The Sun.
London, England, 1862-12-09 00:00:00

GA RIBALDI.

The following communication has been addressed
by Garibaldi to the Hungarians

"PISA, Dec. 2.

" Hungarians—Look upon Italy as a sister, and
the Italians as ready to fight by your side for the
deliverance of your people, as you fought Lr the
deliverance of curs. How noble they were, those
valorous sons of Hungary, upon our southern fields
of battle ! Oa looking at them I more than once
exclaimed to myself—' Oh, those gallant fellows
will soon get rid of their tyrants, and in their
struggle against the despot, we will return the blood
which they are shedding for us.' Do not trouble
yourselves about the injustice of Ministers and the
ingratitude of persons holding high places ; that
people love you, and the cause of Hungary is now
the cause of the Italians. Give your hand to the
oppressed people who surround you, and hope that
God will no longer allow the martyrdom of his
creatures.—Yours for life,

" GARIBALDI."

ASYLUM OR FEMALE ORPHANS.

Yesterday a special general court of the friends
and supporters of this institution, situated in West-
minster-bridge-road, for the education and mainte-
nance of female orphans, was held at the London
Tavern—Mr. Samuel Wheeler in the chair.

It appeared from the report that since the esta-
blishment of the charity by that active police
magistrate Sir John Fielding, the brother of the
illustrious novelist, in 1758, more than 2,700 chil-
dren have been sheltered in the asylum, and pro-
vided on their leaving it with situations as domestic
servants. The present number of inmates was
stated to be 157, of whom 10 were about to leave,
having completed the period of their pupilage. The
average income, irrespective of legacies, was about
£3,500 per annum.
It being necessary to hold an election for the se-
lection of candidates to succeed those about to re-
tire, the special court was summoned for that
purpose.
The report having been adopted a poll was
opened, and at its conclusion the Chairman de-
clared the names of the successful candidates.
There were 33 competitors.

MARKETS-THIS DAY.

MUSICAL PED.INTRY.

A correspondent in a letter to the Examiner writes
The Monday popular concerts at St. James's 1111 are
worthy of commendation, but I think is is perfectly within

the scope of the fair critic to endeavour to keep them in
their true course of utility, and to point out any deviation

from good taste,

This is not to be achieved by that dull and fulsome pane-
gyric which so generally pervades the notices of concerts,
but by boldly and fairly pointing out absurdities, and how-
ever much we may be amused by Dundrearyism at the Hay -

tualket we ought to be intolerant of it when we find it in
the PfeSS. I have been led to this train of thought by
having placed in my hand a book intended to be a pro-
gramme of one of these concerts, but so perfectly in"

comprehensible to the great bulk of Concert-goers
in its obtrusive display of the jargon of the profession
that I venture to assert that not more than hllf-e-
-dozen of tho audience would understand what it
means, while the six who did understand it would consider
it a display of musical pedantry in the worst taste, meant
to delude the ignorant into a belief that they had be;n lis-
tening to sounds which only the initiated could compre-
hend and properly enjoy. When Mr. T. P. Cooke, the
melodramatic actor, was in the zenith of his popularity, he
went over to France and created a perfect furore by enact'

ing the Monster in Frankenstein, On one occasion he re'
ceived such en ovation, on being called before the curtain,
that he returned thanks in a short speech in English,
which was applauded to the echo, the people ac the same
time saying to each other, what does he say, what does be
mean? mais n'importe, c'Est charmante. The difference
between Mr. T. P. Cooke's speech and these learned essays
being that the former was charmingly, the latter are stu-
pidly incomprehensible.

- -
Every musician knows that the seizing upon a certain

number of musical terms and technical phrases, and string-
ing them together, is in no way instructive nor of the least
use to the public ; it marks the empiric, and is simplY
kind of musical Jenkinsism. Take the following as
sample. Jenkins, of the Monday popular Concerts, writes
thus of a sonata by Beethoven :

"The subject is now conducted from F to C, just as pre-
viously it was conducted from Gto D. From C (the sub-
dominant) back to G the tonic principal) is an easy pro
gression. Once again in Gwe have a brilliant develop-
ment, in unison of that feature of the leading subject,whiell
is continued in its second bar. The theme is then repeated
in G, and instead of the progression to D (the dominant of
G) we have a progression to F sharp (the dominant of B)."

Kalleebalee, Kalleebala, what the deuce does he say ?
But patience, let us try on.
"This episode (writes Jenkins) together with the richly
harmonised codetta, which, when it has modulated to G (the
dominant of the principal key of C), begins thus mysteri:
ously : The elaborately•constructed bridge (query, Wee,
bridge ?) over which we are made to pass to the prin,3llo'
subject is, perhaps, the most expressWe part of the adagi°,
it never becomes prolix, such is the variety and such the
skill with which it is wrought out."
Now behold, Jenkins rises to poetry :
"The last bars may be likened to the gradual fading a'tVei
of a prolonged and exciting dream."
Brave, bravo, Jenkins. Pro-di-gi-ous I
All this learning is to be bought for sixpence. The pe°P,l°
simply desire a bill of the performance, the names of tee,
vocal and instrumental performers, and Ilarticula.-s of villaw
they are going to sing and play; but Jenkins won't let the
p
off so easily, and insists upon showing his wonderful eructs'
tion, I have now expressed pretty plainly my contemptA,e‘,"
this obtrusive pedantry, and to prove how easy it i°
humbug the million let me venture to give you a Par):
phrase of the style upon which I have animadverted, all
recast its ideas into a readable form. As thus :
ghat
master, We find, with reference to this musical gem of the gre
master, that the alteration in the harmony by the interyeet;
tion of the chord of the ninth brings the passage boldly
the mediant, from whence, gradually sliding by the 11
seventh of the sub-mediant, it returns and resumes its nate;
ral position on the dominant of the key. The elaborate
harmony in the foregoing progression is peculiar to Nair 6;
mann, but, no doubt, would have been severely reprehentleo
by Sarti and the pedants. Again, we find in a passage fee ,
Dussek's sonata, Op. 47, that he has recourse to that beau,
tiful chord of the fifteenth, the pathetic effect of which ie
describable; we know of but one other instance in whic
it has been used by any composer of note, and that was io
the memorable occasion when Stradella converted the rci
sasins who were sent to slay him in the church, andlneloiee
them into tears of repentance, as his sympathetic 026
mingled with the glorious strains he was playing elaeffet
organ in double counterpoint with a pedal bass. The 'tag
of the chord of the fifteenth on those hardened ruffiansiy
been handed down to us as an historical fact, and we °..110f.
feel astonished that it has not been tried on the ticke',
leave men of the present day, who are commonly
Jebb's Lambs,"
Now, sir, I submit that while my musical lore is equitll6l;
as intelligible as that of Jenkins of the Monday POl
Concerts, I have interwoven aneodote with my Iwo!01 „,
gibberish. Let me claim them to be equally instructiv
but also snore amusing than my learned pundit.