Browning's England Part 51

Knowledge obtained Power praise.

Had Good been manifest, Broke out in cloudless blaze, Unchequered as unrepressed, In all things Good at best--

Then praise--all praise, no blame-- Had hailed the perfection. No!

As Power's display, the same Be Good's--praise forth shall flow Unisonous in acclaim!

Even as the world its life, So have I lived my own-- Power seen with Love at strife, That sure, this dimly shown, --Good rare and evil rife.

Whereof the effect be--faith That, some far day, were found Ripeness in things now rathe, Wrong righted, each chain unbound, Renewal born out of scathe.

Why faith--but to lift the load, To leaven the lump, where lies Mind prostrate through knowledge owed To the loveless Power it tries To withstand, how vain! In flowed

Ever resistless fact: No more than the pa.s.sive clay Disputes the potter's act, Could the whelmed mind disobey Knowledge the cataract.

But, perfect in every part, Has the potter's moulded shape, Leap of man's quickened heart, Throe of his thought's escape, Stings of his soul which dart

Through the barrier of flesh, till keen She climbs from the calm and clear, Through turbidity all between, From the known to the unknown here, Heaven's "Shall be," from Earth's "Has been"?

Then life is--to wake not sleep, Rise and not rest, but press From earth's level where blindly creep Things perfected, more or less, To the heaven's height, far and steep,

Where, amid what strifes and storms May wait the adventurous quest, Power is Love--transports, transforms Who aspired from worst to best, Sought the soul's world, spurned the worms'.

I have faith such end shall be: From the first, Power was--I knew.

Life has made clear to me That, strive but for closer view, Love were as plain to see.

When see? When there dawns a day, If not on the homely earth, Then yonder, worlds away, Where the strange and new have birth, And Power comes full in play.

CHAPTER VI

ART CRITICISM INSPIRED BY THE ENGLISH MUSICIAN, AVISON

In the "Parleying" "With Charles Avison," Browning plunges into a discussion of the problem of the ephemeralness of musical expression.

He hits upon Avison to have his colloquy with because a march by this musician came into his head, and the march came into his head for no better reason than that it was the month of March. Some interest would attach to Avison if it were only for the reason that he was organist of the Church of St. Nicholas in Newcastle-upon-Tyne. In the earliest accounts St. Nicholas was styled simply, "The Church of Newcastle-upon-Tyne," but in 1785 it became a Cathedral. This was after Avison's death in 1770. All we know about the organ upon which Avison performed is found in a curious old history of Newcastle by Brand. "I have found," he writes, "no account of any organ in this church during the times of popery though it is very probable there has been one. About the year 1676, the corporation of Newcastle contributed 300 towards the erection of the present organ. They added a trumpet stop to it June 22d, 1699."

The year that Avison was born, 1710, it is recorded further that "the back front of this organ was finished which cost the said corporation 200 together with the expense of cleaning and repairing the whole instrument."

June 26, 1749, the common council of Newcastle ordered a sweet stop to be added to the organ. This was after Avison became organist, his appointment to that post having been in 1736. So we know that he at least had a "trumpet stop" and a "sweet stop," with which to embellish his organ playing.

The church is especially distinguished for the number and beauty of its chantries, and any who have a taste for examining armorial bearings will find two good-sized volumes devoted to a description of those in this church, by Richardson. Equal distinction attaches to the church owing to the beauty of its steeple, which has been called the pride and glory of the Northern Hemisphere. According to the enthusiastic Richardson it is justly esteemed on account of its peculiar excellency of design and delicacy of execution one of the finest specimens of architectural beauty in Europe. This steeple is as conspicuous a feature of Newcastle as the State House Dome is of Boston, situated, as it is, almost in the center of the town. Richardson gives the following minute description of this marvel. "It consists of a square tower forty feet in width, having great and small turrets with pinnacles at the angles and center of each front tower. From the four turrets at the angles spring two arches, which meet in an intersecting direction, and bear on their center an efficient perforated lanthorne, surmounted by a tall and beautiful spire: the angles of the lanthorne have pinnacles similar to those on the turrets, and the whole of the pinnacles, being twelve in number, and the spire, are ornamented with crockets and vanes."

