The tyranny of volume: When operatic chemistry yields only noise

“ To-day, we are too apt to regard clarity of thought as the chief attribute of genius. Really genius depends upon the power to call up delicate tones of feeling, of infinite subtlety of texture when compared with the ideas which we often regard as its sole endowment.
Praxiteles has been described as “He who actually blended with his marbles the emotions of the soul.” The phrase is a fitting one with which to close our review of his art. His abiding greatness depends less upon sheer beauty of line than upon the delicacy of the feelings which he made marble convey. ”

“ If, on the other hand, the actors represent some exciting or heart-stirring scene, they will naturally raise their voices, and the musicians will play louder and faster as a matter of course. In fact, when their pulse beats quicker, the rhythmical flow of their music, however rude and inartistic it may be, becomes more animated unpremeditatedly. Such is the most primitive condition, or the commencement of the development of dramatic music. Let us now examine it in a somewhat more advanced stage of cultivation. ”

“ In the “Sinfonia Domestica” the daily life of husband, wife, and baby are characterized by an orchestra of one hundred and ten players with such noisy fury and realistic prose as to give one an altogether distorted insight into what is supposedly a page from the composer’s diary. But the music descriptive of the composer who, after these dreadful domestic squabbles, retires to his workroom, lights his lamp, and begins to communicate with his muse, is so beautiful as to fill us with a deep regret that one so winged for flight in the ether should be so content to walk on the earth. ”

“ Every one, even the worst fiddler, is touched by being praised tête-ä-tête, and becomes more and more attentive and zealous; and these courtesies cost you nothing but a few words. But you know it all yourself; I only tell you because such things are often forgotten at rehearsal, and you will need the friendship and zeal of the whole orchestra when the opera is in scena. The position is then altered, and the player's attention must be much more intent. You know that they cannot all be friendly towards you. There is always a but and an if to be met with. ”

“ On the evening of our arrival Kreutzer took us to the grand opera, where a ballet of his, with pretty characteristic music: “Le carnaval de Venise,” was performed. It is observable in the singers and dancers of the grand opera, that they have been accustomed to move in a more spacious place; in this one, where the space is much more confined as compared with the opera house that has been abandoned, they appear in a much too sharp relief. Several grand operas, those of Gluck’s for instance, can no longer be represented at all, there being not even the necessary room for the whole orchestra. ”

“ During the overture, however, there seems to be occasional seasons when there is a cessation of hostilities, and a soft plaintive air is taken up by one clarionet, violincello or oboe, with which air the audience must be very much delighted, for they laugh and talk with the greatest earnestness, and never turn their eyes towards the orchestra.
And now there is a new commotion among the musicians, while arranging every thing for the more serious undertaking, the opera itself. The director goes about like a general on the eve of battle, reconnoitres his forces, and marshals them for the attack. ”

“ The large majority of chemical reactions which appeared to act victoriously along one line have been proved capable of acting as victoriously even along an exactly opposite line. Elements which utterly decline to combine directly may often be formed into comparatively stable compounds by indirect means, as, for example, in the case of chlorine and carbon; and consequently the sympathies and antipathies which it was thought to transfer from human relations to those of atoms should be laid aside until the mechanism of chemical relations is explained. ”

“ I consider it necessary to remark, that the hypothesis of the affinity or endeavour of heterogeneous atoms to enter into a common system and in harmonious motion (i.e. to form a compound molecule) must inevitably be in accordance with the hypothesis of forces including homogeneous atoms to form complex molecules (for instance, H2) , and to build up the latter into solid or liquid substances, in which the existence of an attraction between the homogeneous particles must certainly be admitted. Therefore, those forces which bring about solution must also be taken into consideration. ”

“ You must take the bad with the good, in this world, and in all things.
Ladies and gentlemen, we are going to the Opera—to her Majesty’s Theatre in the Haymarket; and by eight o’clock it behoves us all to be in our seats, if we wish to hear the first bars of the overture. It is true that if we are so fortunate as to possess, or to hire, or to have opera-boxes given to us, we do not, frequently, make our appearance in the theatre till past nine o’clock; and that, if we are lessees or renters of stalls, the ballet has frequently commenced before we condescend to occupy our seats ”

