Commenting upon its attributes discursively, it was at the period of its original initiation in London my privilege to be present; nor must I omit to graphically allude to my belief, not choosing to be otherwise than candid with my first impressions, that I had never listened to anything which so rapturously illustrated the spirit of those soul-elevating times; even to experiencing a passing pang, since the perplexing principles or established secrets of decorative or Æsthetic art, as understood by me, had so curiously been cajoled or interwoven into the very sanctuary of Classic Music. Every phrase appeared eloquently to illustrate and tell aloud the great burst of passionate fervour, felt to be with serious activity glistening, sparkling around, in painting and in decorative device. It was, as it were the unition, the brazing together of these serious impinging forces, and re-fusing them with fresher melody, newer vital ecstasy. (Sir) Edward Burne Jones, Oscar Wilde and W.S. Gilbert had all not dubiously striven nor for shallow effect. They had, though labouring incessantly apart, built up a ghost which was in no fear of glimmering or dissolution; and now Berthold Tours, spright of another element of sentimental, I should say continental mythical music, upon the scene springs with his amazing apparatus of staves and octaves, aiding the chef-de-musique and his trained voices to make sound within the very presence chamber of Divine Worship this phantasmagoria of Teuton intellectualism!
Be it understood that this Classic exercise is not to be ceremoniously regarded, nor classified, nor by me upheld as an example of Creative Art, but as the brightest pledge of homage æsthetically offered to a vital movement, essentially fundamental and wise; furthermore, must be allowed to occupy a position subsidiary to the works of the artists enumerated who evidently inspired it; unique and decidedly without an exact parallel in the inspired annals of modern phonetic literature; prefering at a more intimate examination to classify with it Professor C. Villiers Stanford's setting of the Te Deum and Jubilate in B flat—works, easily gracing the "Summus Mons" of co-spiritual achievement; that impulse which selects, confirms, and then unites all the fair fibres of Art.
Berthold Tours personally possessed the evident characteristics of a musician. No doubt could be entertained whatsoever, by any who once saw him or his large meditative form, that music was his calling. The duties inherent to the post of "music taster" to the house of Novello, Ewer, & Co., he hopefully acquitted for many years, succeeding to that office on the retirement of my once, in a choral sense, esteemed conductor, Sir Joseph Barnby. The pianoforte accompaniment to many of the classical works of continental composers he transcribed and carefully arranged for his employers, whose confidence he completely enjoyed, whether in addressing them on matters relative to prospective treaties with contemporary composers, or in regard to works tendered to them for publication, or on recommending them upon the pianoforte arrangement of orchestral scores. Personally, I participated in the satisfaction of frequently dining in his company. Amongst the personal memories which I might in passing allude to, being my entire deferential attitude towards him of reverence, ere ever being acquainted with his patronymics, although already largely conversant with, and a sincere admirer of his music. To have been spoken amiably to by this distinguished "virtuoso" is a not unnoteworthy reminiscence to be recorded. He evinced much concern in the early rehearsals of his choral works; being individually present at the moment of their preparation; but it not infrequently appeared to me ambiguous, that unless accounted for by the responsibility of vast calls, he with frequency turned his back upon the musical conservatories wherein his choral works were performed; a custom due evidently to his innate modesty, and perhaps to his susceptibilities as a foreigner. Berthold Tours was a famous violinist of the first class, besides being a recognised composer of music, and edited with Natalia Macfarren a superb edition of the Italian, the German, and the French Operas.
JOHN ATWOOD.SLATER,
4, Hill Side, Cotham, Bristol.
ARCHITECTURE.
From the BRISTOL TIMES AND MIRROR,
April 18th, 1902.
BRISTOL SOCIETY OF ARCHITECTS.
The Annual General Meeting of this society was held in the Fine Arts Academy, Queen's Road, Clifton, on Monday, Mr. Frank W. Wills (President) in the chair. After the confirmation of the minutes of the last Annual General Meeting, the annual report of the council was then read by the Hon. Secretary, and the audited accounts presented, and, upon the motion of the PRESIDENT, were adopted.