There is a stirring tradition in regard to this structure related by Bourne to the effect that in the time of the Civil Wars, when the Scots had besieged the town for several weeks, and were still as far as at first from taking it, the general sent a messenger to the mayor of the town, and demanded the keys, and the delivering up of the town, or he would immediately demolish the steeple of St. Nicholas. The mayor and aldermen upon hearing this, immediately ordered a certain number of the chiefest of the Scottish prisoners to be carried up to the top of the tower, the place below the lanthorne and there confined. After this, they returned the general an answer to this purpose,--that they would upon no terms deliver up the town, but would to the last moment defend it: that the steeple of St. Nicholas was indeed a beautiful and magnificent piece of architecture, and one of the great ornaments of the town; but yet should be blown into atoms before ransomed at such a rate: that, however, if it was to fall, it should not fall alone, that the same moment he destroyed the beautiful structure he should bathe his hands in the blood of his countrymen who were placed there on purpose either to preserve it from ruin or to die along with it. This message had the desired effect. The men were there kept prisoners during the whole time of the siege and not so much as one gun fired against it.

Avison, however, had other claims to distinction, besides being organist of this ancient church. He was a composer, and was remembered by one of his airs, at least, into the nineteenth century, namely "Sound the Loud Timbrel." He appears not to be remembered, however, by his concertos, of which he published no less than five sets for a full band of stringed instruments, nor by his quartets and trios, and two sets of sonatas for the harpsichord and two violins. All we have to depend on now as to the quality of his music are the strictures of a certain Dr. Hayes, an Oxford Professor, who points out many errors against the rules of composition in the works of Avison, whence he infers that his skill in music is not very profound, and the somewhat more appreciative remarks of Hawkins who says "The music of Avison is light and elegant, but it wants originality, a necessary consequence of his too close attachment to the style of Geminiani which in a few particulars only he was able to imitate."

Geminiani was a celebrated violin player and composer of the day, who had come to England from Italy. He is said to have held his pupil, Avison, in high esteem and to have paid him a visit at Newcastle in 1760. Avison's early education was gained in Italy; and in addition to his musical attainments he was a scholar and a man of some literary acquirements. It is not surprising, considering all these educational advantages that he really made something of a stir upon the publication of his "small book," as Browning calls it, with, we may add, its "large t.i.tle."

AN ESSAY ON MUSICAL EXPRESSION BY CHARLES AVISON _Organist_ in NEWCASTLE With ALTERATIONS and Large ADDITIONS

To which is added, A LETTER to the AUTHOR concerning the Music of the ANCIENTS and some Pa.s.sages in CLa.s.sIC WRITERS relating to the Subject.

LIKEWISE Mr. AVISON'S REPLY to the Author of _Remarks on the Essay on MUSICAL EXPRESSION_ In a Letter from Mr. _Avison_ to his Friend in _London_

THE THIRD EDITION LONDON Printed for LOCKYER DAVIS, in _Holborn_.

Printer to the ROYAL SOCIETY.

MDCCLXXV.

The author of the "Remarks on the Essay on Musical Expression" was the aforementioned Dr. W. Hayes, and although the learned doctor's pamphlet seems to have died a natural death, some idea of its strictures may be gained from Avison's reply. The criticisms are rather too technical to be of interest to the general reader, but one is given here to show how gentlemanly a temper Mr. Avison possessed when he was under fire. His reply runs "His first critique, and, I think, his masterpiece, contains many circ.u.mstantial, but false and virulent remarks on the first allegro of these concertos, to which he supposes I would give the name of _fugue_. Be it just what he pleases to call it I shall not defend what the public is already in possession of, the public being the most proper judge. I shall only here observe, that our critic has wilfully, or ignorantly, confounded the terms _fugue_ and _imitation_, which latter is by no means subject to the same laws with the former.

[Ill.u.s.tration: Handel]

"Had I observed the method of answering the _accidental subjects_ in this _allegro_, as laid down by our critic in his remarks, they must have produced most shocking effects; which, though this mechanic in music, would, perhaps, have approved, yet better judges might, in reality, have imagined I had known no other art than that of the spruzzarino." There is a nice independence about this that would indicate Mr. Avison to be at least an aspirant in the right direction in musical composition. His criticism of Handel, too, at a time when the world was divided between enthusiasm for Handel and enthusiasm for Buononcini, shows a remarkably just and penetrating estimate of this great genius.

"Mr. Handel is, in music, what his own Dryden was in poetry; nervous, exalted, and harmonious; but voluminous, and, consequently, not always correct. Their abilities equal to every thing; their execution frequently inferior. Born with genius capable of _soaring the boldest flights_; they have sometimes, to suit the vitiated taste of the age they lived in, _descended to the lowest_. Yet, as both their excellencies are infinitely more numerous than their deficiencies, so both their characters will devolve to latest posterity, not as models of perfection, yet glorious examples of those amazing powers that actuate the human soul."