“ The opera is almost never heard any longer, but the witty overture is a favorite throughout the world; it is the only piece of music by the composer that is still often performed today. A sustained introduction leads into the jolly first theme—a fast, light little melody that sets the prevailing mood of frivolity. The heart of the overture is an expressive melody shared by basses and oboe. It grows in passion and intensity as other sections of the orchestra develop it. ”

“ There is no overture proper to the opera. After a few vigorous bars of prelude, the scene opens with a tempestuous and very striking description of a sea-storm by the orchestra, with the choruses of sailors and Cypriots rising above it and expressing alternate hope and terror. After a short recitative the storm dies away, and the choral phrases of rejoicing end in a pianissimo effect. A hurried recitative passage between Iago and Roderigo introduces a drinking scene in which Iago sings a very original and expressive brindisi with rollicking responses by the chorus. ”

“ The oriental background of the opera permeates the atmosphere of the overture. A forceful introduction for full orchestra and arpeggio figures in harp lead to a skipping and delicate tune for first violins against plucked cello strings. The flutes and clarinets respond with a subsidiary thought. A crescendo brings on a strong subject for the violins against a loud accompaniment. After a change of tempo, another light, graceful melody is given by solo flute and oboes. ”

“ I have interesting matter, truly. The opera was called 'Emancipation; or, the Modern Orpheus.' The overture took in almost all of us, it was so well put together; but I fancy you would not have approved of it, somehow. The theatre here is very small, and was quite filled by our own selves and a few artists,—not one amateur, for it was produced in rehearsal. The scenery was very good, the story rambling and fiendish; but we thought it fairy-like. There was a perfect hit in the hero, who was a monstrous fiddle-player, to represent whom he had Paganini, as he had not to speak a word. ”

“ There is no groping in the dark such as might have been expected in the case of a pathfinder. Weber is pointing the way to thitherto undreamed-of possibilities and means, yet his hand is steady, his judgment all but unerring. The eloquence and power of the orchestra as an expositor of the innermost sentiments of the drama are known to him. Witness his use of the band in the largo episode of the overture, designed to accompany a picture which Weber wished to have disclosed during the music for the purpose of giving coherency and intelligibility to the hopelessly defective book of the opera. ”

“ One musician is not only a player, but also a singer; another never opens his mouth to sing—nay, not even to laugh. The former, besides being able to compose, to sing, to play, and to dance, acts a principal character on the stage; the latter, with his quantity of musical scores, has taken care not to appear upon the boards of the theatre. Indeed, he would have cut a funny figure had he done so. Here, some one who occupies himself with music, and also with various sciences, in a superior manner, works at the same time for kings and princes ”

“ You say people doubted whether the second act would come up to the first. This doubt being relieved, few will have misgivings for the third act. But I will wager my head that there will be some who will doubt whether the music will be as effective in the theatre as in a room; and in that case the greatest zeal and goodwill are necessary on the part of the orchestra.
But the opera was not ready yet; there was to be no ballet, only a divertissement fitting into the plot, and this Mozart was, as he expressed it, to have the honour of composing (December 30, 1780) . ”

“ At a performance in concert a great deal is lost to many people, especially to those whose imagination cannot function without the stimulus of scenery, costumes, and dramatic action; but at that time this was the only opportunity for American music lovers, who could not make the long trip to Bayreuth, to become acquainted with the music. ”

“ To see and hear gentlemen in dress coats, white cravats, yellow gloves, holding music books before them, or ladies in modern, often extravagant, toilets singing the parts of the grand, imposing figures of the Old and New Testaments has always disturbed me to such a degree that I could never attain to pure enjoyment. Involuntarily I felt and thought how much grander, more impressive, vivid, and true would be all that I had experienced in the concert-room if represented on the stage with costumes, decorations, and full action. ”

