"The Two Margarets", and "John Frazer". Two Ballads
1888; Volume: 29; Issue: 539 Linguagem: Inglês
10.2307/3359875
ISSN2397-5326
Autores Tópico(s)Irish and British Studies
Resumo5 5 5 5 5 5 5 musical books of Luscinius?Mersenne, Kircher, Praetorius and others which contain pictures of musical instruments are scarce, and are gladly purchased for their rarity and historical value.The present book towers above all for its arttstic merit, and as only a limited number is printed, it will be prized by those who nos^7 possess it, and srill become as eagerly sought after in time to come when in the ordinary course of things copies will come upon the market._ tor musica reac ers the worth of the book does not stand entirely upon the attraction of the pictures, beautiful as they are.The descriptive introduction, which shows the relative dependence of the specimens contained in the nvork in their historical and artistic aspect, as well as the details of each group, harre been furnished by Mr. A. J. Hipkins, F.S.A.This is a guarantee that the work has been ably and completely done.The geniality of his style of writing will delight those who read the book for the information it presents while the student of music who can thoroughly appreciate the immense research and labour involved will be grateful for the pleasant and trustworthy information given upon a subject of which the writer is a perfect master.Enough is said to satisfy all reasonable curlostty.The references are sufflgestive rather than exhaustive, yet the reader is placed upon the right track, should he desire to prosecute his enquiries further.Mr. Hipkins speaks of the peculiar qualities of tone of some of the instruments, such as is found in the old spinets harpsichords, and certain of the disused svood-wind instruments.Would it not be possible to restore such tones ?What can be more delightful or satisfying in its way than the quality of sound produced from an old harpsichord ?The modern pianoforte with all its charms has nothing like the soothing character of the old string tone, e^7en though it was once sneeringly described as " a scratch with a sound at the end of it."Such a " scratch " was all that musicians Iike Scarlatti, Bach, Handel, and the composers of all Europe in the early part of the seventeenth century could command.For such effects much of their music nvas written.Even now, with ears accustomed to the fuller, richer tones of a noble Broadwood grand, the music svritten for, and played upon a harpsichord, possesses full meaning, and inspires the hearer as vell as the player vith great wonder at the genius of the men who could deal so deftly ^oith the means at command.If the spirit of the age is most in favour of magnified tone the hope for the restoration of bygone mildness of sound may be chimerical.But there is one more lesson which Mr. Hipkins offers, which may lDe taken to heart and be made the incentive to future effort.That is it which is found in the charm of the decorations and designs which many of the old instruments exhibit.The " beauty of form and tastefulness of adornment xvhich still make them, even when their sound is obscured or forgotten, a source of asthetic delight," might certainly inspire the makers of modern instruments with a svish to emulate, if not to surpass, the old makers of " musical instruments," so that their labours, like those of the artists whose works adorn the pages of this noble book, may become the admiration and deliCht of posterity as well as a source of pleasure to those for whom they were designed.Dai?afy Dilties; or, Old Narsery Rhymes with New T?Xwzes.By Frank J. Allen.[Novello, Ewer and Co.
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