_To the Editor of the Bath Chronicle._
Sir,--Personally it occurs to me that in a public sense it may not
appear to be out of due place nor uninstructive to the readers of the
pages of the "Bath Chronicle," if they were allowed to pursue quietly
the "meditation" which I have thought fit, with, some amount of
feasible excuse, to set in fair order, concerning the apotheosis of
an evening service in musical form, from the versatile pen of Mr.
Berthold Tours, in the key of D, which, with no inconsiderable _éclat_
was in the sequence of events, produced at St. Raphael's Church,
Bristol, on Sunday, the 12th inst. A companion to the graceful evening
service or setting of the appointed Canticles in F major, which be
it observed, is the most popular, and from a purely suitable point of
view, most successful of modern evening services, it marks a phase
of expression, at once ethereal and predilectious. Produced at a
more mature period, and under certainly different circumstances, it
confirms, honours indeed, the fecundity of the age of its inception,
namely, the era of British Æstheticism.
Commenting upon its attributes discursively, it was at the period of
its original initiation in London my privilege to be present; nor
must I omit to graphically allude to my belief, not choosing to be
otherwise than candid with my first impressions, that I had never
listened to anything which so rapturously illustrated the spirit of
those soul-elevating times; even to experiencing a passing pang, since
the perplexing principles or established secrets of decorative or
Æsthetic art, as understood by me, had so curiously been cajoled or
interwoven into the very sanctuary of Classic Music. Every phrase
appeared eloquently to illustrate and tell aloud the great burst
of passionate fervour, felt to be with serious activity glistening,
sparkling around, in painting and in decorative device. It was, as
it were the unition, the brazing together of these serious impinging
forces, and re-fusing them with fresher melody, newer vital ecstasy.
(Sir) Edward Burne Jones, Oscar Wilde and W.S. Gilbert had all not
dubiously striven nor for shallow effect. They had, though labouring
incessantly apart, built up a ghost which was in no fear of glimmering
or dissolution; and now Berthold Tours, spright of another element of
sentimental, I should say continental mythical music, upon the scene
springs with his amazing apparatus of staves and octaves, aiding the
_chef-de-musique_ and his trained voices to make sound within the
very presence chamber of Divine Worship this phantasmagoria of Teuton
intellectualism!
Be it understood that this Classic exercise is not to be ceremoniously
regarded, nor classified, nor by me upheld as an example of Creative
Art, but as the brightest pledge of homage æsthetically offered to a
vital movement, essentially fundamental and wise; furthermore, must
be allowed to occupy a position subsidiary to the works of the artists
enumerated who evidently inspired it; unique and decidedly without an
exact parallel in the inspired annals of modern phonetic literature;
prefering at a more intimate examination to classify with it Professor
C. Villiers Stanford's setting of the Te Deum and Jubilate in
B flat--works, easily gracing the "Summus Mons" of co-spiritual
achievement; that impulse which selects, confirms, and then unites all
the fair fibres of Art.
Berthold Tours personally possessed the evident characteristics of a
musician. No doubt could be entertained whatsoever, by any who once
saw him or his large meditative form, that music was his calling. The
duties inherent to the post of "music taster" to the house of Novello,
Ewer, & Co., he hopefully acquitted for many years, succeeding to
that office on the retirement of my once, in a choral sense, esteemed
conductor, Sir Joseph Barnby. The pianoforte accompaniment to many
of the classical works of continental composers he transcribed and
carefully arranged for his employers, whose confidence he completely
enjoyed, whether in addressing them on matters relative to prospective
treaties with contemporary composers, or in regard to works tendered
to them for publication, or on recommending them upon the pianoforte
arrangement of orchestral scores. Personally, I participated in the
satisfaction of frequently dining in his company. Amongst the
personal memories which I might in passing allude to, being my
entire deferential attitude towards him of reverence, ere ever being
acquainted with his patronymics, although already largely conversant
with, and a sincere admirer of his music. To have been spoken amiably
to by this distinguished "virtuoso" is a not unnoteworthy reminiscence
to be recorded. He evinced much concern in the early rehearsals of
his choral works; being individually present at the moment of their
preparation; but it not infrequently appeared to me ambiguous, that
unless accounted for by the responsibility of vast calls, he with
frequency turned his back upon the musical conservatories wherein
his choral works were performed; a custom due evidently to his innate
modesty, and perhaps to his susceptibilities as a foreigner. Berthold
Tours was a famous violinist of the first class, besides being a
recognised composer of music, and edited with Natalia Macfarren a
superb edition of the Italian, the German, and the French Operas.