A Farewell Ode, on the Retirement of the Rev. F. Fanshawe, M. A., from the Head Mastership of Bedford Grammar School

C. G. Wilkinson, P. H. Diemer
1875 The Musical Times and Singing Class Circular  
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more » ... he bass part with the pedals, an 8th below the left hand z so as to have the passage sounding in three several octaves S whicb is here conspicuous. A short Anthem by Attwood and an Introit by J. B. Calkin are harmonious in character and nicely arranged. A Melody with one of its variations from a pianoforte piece by C. M. von Weber, follows. An o Abendlied by F. Spindler is divertingly overmarked with S lines to indicate the progression of the parts, which, if they succeed in diverting the reader's attention from the successions of 8ths and sths, cannot disguise their effect to * the hearer. The charming Allegretto in E, from the Nuits L Blanches, by Stephen Heller, comes out well in its translation for the organ. A Song of Sacrifice, by Beethoven is welcome as a little known specimen of the master. A delicious movement from Schumann's Album fiir die Jugend is welcome as one of the best known pieces in that delightful work. This is followed by the " Hosanna," from Macfarren's 52 Introits. One of Beethovents settings of the poems of Gellert, " The praise of God," will be another novelty to many who hear it. Mendelssohn's charming songs without words in E is far more appropriate to the organ than it is to Lyte's poem, "Abide svith me," to which it has been irreverently adapted-fitted we cannot say-and is sometimes sung. The last piece is a Prelude and Fugue by Dr. Maurice Greene, the venerated Cathedral composer, which is not a most favourable specimen of his power. The reprinting of this with one flat too little in the signature, according to a custom that is fortunately obsolete, is as injudicious as it would be to republish Shakspere with the antiquated orthography; it perplexes the reader who is accustomed to forms now in use, and, if we mistake not, may have misled the editor to omit or to insert some accidentals where the propriety of D natural or D flat is doubtful. The practical difficulty of all these arrangements is within the reach of every player of moderate attainments. Orgag Picces for Church se. Sets I and 2, by Boyton Smith. THESE pieces show the author to be a strong admirer of M. Gounod, or of the style of harmony, at least, which that composer has brought into great fashion with our young musicians. A sweetness of sound prevails in them, which, if it cloy some ears, is most tasteful to others-and from this we argue a warm reception to the music of Mr. Boyton Smith from a large circle of players and hearers. We cannot greatly praise the compositions for the interest or for the striking character of their ideas. The first series opens with a " Pastorale," in which one progression, of unluckily more than one occurrence, disturbs the generally honeyed manner of the whole, where the upper melody has G F D, while an under part holds SG, both being approached from A * the difficulty of reading this un-euphonious progression would be far lessened were the chromatic note called by its true name of pA. Then there is an '; Andante?" which flows smoothly throughout. After this comes a " three-part melody,s' the title at least of which is a puzzle to the curious since a melody is what may be presented in one single part, and the combination of three melodies constitutes harmony; it is, however, a very pleas^ ing little piece of music, less semitonic than some of the others, and charmingly melodious in all its three partso There follows a "Subject from Heller (harmonized and arranged as an Introductory Voluntary) " which is the piece in A, one of the delicious pianoforte trifles known under the collective name of we believe, " Nuits Blanches," wit}z luckily no deviation from the original harmony, but with a new distribution of this to fit it better for the organ, and with an added prolongation of the close; it will agreeably remind the hearer of drawing-room associations, and of the delightful wanderings of Stephen Heller's thoughts during his ' Sleepless Nights." The first piece in the second set " Cantabile," has less of a vocal character than others depending more on the accompaniment than on the top part for its interest. The " Communion " is tuneful, and one of the most attractive of the whole. A " Prelude " concludes the series, and will leave those, who relish its style with a wish for the third and fourth sets, whach are promised on the wrapper.
doi:10.2307/3352258 fatcat:ds4qlskm5jfqdiaklpb3kv5d6q