St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1895-07-14
Realm OF MUSIC

For over two centuries scientists
have been agitated by the question
whether music and color were co.
incidental. Experiments have been 4
known to have been conducted along :
this line of inquiry as far back as
1874, when Father CasteI, a French 4
Jesuit, attempted to construct a.
color harpsichord." But the ingen- 1
ious priest died before his task was I
completed, and no one was able to
divulge to posterity the secret of i
the machine. But the question was
not allowed to die, and ever and
anon some scientist made efforts to
demonstrate that true relationship
did exist, and could be demonstrate
ed. But quite recently the issue has
been suddenly revived in most.
prominent manner, and a wealthy
artist who lives in London has actl--
ally invented and put into operation
a color organ which was built at
a cost of over 10000. By means of this
instrument, as certain notes are
struck the melody is reproduced in
a bewildering succession of color
tones and combinations upon
screen at the same instant they are
heard by the ear.
A preliminary recital was had
short time ago in st. James hall.
when the exquisite mechanism of the
new istrument was thoroughly test
ed. Its responsiveness was proven to
be wholly adequate to the demands.
Chopin's preludes were played, and
the screen showed a bewildering
succession of rhythmicaI waves of
color passing so rapidly that it was
hard for the eye to take them all in,
and ranging from the beginning to
the end of the spectrum. The waves
flashed not only the intermediate
tones, half tones and quarter tones
OF color, but also innumerable love
ly combinations which up to that
time had never suggested themselves
to the imagination. They were the
inevitable result of a harmony that
worked the same for the eye as for
the ear.
1t seems hardly possible or cred
ible that such was the case, and
reads more like a tale from fairy
land than from science. But it is
certain that unending combinations
of color were produced by the me-
chanical principles that govern the
diatonic scale and musical octaves.
Mr.. Rivington, the inventor, has
thus far declined to divulge the de-
tails OF his instrument or just how
each color is produced. All that is
known is that it has keyboard
similar to the piano, and that when
note is struck it's color appears
upon the screen. Chords show COM
binations of tint that are only COM
parable to harmonic combinations
of musical notes. Middle co. CORE
spends to the low red of the spect-
rum. The other "C's" of the key
board, when struck, show other
reds, toning perfectly.
Without going into an elaborate re-
sumo of the tones and colors it will be
readily seen how the colors, grade,
shade and tone, how the sharpening
of a piano note or its 1attening, make
a suggestion of a change in color
hardly to be expressed by painters
brush and yet perceptible to the
visual senses. This instrument is truly
the first in the world to show a def
mite connection between sound and
color. The belief of even ancient
philosophy led in that direction and
many stories of experiments are known
! to exist. The invention of Mr.. Riving-
ton has not absolute newness for its
merit. But it has the distinction of be-
ing the first completion Of a practical
demonstrat ton or proof that the rela-
tionship does not only exist, but that
it can be plainly demonstrated to man
kind. Important developments are
anticipated from the result thus OBJ
tanned.
At the first performance of Mr..
| Governs orera, Harold" at Covent
Garden, London. it was observed by
those who could see the prompt box,
| that woman prompter was employed.
| The German opera company which ap-
| peared both at Drury Lane and il