the treatment is not so formal
Cambridge printing, one of the points to archaism. Even Mr. Muirhead Bone, we
as to abolish humour, nor the humour so
which Mr. Duff calls attention being the find, has not escaped it. He is still playing contributions
are slightly open to the latter
forced as to degrade the design. His other
first occurrence in England of an exclusive at being an eighteenth-century draughtsman
privilege (in 1518). As the author very of modern material, bent on showing that, Monvel' (2-5) to the former. Somewhat
, as are those of M. Boutet de
justly says, the legal bearing of these privi- had photography and the cinematograph behind these artists in interest, M. H.
leges has never been examined by writers
on copyright, though. . . ,. it would go far everyday fact might still inspire a delightful Meunier (46 and 47) and M. F. Simon (55 and
to prove that the perpetual copyright, which art.
later on was claimed by the stationers, was
He demonstrates his thesis admirably, ! 56) are notable as showing a higher level of
but the really modern artist feels in his j artistry than the remaining exhibitors.
never legally recognized," their powers bones that the argument is based on a fiction. At the Baillie Gallery the oil paintings
under the charter enabling them to enforce Verbally, no doubt, Mr. Walter Sickert shown by the members of the Camsix Club
claims which were not warranted by law. would propose for himself the same end as
are of less interest than the exhibits in the
The fourth lecture is on the presses at Mr. Bone, but judged by this ideal of precise Water-Colour Room, where Messrs.
Tavistock, Abingdon, Ipswich, Canterbury, and literal statement of facts, the latter is Priestman (89), Sterndale Bennett (92), and
Exeter, and the second St. Albans press, far his superior, and can, indeed, claim per- M. M. Patterson (94) show work of some
and contains much that will be new even to fection in a sense that Mr. Sickert, dealing, merit. Miss Anne Maitland's drawings reveal
professed students of English typography: as he does, with an art in which perfection some signs of systematic training in Nos. 29,
Mr. Duff agrees with the author of a recent is less readily measured, hardly may. With 33, and 37, where the brush stroke is con-
paper read to the Bibliographical Society Mr. Sickert we have a less firm hold on con- fidently controlled and decisive. Except in
that Bale's ' Illustrium Britanniæ Scriptorum crete fact in matters of detail, but an immea- an occasional drawing, such as No. 1, her
Summarium' was not printed at Ipswich, surably more vivid presentation of the sense of tone is deficient.
in spite of its colophon. A very fruitful essential and typical in modern life. It is
suggestion of the author's is that many of difficult to select the best of the half dozen
the books generally set down as printed at drawings. In The Furnished Bedroom (108)
foreign secret presses were in reality produced the interest is more purely one of æsthetic
PERSEPOLIS.
in England by provincial printers. The rhythm than in the others, which belong
three books he cites as examples were in more definitely to the domain of the
13, Carlton House Terrace, S. W.
all probability printed at Worcester by comedy of manners. How exactly of our
John Oswen, but it is very rarely indeed day is the particular brand of self-satis- 1 at no distant date fresh excavations may
I THINK that it is extremely probable that
that an English book set up by foreign com- fied rascal shown in No. 110, Esther be commenced at Persepolis, and I shall be
positors does not contain evidence of the Waters ! How original, yet inevitable, obliged if you will permit me, through your
fact in misspellings and false divisions of the arrangement of figures and furni.
syllables. If these are absent in a work of ture
paper, to point out some special objects to
in No. 107, Fare tutti mestieri
which the explorers should direct their
ordinary length, its foreign origin is open svergognati per compar onoratamente (anglice attention.
to suspicion. Those who know Mr. Duff's "Anything for a new hat ? ")! Personal
work will require no commendation on our acquaintance is required to do justice to
The main source of our knowledge of
part to send them to his pages, and by the characterization, in Mr. Gilman speaks Arrian, A. D. 125. I quote from the trans-
Alexander the Great is the ‘Anabasis of
this time the number must include every one (106), of the assured poise of a confident
interested in the history of English book personality,
lation by J. J. Chinnock, 1884, who tells us
production.
It is odd to find Mr. Campbell Dodgson, (bk. iii. chap. xviii. ) that Alexander (B. C. 331)
in his Preface to the Catalogue, referring to
burnt the palace of Persepolis against the
Mr. Sickert's value to the show as consisting they, the inhabitants of Asia would be less
advice of his generals, who said if he so did
in his introduction of “the Whistlerian
THE SOCIETY OF TWELVE, AND touch. " Surely in these incisive pages it likely to come over to his side, thinking that
he meant only to raid and scuttle
OTHER EXHIBITIONS.
is clear that it is the tradition of Degas which
Mr. Sickert rightly recognized as offering (enedokî jóvov vik@vra). Strabo tells us
THE work of the late Alphonse Legros most scope for continuation. Perhaps
that Alexander insisted on burning the
has been dealt with too recently in these also in Confession (109) he captures the palace of Persepolis out of revenge, because
columns for it to be necessary to do more little core of valuable achievement which
Darius and Xerxes had destroyed the Greek
than recognize the presence at the galleries among so much dross was to be found temples and burnt their cities.
of Messrs. Colnaghi & Obach of half in Fortuny. Mr. Sickert's draughtsman- Now I myself do not believe that this was
dozen excellent drawings (82–87).
I think that Alexander
There ship has never shown to greater advantage the real reason.
is in addition fairly representative than in these drawings. They have, destroyed the palace of Persepolis because
collection of etchings, which necessarily moreover, a fair and brilliantly coloured it was ornamented with inscribed pictorial
falls short, however, of the monumental aspect which we would fain read as an augury records of the triumphs of Darius and
impressiveness of Mr.
Gutekunst's exhi- of a lighter and more engaging toilette for Xerxes over the Greeks- such as the burning
bition. The present show shines less by its · future pictures.
of Athens, &c. This view meets with a
>>
a
а
## p. 170 (#146) ############################################
170
N
THE ATHENÆUM
No. 4398, FEB. 10, 1912
one.
dedi
1784
to h
M
ten
onls
to 1
his )
the
of y
min
info:
Geri
duri
cent
the
sim
of 1
reat
:
M
und
thir
tra
of t
COM
pra
tori
ex
tie
6
WOL
m.
very strong confirmation in the fact that in
trio engraved at Paris which
A CORRESPONDENT writes :-
my son
1800 Grotefend deciphered the names of
wrote, but which I corrected. " The
Darius and Xerxes in copies of fragments of nephew, Val. Havers, whose too early death
"In your kind and appreciative notice of my
great interest taken in the small boy by
inscriptions brought from Persepolis. And
we are at present deploring, you speak of him John Christian Bach is well known, and
I expect that further explorations will bring as though the name he painted under was his real
to light inscriptions and sculptures which That is not so. His name was Morgan,
our authors show how Mozart studied
may prove to be records giving results the 'Havers' being only bracketed with it as
and imitated the forms, phrases, &c. , of
quite contrary to the accounts written by left him
by an uncle on his mother's side.
