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Leader (1850-1860), 11th October 1851, Edition Country of 2, Page 17

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      Books On Our Table. The World And Us Jfo...

      tion is the strongest . Thus , « I will go , expressing your decided Sill , is stronger than « I « to » go merely expressing some obligation to do so . But ? you shall go , " Impressing the speaker s conviction that the obligation is stronger than " you « . ^ o Which , merely expresses his notion of the « will" of another , of which he is no sure judge . This rule applies to a great variety of cases >; but it is easy to show that there are many to which it does not apply- * , ff ; "I «* all be able to pay-you tetll be able to pay . " r « , nh * i Manner Henry von Eichenfels came to the Knowledge of r ^ ATrforfteToun ? . By C . Schmid . With a complete Vorkbulary and a Collection of familiar Sentences and Dialogues . —By Falck Lebahu . C . H . Clarke . Eatnont a Tragedy , by Goethe . The original German edition ,, with a complete Vocabulary . By Falck Lebahn . C . H . Clarke .

      We have before expressed our approbation of Mr . Falck Lebahn ' s system of at once introducing the student to a practical use of the language ; the two works named above are illustrations of the 6 ystem . Many a struggling learner , wearied with the difficulties and " dryness" of his toil , will thank Mr . Lebahn for thus placing Goethe ' s Egmont within his power . Homer ' s Iliad . Books I ., VI ., XX ., and XXIV . With a Copious Vocabulary for the Use of Schools and Colleges . By James Ferguson , M . D . Oliver and Boyd . Such books , as we remember in our days of learning Greek , are extremely useful , because they lure the student on bv interesting him . Here are four of the

      best books of the Iliad , printed , from the text of Veitch ' s Bekker , with a Vocabulary containing the meaning of every word and a translation of the more difficult passages . If Dr . Ferguson will allow us one suggestion we think his book would be immensely benefited by it , because it would then enable any student who knew the Greek alphabet to read the delightful verses of Homer . Our suggestion is the enlargement of the Vocabulary , by giving the reflected forms separately—by placing not only the present tense with its meaning , but all the tenses used in this work with their meanings . At present the learner may indeed ascertain these meanings by consulting his grammar ; but how many consult grammars ?

      O Ct. 11, 1851j W- %9***X. 973

      O CT . 11 , 1851 J W- % 9 *** X . 973

      Lord John A Chartist.—But Is Our Politic...

      Lord John a Chartist . —But is our political horizon really so cloudless ? Is there no handwriting on the wall ? Is there no little cloud rising out of the sea that bodes a common tempest ? Is Chartism , or , in other words , is pure and unmixed democracy really defunct amongst us ? It is our present duty to dispel this agreeable delusion . We believe , on the contrary , that it is making gigantic , though comparatively quiet and silent strides , and that our constitution is in . the extremest danger , or will be at

      least , some few months hence . For Chartism has made a most illustrious convert , well-nigh the most illustrious in this land , even the Prime Minister of the British Empire . Lord John Hussell has now pledged himself , alas ! to introduce a bill next session for a large increase of the suffrage , which must of necessity conduct , in our opinion , to universal suffrage , and so to unmitigated Chartism and pure democracy ; and we fear that little reasonable hope can bv entertained of successful opposition to it . — From the English Hevicw fur October .

      The " Blessed Restoration . "—Ihe public arc heginning to show aymptoms of dislike to the anniversary of what is equivocall y called the Blessed Restoration , and the retention of it in bo grave a place as the church . The objection is not new ; but it comes with new force at a time when some antics of superstition have induced the growing intelligence of the community to look at the abuses of religion in general , and to wish to see it freed from every species of scandal . People have certainly been in the habit of taking strange occasions for exfTepsing their gratitude to Heaven ; and this " Blessed testoration " is not one of the least extraordinary ; at

      all events , the retention of it as a sacred day in extraordinary , when we consider how long it is since the character of Charles and his court have been a by-word . But the cusUhu was retained for the same reason that sot it up—not to thank God , but to spite those who differed . The gusto of the gratitude was in proportion to the sufferingH of the enemy . Cromwell thanked God for the head of Charles the First on a scaffold , and Charleu the Second thnnked God for the head of Cromwell on a gibbet . The defender a of the anniversary , if they flpoke the truth , would have vindicated themselves on the plea that they did not thank God for Charles at all . To thank Him for Charles would have been to thank Him

