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Mr. Pepys the Musician (Concluded) Author(S): Francis Hueffer Source: the Musical Times and Singing Class Circular, Vol

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Mr. Pepys the Musician (Concluded) Author(S): Francis Hueffer Source: the Musical Times and Singing Class Circular, Vol Mr. Pepys the Musician (Concluded) Author(s): Francis Hueffer Source: The Musical Times and Singing Class Circular, Vol. 22, No. 461 (Jul. 1, 1881), pp. 351-353 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3358846 Accessed: 23-11-2015 08:08 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 130.237.165.40 on Mon, 23 Nov 2015 08:08:16 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.--JULY I, 1881. 351 using. "Willingly,"replied Mendelssohn, "on con- the composerwhen accompaniedneither above nor ditionthat you send me yours." The exchangewas below by a salient idea. Still,whatever the fact on duly made, and with Berlioz' wooden sceptrewent this point,honour is due to the Royal thoughtwhich, the followingletter :- in giving(Wagner) completeand active protection, " To theChief Mendelssohn.-Great Chief, we have has, so to speak, saved a young artist giftedwith promised to exchange our tomahawks. Behold precious faculties." Aftergiving two concerts in mine! It is rough: thineis plain; onlysquaws and Dresden,Berlioz returnedto Leipzig forthe second pale-faces love decorated arms. Be my brother,of his concerts there, subsequentlyproceeding to and when the Great Spirit shall send us to huntin Brunswick,at the suggestionof Meyerbeer,and the land of souls, may our warriorshang our united meetingwith a success not far short of triumphant. tomahawkson the gate ofcounsel." Hamburg having been nextvisited, with the strange With referenceto the style of this epistle,there and unexpectedresult of discoveringboth an ophi- is reason to believe that Berlioz had been reading cleide and a harpist,the masterdescended upon the FenimoreCooper's " Last ofthe Mohicans." Prussiancapital. Here he assistedat a performance Mendelssohnbehaved, we are told,"like a brother" of Bach's great" Passion," and was muchstruck by in the affairof his friend'sconcert, and would seem the "attention,respect, and piety" with which a to have had his patience tried, since Berlioz was Germanaudience listens to such a work:- exigent about the orchestra, and offendedsome " Every one followedthe wordsin the book; there people by what was called his " insolent preten-was not a movementin the auditory,not a murmur sions." He wanted twenty-fourviolins, not sixteen of approvalor censure,not a sign of applause; one only, and three instruments-towit, a cor anglais, was at a sermon; hearingthe Gospel chanted; as- ophicleide,and harp-which practicallywere not to sistingin silence, not at a concert,but at a Divine be foundin Leipzig! What next,and next? But it service. It is just in thisway that such musicought was certainlycurious that in musical Leipzig, under to be heard. Here Bach is adored and believed in the reignof Mendelssohn,the only cor anglais was withoutsupposing for an instantthat his divinity so bad that Berlioz preferredgiving the part to a can be called in question. A hereticwould excite clarinet;the so-calledophicleide was a smallleathern horror; it is even forbiddento speak ofsuch a thing. affair,not at all like the properthing, while Men- Bach is Bach, as God is God." delssohn,when he wantedharps, had to obtainthem Two successfulconcerts were given by the master fromBerlin. Berlioz could not do withouta harp, in Berlin,after which he visitedHanover, and Darm- and his friendLepinski sent a M. Richter from stadt, and then returned to Paris, with feelings Dresden. So far good; but when an instrumenttowards Germanywhich could not be better ex- had been hunted up in the city and restrung,it pressedthan in a letterto Mr. G. A. Osborne:- was foundthat Richter,though a capital musician, " Here I am at length,my dear Osborne,at the could only play the arpeggios usually required end of this pilgrimage-the most difficult,perhaps, in theatrical orchestras. The upshot was that that a musician has ever undertaken,and the re- the borrowedinstrument went back with thanks, membranceof which, I feel, ought to predominate and at the performanceits musicwas playedon the duringthe restof mylife. I have consulted,like the piano by Mendelssohnhimself. In connectionwith religiousmen of ancient Greece,the Delphic oracle. the state ofthings thus revealed, it should,of course, Have I well understoodthe meaningof its response? be bornein mindthat harpswere not then so freelyAm I to believethat ofit whichappeared favourable used in orchestralmusic as now. The concertwent to my desires? Are there not deceptive oracles ? offvery well, and the " SymphonieFantastique," as The future,the futurealone, will decidethis. Be the usual, set the criticsby the ears; while,at the suc- result what it may, I must returnto France and ceedingperformance for the poor,the Offertoirefrom address finallymy farewellsto Germany,that noble Berlioz' " Requiem" stirredeven Robert Schumann second motherof all sons of harmony. But where out of his " habitualmutism," and promptedhim to shall I findwords equal to mygratitude, my admira- say, "That surpasses all." His Leipzig workdone, tion,and myregrets ? What hymncan I sing which the master fell ill; recovered,and paid his doctor's shall be worthyof her grandeurand of her glory? account, at the worthyman's request,with an auto- I only knowthat, in leaving, I incline myselfwith graph copy of the Offertoiretheme. Berlioz was respect,and say to her in heartfelttones, 'Vale, flatteredby thisincident, but angrywith himselffor Germania,alma parens!' " missing a prettyreturn. He wroteon the manu- (To becontinued.) script,"A M. le Docteur Clarus." " Carus, not Clarus," said the learned practitioner; on which Berlioz should immediatelyhave written,but did MR. PEPYS THE MUSICIAN. " Patientibus sed Clarusinter doctos." not, Carus BY FRANCIS HUEFFER. From Leipzig the masterwent to Dresden,where he met Richard Wagner, then Sub-Chapelmaster (Concludedfrom Page 293.) under Reissiger. His observationsupon the com- VII. poser of " Rienzi" and the " Flying Dutchman"- IT remainsto say a fewfinal words of a composer both then achieved-show customarydiscernment who, although little known in the annals of music,is and generosity. Berlioz heard only the second ofmore than ordinaryinterest to the Diarist,and, it part of " Rienzi," which it was then usual to play may be hoped,to the readersof these extracts. It is in two parts, and he hesitated to give an opinion perhapsscarcely necessary to add that the excellent about it. But of the "Flying Dutchman" he said: Mr. Pepys is the composer in question. Mr. Pepys "The workappears to me remarkablefor its sombre was not a conceitedperson in the vulgarsense, and, colour,and certainstormy effects perfectly indicated consideringhow much he did forthe furtheranceof by the subject; but I am boundto recognisealso an art and science-not to speak of his officialwork- abuse of the tremolo,the more to be regrettedas I he said remarkablylittle of his ownvirtues. At the had already noticed it in 'Rienzi,' and saw that it same time he was not withouta last debility,and indicatedin the authora certainindolence of spirit, his pride in his musical achievementsmay perhaps against which he cannot too carefullyguard. The be consideredas such. Ofhis grandideas forthe im- sustainedtremolo is of all orchestraleffects that which provementof musical notationand theorygenerally soonesttires; besides,it demandsno inventionfrom we have already heard something. We have also This content downloaded from 130.237.165.40 on Mon, 23 Nov 2015 08:08:16 UTC All use subject to JSTOR Terms and Conditions 352 THE MUSICAL TIMES.--JULY I, 1881. seen him at work busily "1pricking" music of his corrected and developed version of it, is not suffi- own composition. The question now arises, of what ciently clear. kind were these compositions? and to that question Another song, and one of more importance, is that this final article will be devoted. commencing " It is decreed." In composing it, Mr. Neither the number nor the scope of Mr. Pepys's Pepys again went to work with the utmost delibera- compositions is very imposing. They are, indeed, as tion. The firstreference to it is a statement entered far as one can ascertain, essentially limited to three on April 5, 1666, to the effect: " I to the office all songs, all with very quaint words. The first,and the the afternoon till late, and so home and late putting quaintest as far as its poetry is concerned, is that notes to 'It is decreed, nor shall thy fate,' etc., beginning "Gaze not on swans." As to the chro- and then to bed." But, even before putting pen to nology of its origin we are well informed. It was on paper, Mr. Pepys had been for some days pon- February 11, 1662, that Mr. Pepys went "Home to dering over the tune, or, as he himself puts it musique, my mind being full of our alteracons in the (April 18, 1666) : " In all my ridingsin the coach and garden. At night begun to compose songs, and begin intervals my mind has been full these three weeks of with ' Gaze not on Swans.' " But the course of com- setting in musique 'It is decreed.' " But in spite position with Mr. Pepys did not run as smooth as of these strenuous effortsthe work proceeded slowly; might have been desired, and friendlyaid had accord- more important business, perhaps, intervened, and inglyto be called in.
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