No More Learning

CHESTS IN ESSEX.
THURS. Royal Institution, 8. -Recent Explorations in the Canadian
kocky Mountains,' Lecture II. , Prof. J. N. Collie.
THE ROYAL METEOROLOGICAL SOCIETY Reprinted from The Essex Review An
Royal, 4. 30. - On the Variation with Temperature of the
Rate of a Chemical Change,' Dr. A. Vernon Harcourt will hold a meeting at Southport from instructive essay on the construction, carving,
Some Phenomena of sunspots and of
Saturday, the 11th inst. Fellows and others and ornamentation of the ancient chests
Quantities of the Elements producing the Lines in Spectra
of the Uxyhydrogen Flame and spark,' Bir W. N. Hartley proposing to attend the meeting and the preserved in Essex churches.
and Mr. 4. W. Mous: The Transformations of the Active dinner are requested to communicate with Zur Kunstgeschichte des Auslandes : Heft 93,
Deposit of Thorium,' Messrs. E. Marsden and C. G. Darwin;
'On the P Particles reflected by Sheets of Matter of the Secretary, 70, Victoria Street, S. W. , not
AEGINETEN UND ARCHÄOLOGEN, EINE
Different Thicknesses,' Mr. W. Wilson.
later than Thursday next.
KRITIK, von Maximilian von Groote,
D. O. Watt Hour Moters, more especially for Traction
THE COUNCIL OF
Londs,' Messrs. 8. W. Melsom and 1. Kastland; and
THE UNIVERSITY OF 6m. ; Heft 94, UNTERITALISCHE GRAB-
Electric
Meters on Variable Loads, Prof. D. Robertson. SHEFFIELD, at its meeting on Friday in last DENKMÄLER, von Rudolf Pagenstecher,
Society of Antiquariea, 8. 30.
12m.
week, appointed Mr. Francis A. Duffield to
Royal Institution, 9. -Tho Gaumont Speaking Cinematograph
Strassburg, Heitz & Mündel
the post of Demonstrator in Experimental
• Interpretation in Song : (1) Equipment,' Mr. E. Plunket | Physiology and Pharmacology,
The first of these monographs is Herr von
Grooto's slashing attack upon the late Adolf
MEETINGS NEXT WEEK.
error
Browne.
6
III
Baringo,' Mr. O. A. Boulenger;
Studies in the Foasorial
Terrestrial
Magnetism,' Dr. O. Ohree; 'on the Ultimate Lines and the
Institution of Electrical Engineers, 7. 30 - The Behaviour of
PRI.
Astronomical, s.
SAT.
Groene.


## p. 508 (#388) ############################################

508
THE ATHENÆUM
No. 4410, MAY 4, 1912
6
Furtwängler's conjectural reconstruction and
trait weakens the main pillar of the structure,
interpretation of the Æginetan pediments.
THE ROYAL ACADEMY.
and stresses what is not typical of the pose.
His own-of the western pediment-ap-
proaches somewhat more nearly that in the
THE most important exhibit of this
In this first impression of the exhibition we
Glyptothek at Munich; while instead of a
year's Academy is to be found not among
may also note with satisfaction a work-
Echo and Narcissus (1769)more super-
temple to the nymph Aphaia he argues that the pictures, but in the sculpture room.
the statues belong to a temple of Athene
We must not ask from Mr. Havard Thomas ficially studied, it is true, than that of Mr.
built, possibly on the site of an older temple what he does not set out to give us ; his Thomas, which indicates that Mr. Albert
to the nymph, after the battle of Salamis. Thyrsis (1990) is purely classic in inspiration, Hodge is redeeming the promise of some
Furtwängler's theory—to which the dis- and for our own part we accept its complete years back, and rallying from a period of
rather
covery of a third statue of Athene gave cheerful resignation. As in his Lycidas,'
failure to reflect the Spirit of the Age" with
empty formality.
rise--that we have here a competition
In the more popular art of painting one
we admire unreservedly a scholarly master-
of the novelties to record is of a negative
between sculptors, he rejects as absurd,
explaining the third figure as having been piece of delicate realism, already wrought character—two of the principal exhibits
set upon the roof. While admitting the to an exquisite finish, which we know will in the large gallery are not to be in place
force of many of Herr von Groote’s argu- be still further enhanced by the artist's till some time after the opening of the exhi-
ments, we find his reiterated discourtesies admirable craftsmanship upon the bronze. bition. We do not wish to judge in ad-
towards Furtwängler wearisome—to say than that of the earlier statue, in which Portrait of His Majesty the King (148), by
of the figure is a little less happy vance the merit of these works—the State
nothing more.
