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298 j o&anna lamoix^
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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
Additionally, when viewing full transcripts, extracted text may not be in the same order as the original document.
* I<N • «»• The Decease Papers Of Johann...
Her musical talent was here thoroughly cultivated . A musical friend who lived in her circle at Bonn gives an excellent sketch _^ -
of Johanna ' s artistic character , of which we borrow the following " lines from the " - _Augslburger Allgemeine Zeitung" •• : of December ,
1 . 858 :- _^— Franz Ries , ~ a distinguished musician in the Electoral : Court at Bonn , of which town he was a native , had as a _yoimg man ,
been the teacher of Beethoven and in later years of his own son , Ferdinand Rieswho became known in England as a brilliant
com-, poser and finished performer on the piano . Franz Hies , this musical ' Nestor of the Rhine , cultivated the genius of Johanna . In her
youth 4 Musical her Ortho musical doxy taste ' ( which was appeared severely among classic the . The stories little by tale c Gott of
fried and Johanna Kinkel , ' published in 1849 by G . T . Cotta ) pro- bably contains a portion of her own experience . She was penetrated- "
with profound respect for the old masters , those especially of thef sacred school of music . Notwithstanding her acuteness and power
6 Figuren ready and _Handelscher witty criticism Arien , . ' she Handel never ' s ridicule weighty d combinations the old fashioned , and ;
the triumphant war-march of his choruses , exactly realised her ideal . The manner in which slue , as directress of the musical unions ,
con-. ducted their performances proved her taste and skill . Subsequently , as her experience widened , the representatives of the romantic
school in music obtained full justice at her hands . To this school belong her own compositions , with the exception of her studies in
sacred music . Her full and masterly accompaniments ( not unfrequently melodies in themselves ) give her songs , which are the best
known of her compositions , a great resemblance to those of Mendelssohn . He was her personal friend and bestowed upon her many
tokens of special regard . Her own style and overflowing power of invention saved her from copying any particular master . Some of
her songs—i . e ., * Das Nachtlied von Geibel , ' ' Schlummerlied , ' and * Romische Nacht '—deserve to be generally known for their deep
pathos and melodious accompaniments . In the Necrology' which she wrote on the death of her friend Mendelssohn we find evidence
of her powers of appreciation and comprehension . But , above all , there is the success of her own pianoforte instruction . Even
accomplished and elegant performers sought to improve themselves under her guidance . Her < Letters on Pianoforte Teaching , ' written
in London , shew the judicious and systematic method on which she proceeded . As a teacher of singing she was not less admirable .
Logical and aesthetic-instruction formed a part of Frau Kinkel ' s lessons : her pupils were never allowed to commence singing until
they perfectly understood the subject . The minutest details of meaning and expression were studied , and through this method the
pupils gained a noble and true manner of singing . " Johanna Kinkel had been brought up as a Roman Catholic , and at
twenty years of age she married a man who was in every respect
inferior to her . " This match , " she justly remarks in her memoir ,
298 J O&Anna Lamoix^
298 j _o _& anna _lamoix _^
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Citation
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English Woman’s Journal (1858-1864), Jan. 1, 1859, page 298, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/ewj/issues/ewj_01011859/page/10/
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