“ A number of droll circumstances and situations arise, which we have not space to dwell on: suffice it to say, that it is a lively operetta of the Abon Hassan species; and, like that piece, has an admirable part for Placie, which he makes the most of; indeed, he is extremely droll, and kept the house in constant laughter. The overture is composed by Fétis, a person who stands high as a critic in Paris, and editor of a musical journal. Mr. Horn has likewise used the chorus Tacete non temete, by Mercadante, as found in his opera Le Nonne de Gamache. ”

“ I went in – after making every possible noise in the kitchen, short of pushing over the stove – but I don’t believe they heard a sound. They were sitting at either end of the couch, looking at each other as if some question had been asked, or was in the air, and every vestige of embarrassment was gone. Daisy’s face was smeared with tears, and when I came in she jumped up and began wiping at it with her handkerchief before a mirror. But there was a change in Gatsby that was simply confounding. He literally glowed; ”

“ When vice loses half its grossness, it loses all its deformity. Humanity used to be talked of when our friends were torn to pieces, but now there is such a philosophical perfume thrown over the whole operation, that we are irresistibly attracted. How much we owe to such men as Mr. Churchill, who make us feel detraction virtue!”
He bowed low as Lady Davenant, summoned by her lord, left the room, and there he stood as one condemned but not penitent. ”

“ His orchestra had thirty-nine instruments, and the effect of the whole was to open a new world of music. At once opera-writing became the fashion, and in fifty years all great Italian cities had their schools of opera, and France had adopted the same ideas. The subjects of all were classical, allegorical, and pastoral, and to the recitative, alone, were added songs and arias, and the overture was developed. Some clubs might take for a year's work the subject of Italy of this period, [Pg 102] adding the study of art and literature to that of music. ”

“ Probably the air was founded on the pentatonic scale, which is common in the music of the Chinese and Javanese, and of which traces are to be found in the Scotch popular tunes.
"The voices of the women are shrill and warbling, but some of their cadences were not without melody. The instruments at each pause gave a few short flourishes, till [Pg 157] the music gradually increased in loudness by the swelling and deafening gong. Knowing nothing of the language, we were of course as ignorant of the subject as the majority of an English audience is of an Italian opera." ”

“ Some insist upon carrying weapons in their hands while dancing; others desire to be beaten; or they beat themselves; and so on. The musical instruments formerly used in playing the Tarantella are the violin, violoncello, guitar, flute, organ, lute, cither, shalm, and tambourine. Some of these instruments have now become obsolete; nor are the others always used in combination, but more frequently singly.
These statements were collected by Vergari from the observations of the most intelligent physicians and surgeons in Apulia, and other districts of the former kingdom of Naples. ”

“ It is evident that in exploding with the development of heat (that is, in decomposing, not with the absorption of energy, as is generally the case, but with the evolution of energy) the nitro-compounds form stores of energy which are easily set free, and that consequently their elements occur in a state of particularly energetic motion, which is especially strong in the group NO2: this group is common to all nitro-compounds, and all the oxygen compounds of nitrogen are unstable, easily decomposable, and (Note 29) absorb heat in their formation. ”

“ If guncotton be ignited in an open space, it burns quietly; but if fulminating mercury be exploded by the side of it, the decomposition of the guncotton is effected instantaneously, and it then shatters the objects upon which it lies, so rapid is the decomposition. ”

“ Hydrogen is lighter than other elements and its atoms more mobile; it subjects itself more frequently and easily to reactions; but it is not it alone which reacts, it is even less liable to attack than other elements. It participates in exceedingly diverse reactions, not indeed because the hydrogen itself varies, but because one atom of it puts itself forward, another is hidden, one is united with carbon, another feebly held by sulphur, one stands or moves in the neighbourhood of oxygen, another is joined to a hydrocarbon. ”

“ It is evident that the consideration relates to the statical position of atoms and molecules and not to their kinetic relations. The atoms of the structural type are like the lifeless pieces on a chess board: they are endowed but with the voices of living beings, and are not those living beings themselves; acting, indeed, according to laws, yet each possessed of a store of energy which, in the present state of our knowledge, must be taken into account. ”