The second mo
nonograph-on tombs in
the first vague gesture preceding speech Sir Luke Fildes, and Mr. Bacon's picture of
Lower Italy-is a discussion of sepulchral expressed quite admirably the working The Coronation (149)-but it is not to be
denied that the instinctive feeling of one
vases and the monuments depicted upon of the mind formulating its message.
them, chiefly in the form of description of The slightest of external movements in critic at least resembles gratitude to the fates.
the illustrations. This work professes to
dicated the inner life of the man, and thus Previous pictures of such subjects make
be no more than a preliminary to the great artist absorbed in the beauty of the human extended further.
furnished a theme completely suited to an us willing that the precedent should be
Sir Edward Poynter's
treatise on the vases of Lower Italy which
must some day be forthcoming : mean-
body as a thing capable of movement, principal contribution, A Little Mishap(167),
while it brings together much material not
but not actually in motion. The futing seems oddly placed in its central position.
hitherto easily accessible, and elucidates
Thyrsis, with its more obvious, though By no means without charm, it looks like
the work of an inexperienced, well-meaning
many points as to the relations between the still gentle action, departs a little from the
art of Greece and that of the Italian colonies; and in proportion as it does so we feel that and respect for the gentle things of life,
static ideal of purely realistic sculpture, painter with a nice personal sentiment
and again between that of Tarentum and the complex representation of the manner
Sir Lawrence Alma Tadema's Preparations in
Apulia.
in which the visible muscles are supported the Coliseum (60) arouses curiosity as to
by the underlying bone might be to some
what the artist might do if, eschewing
MR. WALTER SICKERT AT THE
extent replaced by a more abstract concep. figure-drawing, he should devote himself
tion, based more on the mathematical solely to the painting of still-life, for which
CARFAX GALLERY.
conception of the interpenetration of solids. he has a natural gift.
This, bringing more clearly into light the
Mr.
If this collection contains few important principles upon which the different elements H. W. B. Davis is the most successful.
Among the older Academicians
recent works from Mr. Sickert's hand, we
are somewhat compensated by the oppor. stress on the multiplicity and actuality of Academy than his accomplished and spon-
of the figure are combined, and laying less There is no more beautiful landscape in the
tunity of comparing his earlier and his later those material elements, wouldavoid that look taneous Skirt of the Dunes at Condette,
This comparison is not entirely of a real body frozen into immobility in the Pas de Calais (198). The extremes of blue
favourable to the latter, for, although the
artist's command of form is enormously
act of motion. In the face of the Thyrsis' in sky and water might perhaps have been a
enhanced, yet the fluent and supremely himself felt this need for abstraction ; but, lopment of the blue element in the lighting
we think we see signs that Mr. Thomas has little better supported by a stronger dove-
graceful touch of such early work as No. 19,
Pinder's Circus, or No. 10, The Old Oxford, where, the result is to give this passage in their apparently fortuitous, yet well-
as he has not yielded to the impulse else- of the cattle, but these cattle are excellent
has beauty which we regret when, for
a somewhat mask-like appearance.
purposes of easy revision,
it is changed for
balanced grouping, and the whole design,
a more abrupt method. The largest of the
For these reasons we consider the statue for all its wealth of detail, is kept on the
recent paintings, The Old Bedford (34), is
a little less perfect than its superb pre-
whole-wonderfully in tune. The paint
expressed in a technique virtually identical decessor, the alleged ungainliness of which is modulated with a subtlety which com-
with that of his younger colleagues of the was, we submit, only the originality of a pares favourably with the tour de force
Camden Town Group,” Messrs. Gilman fresh plastic theme, shocking to critics of a painter of a later generation – Mr.
and SpencerGore, differing from them lacking in sympathy with the physical Amesby Brown - whose Norfolk Landscape
mainly by a keener zest for the romance of impulses of the body. From its more readily (237) is nevertheless the best large picture
perspective effects. The shower of detached comprehended action, the present work he has painted.
