Staunton spectator. [volume] (Staunton, Va.) 1849-1896, 1867-07-16
For the Spectator.
SIMPLE ANNALS OF FUDGETOWN.
BY CHIPS.
CHAPTER II.
THE CREATION.

IHE CREAI1ON.
Potts corrected and improved edition of
Haydn's Creation, was in fair way of being
produced, and, consequently, murdered. Aux
iliaries had been solicited from neighboring
towns; for, Notwithstanding the great tact of
the director, he could not drill his chorus to a
mastery of ''The heavens are telling the glory
of God;' Job Sledge's basso p1otundo made
the very window sashes of the Church shake,
but then he struck false notes or paid but little
regard to the time. In order to maintain a
proper information and due rhythmatic propor
tions in this direction, German shoemaker,
who had formerly been a trumpeter in the Prus-
sian army, was enlisted into service, and ac-
companied the BASES on the trombone-an in
strument of brass, which, added to that which
naturally belonged to the blacksmith, brought
harmony out of chaos.
No little jealousy was created among the so
pranos and altos at the idea of the Deacon en-
listing foreign aid, when he knew, or ought to
know, that Fudgetown enjoyed the reputation
of being the first musical town of the county,
and the ladies were acknowledged vocalists of
the highest order Inferior singers would only
destroy the effect of the chorusses, and mar
that which they had taken so much pains to
make perfect. The Fudgetown tenors, too,
bristled up. There was no need Of bringing
new and inexperienced tenors from distance,
when they had SO steadily studied to accomplish
the great end. They defed any inland town to
produce tenor voices equal to those of the indigo
nous sprouts of Fudgetown, and they would at
any day submit to test before experienced
judges
The turbulent elements were, however, in
the course of time, assuaged. A flute and a
clarionet sustained the sopranos and altos, cor
nopean and violin (vulgus, fddle) the tenors, and
as we have before stated, the trombone kept
the basso in the traces.
Thus arranged, the grand rehearsal took
place-the German professor, Herr Klineburg,
being assigned to subordinate part, as it would
never do for Potts to acknowledge superior.
The books were in a dreadfully mutilated state,
for the Director had used the pruning knife
freely, though, to make amends for looping off
the grand conceptions of the original composer,
he had interlarded many little fancies of his
own. 1.-The marvellous works. became anything
but marvellous affair it dwindled down to a
plain and unpretending chorus, with no more
soul in it than there is in human skeleton
"With verdure clad''-was stricken out alto
gether, as being entirely too complicated, and
many other fine solos were dispensed with, for
want of natire talent to render them effectually.
Potts well knew the taste of the community for
whom he catered; he knew that heavy and
scientific" music would meet with no favor
the masses had not yet reached that state of re.
finement SO characteristic Of large communities,
who have continually the best before them, and
are taught to appreciate the classics. They
could listen with gusto to old Denmark or
the code to SCIENCE" because they understood
them. Yes-Potts knew what would suit the
public taste-so, he served up the ''Creation"
simplifed and made comprehensive
With much seIfcomplacency he took his sta
ton with baton in hand, and posted himself di-
rectly in front of the singers, raped smartly on
the stand and ordered the orchestra to sound
the key note the opening symphony being dis
pensed with-there being no need of chaos.
This being done, every thing went on pretty
well until they came to the loud exclamation of
sAnd there was light' Here he knocked
over the stand in his desperate effort to produce
an astounding vocal effect, the instruments be-
ing perfectly lost in the chaos that was about
being brought to order.
Job Sledge, the leading bass, having lost his
support, the trombone, fought manfuly on his
own hook until he found himself far beyond bis
COMPANIONS, so far, in fact, that he was COM