A Commonplace Book of Thoughts, Memories, and Fancies.: 2nd ed.Jameson, Mrs. (Anna)
General
A Commonplace Book of Thoughts, Memories, and Fancies.: 2nd ed.
Jameson, Mrs. (Anna)
Art and literature; Commonplace books; Ethics; Quotations
Yet, as a composer, Mozart was as _objective_, as dramatic, as
Shakspeare and Raphael; Chopin, in comparison, was wholly
_subjective_,—the Byron of Music.
[Illustration]
109.
Talking once with Adelaide Kemble, after she had been singing in the
“Figaro,” she compared the music to the bosom of a full blown rose in
its voluptuous, intoxicating richness. I said that some of Mozart’s
melodies seemed to me not so much composed, but found—found on some
sunshiny day in Arcadia, among nymphs and flowers. “Yes,” she replied,
with ready and felicitous expression, “not _inventions_, but
_existences_.”
[Illustration]
110.
Old George the Third, in his blindness and madness, once insisted on
making the selection of pieces for the concert of ancient music (May,
1811),—it was soon after the death of the Princess Amelia. “The
programme included some of the finest passages in Handel’s ‘Samson,’
descriptive of blindness; the ‘Lamentation of Jephthah,’ for his
daughter; Purcel’s ‘Mad Tom,’ and closed with ‘God save the King,’ to
make sure the application of all that went before.”
[Illustration]
111.
Every one who remembers what Madlle. Rachel was seven or eight years
ago, and who sees her now (1853), will allow that she has made no
progress in any of the essential excellences of her art:—a certain proof
that she is not a great artist in the true sense of the word. She is a
finished actress, but she is nothing more, and nothing better; not
enough the artist ever to forget or conceal her art; consequently there
is a want somewhere, which a mind highly toned and of quick perceptions
feels from beginning to end. The parts in which she once excelled—the
Phêdre and the Hermione, for instance—have become formalised and hard,
like studies cast in bronze; and when she plays a new part it has no
freshness. I always go to see her whenever I can. I admire her as what
she is—the Parisian actress, practised in every trick of her _métier_. I
admire what she does, I think how well it is all _done_, and am inclined
to clap and applaud her drapery, perfect and ostentatiously studied in
every fold, just with the same feeling that I applaud herself.
Public-domain text, read in full here on John Shaqi.
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