strokes of which it is made up lends itself will probably be more generally popular, Mr. Clausen seems to share Mr. Arnesby
admirably to bold comparisons of angle from and visitors, consenting to become familiar Brown's fear of anything like formality of
end to end of the picture, adapted as it is to with the vivid, yot restrained draughtsman- design, and his pale high-toned picture,
perpetual retouching, which even at the ship underlying its contours, may realize The Window (204), suffers in consequence
eleventh hour may stress unforeseen rela- with something of a shock how flaccid and from a lack of structural backbone. The
tions. By this very provisional quality, formless is most of the modelling they are seated figure, above all, is too formless to
however, the interest of the execution is accustomed to accept as sufficient. The fill any function in the scheme, and we
less momentous than is to be found in superb structure of details like the ankles regret that Mr. Clausen could not have
painting which must be completed
and feet will appeal even to those unable read into the arrangement of its receding
or never,” before the paint dries, as in the to appreciate the full complexity of the planes forms having some affinity with the
procarious and nervous method' by which design of which they form a part.
arched foliage seen in the garden outside,
Whistler was fain to cover the whole surface To criticize in detail the anatomical
so that the lines of the picture might have
of a picture in one skin of Auid paint, or expressiveness of so learned a master of ranged themselves into two main categories :
the
more amazing, calculated audacity human structure is in itself an act of temerity, the upright window frames and curtains
whereby a fresco painter like Michelangelo yet since the function of a critic is to and the upright figure; the curved and
might divide his design into sections-oach criticizo, we respectfully question the suit- sloping surfaces of the sunlit boughs and
a day's work, to be done and left to fill its ability of one minor feature the importance the seated figure. The control and dis-
place in a sustained, imaginative con accorded to the trench on the outer side of tribution of this main contrast seem
ception. It is only in such more difficult the right thigh dividing the hamstring offer the natural theme to draw from such
technical tasks that the subtler possibilities muscles from the fleshy mass of the front
a subject.
of paint structure are explored, although the of the thigh. This trench is, of course, Of the younger Associates Mr. Orpen is
complexities of natural structure may be very visible when the weight of the body the most successful in a series of portraits
more readily expressed by the typical is thrown sideways on to a bent leg; but as which are a triumph of methodical and clean
modern method. The exponents of that the lower head of the thighbone clicks painting of a photographic order. Mr.
method are tempted to forget that, however back into the locked position, as it practically Lavery's La Mori du Cygne : Anna Pavlova
interesting reality may be, painting is not has done in the moment chosen, its effect (415) will be popular, but it proves how
reality, and will revenge neglect by claiming is surely to consolidate from within the wisely Degas divined the scale suitable for
to be judged ultimately on its intrinsic column of the leg, and we submit that the realistic presentation of such transient
merits as paint.
emphasis accorded to this uncharacteristic effects. Mr. Charles Shannon has endowed
manner.
66
now
to


## p. 509 (#389) ############################################

No. 4410, May 4, 1912
509
THE ATHENÆUM
6
same
J. van
his Morning Toilet (247) with a pleasant SIR FRANK SWETTENHAM's collection of
scheme of colour, but it is a patchwork of Japanese colour-prints on view at Messrs.
MUSIC
figures, and the semi-nudity of the principal Sotheby's is extraordinarily copious, and
one shows a foolish perversity not making includes many fine works by little-known
for massive design.
artists as well as by masters of repute.
BROWNING AS THE POET
Finally, we must welcome an admirable DR. HOPE MOULTON'S Hibbert Lectures
OF MUSIC.
little painting by Mr. Byam Shaw, The on 'Early Zoroastrianism' began again on
I.
Game Dish (511), which shows him content, as Tuesday last (April 30th) with the fourth of MANY poets have shown appreciation of
all too rarely, to cultivate delightfully his the series, in which the lecturer addressed
music on its emotional side; but their refer-
great natural gift for modest realism on a himself to the “ doctrine of Evil. ” Accord-
small scale. There are passages, as in the ing to him, complete dualism, or the belief such knowledge attainable only through
ences to the technical side are rare. Were
shadowed part of the figure beneath the in the eternal antagonism of two equal
basket, which indicate a fine colourist in the eternal and independent powers, formed part
the medium of verse, mankind would be
making ; but there are certain tones of red on of the religion of the Magi or the non-Aryan
aware of few instruments but lyres, harps,
the light side of the figure which suggest tribes whose supremacy Darius overthrow. lutes, and pipes ; of no harmony but a
that his judgment in such matters is not The religion of Zoroaster, on the other hand, cadence; of no musicians but those of
quite matured. The drawing of face and was, on the same authority, monotheistic,
tradition and myth. Hence the peculiar
hands, moreover, is careful and symmetrical at least in tendency, and held its great god
rather than vigorous; but there are few Ahura Mazda to be in the long run victorious
thrill which Browning excites in the
musical reader. The author of Abt
pictures in the Academy in which the artist over the Evil Spirit, or Ahriman. That he
has so much the air of meaning what he says. is right as to the tendency cannot be doubted,
Vogler' sees as deeply into the inner
The touch is concise and vigorous, the for the modern Parsis, who have continued meaning of music—so much more definite,
modelling rounded without being petty. Zoroaster's teaching, are not dualists. The as Mendelssohn said, than words-as
Mr. Shaw has, we hope, realized that he is Avesta, in its Sassanian recension, goes the does any other poet.
