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Exeter and Its Cathedral Author(S): Dotted Crotchet Source: the Musical Times and Singing Class Circular, Vol

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Exeter and Its Cathedral Author(s): Dotted Crotchet Source: The Musical Times and Singing Class Circular, Vol. 43, No. 716 (Oct. 1, 1902), pp. 646-654 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3369625 Accessed: 12-11-2015 20:17 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 141.233.160.21 on Thu, 12 Nov 2015 20:17:07 UTC All use subject to JSTOR Terms and Conditions 646 THE MUSICAL TIMES.-OCTOBER I, 1902. occasion, at the private house of an amateur his honoured name fresh for nearly a century, in London, there met four of the greatest and have become an indispensable part of the pianists of the day - Hummel, Kalkbrenner, equipment of all pianists fromLiszt downwards. Moscheles, and Cramer. The first, on being In the words of so eminent an authority asked to play, improvised at some length, but as Mr. Dannreuther,-from his fine appreciation with comparatively poor results. Kalkbrenner of the old pianist in Grove's 'Dictionary of and Moscheles refused to give some 'touch Music and Musicians' -' Spiritually,though not of their quality,' and Cramer was invited to mechanically, Cramer occupies a field of his gratify the company. He at first declined to own, which all pianists respect. Though play, but being strongly pressed by Hummel, not of the firstauthority, he must be considered Cramer consented. ' Sitting down to the piano- one of the fathers of the church of pianoforte- fortein his usual unpretendingmanner,'-records playing, and worthyof consultation at all times.' the author of Musical Recollections ' of the last The portrait of John Baptist Cramer, which Cramer half-century'-' began to play one of forms our special supplement, is from an oil then almost new Beethoven's sonatas, entirely painting by Mr. Callcott Horsley, R.A., not to German ears. In John to English, though a and an early work of that distinguished artist. moments his audience few were literally en- It has long been in the possession of Messrs. tranced, and sat breathlesslylistening to every John Broadwood and Sons, Ltd., and, by their of note and phrase the several motivos, which kind permission,is reproduced forthe firsttime. seemed to reveal some new at inspiration every F. G. E. turn. When he had finished,Hummel rushed up to him, seized him in his arms, and kissed him on each cheek, exclaiming, " Never till now have I heard Beethoven."' EXETER AND ITS CATHEDRAL. One more anecdote, in which Liszt-the Exeter, under its various names of Isca greatest of all great pianists-figures as the Damnoniorum, Caer Wisc, Exanceaster, is dis- centre of attraction. In the year 1840, during tinguished as the one great English city which Liszt's visit to England, the veteran 'glorious has, in a more marked way than any other,kept John' and the 'young lion' met. Cramer, then its unbroken being and its unbroken position orderingupon seventy,had not been expressing throughout all ages. ' It is the one city of the a particularlyhigh opinion of Liszt, who was a present England,' says Professor Freeman,' in youth of seventeen. But when the latterarrived, which we can see within recorded times the the old man joined in the request that he should Briton and the Englishman living side by side. play. 'Oh, yes,' said Liszt, ' I'll play, and in It is the one city in which we can feel sure that sooth a duet with you, Mr. Cramer!' Both human habitation and city lifehave never ceased took their places at the instrument,and seldom from the days of the early Caesars to our own.' was Hummel's beautiful duet sonata in A flat In the time of AEthelstan,Exeter was a city of more beautifullyplayed. Old Cramer took the two nations and two tongues, and even now the treble, and Liszt, with that true gentlemanly cityremains a countyin itself. Its existenceof more feeling so eminently characteristic of him, than eighteen hundred years has been so eventful ' accommodated' his playing of the bass part to and important as to place it in the frontrank the style of his venerable colleague. When they of English cities of historicalinterest. Long after had finished,Liszt was called upon to perform weekly posts were firstdespatched fromLondon alone, and this is what he did-he played one to various parts of England, Exeter was still, as Cramer study afteranother, each one surpassing it were, on the borders of territoryscarcely the other in genial execution. Could there be a explored, and the city