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CORRESPONDENCE.

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CORRESPONDENCE. "MUSICAL LITERATURE." To the Editor of the OBSERVER AND EXPRESS. SIR,—It has become a fashion of late, espe- cially on Eisteddfodic platforms, to boast of the great progress music has made and is making among the Welsh people. While not wishing to disparage the fact, I am often pained to find those who aspire to the distinction of being con- sidered "our chief musicians," murdering Welsh grammar-idiom, etymology, and even ordinary orthography—whenever they pretend to write or speak to their countrymen through the medium their native language. One of the most glaring instances I have seen lately is the opening article in this month's number of Ceddor y Cymry. This phenomenon in composition appears under the general heading of Llenyddiaeth Gerddorol (Musical Literature), written by a "Mus. Bac. (Cantab)," and treating of The Countenance, together with General Movement and Appear- ance while Singing." Although many passages by this "Mus. Bac., Cantab," are quite above, or below, my comprehension, I am constrained to Convert the article into as good English as the original will allow, hoping the glaring errors in grammar, logic, and philosophy thus exposed may induce our Doctors of Music, Bachelors of Music, and other egotistic musical composers and critics, who seem desirous of dividing the realm of song between two or three despots, together with the few who will play to their hands and fawn upon them. This new Daniel come to judgment says (I hope some readers can comprehend him):— "It is a surprise to me, and I know it is to lUany, how little attention is paid. to the subject of thia article. Many of our singers, who, in I conversation, wear pleasing expressions on their countenances, but as soon as they commence singing, they stand like statues, they open their Souths as if by the help of an artistic machine, they let forth their sounds, but soon as they fall over the lips, they lose their proper effect en- tirely, because *f the self-moving (as it were) form of the mouth, as if not under the control of the will at all. Others, on the contrary, in their I desire to escape the appearance of being deadlike and inanimate, will crossdraw their faces in a tiiost painful manner for the eye to look at them. so as to make themselves objects of either ridi- cule or pity. By looking at a statue of any one of the celebrities, it will be seen that the sculp- tor had his endeavour to give an expression to such a character as will be represented by the statue, through the lines, and the style of the face; in the same way it eqn he said of the Work of the painter. Therefore, how important It is for the singer to neglect such effectual ttieans towards giving aid to produce special effect." The reader will please bear in mind that I am Either improving nor injuring the original. Horace says that a sorrowful face is suitable to words of plaintive purport; an angry face to words fail of threatening; a playful smile, to I amusing words," &c. It is of no importance how charming the voice may be, if the eye is not equally pleasod with the ear. Very quickly we shall be tired if the coun- tenance together with the movements of the singer's body do not correspond with the subject of the music we shall be listening to. An ex- pressive face is always an exhibition of a rea- sonable mind." According to the above paragraph, it is impos- sible for such scholars as Dr. Macfarren, &c., to enjoy the singing of the greatest and best artistes, because the eye of the listener cannot be equally Pleased with the ear," inasmuch as blind musi- cians cannot see the singers Was this discovery iii musical philosophy necessary in order to get he degree of Mus. Bac. (Cantab) P" In the public oratory, this is always consi- dered by the experienced orator an important t. p towards being successful; and it cannot be il. grain less important to the singer. Every knows, or, at least, he ought to know, if he music and the words dovetail together that the countenance ought not to describe sorrow, when the subject is of a pleasing character; so wIlh a cheerful face, it does not correspond with describing despair, lamentation, and simi- ar feelings. The eye has also to do with this, for the 8ake I t"8 Pro^er c°h)Ur to what we may have in The Doctors, the Mus. Bachelors, and their 0 lciue, have become enamoured of late with the word" colour (lliw), but I never understood be- fore that the proper colour to the rendering of a song together with the song, were things that We may have in hand." But our Muc. Bac." proceeds further with his profound theory of the lye iving colour to a xong in hand; he says tll;tt it is impossible to produce this with any other Movement of the body;" and he adds The ey,, expresses volumes, and gives the greatest aid to-) the singer with proper control." otwithstanding the ambiguity of the above passage, what followetli passeth all understand. at least it passeth all my little power of com- aric US^°n:—' singer who is of modest appear- 7et c^e°rful, with a moderate degree of eel-tif epende'ney on his ability, is surely the