the heir, not of the Pre-Raphaelites, but
way ; but what the Zoroastrian
of the little Dutch masters, and that, as a religion was originally depends entirely
Music (which is earnest of a heaven,
Seeing we know emotions strange by it,
sober, but forciblo colourist and an historian upon the vexed question of the date we are Not else to be revealed). — Pauline.
of contemporary manners and character, to assign to Zoroaster himself. This, as has
I state it thus :
he may make an assured place in modern art. been said before in The Athenæum; is the
There is no truer truth obtainable
crucial point of the whole affair, and it is
By Man than comes of music.
to be hoped that Dr. Hope Moulton will
"Parleyings with Certain People :
SALES.
endeavour to throw some light upon it
Charles Avison,' VI.
before the conclusion of his series of lectures. But in this appreciation of music on its
MESSRS. CHRISTIE sold on Friday, April 26th,
the following works. Drawings : J. S. Cotman, The great find of Manichæan documents spiritual side Browning is not without
Mont St. Michel, Normandy, 1051. ; The Statue in Chinese Turkestan made, as announced in rivals among both poets and philosophers.
of Charles I. at Charing Cross, with numerous The Athenæum at the time, by Dr. Aurel It is his subjects, and an aptness of
figures grouped round the base, 1781. 108. Pic-
Stein, exploring at the expense of the technical allusion possible to none but
tures : J. Crome, A Scene near Catton, Norwich,
a woody road scene, with a peasant and cart ;
Government of India, and by the French, an expert, which make Browning appeal
felled timber on the right, 6301. ; A View at Sal- Russian, and German expeditions, is begin to a musician as no other poet does. It
house, near Norwich, a group of trees overhanging ning to bear fruit, and many of the MSS. is somewhat remarkable that a poet
the water, a boat on the right, 2521.
then discovered have already been published.
Goyen, The Castle and Town of Nimeguen, the
river flowing across the foreground, the town on
The last, and one of the most important, of quarrying fresh ground should have con-
the further bank, 1,0501. Hobbema, A Woody
these is a treatise in Chinese, which 'M. tented himself with pebbles when great
Landscape, with farm, cottages, and figures on Édouard Chavannes and M. P. Pelliot have monoliths lay to hand-save that poets
a road, 4622.
just put forth with a French translation are naturally creatures of fancy and
The same firm sold on Monday. last the following and commentary. It is all but complete, caprice! One must also remember that
pictures : A. Cuyp, Four Sheep, a Kid, and a only the title and a few words at the begin. it really mattered little what musician
Youth, in dark dress, and cap trimmed
with fur ning being missing, and is in the form of a Browning chose as the subject of a poem,
seated, holding a stick in his right hand, 2101.
Van Scorel, The Madonna, in blue dress and one Addas, who is already known to Christian for the thought is always his own, and
cloak, holding the Infant Saviour in her arms, tradition as the Apostle of Manichæism to not specially identified with the composer
3251. 108.
the East. The contents of the treatise to or through whom he affects to speak it. .
throw great light upon what may be called Probably Abt Vogler was immortalized
the mythology of Manichæism, and particu because Browning needed for subject
Fine Art Gossip.
larly upon the part played therein by a pair some one remarkable for his gift of extem-
Ar Messrs. Dowdeswell's Galleries is an
of twin gods, who are called, oddly enough,
interesting collection of drawings of the the Appellant and the Respondent. It is porization. Vogler's “invention,”
Italian decadenco-rarely admirable intrin. quite possible that we have here a survival ferred to in the heading to the poem, it
sically, but valuable as a rather discredited
of the Heavenly Twins of the Vedas, who may be explained, was less a new instru-
byway in which the artist in search of sug- perhaps gave rise to the worship of the ment than improvements on an old one
-the organ: they were little thought of
gestions may pick up bargains. There is
no competition for such crumbs of inspira-
DE. ÉDOUARD NAVILLE has during the in his own day, but are largely adopted
tion as are to be found in these circles, and last week given to a Swiss journal his views now.