was the farthestwestern more generous tribute of homage fromone great point to which letters were conveyed from the artist to another ? Metropolis! Cramer was a prolificcomposer forthe piano- Notwithstanding its fine shops and other forte. His output included eight, if not more, indications of twentieth-centurybustle, it is still concertos, 105 sonatas, and a large number of freefrom electric cars which cut into (and in two) showy pieces of ephemeral value. The wayfarerson highways. As a matter of fact,the ' Periodical Sonatas,' said to have been composed city is almost void of public conveyances of the by him, the present writer has been unable to penny-faretype-even of omnibuses. A disused trace, but a clue thereto may be found on the tram-linelaid through part of the city seems to title-page of Op. 42, which states: 'This sonata furnish evidence that Exeter clings to old was composed during the firstweek in January, methods. No wonder,therefore, that the stranger I809.' This may have been one of a periodical within her gates finds a welcome change from series which justified the name. In addition to the bustling strenuousness that characterises the foregoingthere must be added two pianoforte larger centresof population, even though they be quintets, about fortytrios for pianoforte,violin, of more mushroom growth than the pleasant and violoncello, and two serenades forpianoforte, Western city set upon a hill. harp, flute,and two horns. But all these have Exeter has received several marks of royal passed into the region of oblivion. The fame of favour, resulting from the visits of various Cramer rests on his Studies. They have kept English kings. Edward I. held a parliament This content downloaded from 141.233.160.21 on Thu, 12 Nov 2015 20:17:07 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-OCTOBER I, 1902. 647 (Photo by PhotochromCo., Ltd.) iEeterCatbecraL. This content downloaded from 141.233.160.21 on Thu, 12 Nov 2015 20:17:07 UTC All use subject to JSTOR Terms and Conditions 648 THE MUSICAL TIMES.-OCTOBER I, 1902. there. The courteous Inspector of Police at of Samuel Sebastian Wesley. The grave, the ancient Guildhall shows with pride the immediately below a high and ivy-covered wall, fine sword of King Edward IV., given to is severely simple, being covered by a flat stone the Mayor of Exeter in the year 1470; also the bearing the followinginscription: cap of maintenance and sword of Henry VII., In memoryof presented in 1497 in returnfor the loyalty of the MARY, daughterof Samuel Sebastian Wesley, of this city. citizens, and ordered to be carried before the She died February i3th, 1840, aged 9 weeks. Mayor on all state occasions. The Guildhall Alsoof the above named itself,rebuilt in 1330 and is a noble SAMUEL SEBASTIAN WESLEY, 1464, panelled who died at apartment some fine from Gloucester, April 19th, 1876, containing portraits aged 65 years. the brushes of Hudson and Sir Peter Lely. It was in this room that a former Mayor made Wesley particularlywished to be buried in the ready a sumptuous repast to set before their same grave as his much-loved infant and only Majesties King George III., Queen Charlotteand daughter. Another grave may be visited, situated within the walls of St. Stephen's Church-that of the composer of 'Jackson in F,' a native of Exeter and sometime organist of the Cathedral. The inscriptionreads thus : WILLIAM JACKSON Born in this city xxix May MDCCXXX. Died v July MDCCCIII. In the Science of Music an eminent Professor,whose genius united elegant expression, pure and original melody, with delicacy of harmonic combination. In painting, in literature, in every liberal study that --NO enlightensthe intellect,or expands the heart, his attain- :~~~~~~tCit4--ii::-i-ii'~j:::: Crnerqfti ~i:i ments were rare and distinguished: a writer,novel and -:::e:here::::::ric:::::::::ark..: is"'--:-i:::_~:::::::iii-:aiiiii,~i ::_s M a at ra ph..el Sebastian W acute in a correctand _:--::-:-::iniigi::-ii::::i:::: as :iien:'ii:iiii~iii-i~iapresman at....... i::::iiti -:ere observation, discriminatingcritic, .-:-: --ubi foiiri~ii:::-::: ps so a tearft allmiration :':: :ci~i~~iii~iiiii-iiliendeared to his select associates a conversationand ::i~:-_?-:iii--i:?::ai':'o:: ::: pe u t asua l by p pAroOfiro demeanourof and anantlifyears TWO OgntrgofankSureator impressive fascinatingsimplicity. Also the remains of Mary relict of the above :iili~i-,-iii~it'ii~i:.i~?:-i:,i~i~i:::-:-:--_::::_ii Jackson, rxathis Cathrttrab named William Jackson, who died x January, MDCCCXL, i-i-iiiisiisbi - -xgtte .
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