He
a prefix some years ago, when he came into money
Bach's works. They describe in detail
the Greek historians upon which we have was the son of Fred. Morgan—the artist whose many of his early compositions. Three
hitherto relied. I expect we shall find re- delightful paintings of children have made his harpsichord sonatas of Bach were arranged
mains of sculptures showing Greeks kneeling name familiar in most English homes for the last and written out by him as concertos, no
down and humbly accepting a treaty from thirty or forty years--and of Alice Morgan, who,
the Persians. In confirmation of this view, greater renown as an ideal painter, and whose
under her maiden name of Havers, won still doubt in order to perform them. One
I remember, that when, about fifty years ago,
very curious and interesting discovery
vacant place in art has not yet, I think, been
I was reading Greek, I was very much struck filled up. When I add that his grandfather on
is recorded. In Koechel's Thematic
with the fact that some ceremony in Sparta one side was John Morgan, a well-known artist Catalogue’ three harpsichord concertos
could not be performed because the election in his day, of the Webster School; while one
(Nos. 37, 39, and 40) are given. The
of his ancestors on his mother's side married a
of one of her kings had not been confirmed, granddaughter of Van Dyck's, I think it will be autographs were written at Salzburg in
and could not be confirmed until the em. conceded that much greater things than he had 1767, and are mostly in the handwriting
bassy had returned from Persia with the yet achieved might well have been expected of
of the father, who, by the way, constantly
sanction of Ó Baoileùs, the King-mark, Val. Morgan if death had not intervened. ”
he was not styled the “
helped Wolfgang in this way. Messrs.
King of Persia," NONE of the existing portraits of John Wyzewa and Saint-Foix examined these
but simply the King.
Leyden, the poet and Orientalist, is very
In 1902 the twenty-seventh volume of the satisfactory, and one published in a Memoir" works, and, comparing them with others
,
• Encyclopædia Britannica' was issued, and still requires authentication. It is satis-
written by the boy about that time, were
in the preface, which was written by Dr. factory, therefore, to hear that a hitherto struck as much by the mastery of form
Henry Smith Williams, appear these remark- unknown portrait has been discovered in which they displayed as by the mediocrity
able words:
Hawick, which was given by the poet's of inspiration in some movements. While
“Even in so important a matter as the great youngest brother, Andrew, to a cousin, in doubt, they discovered in looking
conflict between Persia and the Greeks, it has been but is now in other hands. Mr. Caw of the
suggested more than once that we should be able Scottish National Portrait Gallery, who has through a collection of sonatas by Schobert
to gain a much truer view, were Persian as well as examined it, is of opinion that it is authentic.
the Andante, the middle movement of the
Greek accounts available. "
Concerto No. 37; and further search
MR. EDEN PHILLPOTTS'S
" The
I shall therefore be glad if, by the publica- Iscariot, to be published by Mr. Murray resulted in their finding that the first
" and final
tion of this letter, explorers from all parts during Lent, will have a frontispiece drawn and final movements of this very same
of the world may be led, when visiting by Mr. Frank Brangwyn, A. R. A.
concerto were “ borrowed,” from sonatas
Persepolis, to examine the remains with
eyes prepared to see such objects as I here
MESSRs. Ellis have in the press a ‘Biblio- by Raupach and Honnauer respectively;
suggest,
graphy of Books in English on the Art and also, that of the twelve movements in
EDWIN DURNING LAWRENCE.
History of Engraving and Print Collecting,' these three concertos, ten had been taken
by Mr. Howard C. Levis. It aims at being from sonatas by the composers named
comprehensive, describes the chief books on and Eckard. In all probability, as the
the subject from the earliest times, and authors of this work suggest, the other
shows their development and relation to
two movements were also borrowed. Of
Fine Art Gossip.
each other.
It will be illustrated with fac-
these
similes of rare title-pages, &c.
composers long account is
MR. GILBERT H. DUTTON of Sunderland
provided. Schobert was evidently a very
has been appointed Curator of the Derby
remarkable man. What impression his
Corporation Art Gallery and Museum.
music made on Mozart is shown in the
An exhibition of paintings by the Italian
MUSIC
statement that the pathetic close of his
“Futurist painters opened last week at
great Fantasia in c minor, composed at
the Galerie Bernheime Jeune, Rue Riche-
Vienna in 1785, was inspired by the close
of the first movement of Schobert's
In the small village of Grünwald, near
W. A. Mozart. By T. de Wyzewa and Sonata (Op. 14) in the same minor key
Munich, a number of valuable prehistoric
G. de Saint - Foix. 2 vols. (Paris,
In the catalogue drawn up by Leopold
remains were recently found in what is now
of his son's early works these concertos
Perrin & Cie. )
the garden of the University lecturer, Dr.
are not entered, yet all biographers,
Gegenbauer, and must once have been a
place for
urn burial. Nine graves, containing since been made, the great
Life of Mozart cepted them as genuine. As with the
EXCEPT for the discoveries that have including Koechel, \have invariably ac-
eleven urns, were opened, and contained
150 bronze articles, such as needles, rings, by Otto Jahn, the third edition of which Bach sonatas, so with those in question,
cups, bracelets, &c. The ornamentation was revised and enlarged by Dr. Hermann there is no proof that Mozart ever passed
of some of the hairpins presents a pattern Deiters in 1889, seemed to render another them
He probably
which has not been found before. There are big work on the subject almost superfluous. arranged them for performance on his
so a number of tiny rings strung together, The two French authors have, however, tours, and possibly announced them as
which, it is presumed, served as money. The
graves probably belong to the time between
a very different aim, namely, to trace the transcriptions, though in those early
the Bronze and Hallstatt ages.
development of Mozart's genius, and only days many concert programmes were
A SERIES of illustrated lectures on the give as much of the outer life of the man drawn up in a happy-go-lucky style.
Great Engravers and Etchers' will be
as they felt needful to explain how that Mozart came, later on, under fresh
given by Mr. Arthur M. Hind at the Royal development came about.
influences at Salzburg and at Vienna.
Albert Hall Theatre, on the afternoon of the Mozart's first teacher was his father, In the former city he was on very friendly
following Tuesdays: February 27th, Early Leopold Mozart. Only quite recently a terms with Michel Haydn of this, the
Italian Engravers '; March 5th, Albert
Dürer’ ; March 12th, Van Dyck’; March manuscript book was discovered in which two duets for violin and viola which he
19th, ' Rembrandt. '
Leopold wrote out a number of pieces wrote for Haydn, who had been ordered
which he presented to “his very
dear
son, to compose them for the Archbishop, but
MESSRS. CHRISTIE sold last Saturday the Wolfgang Amadée," on his sixth birthday, owing to illness was unable to do so, give
a Man," in dark dress and fur cap, his right i. e. , in 1762. . And there are various state- proof ; and our authors describe numbers.
hand raised to his face, 3251. G. Morland, ments in this work which show that the 1 of works of Mozart written at Salzburg,
* A Mill,' at the edge of a wood, with carts, father was constantly looking at, and even which show unmistakably the models on
figures, and horses, 2361.
correcting, the boy's compositions. For which they were shaped.