The poet's long residence in Venice
Vermeer has shown us the wisdom of a great
on the excavations carried out by him for accounts for his choice of Baldassare
artist not too proud to borrow of alleged the Egypt Exploration Fund at Abydos. Galuppi, especially as a composer whose
inferiors. Strada's River God (18) is perhaps He describes a huge construction that he music was still in use would not have
the most impressive work, displaying a vein has in part unearthed behind Seti's temple as
served his purpose so well. Browning
of mannered, but beautiful design little a giant mastaba, or tomb, the walls of which
worked except by an occasional sculptor of are nearly four metres thick, and are made himself tells us what it was made him
parley
small bronzes inspired by Michelangelo. of enormous blocks of quartzite jointed
with Charles Avison—the recur-
A series of drawings by Cambiaso (39-43) together with the nicest care. One chamber rence to his mind of an old melody he
is also noteworthy, and a magnificent of this was partly excavated some years ago had heard in his childhood. One at once
Canaletto previously noticed (80).
by Miss Murray, who copied the texts from thinks of “ Sound the loud timbrel,” an
the Book of the Dead 'inscribed upon its air from a concerto of Avison's which,
At the French Gallery a large collection of
walls. Dr. Naville shows that the name of
the work of Josef Israëls contains two
arranged as an anthem, had an immense
portraits of exceptional quality, The Artist Mineptah, which they bear, is plainly a
(27) and A Son of God's People (12).
usurpation, and that the construction is popularity in this country, and an even
probably much earlier than the reign more prolonged vogue in the United States.
At the Meryon Gallery in Davies Street of this descendant of Seti. He does Yet, strangely enough, it was not through
Mr. Hanslip Fletcher shows himself a careful not conceal his hope that the tomb may this, his best-known work, but by a some-
and adroit architectural draughtsman; turn out in the long run to be the legendary what feeble March, long since forgotten,
while Mr. Frank Emanuel, principally known tomb of Osiris ; but the removal of the that the Newcastle organist renewed his
to us by similar work, contents himself with superincumbent sand will be a heavy task. lease of celebrity.
No. 11, The Doldrums, and No. 7, Suez Canal the existence of four chambers beyond that three of Browning's musicad heroes have
exhibiting some marine sketches, of which 1 Up to the present he has been able to verify
It should not escape notice that all
under Searchlight, are by far the best. disclosed by Miss Murray.
re-.
3


## p. 510 (#390) ############################################

510
THE ATHENÆUM
No. 4410, MAY 4, 1912
>
6
some connexion with Italy : Vogler be- And 'Abt Vogler ' :-
cause of his visit in 1773 ; Galuppi as Why rushed the discords in but that harmony
an Italian by birth and residence; and
Musical Gossip
should be prized ?
.
Avison through his three years' sojourn And . Charles Avison':-
in the country, and a “ little book," as
THE first cycle of the 'Ring' at Covent
No lure
Garden took place on the following dates :
Browning calls it, on ‘ Musical Expression' Of novel modulation pricked the flat
April 23rd, 25th, 27th, and 29th. Herr
-in which he warmly espoused the claims Forthright persisting melody,-no hint
Anton van Rooy who was in splendid
of Italian as against German composers,
That discord, sound asleep beneath the flint,
-Struck-might spring spark - like, claim due
voice, is still the most dignified Wotan
and to which his fame is chiefly due.
tit-for-tat,
on the stage, and Herr Hans Bechstein
Browning's tribute to certain of music's
Quenched in a concord.
the best Mime. Fräulein Gertrud Kappel
craftsmen does not exhaust his services to Again, who but a poet well versed in the impersonated Brünnhilde in Die Walküre
the art. As a young man, he had studied science of music as well as the practice mann-Stevens in Siegfried. They are
not only practical music under a Mr. of it could have introduced a quintet of both excellent artists, and acquitted them-
Abel, a pupil of Moscheles, but also theory technicalities into a poetical triplet ? selves well; Fräulein Kappel, a new-comer,
under Relfe, a composer of considerable What? Those lesser thirds so plaintive, sixths has a voice of good, rich quality, and she
repute in his day, to whom he makes Told them something? Those suspensions, those first act of "Die Walküre Madame Stevens
was at her best on the last evening. In the
reference in Charles Avison':
solutions—“Must we die ? ”
Those commiserating sevenths—“Life might last !
and Herr Cornelius sang and acted in an
Great John Relfe,
we can but try. ”
impressive manner. The latter has scarcely
Master of mine, learned, redoubtable,
‘A Toccata of Galuppi's,'vii. the physical strength required for the
It little needed thy consummate skill
To fitly figure such a bass!
