Nature anil Art, February 1, 1867.] 
MUSIC AT HOME. 
57 
cover his meaning, next set about translating it in 
a fair, candid, and painstaking spirit. The minority 
who decline any vocal commonplace that happens to 
be fashionable, and turn their attention to better 
compositions, have their reward. Music is, to them, 
a repose and a consolation, which time cannot 
weaken, and they have the satisfaction of knowing 
that many of their friends rely upon their judg- 
ment, and respect them for their integrity. 
At the generality of musical parties, vocal at- 
tractions are far more potent than instrumental ; and 
in common justice a protest may be made against 
the very undignified jmsition which that friend of 
man and woman, the pianoforte, is made to accept. 
Pianoforte solos form part of the soiree scheme, but 
society is sometimes very unmannerly in reference 
to the unfortunate pianist. Conversation in the 
private boxes of theatres is not the only sign by 
which the elite proclaim their contempt for the 
iisages of common politeness ; for in ordinary way, 
the commencement of a crack-brained fantasia or 
a dreamy nocturne seems to quicken the loquacious 
powers of every one in the room. One of the Abbe 
Liszt’s acrobatic transcriptions is allowed no better 
chance of making its mark than a delicate, fanciful, 
and tender Impromptu of Chopin — “ that angel of 
melancholy.” It is useless for the presiding genius 
at the instrument to pound away at octaves and 
ar-peggios, for the odds are too great, and resignation 
becomes a virtue. The lady or gentleman friend of 
the family may adopt the word forte for his oi- 
lier motto, but the remaining guests will not be 
outdone, and take “ fortissimo ” for their watchword. 
“ Thanks,” and “ charming,” are the terms of 
acknowledgment and admiration indulged in by 
those who have not heard a note of the solo ; and 
the discomfited pianist emerges from this kind of 
social purgatory with, possibly, a settled resolve to 
“ assist ” at musical parties no more. Forbearance 
comes too late, and common consideration is entirely 
at fault when active tongues stop at the last instead 
of at the first chord of a pianoforte piece. The 
vocalists have things their own way at musical 
evenings, and those who undertake to do their best 
for Mendelssohn, Stephen Heller, or even Mr. 
Brinley [Richards, may consider themselves fortunate 
if one or two in the assembly pay the slightest 
attention to them. The intelligent “ wallflower ” 
nearest the instrument is occasionally a consolation 
to the pianist in these seasons of affliction, for it 
may happen that the masters and mistresses of 
houses devoted to soirees prefer to indulge in “ big- 
talk” about big people, while a little lady or gentle- 
man with a great soul is being sorely troubled 
by garrulous dowagers, coquettish maidens, and 
plethoric old gentlemen, with no more love for 
music than for butterfly-catching. Good example 
does not always proceed from the quarter expected, 
and the habits of those who attend musical parties 
must greatly change before the common justice 
above referred to, is rendered to the piano soloist. 
Those who in the course of a season make the 
somewhat wearying round of concerts and matinees, 
cannot fail to perceive how greatly the dignity of 
music is confided to public singers. VvLiat vocalists 
might do in the cause of the art they profess, and 
what they do, are two very different things. They 
might, and should, lead popular taste into the proper 
channels, and by their choice of songs inculcate a 
love for compositions in which something like mind 
and thought exist. They might also creditably 
employ themselves in fanning that divine spark, of 
which we see so little, but which, nevertheless, 
flickers through every page of good music ; and set 
examples worthy of themselves, as well as of in- 
calculable service to their fellows. The concert- 
room gives the law to the drawing-room, and it is 
the fault of the professional singers themselves, if 
persons really interested in music are forced to 
deplore this fact, in place of congratulating them- 
selves upon it. Artists are not ethereal beings, 
neither can they afford to postpone the making of 
hay till the sun ceases to shine ; but it is certainly 
possible for them to do more for the art, and as 
much for themselves, by following other rules than 
those at present in force. We, as a great little 
Corporal was pleased to observe, are “ a nation of 
shopkeepers,” and not averse to the turning of 
honest pence. This is an indisputable fact ; and as 
some lords of broad acres may be prevailed upon to 
sell their game to a shopkeeper, so it is just possible 
a vocalist of the highest reputation may, for a con- 
sideration, be induced to affix his or her sign manual 
to a song or ballad decidedly not of the highest 
school of art. It might, perhaps, be too bold to 
assert that any form of “ refresher ” is ever offered 
by a publisher to a vocalist, and still bolder to affirm 
that pecuniary compliments are paid by music-shop- 
keepers, and accepted by the stars of the musical 
hemisphere. The outer world may not say point- 
blank that professional singers are paid by publishers 
to force unmitigated trash down the public throat, 
but the outer world aforesaid is at perfect liberty 
to put its own interpretation upon certain practices 
now too much in vogue. 
A sentimental ballad by the fair Gabrielle 
Virginie, or by Floribel, makes a very palpable hit, 
and forthwith commercial enterprise pricks up its 
ears. More sentimental ballads from the same 
“ eagle plumes ” follow in quick succession. They 
are put prominently forward in the music-shops, 
and pertinaciously introduced, to the exclusion of 
better compositions, in the concert-room. That the 
singer with whom they are identified may have lost 
his or her voice is a matter of no moment, so that 
he or she be still sufficiently popular to take these 
things from platform to platform in London and 
the provinces, and “ make them go” at all hazards. 
Presently initials (not printed) appear upon the 
title-pages, and what do the letters L. S. D. in 
loving companionship mean 1 Why should the 
singer’s name be written and the composer’s printed ? 
If merely a graceful recognition of the musician’s 
genius be intended, there are others equally de- 
serving of the honour. 
Another unfortunate dispensation is that which 
makes some persons composers as well as vocalists, 
and gives them the opportunity of trying to 