THE Florentine Accademia delle Belle instance, when they were both in London It was at Salzburg that the composer
Arti has elected Count Plunkett an Honorary in 1764, Leopold wrote about three made acquaintance with some of Joseph
Academician,
consecutive fifths which appeared in a Haydn's symphonies in 1771, and Mozart's.
un
chi
T
m
a
m
B:
th
de
T
P
panse, Paris.
f
th
g
C
C
&
off as
his own.
## p. 171 (#147) ############################################
2
171
No. 4398, FEB. 10, 1912
THE ATHEN ÆUM
son
The
by
and
ied
of
Eail
ree
-ed
no
ze
1с
08
e
a
.
V
is now
6
6
>
PERFORMANCES NEXT WEEK.
dedication of the six quartets to him in SIGNOR BUSONI's pianoforte recital on
Miss Tita Brand, as the Nurse, who opens
1784 shows how much he was indebted March 14th at Queen's Hall will be his the play, was so admirable as to suggest
to him.
only one this year in London. His interest- the highest hopes of the cast. She and
ing programme will include the two sets of the Attendant who looks after the two chil.
Messrs. Wyzewa and Saint-Foix spent Liszt's Années de Pèlerinage. '
dren of Medea are characteristic studies of
ten years over these two volumes, which
only deal with the art-work of Mozart up for alto and chorus, entitled “We are the
SIR EDWARD ELGAR is writing a work
the rather stupid, faithful, and matter-of-
fact menial. The Nurse says that Medea
to 1777, i. e. , to the twenty-first year of Music-Makers,' for the Birmingham Festival
served Jason in word and deed, and goes on:
his life. Their attempt to “ reconstruct next October, which will be given under the
ήπερ μεγίστη γίγνεται σωτηρία,
the interior development of the genius direction of Sir Henry J. Wood. Fresh works όταν γυνή πρός άνδρα μη διχοστατη.
of Mozart” will appeal mainly to serious- are also promised by Dr. Walford Davies This appears in Prof. Murray's version as :-
minded musicians. There is a mine of and Mr. Granville Bantock, and there will
Surely this doth bind,
information as to the state of music in be a new symphony by Sibelius.
Through all ill days, the hurts of bumankind,
Germany, France, Italy, and England M. MASSENET is a prolific writer of operas.
When man and woman in one music move.
during the second half of the eighteenth His latest, entitled “Roma,' will shortly be A version elegant in poetic taste, indeed,
century; and the valuable remarks on produced at Monte Carlo, and he has like all Prof. Murray’s, but wholly out of
the evolution of the form of the sonata, already gone there to superintend the final
character. Nurses are crudely practical
rehearsals.
symphony, &c. , make these volumes a work
and homely, from Greek drama to Shake-
of reference rather than one for general Ar the British Museum (King's Library) speare's and George Meredith's types of the
reading
on view a selection of Handel's
class.
manuscripts, lent by King George from the
Medea is busy on the scene or behind it
Buckingham Palace Library : 'Messiah,
throughout, and the part lays a great
Saul,' Israel in Egypt,' Judas Macca strain on any player. Miss Adeline Bourne
bæus, Coronation anthem Zadok the
did not lack intensity in voice and action,
Musical Gossip.
Priest,' and 'Samson. '
and was moving in her farewell to the
children, but she seemed to forget that she
SIR FRANCIS J. CAMPBELL, now in his
MR. YORK BOWEN's new Symphony in F 80th year, who was one of the founders of the passion to rags in the style of a modern
was a princess, if a barbarian, and tore her
minor, No. 2, was produced on the 1st inst. Norwood Royal NormalCollege and Academy neurotic heroine. Her fury and disorder
under Mr. Landon Ronald's direction, at the of Music for the Blind, and to whom much were perhaps emphasized beyond their
third concert, of the New Symphony Orches of its present prosperity is due, has resigned real value by contrast with the calm,
tra at Queen's Hall.
The more elastic form his principalship.
beautiful, and entirely adequate voice and
of the symphonic poem tempts many rising
pose of the leader of the chorus, Miss Evelyn
composers, so that Mr. Bowen deserves
Walsh Hall. She and her Corinthian women
praise for adhering to the older and severer
throughout moved but little, forming a
form. There is much to praise in his work :
small band on each side of the stage. The
excellent thematic material, especially in
the first and second movements;
performers on the left we could hardly see,
clever
and venture to suggest that a critic should
workmanship and orchestration, also rhyth-
have a better view of the stage than an
mic life, though, the latter not being kept
outermost seat in the stalls offers. There
Strolling Players' Orchestral Concert, 8. 30, Queen's Hall.
under due restraint, the working up to a
was no music, but certain passages were
climax is at times spoilt. The influence of
delivered by the chorus all together in
Tschaikowsky throughout the work is
style which more practice would have made
marked. The slow movement is to us the
imposing. To hear one voice struggling to
most successful of the four sections.
Ursula Nettleship's Vocal Recital, 3. 15, Æolian Hall.
catch up another, like those of children
THE ROSÉ QUARTET appeared at the
insufficiently acquainted with the Book of
Broadwood Concert in the Æolian Hall on Queen's Hall Orchestra, 3. Queen's Hall.
Common Prayer, was disconcerting. The
the same day, and their programme was
chorus is not the ideal spectator, as our
devoted to Haydn, Mozart, and Beethoven.
grandfathers supposed ; generally it repre-
sents a rather timorous Mrs. Grundy, who
They are, in our opinion, the best inter-
supplies provisional sympathy, and requires
preters of the chamber music of the classical
masters.
to be forced into action when it is too late.
DRA MA
It is no perruque playing, but
instinct with life and emotion. On the
The minor figures of Creon and Ægeus
following Saturday afternoon the first of
were excellently rendered by Mr. Alfred
two extra concerts took place. The pro- THE MEDEA' AT THE KINGSWAY. Mr. Philip Merivale seemed too young and
Brydone and Mr. James Hearn. As Jason,
gramme included Svendsen's Octet in A,
fresh. Both he and Medea have gone
Op. 3, a pleasant work, the rendering of THE audience at the performance on
which was delightful. The talented ladies Monday last of the
through much before the play begins.
Medea' in Prof. Mediocre at first, he warmed up at the end,
of the Lucas Quartet (the Misses Miran, Murray's English version was largely femi- and made the best of the wrangling with
Janet, Patience, and Maud Lucas), who nine, and, after listening to the feminist Medea, which strikes one as so needless and
assisted, were, of course, on their mettle.
arguments of Euripides, must have received inappropriate a finish to the tense drama,
or revived a strong impression of the living with all its fatal deeds accomplished. Tense
MR. LEONARD BORWICK
gave
his first
recital this season
quality of his thought. The · Medea' got and passionate enough, we should have
at Queen's Hall on
Tuesday afternoon. His fine performance scholar who examines it carefully cannot fail need no artificial heightening, but we were
a third prize only at its first hearing, and the thought, is the emotion at this period to
of a transcription of Bach's Organ Prelude
to see discrepancies and inconsistencies in treated to a display of blue and red light
and Fugue in G minor was admirable, not
only as regards technique, which with this whole. It is immature work, too full of ably be regarded as a tribute to the pyro-
its fabric which spoil its effect as an ordered mingled with darkness, which can presum-
pianist is always a strong point, but also in ideas which confuse the issue. The intro- technic art of Prof. Reinhardt. The Nurse,
beauty of tone. There was power and poetry duction of Ægeus looks as if its main purpose and the Messenger who reported the results
in his rendering of Beethoven's Sonata in
c minor, Op. 111, though some parts of the while the triumphant escape of Medea after by Mr. Franklin Dyall, showed that mono-
were merely to drag in something Attic, of the poisoned garb sent by Medea, played
Allegro were rather hurried. The playing of
a Brahms Rhapsody was one of his best suggests a heavy retribution in another being so, surely, the violent and directly
a murder twice classic for its barbarity logues can be made of high interest,. This
achievements during the afternoon.
