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48 National Music of the World. |
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the most serene, the one who sacrificed the least of his own independence to effect, as all his sacred, and much of his secular, music remains to attest. That he had tastes in harmony tending towards mannerism, is not to be denied; but the sole trace of Hebrew influence that I can think of, in all the body of music he poured out, is in a few portions of his 'Athalie' music. These as well befitted a Jewish story as did the faery tone his 'Midsummer Night's Dream,'—as did the wild billowy heavings of the North Sea his ' Hebriden' overture—as did the 'Saltarella' finale to his symphony which we call Italian—as did the perfect yet pensive beauty, thrown into one modern forms, which pervades portions of his choral music to ' Antigone and CEdipus.' The disparaging criticism has a shade more of pertinence if it be applied to the music of Meyerbeer; that most feverish of all seekers, that most obsequious of men resolute on conciliating favour at any price, who absolutely, by this time-serving want of self-dependence, so frittered away and distracted the musical genius born within him, that many have denied its existence. The entire contrast between him and the master with whom illiberal sarcasm has tied him up, could not be better proved than by the |
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