With the same purpose, one might quote exacting part of the hero in the first act of
O Relfe,
the following lines from Parleyings with well done. "Dr. Rottenberg has proved
Siegfried, yet all he did was thoroughly
An all-unworthy pupil, from the shelf
Charles Avison':-
himself an able conductor. At times he
Of thy laboratory.
What, "stone dead" were fools so rash reminds one of Dr. Richter, though the latter
As a result of his pupilage Browning As style my Avison, because he lacked
has—or must we say, had ? -certain ways of
himself wrote music—said to be very
Modern appliance, spread out phrase unracked
drawing out tones of different colour from
By modulations fit to make each hair
. spirited - to Dorme's “Go and catch a
Stiffen upon his wig? See there and there !
his orchestra peculiar to himself.
falling star,” Hood's “ I will not have the I sprinkle my reactives, pitch broadcast
TRISTAN UND ISOLDE' was performed on
Discord and resolutions, turn aghast
mad Člytie,” and Peacock's “The mountain
Wednesday evening with an excellent cast,
Melody's easy-going, jostle law
Madame Saltzmann-Stevens and Herr Cor-
sheep are sweeter. " Unfortunately, he With licence, modulate (no Bach in awe),
Change enharmonically (Hudl to thank), nelius taking the name-parts. The orchestral
appears subsequently to have destroyed
his settings. But, as is often the case,
And lo, upstart the flamelets,
-what was blank playing was very fine.
Turns scarlet, purple, crimson !
M. ARTHUR RUBINSTEIN, a Russian by
actual composition was not the greatest See also the fourth, fourteenth, and birth, is a pianist who possesses tempera-
benefit his study of theory conferred on
fifteenth stanzas of this poem. Or the ment and exceptional technique. His render-
him. For from the laws of musical con- following, from Flute-music, with an
ing of Schumann's Carneval at his first
struction Browning draws a wealth of Accompaniment’:
recital on Wednesday afternoon at Bechstein
illustration not to be found in either kind
Hall proved also that he felt and understood
So, 'twas distance altered
or degree in any other poet. It has,
the music. He has very strong and swift
Sharps to flats? The missing,
indeed, been said that his
works
Bar when syncopation faltered
fingers, and the tone he produced was at
hardly contain such another piece of
(You thought-paused for kissing ! )
times too loud for the hall, while he was
Ash-tops too felonious
tempted to take some of the movements at far
simple perfectness as the definition of a
Intercepted ?
too rapid a rate. Time and experience will,
common chord in stanza vii. of Abt
Possibly more than one son of Jubal | however, soon teach this able player to avoid
Vogler:
reading this poem has had to have recourse exaggerations. The programme included a
Consider it well : each tone of our scale in itself is to a dictionary before he understood the Sonata by Karol Szymanowski. Interesting
themes in
nought;
reference to an air of Tulou's,
the opening movement were
or
It is everywhere in the world-loud, soft, and all
developed in modern style, while the dif-
is said:
appreciated the full flavour of the sarcasm
ficult finale consisted of a cleverly written
Give it to me to use! 1 mix it with two in my in :
fugue.
thought:
I who, times full twenty,
And, there! Ye have heard and seen : consider
Turned to ice-no ash-tops aiding-
UNDER the auspices of the London Orches-
and bow the head !