play, or
a transference of our sympathies dramatic part of the action can speak for
to the over-
MR, MARK HAMBOURG gave his annual from the wronged woman
itself.
recital at Queen's Hall on Wednesday punished husband, who might at least be The difficulties in the understanding of the
afternoon, His rendering of Chopin's allowed to bury his own children. As a
play to which we have referred are briefly
Sonata in B minor was that of a virtuoso.
matter of fact, there is more to be said for considered in the Introduction to Prof.
There were good moments, but, especially
Jason than he does say, and though the Murray's English version, and always with
in the Finale, the music served principally average Athenian may be supposed to have insight and lucidity. Should not this book,
to show the strength and swiftness of his
known this, the audience of to-day does not. already in its eighth thousand, have been
fingers. In clever pieces by Cyril Scott, The scenery, a pair of doors between a on sale ?
This is a matter of organization
Ravel, and Debussy, Mr. Hambourg was at wall, with a few steps down to the stage which will doubtless receive attention on
his best,
level, was simple and effective.
another occasion,
Sux. Concert, 3. Royal Albert Hall.
Sunday Coocert Mociety, 3. 30, Queen's Hall.
Sunday League Concert, 7. Queen's Hall.
Turs. , WED. , FH. , BAT. London Opera House. (Matinée also on
Saturday. )
Mox. London Symphony Orchestra, 8, Queen's Hall.
TUES. Lennart von Zweygberg's 'Cello Recital, 8, Bechstein Hall.
Motto Quartet, 8 30, Æolian Hall,
Wep. London Choral Society, 8, Queen's Hall.
Classical Concert Society, 8. 15, Bechstein Hall.
THURS. 12 o'Clock Chamber Concert, Eolian Hall.
Hergei Tarnowsky's Pianoforte Kecital, 3. Bechstein Hall.
Mario Lorenzi's Harp Recital, 3. 15, Broad wood's.
Antonio de Grassi's Violin Recital, 8. 15. Æolian Hall.
Beatrice Harrison's 'Cello Recital, 8. 15, Bechstein Hall.
FRI.
Mostyn Rell's Song Recital, 8. 15, Bechstein Hall.
Frederick Keel's Vocal Recital, 8. 15, Æolian Hall.
SAT. London Ballad Concert, 3. Albert Hall.
Eva Rosa's Vncal Recital, 3, Bechstein Hall.
Margaret Holloway's Violin Recital, 3. 15, Eolian Hall.
>
6
## p. 172 (#148) ############################################
172
Τ Η Ε Α Τ Η Ε Ν Ε U M
No. 4398, FEB. 10, 1912
-one
a
6
to humiliation. His cat-like clinging to his
OUR LIBRARY TABLE
YET another society has been formed to
brother's hearth disarms our irritation with promote the study of modern drama on the
The Drone, and Other Plays. By Ruther- the old fellow's incompetence. Mr. Whit-
lines of the repertory schemes at Manchester
ford Mayne. (Dublin, Maunsel. ) — This ford Kane, rightly cast in the present and Glasgow. Sir A. W. Pinero is the
volume contains four plays :
two very
instance, makes a very successful appeal | President, and the first piece to be per.
brief and tragic; two comparatively long for sympathy on his behalf, and, indeed, formed is 'The Silver Box' of Mr.
the supervision of Mr. George Henry, A. R. A. , The two classes of contemporary portrait- inseparable, according to M. Léandre Vaillat,
from the original in the possession of the Royal painting-rhetorical and homespun-are du XVIIIe siède et ses Peintres (Paris,
who writes an interesting book, La Société
Society. Prof. Auwers, with characteristic well represented in this volume, and if it Perrin), in which somewhat undue promin.
thoroughness and skill, re-reduced and edited
were not for the masterpieces of Van
Bradley's meridian observations of stars
made at the Greenwich Observatory, and Dyck, one would be tempted to assert treats of the manner in which eighteenth-
published a Catalogue of these stars for the that“ the homespuns have it,” so far do century portrait painters envisaged women
epoch 1755, which to-day forms the basis their transparent truthfulness and brilliant and children, and the relation of portraiture
of our knowledge of stellar proper motions technical accomplishment go to replace and costume. There is nothing in the book
and allied problems of fundamental astro the absence of stylistic pretension.
the
nomy.
tury, and it is to be regretted that M.
Another and a wider class of readers Vaillat has not seen fit to draw upon much
An American scientific publication recently will be attracted to this book. We need valuable material. But it is pleasant to
in the Proceedings of the Australian Wheat value of forming a personal idea of his and exotic Liotard, to whom life was
had a note calling attention to the statement not repeat obvious platitudes as to the find sympathetic chapters on some of the
graminis, or wheat-rust, occurred in Australia torical characters, but the fact remains perpetual comedy—a masque of colour
in 1867, 1878, and 1889. It is further pointed that they need emphasizing from time to and movement with changing scenes, gay
out that these were years of minimum of the time. Any one who has had experience costumes, and the light, fanciful music of
sunspot cycle, with the suggested inference in teaching knows the added interest lent the ballet; or Perronneau, painter and
that the attack of the pest is dependent on to a character when a good portrait of pastellist, anticipating in portraiture by
the sunspots. The author of the note may him is seen. The student of character will twenty years the ideas of Rousseau's 'Émile,
be right when he says that the development note the prevalence of two main types of painting paternal, sentimental, kindly
por-
of the fungus is dependent on rainfall,
but head, not, indeed, absolutely coincident roguishly or frowning and visibly naughty, ,
relation between sunspots and rainfall. It with any of the great lines of division with a sincerity that pierces through the
would be interesting to know what happened of the time, social, political, or religious, mannerism and artificiality of the style. In
at the minimum in 1900, and other years but suggestive of it. Heads like those of these pictures of women at the opera, of
when the sunspots were few.
Hampden, Blake, Monk, Hobbes, Jonson, scented beaux, placid matrons, prosperous
merchants, and the courtiers in a light, gay,
MESSRS. SMITH & ELDER will publish on sideEliot, Leslie, Shaftesbury, Temple, charm that belong almost alone to Perron-
Lauderdale, and the bishops on the one
leisured world, we find a grace and subtle
the 22nd inst. Men and Measures :
History of Weights and Measures, Ancient Ormonde, Locke, and Dryden on the
and Modern,' by Lieut. -Col. Edward Nichol. other-suggest a political as well as a The book is admirably printed, and well
social classification which would bring and judiciously illustrated.
a
neau.
son.