      for Cleveland and Buckingham ; for the pension from the French king , and all sorlB of en ' rontcries and cnormiticM . Oil , no ; the decorous mon hated thoise . It was for no vice they hated him . It wan for the virtuous plcatiure of galling their neighbours , and of doing honour to Mother Church herself , who condescended lo be led buck to her sent by th <; hand of the . gay deceiver . . Now , Mother Church on that occasion wan not the right , unpupal , unpurilanical , unsophistiimtc Mother Church , old as no church at . all , and ever young as advancement , but one of her spurious representatives ; and society is awaking to the nec (! Hnity of having no more uuch inaa-UUeraderH , but weeing the beautiful , gentle , altogether Christian creature uh « he is , professing nothing that she does not believe , auul believing nothing that can oil end the wibCBt . Tilloltton , Borkeley , Whichcote , tlave had mght of her .. —Leigh Hunt ' s Tablo-Tal / c .

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      The Musician In The Crystal Palace. Of A...

      THE MUSICIAN IN THE CRYSTAL PALACE . Of all artists the Musician is most dependent upon others for his success . The means of production in other arts are exceedingly simple . The chisel of the sculptor , the burin of the engraver , the canvas and brushes of the painter , are readily obtained , and success is frequently achieved with verv inferior tools . But to the Musician a good the

      instrument is everything . Tone , production of which in its purity is an essential element of success , is , in most instances , mainly dependent on the mechanical perfection of the instrument performed upon . To this may be attributed not only the diversity of instruments in use in modern times , but also the honourable rivalry and emulation exhibited by all the principal makers in the endeavours after purity of tone and facility of

      execution . . Having already noticed the organs and pianofortes in the Exhibition , we now proceed with their nearest kin , the Harmonium . These instruments , which are improvements on the monotonous and inexpressive Seraphine , are now exhibited by Messrs . Wheatstone and Co ., of Conduit-street . The Harmonium , though possessing the power of an organ , is exceedingly portable , and of very elegant appearance . The tone is produced by four sets of vibrators , giving a compass of seven octaves , which are divided into eight half-stops , representing different instruments . There are , also , four ^ J . _ _ . . nil . i The

      stops for expression and combinations . tardy articulation and uncertainty of tone , which formed heretofore the objection to instruments of this description , are now entirely obviated by the percussion or pianoforte touch , which consists of a set of hammers so arranged as to strike the vibrating tongues at the same instant that the air is admitted , the sound being continued by a slight alternate motion of each loot . By this invention the most delicate tones can be produced , while a passage may be taken as rapidly as on a pianoforte . The Folding Harmoniums exhibited by Messrs . Wheatstone , are very elegant instruments , and are so constructed as to fold up within the space of a writing-desk .

      An Harmonium is also exhibited by Messrs . Luff and Son . The case is in oak , with gilt ornaments ; but the instrument being always locked up , we have had no opportunity of testing its capabilities . * The conduct of the foreign exhibitors shows a marked difference , in this particular , to those of our own country . They not only allow access to the instruments , but an inielligent attendant has always been at hand to afford every explanation .

      Mr . C . Dawson , 3 !) f > , Strand , exhibits a curious instrument , called the " Autophon . " The performer has only to introduce a slip of perforated board , and turn a handle , which , being unconnected with the action of the bellows , gives the power of dwelling any length of time , on a particular harmony . The chopping , which renders the barrel-organ so objectionable , is wholly removed , and in places where an organist may be inaccessible , the instrument would prove an acquisition .

      The Enharmonic organ , by Col . l ' erronct 1 homp-Hon , is a toy for mathematicians , not for practical use . We should be exceedingly sorry to see the Enharmonic theory adopted ; for it is just one of those crotchets which reduce the grasp of the musician ' s mind , leading it away from bold and grand conceptions to fritter away its genius in trumpery details . We are not disparaging Colonel Thompson ' s labours , ft is extrenialy gratifying to see a gentleman of leisure devoting himself to the improvement of ( lie arts ; but , however interesting thin question may be to him , and however it may please some persons , we are quite sure it . will do no good to the cause of music So fur from