At his caldamente.
tral Association a concert will be given with
Readers of Newman's University Ser- The aptness of the title of this poem to the combined orchestras of the Philharmonic
mons' will recall a remarkably similar its contents, one would think, is suffi- phony,' the Now Symphony, the Beecham,
thought in a passage beginning, “There ciently obvious, the verses being descrip- and those of Covent Garden and the London
are seven notes in the scale—make them tive of a flautist playing his instrument Opera-House—the total number
fourteen. "
to the accompaniment of a dialogue formers being 600. The conductors will be
Nothing distinguishes the student of between two lovers hidden from him by Mr. Arthur Nikisch, Sir Edward Elgar, Sir
harmony from a layman in the science
some ash trees. But
Miss F. Mary Wilson, Henry J. Wood, and Messrs. Landon Ronald
learns to use the word " discord. ” To the the title to “the precise meaning that orchestras will honour their brother musicians
more than the different way in which he in her . Primer on Browning,' attributes and Mr. Thomas Beecham. In this striking
latter it means something harsh, grating, may be put upon the words being sub- who perished in the execution of their duty
and unpleasant. To the former it means sidiary-an accompaniment' to their in the Titanic
disaster. The order to play
music. "
something without the frequent occur-
The meaning, however, if less the hymn - tune to calm and comfort the
a spontaneous
rence of which music would become profound—and much more easy to appre- passengers was, however,
intolerable through insipidity; something hend—than is usual with Browning, is and noble act on the part of the band-
distinguished from concord' chiefly be not a negligible part of the poem. The master. The concert will probably take
cause it lacks the sense of finality. A truth that beauty lies in the eye-in this
verses are a musical illustration of the place at the Albert Hall, but the date is
not yet fixed.
discord arouses, while concord satisfies ;
a discord is something incomplete in itself,
case the ear-of the beholder.
which consequently cannot be used as a
Three of the four poems Browning
final chord, but creates a sense of sus-
wrote under a musical title teach a lesson
pense till followed by what is technically Music is used to illustrate a subject, not
to .
Arthur Rubinstein's Pianoforte Recital, 3. Bechstein Hall.
termed its “ resolution. ” Of this Brown-
ing shows a keen appreciation. Witness
as the subject itself. One cannot but
‘A Toccata of Galuppi's. ' :-
feel that Abt Vogler and Baldassare London Trio Concert (Brahras Anniversary),
3. 30, Æolian Hall
Hark, the dominant's persistence till it must be has dressed his own thought.
Galuppi are lay figures on which the poet
answered to !
So, an octave struok the answer.
CLEMENT ANTROBUS HARRIS.
Aimée Carvel's Violin Recital, 8. 80, Æolian Hall.
"
of per-
وو
PERFORMANCES NEXT WEEK.
Bux. Special Concert, 3 80, Royal Albert Hall.
National Bunday League Concert, 7, Queen's Hall
Mox. -SAT. Royal Opera, Covent Garden.
London Opera House, Kingsway.
Mox.
Vernon D'Arnulle's Vocal Roodtal, 3. 18. Rolian Hall.
Frederick Dawson's Pianoforte Recital, 3. 15, Steinway Hall,
Tues. Madame Carreño's Pianoforte Recital, 3. 15, Queen's Hall
Leila Duart's Vocal Recital, 315, Bechstein Hall.
Godfrey Ludlow's Orchestral Concert, 8. 15, Queen's Hall.
WED. Kreisler's Violin Recital, 3, Queen's Hall.
Lamond's Pianoforte Recital, 3. Bechstein Hall.
Arrigo Provvedi's 'Cello Recital, 3. 15, Steinway Hall.
Tora Hwass's Pianoforto Recital, 3. 15, Æolian Hall
Wilhelm Sachse Orchestra, 8. 15, Queen's Hall



## p. 511 (#391) ############################################

No. 4410, May 4, 1912
THE ATHENÆUM
511
was
THURS. Twelve o'Clock Chamber Concert, Rollan Hall.
Madamo Lavallo's Vocal Recital, 3, Steinway Hall.
Louis Persinger's Violin Recital, 3 15, Bechstein Hall.
Jean Storliog Mackinlay's Matinée, 3. 80, Little Theatre.
Margaret Muredith's Choral Concert, 8 30, Æolian Hall
Woltmann Orchestra, 8 30, Bechstein Hall.
FRI.
Marjorie Adams's Pianoforte Recital, 3. 16, Bechstein Hall.
Emma Davidson, Dorothea Walwyn, and Percival Garratt's
Recital, 8. 30, Æolian Hall,
Alfred Kaut ner" Harp Recital, 8. 30. Steinway Hall.
Madamo do St. André's Concert, 8 30, Bechstein Hall.
SAT.
stein Hall
Egon Petri's Pianoforte Recital, 3. 15, Polian Hall.