## p. 169 (#145) ############################################
No. 4398, FEB. 10, 1912
THE ATHENÆUM
169
are
more
an
are
CG
prints than by its drawings, which
Most of the other exhibitors command
The English Provincial Printers, Sta- the
spontaneous and free
from
respect by excellent and restrained work.
tioners, and Bookbinders to 1557, by E. the look of having been spurred into We must certainly mention Mr. Cameron's
Gordon Duff (Cambridge University Press), existence by thoughts of artificial handsome drawing of Cir Mohr (91), Mr.
is an excellent little book, written with an public of collectors, to whom the making Clausen's painter-like_The Brook (64), the
authority and a knowledge of early English of an etching is in some mysterious way
marvellous Pantheon, Rome, of Mr. Muirhead
printed books which no one else of the
a virtuous act in itself. Thus, but for his Bone (102), and the woodcuts of Mr. Sturge
present day possesses, and is devoted to knowledge of the existence of a race of Moore. Messrs. Francis Dodd and Havard
a subject which has hitherto, to use the amateurs eager for printed rarities and in- Thomas show careful studies from life.
author's words, hardly received adequate different to unique drawings, we doubt if At the Goupil Gallery the memorial exhi-
attention. It is composed of the four | Mr. Walter Sickert would have troubled bition of works by William Christian Symons
Sandars Lectures for 1911 in the University to disinter the early scraps of experimental affords a copious display of clever, but not
of Cambridge, together with Appendixes etching he shows here. His lithograph, very distinguished painting. Happily, the
giving a list of books printed by or for Joe Haynes and Little Dot Hetherington at water-colours heavily outnumber the oil
provincial printers and stationers, and a the Old Bedford Music-Hall, Camden Town paintings, and in certain flower-pieces and
useful Bibliography of the subject. Mr. (31), is of a very different order—a studiously other rapid studies in the former medium
Duff has little to say of early Oxford printing wrought design, steeped in the sentiment of Symons's power of handling exceedingly
that is new to students, except his vigorous time and place. The same qualities, united brilliant pigment is shown at its best.
treatment of the few remaining defenders with a more astonishing vivacity of draughts: No. 39, White Chrysanthemums, may be
of the “ 1468” Rufinus. If the date had manship, are to be found in his group of cited, along with Nos. 37, 43, 44, and 76, as
been genuine, Oxford would have stood drawings (105–10), which, in this atmosphere examples of his sturdy, direct execution.
before Venice in the list of honour, and one of slightly theoretical correctness, command
would like some explanation of the associa- the attention instinctively accorded to the
At Messrs. McLean's Galleries we
tion of the Corsellis family with the myth. direct and vibrant tones of a man of the pleased to see some signs of the ambition
The second lecture deals with the first world in a pedantic academic debate.
of compact design and idiomatic expression
printers at St. Albans, York, and Hereford.
No books were actually printed at Hereford the language of to-day, and until the coming French etching in colour. M. Jacquoy's
There is something, after all, in speaking emerging from the welter of cheap imitation-
painting which has hitherto overwhelmed
in this period, but three were printed at of Mr. Sickert into their midst, we were
Rouen for sale there.
The third lecture hardly aware how generally the members Repas de Piqueux (63) has an excellent sense
treats of the second Oxford Press and of
of this group were tinctured with conscious of space : the treatment is not so formal
Cambridge printing, one of the points to archaism. Even Mr. Muirhead Bone, we
as to abolish humour, nor the humour so
which Mr. Duff calls attention being the find, has not escaped it. He is still playing contributions
are slightly open to the latter
forced as to degrade the design. His other
first occurrence in England of an exclusive at being an eighteenth-century draughtsman
privilege (in 1518). As the author very of modern material, bent on showing that, Monvel' (2-5) to the former. Somewhat
, as are those of M. Boutet de
justly says, the legal bearing of these privi- had photography and the cinematograph behind these artists in interest, M. H.
leges has never been examined by writers
on copyright, though. . . ,. it would go far everyday fact might still inspire a delightful Meunier (46 and 47) and M. F. Simon (55 and
to prove that the perpetual copyright, which art.
later on was claimed by the stationers, was
He demonstrates his thesis admirably, ! 56) are notable as showing a higher level of
but the really modern artist feels in his j artistry than the remaining exhibitors.
never legally recognized," their powers bones that the argument is based on a fiction. At the Baillie Gallery the oil paintings
under the charter enabling them to enforce Verbally, no doubt, Mr. Walter Sickert shown by the members of the Camsix Club
claims which were not warranted by law. would propose for himself the same end as
are of less interest than the exhibits in the
The fourth lecture is on the presses at Mr. Bone, but judged by this ideal of precise Water-Colour Room, where Messrs.
Tavistock, Abingdon, Ipswich, Canterbury, and literal statement of facts, the latter is Priestman (89), Sterndale Bennett (92), and
Exeter, and the second St. Albans press, far his superior, and can, indeed, claim per- M. M. Patterson (94) show work of some
and contains much that will be new even to fection in a sense that Mr. Sickert, dealing, merit. Miss Anne Maitland's drawings reveal
professed students of English typography: as he does, with an art in which perfection some signs of systematic training in Nos. 29,
Mr. Duff agrees with the author of a recent is less readily measured, hardly may. With 33, and 37, where the brush stroke is con-
paper read to the Bibliographical Society Mr. Sickert we have a less firm hold on con- fidently controlled and decisive. Except in
that Bale's ' Illustrium Britanniæ Scriptorum crete fact in matters of detail, but an immea- an occasional drawing, such as No. 1, her
Summarium' was not printed at Ipswich, surably more vivid presentation of the sense of tone is deficient.
in spite of its colophon. A very fruitful essential and typical in modern life. It is
suggestion of the author's is that many of difficult to select the best of the half dozen
the books generally set down as printed at drawings. In The Furnished Bedroom (108)
foreign secret presses were in reality produced the interest is more purely one of æsthetic
PERSEPOLIS.
in England by provincial printers. The rhythm than in the others, which belong
three books he cites as examples were in more definitely to the domain of the
13, Carlton House Terrace, S. W.
all probability printed at Worcester by comedy of manners. How exactly of our
John Oswen, but it is very rarely indeed day is the particular brand of self-satis- 1 at no distant date fresh excavations may
I THINK that it is extremely probable that
that an English book set up by foreign com- fied rascal shown in No. 110, Esther be commenced at Persepolis, and I shall be
positors does not contain evidence of the Waters ! How original, yet inevitable, obliged if you will permit me, through your
fact in misspellings and false divisions of the arrangement of figures and furni.
syllables. If these are absent in a work of ture
paper, to point out some special objects to
in No. 107, Fare tutti mestieri
which the explorers should direct their
ordinary length, its foreign origin is open svergognati per compar onoratamente (anglice attention.
to suspicion. Those who know Mr. Duff's "Anything for a new hat ? ")! Personal
work will require no commendation on our acquaintance is required to do justice to
The main source of our knowledge of
part to send them to his pages, and by the characterization, in Mr. Gilman speaks Arrian, A. D. 125. I quote from the trans-
Alexander the Great is the ‘Anabasis of
this time the number must include every one (106), of the assured poise of a confident
interested in the history of English book personality,
lation by J. J. Chinnock, 1884, who tells us
production.