      Colonel Thompson ' s position being correctthat there is a " growing discontent , with the thing called temperaineiiL "—we believe that people are better batisiied with i ( , than ever ; anil that by devoting themselves to improvements rather than figments and itnpraclicabililieu , manufacturers are making temperament n " thing " far more satisfactory than ever . Even those organs which poHHessed the quarter tones Imve been altered to the present mode of temperament . An JEolophon with an exceedingly nice quality of tone , and smaller ones tmitcd to taking flute or violoncello parts , are exhibited by Mr . J . Storer Piccadilly . » ' Mr . Erard , amidat u collection of harps , exhibits

      " The Prince of Wales V a richly decorated instrument . Harps are also exhibited by Mr . Bray , of Dublin , and by Mr . Jones , of Cardiff ; but we do not find any scientific improvements worthy of notice in this department . The flute controversy , which is by no means yet set satisfactorily at rest in the minds of musicians and amateurs , receives further illustration from the flutes exhibited-. Messrs . Kudall , Eose , and Co ., of Southampton-street , Strand , have a beautiful case of instruments , consisting of Carte ' * patent flutes in silver and wood , Boehm ' s patent

      Bute , and improved ordinary flutes . Ihe new patent flute , invented by Mr . Carte , is a delicious instrument , possessing the quality of a mellow and pure soprano voice . The metal flutes on this principle appear to possess a peculiar liquidity of tone , and an equality throughout the register which will at length redeem the flute from the objection which has attached to it as an orchestral instrument . On one occasion when Cherubim was about to conduct , the leader of the band was much concerned that he had but one

      flute , adding " What , sir , is worse than one flute ? " Two , sir ! " was the conductor ' s laconic reply ; and all great composers of ancient times appear to have been of his opinion . " My son you know I hate wind instruments , they are nevel in tune , " Was the observation of the celebrated Scarlatti to his pupil Hasse . Some of the notes on the old flute were too sharp , others too flat , some free and clear , others muffled . With great success has Mr . Carte applied himself to these defects , and the result is perfect equality and correctness of intonation . On the Boehm

      flute , though the difficulties and cross-fingerings were reduced , they were still an impediment to execution , even among the practised . The " crossfingerings" on Mr . Carte ' s patent are about half the number of those on the ordinary flute , and about one-third fewer than the Bcehm . The action of the little finger of the left hand is less on the new flute than upon the Bcehm by twothirds , and less than upon the ordinary flute bymore than one-half . Then , again , in ascending the 12 major keys from the lowest C to the highest B flat , the thumb moves on Boehm ' s flute fiftyfour times ; on Carte ' s only six .

      The facility of execution on the new flute is , therefore , obvious . Mr . Siccama exhibits his Diatonic flutes , in which the old system of fingering is adhered to , with numerous additions . The new Patent flute by Mr . Ward of Great Titchfield-street is an instrument deserving great praise , and an elaborate little pamphlet is published , explaining its advantages : one of the greatest appears to be the arrangement of the fingering , which runs in progressive semitones throughout the instrument . In other particulars this flute deserves all we have said of that invented by Mr . Carte . Of course their practical use can alone decide the question .

      Although the flute is such a favourite in the hands of amateurs , there are very few who produce anything approaching a pure quality of tone . In some of the best books of instruction the performer is absurdly directed to " blow into the flute " to obtain the tone . Nothing can be more erroneous . The tone is not produced by " blowing into" the mouth-hole , but by blowing more or less against its edge . The stream of breath from the small longitudinal aperture in the nearly closed

      lips of the performer should be directed across the aperture in the head of the flute , bo as to impinge on that edge of it which is opposite to the lips . This edge divides it into two streams , one of which passes away , while the lower stream enters the mouth-hole , performs a circuit in the interior of the adjacent part of the tube or bore , and is refracted to , and contends with , the main stream passing over the mouth-hole . Here , therefore , a contention is established between two streams of

      air at different angloB . Now , from the laws of action and reaction , this contention of ( he two streams ( the one striving for onward progress , and the other intercepting its efforts ) gives rise to nn alternate resistance and yielding ; and consequently that which would have been a continuous stream becomes interrupted . In consequence of the extreme elasticity of tlio air , those interruptions are rapidly iterated , and at each interruption of continuity a concussion is produced . 1 hese rapid concussions or pulsations thus created are the direct origin of sound in the flute . Mr . Ward also exhibits a new bassoon , possessing great facility of embouchure and fingering , and other improvements calculated to render the instrument a favourite with amateurs .

  • Citation
    • Leader (1850-1860), Oct. 11, 1851, page 17, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/l/issues/cld_11101851/page/17/