>>
an
been derived from the part'as delivered to Charles Kean must have known
her by the prompter, and from rehearsals purchased by mutilating Shakespeare's
and performances in which she participated. ” plays almost beyond recognition. Nor
But does Mr. Winter really think that the can it be acknowledged that the artistic
traditions of an actress who studied her conscience is conspicuous in the Anglo-
Marlo Gab: teile Lescheizky Pianoforte Recital, '3. 15, Bech. part without knowing her play are of Saxon_nature when Mr. Winter asserts
any permanent value to the stage ? | that Irving and Booth believed, and
Again, Mr. Winter, quoting from Boaden, several times declared in conversation
says, “ Unquestionably all the truth, all with him, " that Cibber's version fof
the uniformity, all the splendor, and the King Richard III. ') is more directly
DRAMA
retinue of the stage came in with Mr. effective, than the original is, upon the
Kemble. ” But if truth and uniformity average public taste. ”. Against this judg.
began with Kemble, why study the tra- ment Mr. Winter himself protests, al-
ENGLISH AND AMERICAN ACTORS. ditions of Betterton or Garrick? Of the though he believes the opinion to be
actor Wallack in Macbeth' there is a justified on the plea that Cibber's version
The title of this book is too vague, for tradition, now happily obsolete, that his held the stage, to the exclusion of the
it suggests a general survey of Shake- exit into the King's chamber at “ Hear original, for over a century. This fact
speare and his dramas.
If the play of it not, Duncan,
was prolonged to such | alone seems to indicate how little the
King Henry VIII. ' be excepted as of an extent " that his left leg remained in Anglo-Saxon mind can appreciate what
doubtful authorship, only to five of the view of the audience for a considerable is due to a dramatist of Shakespeare's
poet's thirty odd dramas is reference made,
time after the rest of his person had dis- eminence. In fact, while Mr. Winter
while from these five there are set
appeared. Even so sound an actor as shows impartiality in his criticism of
apart, for special notice, some half a Edwin Booth took liberties with his English and American actors, his judg-
dozen well-known characters which from
audience that would astonish a sociétaire ment upon foreign artists is biased. No-
time to time have constituted the reper- of the Théâtre Français.
where upon the Continental stage is seen
tory of eminent actors and actresses. As
Yet Edwin Booth, perhaps, as so much lawlessness in the handling of
regards the choice of plays, Mr. Winter artist, stands on a higher plane than Shakespeare as exists upon the English
frankly admits that this is due to con- some of his profession whom Mr. Winter stage. In municipal and Court theatres
sideration of the commercial interests of
eulogizes. It was to Booth's credit that | abroad artists are not allowed to take
his publishers,“ whose confidence and he abjured Irving's rendering of Shylock liberties with their author.
liberality make so large an investment at a time when the new reading was There is abundance of praise in this
in the enterprise which I have under- extraordinarily popular with the public. volume for the lovely Ada Rehan,”
taken. "
Booth states :
and for “ the foremost inspirational actress
Here then is a book of 564 pages about
the doings or misdoings of theatrical
“I think Macready was the first to lift of her time,” Ellen Terry; but the
celebrities, and, like all books of its class, it
the uncanny Jew out of the darkness of his criticism on their acting, like that on the
native element of revengeful selfishness into men, is vague and tantalizing. The truth
abounds in contradictions and incon-
the light of the venerable Hebrew, the Martyr, is that Ellen Terry is “ great” by reason
sistencies. For instance, the volume is the Avenger. He has had several followers, of her personality, which has the same
dedicated to the memory of Augustin Daly, and I once tried to view him in that light, inexpressible charm to the audience in
because of his brilliant services to the
but he does not cast a shadow sufficiently whatever part she appears. Unfortunately,
cause of Shakespearean drama in Ame- strong to contrast with the sunshine of the
there is nothing more detrimental to the
rica”; while on another page we read
comedy. . . . 'Twas the money value of Leah's
that Daly produced The Merchant of
ring that he grieved over, not its association
art of the stage than the popular notion
with her, else he would have shown some
that the actress should be regarded as
Venice' with scenery of extraordinary affection for her daughter. "
something apart from the play, and the
magnificence, and dressed it with a
splendour of costly apparel unprecedented in the way he did is now for the first time collects that there are such things as
Irving's reason for acting the character character she impersonates in that play.
Sometimes, but not often, the author
in its stage history," in order to outdo
made public.
Irving's “ artistically matchless setting
“Shylock," said Irving plays as well as actors, but then he
"
of that play.
in Mr.