It is odd to find Mr. Campbell Dodgson, (bk. iii. chap. xviii. ) that Alexander (B. C. 331)
in his Preface to the Catalogue, referring to
burnt the palace of Persepolis against the
Mr. Sickert's value to the show as consisting they, the inhabitants of Asia would be less
advice of his generals, who said if he so did
in his introduction of “the Whistlerian
THE SOCIETY OF TWELVE, AND touch. " Surely in these incisive pages it likely to come over to his side, thinking that
he meant only to raid and scuttle
OTHER EXHIBITIONS.
is clear that it is the tradition of Degas which
Mr. Sickert rightly recognized as offering (enedokî jóvov vik@vra). Strabo tells us
THE work of the late Alphonse Legros most scope for continuation. Perhaps
that Alexander insisted on burning the
has been dealt with too recently in these also in Confession (109) he captures the palace of Persepolis out of revenge, because
columns for it to be necessary to do more little core of valuable achievement which
Darius and Xerxes had destroyed the Greek
than recognize the presence at the galleries among so much dross was to be found temples and burnt their cities.
of Messrs. Colnaghi & Obach of half in Fortuny. Mr. Sickert's draughtsman- Now I myself do not believe that this was
dozen excellent drawings (82–87).
I think that Alexander
There ship has never shown to greater advantage the real reason.
is in addition fairly representative than in these drawings. They have, destroyed the palace of Persepolis because
collection of etchings, which necessarily moreover, a fair and brilliantly coloured it was ornamented with inscribed pictorial
falls short, however, of the monumental aspect which we would fain read as an augury records of the triumphs of Darius and
impressiveness of Mr.
Gutekunst's exhi- of a lighter and more engaging toilette for Xerxes over the Greeks- such as the burning
bition. The present show shines less by its · future pictures.
of Athens, &c. This view meets with a
>>
a
а
## p. 170 (#146) ############################################
170
N
THE ATHENÆUM
No. 4398, FEB. 10, 1912
one.
dedi
1784
to h
M
ten
onls
to 1
his )
the
of y
min
info:
Geri
duri
cent
the
sim
of 1
reat
:
M
und
thir
tra
of t
COM
pra
tori
ex
tie
6
WOL
m.
very strong confirmation in the fact that in
trio engraved at Paris which
A CORRESPONDENT writes :-
my son
1800 Grotefend deciphered the names of
wrote, but which I corrected. " The
Darius and Xerxes in copies of fragments of nephew, Val. Havers, whose too early death
"In your kind and appreciative notice of my
great interest taken in the small boy by
inscriptions brought from Persepolis. And
we are at present deploring, you speak of him John Christian Bach is well known, and
I expect that further explorations will bring as though the name he painted under was his real
to light inscriptions and sculptures which That is not so. His name was Morgan,
our authors show how Mozart studied
may prove to be records giving results the 'Havers' being only bracketed with it as
and imitated the forms, phrases, &c. , of
quite contrary to the accounts written by left him
by an uncle on his mother's side.
He
a prefix some years ago, when he came into money
Bach's works. They describe in detail
the Greek historians upon which we have was the son of Fred. Morgan—the artist whose many of his early compositions. Three
hitherto relied. I expect we shall find re- delightful paintings of children have made his harpsichord sonatas of Bach were arranged
mains of sculptures showing Greeks kneeling name familiar in most English homes for the last and written out by him as concertos, no
down and humbly accepting a treaty from thirty or forty years--and of Alice Morgan, who,
the Persians. In confirmation of this view, greater renown as an ideal painter, and whose
under her maiden name of Havers, won still doubt in order to perform them. One
I remember, that when, about fifty years ago,
very curious and interesting discovery
vacant place in art has not yet, I think, been
I was reading Greek, I was very much struck filled up. When I add that his grandfather on
is recorded. In Koechel's Thematic
with the fact that some ceremony in Sparta one side was John Morgan, a well-known artist Catalogue’ three harpsichord concertos
could not be performed because the election in his day, of the Webster School; while one
(Nos. 37, 39, and 40) are given. The
of his ancestors on his mother's side married a
of one of her kings had not been confirmed, granddaughter of Van Dyck's, I think it will be autographs were written at Salzburg in
and could not be confirmed until the em. conceded that much greater things than he had 1767, and are mostly in the handwriting
bassy had returned from Persia with the yet achieved might well have been expected of
of the father, who, by the way, constantly
sanction of Ó Baoileùs, the King-mark, Val. Morgan if death had not intervened. ”
he was not styled the “
helped Wolfgang in this way. Messrs.
King of Persia," NONE of the existing portraits of John Wyzewa and Saint-Foix examined these
but simply the King.
Leyden, the poet and Orientalist, is very
In 1902 the twenty-seventh volume of the satisfactory, and one published in a Memoir" works, and, comparing them with others
,
• Encyclopædia Britannica' was issued, and still requires authentication. It is satis-
written by the boy about that time, were
in the preface, which was written by Dr. factory, therefore, to hear that a hitherto struck as much by the mastery of form
Henry Smith Williams, appear these remark- unknown portrait has been discovered in which they displayed as by the mediocrity
able words:
Hawick, which was given by the poet's of inspiration in some movements. While
“Even in so important a matter as the great youngest brother, Andrew, to a cousin, in doubt, they discovered in looking
conflict between Persia and the Greeks, it has been but is now in other hands. Mr. Caw of the
suggested more than once that we should be able Scottish National Portrait Gallery, who has through a collection of sonatas by Schobert
to gain a much truer view, were Persian as well as examined it, is of opinion that it is authentic.
the Andante, the middle movement of the
Greek accounts available. "
Concerto No. 37; and further search
MR. EDEN PHILLPOTTS'S
" The
I shall therefore be glad if, by the publica- Iscariot, to be published by Mr. Murray resulted in their finding that the first
" and final
tion of this letter, explorers from all parts during Lent, will have a frontispiece drawn and final movements of this very same
of the world may be led, when visiting by Mr. Frank Brangwyn, A. R. A.
concerto were “ borrowed,” from sonatas
Persepolis, to examine the remains with
eyes prepared to see such objects as I here
MESSRs. Ellis have in the press a ‘Biblio- by Raupach and Honnauer respectively;
suggest,
graphy of Books in English on the Art and also, that of the twelve movements in
EDWIN DURNING LAWRENCE.
History of Engraving and Print Collecting,' these three concertos, ten had been taken
by Mr. Howard C. Levis. It aims at being from sonatas by the composers named
comprehensive, describes the chief books on and Eckard. In all probability, as the
the subject from the earliest times, and authors of this work suggest, the other
shows their development and relation to
two movements were also borrowed. Of
Fine Art Gossip.
each other.
