Lexington union., 1840-12-26
LANGUAGE OF MUSIC.

LANGUAGE OF MUSIC.
We feel very much indebted to a mu.
slcal correspondent for suggestions and
shall hereafter devote space in our paper
to musical intelligence. The publication
Of select piecies Of music, has, we are
glad to find, enlisted host of new friends
and TO cater still farther to their wishes is
not only their duty, but pleasure.
Another correspondent sends us the fol.
lowing. We need hardly say, after stat
ing that we are personally acquainted with
Mr.. Heinrich, that respect for the man.
as we'll as admiration for his talents and
enthusiasm, give us high pleasure in the
opportunity Of making the following publ
cation -
The LANGUAGE OF Music. - Nature has
given to all men the ability to express ar
dent feeling, and peculiar emotion, by
tones peculiarly modified. The accents
of sorrow and grief, are not mistaken for
those Of exutation and joy, by any human
being nor, do the bold and challenging
measures of a martial air, or Of war song.
enkindle emotions of a like nature with
those, which are awakened by a +" paste
rate or lullaby. Ii is evident, therefore,
that some cllsses Of emotions may find an
Ineligible utterauce in tones, independ-
emily of words and it is also true, that
many degrees, both Of plea surabe and OF
painful emotion, can be definitely express.
ed, and clearly understood, by .hose whom
, chance, accident, or misfortune, may have
brought together without other common
iusrlUtiyu, f~-., ;n,proso 'shct, nature
giyes them. This distinguishing charac-
teristic, is made manifest in their time
! their quaIty-and their accent. Hence,
they form mategal for musical language,
definite, expressive, and comprehensive
And, although in this strict original sense,
the language of music is limited yet,
r resting as it does upon this deep laid basis
1 Of nature, it has, like other languages, in
. its progress and Improvement, come al
length to discourse inteIigbly, OF the
b highest flights Of human fancy, and OF The
Z lowest depths of sound, appreciable by the
o human ear. In other words, to speak dis
dnctly, in bright, sparkling, and polished
Y nhrase. Of the most airy amaglnIngs O
: man aud to utter in forcibIe, impassloned
n and well constructed sentences, his mos
,r nro(ound musical thoughts. 1t is not yer!
= surprising, however, that this language 0
, music, which is being constatly improved
l. and extended by the efforts of its nuneroa
n votaries, should, in the hands Of gifted IN
i diyiduals, be able to outstrlp its rehnemen
,e and hiuh attainment, the immediate com
re- nrehensjon of the mass of minds; and es
0 pecialy so, as nature occasionally strike
IA off a genius to please herself, who, leay'n
/ all competition and precedent behInl
ii, scars nway on his own account, upborn D
I'D an irreprossble impulse, which no unto"
r.. ord circumstance of life or condition ca
nd possibly keep down. Such was the chill
N Handel, steallhly practising on his "Gi'
en- yichord.n Such were Haydn, and MozaaT
he and Beethoven, and such was Anthon
de Philip Heinrich, mapping upon lines az
de spaces. the discursise flights Of his own ir'
all fancy, while tennanting in glorious CO
i'm tempt of his poverty,a a log-cabin IN he
ltuCky--tneO WeSloIH wiz. AN1i1
no less SO now, as the author Of the " tan'
~ ain .Dolorosa," when elevated to one
or those lofty and retired situations, usual
.al allotted to men OF extraordinary gem
w. during their lifetime, who choose to
bv endured for, by that which shaH succe'
rather than court an ephemoral POPULAR
nor with contemporary generation.
Ilv The title, Fantasia Dolorosa, and !
10 dedication, which is to the memory OF
professional friend, characterize the aol
vou mentioned production, as descrlPl
You funeral piece. 1t opens with grave mo
ment. il e minor: "scmpre sostsnuto me
her lcqato G erpressio. Letls contemplate
10. scene. AT the dwelling Of the deceas
Ara many loved ones are gathered around' 9
n The habIiments of mourning, 70 alt'
hon, he obsequies. Reposng before tn
'0 costumed for the grave, lie the remain
nan he Departed A deep solemn silence
D1ial yails--feciug becomes intense-a a,
escapes which seems to say" ="
"A If G-iendn This short phrase forms
theme, or subject Of the piece. y y
hes peated with wailing effect, as i desce
yav step BY step, from the fifth to the Key
hat,s accompanied by harmony exceeo''
imprcssive,--a slight vibration ls then
mon ceived, indicating the strong emo