John Seely Hart

John Seely Hart

Ole Bull (1852)

Summary

Portrait of John Seely Hart John Seely Hart Ole Bull (1852)

But when he takes his violin, and holds it so caressingly to his ear, to catch the faint vibration of its strings, it seems as if “the angels were whispering to him.” As his fingers sweep across the strings, the angels pass into his soul, give him their tones, and look out from his eyes, with the wondrous beauty of inspiration. His motions sway to the music, like a tree in the winds; for soul and body accord. In fact, “his soul is but a harp, which an infinite breath modulates; his senses are but strings, which weave the passing air into rhythm and cadence.”
Source: Wikisource

Portrait of John Seely Hart John Seely Hart Ole Bull (1852)

If it be true, as has been said, that a person ignorant of the rules of music, who gives himself up to its influence, without knowing whence it comes, or whither it goes, experiences, more than the scientific, the passionate joy of the composer himself, in his moments of inspiration, then was I blest in my ignorance. While I listened, music was to my soul what the atmosphere is to my body; it was the breath of my inward life. I felt, more deeply than ever, that music is the highest symbol of the infinite and holy.
Source: Wikisource

Portrait of John Seely Hart John Seely Hart Ole Bull (1852)

It is not poetry, but the soul of poetry; it is not mathematics, but it is in numbers, like harmonious proportions in cast iron; it is not painting, but it shines through colours, and gives them their tone; it is not dancing, but it makes all gracefulness of motion; it is not architecture, but the stones take their places in harmony with its voice, and stand in “petrified music.” In the words of Bettina—“Every art is the body of music, which is the soul of every art; and so is music, too, the soul of love, which also answers not for its working; for it is the contact of divine with human.”
Source: Wikisource

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