It will be illustrated with fac-
these
similes of rare title-pages, &c.
composers long account is
MR. GILBERT H. DUTTON of Sunderland
provided. Schobert was evidently a very
has been appointed Curator of the Derby
remarkable man. What impression his
Corporation Art Gallery and Museum.
music made on Mozart is shown in the
An exhibition of paintings by the Italian
MUSIC
statement that the pathetic close of his
“Futurist painters opened last week at
great Fantasia in c minor, composed at
the Galerie Bernheime Jeune, Rue Riche-
Vienna in 1785, was inspired by the close
of the first movement of Schobert's
In the small village of Grünwald, near
W. A. Mozart. By T. de Wyzewa and Sonata (Op. 14) in the same minor key
Munich, a number of valuable prehistoric
G. de Saint - Foix. 2 vols. (Paris,
In the catalogue drawn up by Leopold
remains were recently found in what is now
of his son's early works these concertos
Perrin & Cie. )
the garden of the University lecturer, Dr.
are not entered, yet all biographers,
Gegenbauer, and must once have been a
place for
urn burial. Nine graves, containing since been made, the great
Life of Mozart cepted them as genuine. As with the
EXCEPT for the discoveries that have including Koechel, \have invariably ac-
eleven urns, were opened, and contained
150 bronze articles, such as needles, rings, by Otto Jahn, the third edition of which Bach sonatas, so with those in question,
cups, bracelets, &c. The ornamentation was revised and enlarged by Dr. Hermann there is no proof that Mozart ever passed
of some of the hairpins presents a pattern Deiters in 1889, seemed to render another them
He probably
which has not been found before. There are big work on the subject almost superfluous. arranged them for performance on his
so a number of tiny rings strung together, The two French authors have, however, tours, and possibly announced them as
which, it is presumed, served as money. The
graves probably belong to the time between
a very different aim, namely, to trace the transcriptions, though in those early
the Bronze and Hallstatt ages.
development of Mozart's genius, and only days many concert programmes were
A SERIES of illustrated lectures on the give as much of the outer life of the man drawn up in a happy-go-lucky style.
Great Engravers and Etchers' will be
as they felt needful to explain how that Mozart came, later on, under fresh
given by Mr. Arthur M. Hind at the Royal development came about.
influences at Salzburg and at Vienna.
Albert Hall Theatre, on the afternoon of the Mozart's first teacher was his father, In the former city he was on very friendly
following Tuesdays: February 27th, Early Leopold Mozart. Only quite recently a terms with Michel Haydn of this, the
Italian Engravers '; March 5th, Albert
Dürer’ ; March 12th, Van Dyck’; March manuscript book was discovered in which two duets for violin and viola which he
19th, ' Rembrandt. '
Leopold wrote out a number of pieces wrote for Haydn, who had been ordered
which he presented to “his very
dear
son, to compose them for the Archbishop, but
MESSRS. CHRISTIE sold last Saturday the Wolfgang Amadée," on his sixth birthday, owing to illness was unable to do so, give
a Man," in dark dress and fur cap, his right i. e. , in 1762. . And there are various state- proof ; and our authors describe numbers.
hand raised to his face, 3251. G. Morland, ments in this work which show that the 1 of works of Mozart written at Salzburg,
* A Mill,' at the edge of a wood, with carts, father was constantly looking at, and even which show unmistakably the models on
figures, and horses, 2361.
correcting, the boy's compositions. For which they were shaped.
THE Florentine Accademia delle Belle instance, when they were both in London It was at Salzburg that the composer
Arti has elected Count Plunkett an Honorary in 1764, Leopold wrote about three made acquaintance with some of Joseph
Academician,
consecutive fifths which appeared in a Haydn's symphonies in 1771, and Mozart's.
un
chi
T
m
a
m
B:
th
de
T
P
panse, Paris.
f
th
g
C
C
&
off as
his own.
## p. 171 (#147) ############################################
2
171
No. 4398, FEB. 10, 1912
THE ATHEN ÆUM
son
The
by
and
ied
of
Eail
ree
-ed
no
ze
1с
08
e
a
.
V
is now
6
6
>
PERFORMANCES NEXT WEEK.
dedication of the six quartets to him in SIGNOR BUSONI's pianoforte recital on
Miss Tita Brand, as the Nurse, who opens
1784 shows how much he was indebted March 14th at Queen's Hall will be his the play, was so admirable as to suggest
to him.
only one this year in London. His interest- the highest hopes of the cast. She and
ing programme will include the two sets of the Attendant who looks after the two chil.
Messrs. Wyzewa and Saint-Foix spent Liszt's Années de Pèlerinage. '
dren of Medea are characteristic studies of
ten years over these two volumes, which
only deal with the art-work of Mozart up for alto and chorus, entitled “We are the
SIR EDWARD ELGAR is writing a work
the rather stupid, faithful, and matter-of-
fact menial. The Nurse says that Medea
to 1777, i. e. , to the twenty-first year of Music-Makers,' for the Birmingham Festival
served Jason in word and deed, and goes on:
his life. Their attempt to “ reconstruct next October, which will be given under the
ήπερ μεγίστη γίγνεται σωτηρία,
the interior development of the genius direction of Sir Henry J. Wood. Fresh works όταν γυνή πρός άνδρα μη διχοστατη.
of Mozart” will appeal mainly to serious- are also promised by Dr. Walford Davies This appears in Prof. Murray's version as :-
minded musicians. There is a mine of and Mr. Granville Bantock, and there will
Surely this doth bind,
information as to the state of music in be a new symphony by Sibelius.
Through all ill days, the hurts of bumankind,
Germany, France, Italy, and England M. MASSENET is a prolific writer of operas.
When man and woman in one music move.
during the second half of the eighteenth His latest, entitled “Roma,' will shortly be A version elegant in poetic taste, indeed,
century; and the valuable remarks on produced at Monte Carlo, and he has like all Prof. Murray’s, but wholly out of
the evolution of the form of the sonata, already gone there to superintend the final
character. Nurses are crudely practical
rehearsals.
symphony, &c. , make these volumes a work
and homely, from Greek drama to Shake-
of reference rather than one for general Ar the British Museum (King's Library) speare's and George Meredith's types of the
reading
on view a selection of Handel's
class.
manuscripts, lent by King George from the
Medea is busy on the scene or behind it
Buckingham Palace Library : 'Messiah,
throughout, and the part lays a great
Saul,' Israel in Egypt,' Judas Macca strain on any player. Miss Adeline Bourne
bæus, Coronation anthem Zadok the
did not lack intensity in voice and action,
Musical Gossip.
Priest,' and 'Samson. '
and was moving in her farewell to the
children, but she seemed to forget that she
SIR FRANCIS J. CAMPBELL, now in his
MR. YORK BOWEN's new Symphony in F 80th year, who was one of the founders of the passion to rags in the style of a modern
was a princess, if a barbarian, and tore her
minor, No. 2, was produced on the 1st inst. Norwood Royal NormalCollege and Academy neurotic heroine. Her fury and disorder
under Mr. Landon Ronald's direction, at the of Music for the Blind, and to whom much were perhaps emphasized beyond their
third concert, of the New Symphony Orches of its present prosperity is due, has resigned real value by contrast with the calm,
tra at Queen's Hall.
