, 1875-01-17

0efvea xro tortured with slow munic when
op'sefaa comep upon. ths etage, distraught and
heiPass, allow music conveys something or
other to the audience, principally desire to es-
cape from the house. When Camille resolves to
give mp her loyer,> and when she dcs when. in
TACT, anybody or anything occurs Which cannot
% emphasized with shout or contorsion. slow
music IL necessary. It Reryes sha purpose On
the stage OF N: D.. or an exclamation polns. 1t
IS universal in it's application, and
might therefore be universally omitted.
There wAs4 probably, il the early days Of alow
music, soue sort Of theory that the dismal vhin-
ing Of siolln stzained the sYmpathies OF the au-
dltor; that music. being tho universal language,
tbs inter olAton Of his lines. Is there an artist
Tho relics upon tho scrapipg OF violin to color
scene Is theIe remaining a yeaiige ct the orig
inal idea tha' tho emotional fountains could
slun Of equeaks2 ''Perhaps aome highly-accom-
pishcd mussclaa may be foupd-Lpeach, for in
stapce-wao can give reason for this sort OF
thing. Bat will Looscb, who really is an artiet
attempt 10 find music in that COM
Is it music At all? How many people sre
to be found in the audience who do not By their
manner, and even by their expressions, protest
,sE4lnst IT.? Elow music has no softening effect
,Do;ard making Custom has not yet 50 deadened
tue senses that it does not exaBcerate them
Next to gas-bll, or tho loss Of an umbrella on
rainy day allow music is lho most p,etY -smash-
ing, consceoce-trouplng entity OF modern
tunes. II man is 4 bundle Of nerves, in more or
less good condition, does tint afford the fiddle
scIaner Plea for rasping them all at:onee7
Practically yienei, the waiue IL uneart;.ly. It i
suggests nothing. The piece that derives hene-
lit from SUCH accessory. the actor rho can hold
an Audience spElluound only through its means,
cannot be rated high. When by the spell Of
ip.b9 as 9sF RYtsns scto1 1s hand and Ssph e
hearers, and ia holding them breathlees. ear
nest. dna.y conscious Of their OWN existence,
and absorbed IA that depicted bofo.e them, are
they to be rnthlesaly recalled from the ideal to
shocking seuse Of the hollow actuality by the
ext1areons, IN scenes OF such lutsnsity "a some
ktagG~nagiclans can conjure up, shocks the
eatnet;c SENSE and SLOW music, aboye oil, is ex-
trauenu@ aud shocking. When the nossesEor Of
at hts best, he sets him upon guat or bari el-
organ. And grlnls out dotaful strains to cucaur-
age him The monGey really needs muslcal sup |
port. Without the grinding to stimulate lis |
nerves and drown tbs ourhlng Of hid trainer, the
mpnssoy exhibition would bs failure. |
Hence, in monxey y-sLoys, sword-swailow4n: I
exhibitions, Amazon marches trapezc. perform |
ances, mud pantomime, mnalc Of an appropriate
III necessary. But the acsor ia not, |
at least, monkey, a aword-swal- |
lower gynlnast. or clown, aud musical accom- |
panlment il vulgar iutruslDn upon tha sanctity |
of his art, especially sucl music it is custom
arJ to apply to quiet scfaas OF so.rpw or death. /
II We must have the agony Of decay pictured !
on the stage. we are not bound to endure 1t un
hor1ihed byt tho Eroaus Of tbs orchestra
Only onee has it teen oar good fortune to hear
slow mnsic appropriately used, and that vas 1T /
tbs Nuseum last Noek. when droninS acoam-
Eaulment to tAo attack Of JIM ANS endured by /
the hero OF the play added 70 its un,leassntuess /
This baing SO, let slow music be restricted to |
scanes Of delirlum, and lot tIosa people WHO /
cannot enjoy seems without slow music plsc-