On the whole, Mr. Avison's "little book" on Musical Expression is eminently sensible as to the matter and very agreeable in style. He hits off well, for example, the difference between "musical expression" and imitation.

"As dissonances and shocking sounds cannot be called Musical Expression, so neither do I think, can mere imitation of several other things be ent.i.tled to this name, which, however, among the generality of mankind hath often obtained it. Thus, the gradual rising or falling of the notes in a long succession is often used to denote ascent or descent; broken intervals, to denote an interrupted motion; a number of quick divisions, to describe swiftness or flying; sounds resembling laughter, to describe laughter; with a number of other contrivances of a parallel kind, which it is needless here to mention. Now all these I should chuse to style imitation, rather than expression; because it seems to me, that their tendency is rather to fix the hearer's attention on the similitude between the sounds and the things which they describe, and thereby to excite a reflex act of the understanding, than to affect the heart and raise the pa.s.sions of the soul.

"This distinction seems more worthy our notice at present, because some very eminent composers have attached themselves chiefly to the method here mentioned; and seem to think they have exhausted all the depths of expression, by a dextrous imitation of the meaning of a few particular words, that occur in the hymns or songs which they set to music. Thus, were one of these gentlemen to express the following words of _Milton_,

--Their songs Divide the night, and lift our thoughts to heav'n:

it is highly probable, that upon the word _divide_, he would run a _division_ of half a dozen bars; and on the subsequent part of the sentence, he would not think he had done the poet justice, or _risen_ to that _height_ of sublimity which he ought to express, till he had climbed up to the very top of his instrument, or at least as far as the human voice could follow him. And this would pa.s.s with a great part of mankind for musical expression; instead of that n.o.ble mixture of solemn airs and various harmony, which indeed elevates our thoughts, and gives that exquisite pleasure, which none but true lovers of harmony can feel." What Avison calls "musical expression," we call to-day "content."

And thus Avison "tenders evidence that music in his day as much absorbed heart and soul then as Wagner's music now." It is not unlikely that this very pa.s.sage may have started Browning off on his argumentative way concerning the question: how lasting and how fundamental are the powers of musical expression.

The poet's memory goes back a hundred years only to reach "The bands-man Avison whose little book and large tune had led him the long way from to-day."

CHARLES AVISON

And to-day's music-manufacture,--Brahms, Wagner, Dvorak, Liszt,--to where--trumpets, shawms, Show yourselves joyful!--Handel reigns--supreme?

By no means! Buononcini's work is theme For fit laudation of the impartial few: (We stand in England, mind you!) Fas.h.i.+on too Favors Geminiani--of those choice Concertos: nor there wants a certain voice Raised in thy favor likewise, famed Pepusch Dear to our great-grandfathers! In a bush Of Doctor's wig, they prized thee timing beats While Greenway trilled "Alexis." Such were feats Of music in thy day--dispute who list-- Avison, of Newcastle organist!

V

And here's your music all alive once more-- As once it was alive, at least: just so The figured worthies of a waxwork-show Attest--such people, years and years ago, Looked thus when outside death had life below, --Could say "We are now," not "We were of yore,"

--"Feel how our pulses leap!" and not "Explore-- Explain why quietude has settled o'er Surface once all-awork!" Ay, such a "Suite"

Roused heart to rapture, such a "Fugue" would catch Soul heavenwards up, when time was: why attach Blame to exhausted faultlessness, no match For fresh achievement? Feat once--ever feat!

How can completion grow still more complete?

Hear Avison! He tenders evidence That music in his day as much absorbed Heart and soul then as Wagner's music now.

Perfect from center to circ.u.mference-- Orbed to the full can be but fully orbed: And yet--and yet--whence comes it that "O Thou"-- Sighed by the soul at eve to Hesperus-- Will not again take wing and fly away (Since fatal Wagner fixed it fast for us) In some unmodulated minor? Nay, Even by Handel's help!

Having stated the problem that confronts him, namely, the change of fas.h.i.+on in music, the poet boldly goes on to declare that there is no truer truth obtainable by man than comes of music, because it does give direct expression to the moods of the soul, yet there is a hitch that balks her of full triumph, namely the musical form in which these moods are expressed does not stay fixed. This statement is enriched by a digression upon the meaning of the soul.