The more elastic form his principalship.
beautiful, and entirely adequate voice and
of the symphonic poem tempts many rising
pose of the leader of the chorus, Miss Evelyn
composers, so that Mr. Bowen deserves
Walsh Hall. She and her Corinthian women
praise for adhering to the older and severer
throughout moved but little, forming a
form. There is much to praise in his work :
small band on each side of the stage. The
excellent thematic material, especially in
the first and second movements;
performers on the left we could hardly see,
clever
and venture to suggest that a critic should
workmanship and orchestration, also rhyth-
have a better view of the stage than an
mic life, though, the latter not being kept
outermost seat in the stalls offers. There
Strolling Players' Orchestral Concert, 8. 30, Queen's Hall.
under due restraint, the working up to a
was no music, but certain passages were
climax is at times spoilt. The influence of
delivered by the chorus all together in
Tschaikowsky throughout the work is
style which more practice would have made
marked. The slow movement is to us the
imposing. To hear one voice struggling to
most successful of the four sections.
Ursula Nettleship's Vocal Recital, 3. 15, Æolian Hall.
catch up another, like those of children
THE ROSÉ QUARTET appeared at the
insufficiently acquainted with the Book of
Broadwood Concert in the Æolian Hall on Queen's Hall Orchestra, 3. Queen's Hall.
Common Prayer, was disconcerting. The
the same day, and their programme was
chorus is not the ideal spectator, as our
devoted to Haydn, Mozart, and Beethoven.
grandfathers supposed ; generally it repre-
sents a rather timorous Mrs. Grundy, who
They are, in our opinion, the best inter-
supplies provisional sympathy, and requires
preters of the chamber music of the classical
masters.
to be forced into action when it is too late.
DRA MA
It is no perruque playing, but
instinct with life and emotion. On the
The minor figures of Creon and Ægeus
following Saturday afternoon the first of
were excellently rendered by Mr. Alfred
two extra concerts took place. The pro- THE MEDEA' AT THE KINGSWAY. Mr. Philip Merivale seemed too young and
Brydone and Mr. James Hearn. As Jason,
gramme included Svendsen's Octet in A,
fresh. Both he and Medea have gone
Op. 3, a pleasant work, the rendering of THE audience at the performance on
which was delightful. The talented ladies Monday last of the
through much before the play begins.
Medea' in Prof. Mediocre at first, he warmed up at the end,
of the Lucas Quartet (the Misses Miran, Murray's English version was largely femi- and made the best of the wrangling with
Janet, Patience, and Maud Lucas), who nine, and, after listening to the feminist Medea, which strikes one as so needless and
assisted, were, of course, on their mettle.
arguments of Euripides, must have received inappropriate a finish to the tense drama,
or revived a strong impression of the living with all its fatal deeds accomplished. Tense
MR. LEONARD BORWICK
gave
his first
recital this season
quality of his thought. The · Medea' got and passionate enough, we should have
at Queen's Hall on
Tuesday afternoon. His fine performance scholar who examines it carefully cannot fail need no artificial heightening, but we were
a third prize only at its first hearing, and the thought, is the emotion at this period to
of a transcription of Bach's Organ Prelude
to see discrepancies and inconsistencies in treated to a display of blue and red light
and Fugue in G minor was admirable, not
only as regards technique, which with this whole. It is immature work, too full of ably be regarded as a tribute to the pyro-
its fabric which spoil its effect as an ordered mingled with darkness, which can presum-
pianist is always a strong point, but also in ideas which confuse the issue. The intro- technic art of Prof. Reinhardt. The Nurse,
beauty of tone. There was power and poetry duction of Ægeus looks as if its main purpose and the Messenger who reported the results
in his rendering of Beethoven's Sonata in
c minor, Op. 111, though some parts of the while the triumphant escape of Medea after by Mr. Franklin Dyall, showed that mono-
were merely to drag in something Attic, of the poisoned garb sent by Medea, played
Allegro were rather hurried. The playing of
a Brahms Rhapsody was one of his best suggests a heavy retribution in another being so, surely, the violent and directly
a murder twice classic for its barbarity logues can be made of high interest,. This
achievements during the afternoon.
play, or
a transference of our sympathies dramatic part of the action can speak for
to the over-
MR, MARK HAMBOURG gave his annual from the wronged woman
itself.
recital at Queen's Hall on Wednesday punished husband, who might at least be The difficulties in the understanding of the
afternoon, His rendering of Chopin's allowed to bury his own children. As a
play to which we have referred are briefly
Sonata in B minor was that of a virtuoso.
matter of fact, there is more to be said for considered in the Introduction to Prof.
There were good moments, but, especially
Jason than he does say, and though the Murray's English version, and always with
in the Finale, the music served principally average Athenian may be supposed to have insight and lucidity. Should not this book,
to show the strength and swiftness of his
known this, the audience of to-day does not. already in its eighth thousand, have been
fingers. In clever pieces by Cyril Scott, The scenery, a pair of doors between a on sale ?
This is a matter of organization
Ravel, and Debussy, Mr. Hambourg was at wall, with a few steps down to the stage which will doubtless receive attention on
his best,
level, was simple and effective.
another occasion,
Sux. Concert, 3. Royal Albert Hall.
Sunday Coocert Mociety, 3. 30, Queen's Hall.
Sunday League Concert, 7. Queen's Hall.
Turs. , WED. , FH. , BAT. London Opera House. (Matinée also on
Saturday. )
Mox. London Symphony Orchestra, 8, Queen's Hall.
TUES. Lennart von Zweygberg's 'Cello Recital, 8, Bechstein Hall.
Motto Quartet, 8 30, Æolian Hall,
Wep. London Choral Society, 8, Queen's Hall.
Classical Concert Society, 8. 15, Bechstein Hall.
THURS. 12 o'Clock Chamber Concert, Eolian Hall.
Hergei Tarnowsky's Pianoforte Kecital, 3. Bechstein Hall.
Mario Lorenzi's Harp Recital, 3. 15, Broad wood's.
Antonio de Grassi's Violin Recital, 8. 15. Æolian Hall.
Beatrice Harrison's 'Cello Recital, 8. 15, Bechstein Hall.
FRI.
Mostyn Rell's Song Recital, 8. 15, Bechstein Hall.
Frederick Keel's Vocal Recital, 8. 15, Æolian Hall.
SAT. London Ballad Concert, 3. Albert Hall.
Eva Rosa's Vncal Recital, 3, Bechstein Hall.
Margaret Holloway's Violin Recital, 3. 15, Eolian Hall.
>
6
## p. 172 (#148) ############################################
172
Τ Η Ε Α Τ Η Ε Ν Ε U M
No. 4398, FEB. 10, 1912
-one
a
6
to humiliation. His cat-like clinging to his
OUR LIBRARY TABLE
YET another society has been formed to
brother's hearth disarms our irritation with promote the study of modern drama on the
The Drone, and Other Plays. By Ruther- the old fellow's incompetence. Mr. Whit-
lines of the repertory schemes at Manchester
ford Mayne. (Dublin, Maunsel. ) — This ford Kane, rightly cast in the present and Glasgow. Sir A. W. Pinero is the
volume contains four plays :
two very
instance, makes a very successful appeal | President, and the first piece to be per.
brief and tragic; two comparatively long for sympathy on his behalf, and, indeed, formed is 'The Silver Box' of Mr.
