The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1880-02-24
MUSIC IN LONDON.
An 0bSsrVant and AppreciatiVe
Salt Laker Takes in the Metro
pOlitan Melodies.
And GoSsips Pleasantly to the
Herald" Readers.

| tQlEs Let any OQ6 Vi QOuDtlu
! mind but mount bus and go froI
the west end to the city. You ma
! start from st. James Park and 6
. down Piccadilly, through Strand, pa:
Ludgate Hill and halt at the bank
Or, you may mount your bus s
Hyde Park, at the Marble Arc
station, ride down Oxford street
High Holborn and the Viaduct, an
this route too, will bring you to tn
bank. The bank is the station {
which all 'busses tend; but it is als
the financial station of the banking
system of the world. Arrived at tht
bank, move among that busy throDg
watch the faces OF the men of thl
anxious mass; listen to the cry OF tn
street. venders; hear the mutterlng
and dispulstions of the 'busmen ant
the hackmep; if possible draw your.
self away from ell this and in {
lonely corner contemplate humanity
in its struggle for existence; In 1t!
march to the grave. A day thu
spent will bring the conviction tina
London is the worlds commercial
mistress.
But London is a capital in othel
senses. No longer resrs any riva
its bcasting head in the British states
claiming literary and artistic pre-
cedence. That claim was forever
thrown aside when Edinburgh, in the
early pant OF the century, paid hon.
sge to London, and gave Jehreys,
Brougham, Horner and others as
hostages. 1t may we'll be doubted il
the continent cfiers today any
literary rival. Be that as it may, the
continent bows to London's musical
lead. 1t is of this We would speak.
Street music in London is not
wanting. Let one imagine city
with a population of 100000 of
people, and to every 1000 inhabitants
there are two hanG-organs, two bar
rel organs and one hand-piano. To
every 5000 inhabitants a German
street band. Behold what an array
of music numerically considered
1900 hand organs; 5000 farrell
organs; $500 hsnd-pianos; and 900
German street bands. But what is
their repertoireH Do they render the
symphonies CT the majestic Beeth
oven? Do they at times give forth
the soft and flowing strains OF the
gentle Haydn? Or do they reyel in
the music of the mystic Schubert? It
may be that oft they sing their souls
into ecstacy with the harmonies OF
the dreamy and poetic Mendlessohn.
1t is not from these classic names
that they select their pieces. They
belong to the modern school, and yet
follow not the divine Frenchman
Gounod; the romantic Verdi; the
grand and tempestuous Wagner.
They play the poems of the people,
and sing not the songs of the bards.
There passes no day in the week but
from far and from near come the
strains of a melody familiar to the
hearth of every home where the
AGglo-Saxon dwells; il recalls mem
cries OF the past, and suggests hopes
fer the future. But what are those
strains that sink so softly into the
soul? They are the strains Of MY
Clock" AS l sit
at London window men,
ory brings back the almost forgotten
time when frat was heard the
famous song. l see valley nesting
midst mountains crowned with per-
petual snow; theatre grand by fair
and beautiful women; valiant colonels
and proud and naughty majors; the
men who saved their country in the
dark hour of treason; they are pa
triCts, patriots in the true Johrsonisn
sense; the orchestra take up the air;
the curtain is drawn, and forth come
a famous qusrtette. They are like
sons, "four honest, lovely
boys" They do their little best, and
at best its little they do; they retire
amidst thuRders of applause, "never
TO go again" before that audience.
The other pieces SO frequently heard
are the "Cnoches de Bonneville" and
"God save the Queen" And we'll
they may ask that she may be saved,
for no earthly power could aid her
when %, 400 hand and barrel organs,
pianos and brass bands play at once,
"God gave the Queen"
But there is music other than that
Of the street. Ranking fret are the
London ballad concerts, under the
direction of Mr.. John Boosey. They
are held in st. James Hall, Regent
street. Among the more prominent
artists are Madame Trebelli and
Miss Orridge, both contraltos;
Mr.. Sims Reeves and Mr.. Ed
ward Lloyd, tenors; Mr.. Ssntley and
Mr. Msybrick, bsri!ones. Madame
Trebelli is deemed the first contraito
upon the stage, be it either operate
or COZ cert. She is a brunette, highly
typical of her country, France. Her
person and manner are as winning
as her voice. When first heard, her
voice is admitted to be good, but Is
not thought 10 be superior this
comes from It's superior quality, and
its high cultivation. Throughout its
entire range, from the low register 10
its highest notes, there is that perfect
graduation only found in voices highly
endowed by nature. There never
comes a moment when the audience
fears there may be a strain and a
possible weakening but, in its stead,
there is always the assurance that
Madame Trebelli has a power beyond
her task requiring; that her interpre-
tation will be all the part or piece
allows; her tones pure and natural;
her information perfect; in fact. that
al will be artistic and nothing forced.
Miss 0rridge is an English lady,
and CREST faVorite upon the concert
stage. As yet, believe she has
never been in opera. In Lon
don the concert stage is con.
sidered more respectable and
sristocrstic. Miss Orridge sings with
a depth of feeling and pathos rarely
heard. Her voice is not so perfectly
graded SIS Madame Trebellis. 1t IS to
her lower register that she owes her
great success. Anyone who has heard
her sing Sullivan's "Golden Days"
can never forget it. When she gives
forth the lines "0nce in the golden
days, in the days beyond recalling"
tbs feeling produced by the tones of
her voice is indescribable. They sug-
gest thoughts that only come on those
occasions when We dream of the long
past. with all its joys and sorrows;
ihose occasions when the hearts
olordz -asno,,d. fhav than byipr, toars