best bef te he can get in his favour when he goes T? • Public. ttORc 11S Cannot be said of a great number who are ■^i^i e68ed of talent in this direction, and yet cerifv cultivating it, as they are often seen aB- m with a great degree of con- gas,00' indeed not a little bombast, that fill TV G beings with astonishment and disgust, and wV,18 surely must be degenerating the art. sider jteiever extreme boldness is seen, we con- wi]j ]0 .as much an insult to the audience that It^ ening> as it is to the art. of „ l^ay be said of those who are really singers fore *^at seldom they are seen boasting be- att- heir fellow-singers, who, mayhap, have not Inst1Ue^ ^le same standard in knowledge as they. °Ur ;)nC' K ave be had at the present time of tice singers though they frequently prac- the "re htrge audiences, we know that seldom ^ake their appearance without there being leir bosoms some anxious feelings, about the poitance of their work at the time. arj ^ne author says that words ought to be <jp ^ed to the movement, as well as the movement th which is as correct in itself, al- ough it has caused considerable hesitation in 10 iiunds of some whose power to comprehend ould fall short of taking the idea, excepting in Its literal meaning only. There is nothing so common as the habit of looking up and down nle saying the words hearten and earth-, touch the breast when speaking of the heart; with a juimber of other actions of a most objectionable kind, which only give insult to the understanding he same as if we were to print in italic words, or Underlining words which none but a blockhead Would mistake their meaning. This is surely bo- Heath the talents of those who use it." I presume that our critical and philosophical Mus. Bac., Cantab," in the above sentence, ltulic type, or italic letters, and not italic words." 11, the next paragraph he seems to contradict himself by praising and recommending actions that he had just deprecated. He says :— A great aid to the singer is the movement of the hands. Every action is weak to some degree without the help of the hands. Do we not wish with them call, threaten, implore, fear, enquire P Cannot joy, sorrow, doubt, &c., be pourtrayed with them P Do not they urge, check, admire, ashame P So much so is the work of the hand, as tq make them in truth the most common language I Gf the human race with every nation in every country. "Many a one may be had who make sad mis- Use of the hands, when trying to aid in giving force to what they may have to express, so much So as to make it difficult to understand them with- out some additional help. Cicero says, in his orations, that a singer would not be tolerated on the stage, if he would be deficient in conduct and movement.' He says further If a mistake would be made with the hand, in an improper place to a sentence, that he would be in fully as great a danger of receiving the non-applause of the listeners, as if he would pronounce words incorrectly, and without sense.' The Grecian poets used, not only to write their words to the music, but also t. minutely control every movement and action of those who would be taking part in the 'drania;' they would have marks for every movement of the feet, or the hand the action of the head, the eye, and the body, with every outward exhibition possible, towards enjoying the expressions." It seems that the "Mus. Bac., Cantab," when writing this last paragraph, had quite forgotten his former denunciation of the action of the eye, the hand, Ac. But what about the profundity of the next paragraph ? The Spectator says that our chief instrument towards exciting the feeling of pity is the pocket handkerchief; and it needs must be said here that we would never have become aware that some persons were in distress, judging from their ap- pearance, or with what they say, had it not been for their act with the pocket handkerchief. What is to be expressed by the movement, and indi- cated by the countenance, must be consistent one with the other consistent with the use of such an instrument before it can become effective. Another unconquerable instrument is the tear, when tumbling down the cheek. An unde- niable proof that the singer has had a hold of the subject, so as to throw himself, body and spirit, to what it contains the great danger is to go to extremes with these things, and for them to be- come an obstacle sometimes instead of being a help. A considerable practice is needed for those who would qualify and adapt these movements to the expression of the countenance and the sub- ject they may have, and that in a corresponding manner. Let our singers keep in memory that this, like everything else, is possible to be mas- tered through industry and perseverance in pro- per practice." There, Mr Editor, is a specimen of the Musi- cal Literature" (faithfully translated) that the Dons of Cantab offer to Welsh readers nowadays. Space will not permit me to write any more this week. Let us wait to see what the Doctors and Bachelors of Caiitab will have to say, and then we may have a few words more. Such philosophi- cal productions have largely contributed to our curiosities." MUS. BACH,

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