"They buried him in the little cemetery of Dobling."
Among the most eminent composers of the present century may be mentioned Auber, Schubert, Rossini, Meyerbeer, Mendelssohn, Weber, Verdi, and Wagner.
In "The Contemporary Review" there lately appeared the following beautifully worded tribute to the noble qualities of Mendelssohn:—
"Mendelssohn reigns forever in a sweet wayside temple of his own, full of bright dreams and visions, incense, and ringing songs, and partly is he so sweet, because, unburthened with any sense of a message to utter, a mission to develop, he sings like a child in the valleys of asphodel, weaving bright chaplets of spring flowers for the whole world, looking upon the mystery of grief and pain with wide eyes of sympathy, and at last succumbing to it himself, but not understanding it, with a song of tender surprise upon his lips."
Since the times of the great writers of the eighteenth century, and of the first half of the present one, no new developments or advancements have been made in musical creations.[7] Indeed, it would seem that the time has not yet come for attempts to be made to improve upon the works of those great musical luminaries; for they have left too much that is deep, classical, charmingly beautiful, and soul-satisfying. The musical world has paused, not caring to go farther, to conscientiously study their noble creations, so fruitful in the delights, the soul-elevating influences, which they afford.
But, although no great genius has of late years appeared with newer and greater creations to claim our attention from those of the past, it is gratifying to know that great advancement is being made in a more general musical culture among the people; while the number of really great instrumentalists and vocalists is quite large, and is constantly increasing. In these latter respects the present far exceeds the past.[8] In fact, the study of the art of music has begun to be considered a necessity; and ability in its comprehension and performance is now far from being considered as merely an ornamental accomplishment. All this springs from the very nature of this divine art, the mission, so to speak, of which is, to constantly open new fountains of pleasure in the human heart; to cheer, to soothe, and to bless mankind throughout all time.
But, after all, we know not how soon another great musical genius may startle us from our complacent studies of the masters of the past; for we are even now somewhat threatened in this respect by Richard Wagner, the eminent composer of Germany. He is not satisfied with the music of the past nor the present, and points to his own present and prospective creations as samples of what the "music of the future" will be. Just now, musical critics, while generally conceding to him much power as a composer, are divided in opinion as to whether his ideas are to be accepted in their entirety.
Still, who can now tell what the "music of the future" may be?
Before closing this chapter on the history of music, I think it highly proper, as a matter of record and of appropriate interest, to refer briefly to the almost wonderful achievements of that brilliant impressario, P.S. Gilmore of Boston, who in the year 1869 conceived the idea of having a grand musical festival, the noble objects of which were to celebrate the restoration of peace in the United States, and to quicken and increase the interest felt in music throughout this country, and also the world, by bringing together in a single performance a larger body of most skilful musicians than was ever before attempted. An immense building called "The Coliseum" was constructed for the purposes of the festival, which was to continue five days. On the 15th of June, in the city of Boston, "The National Jubilee and Great Musical Festival" was begun. The number of instruments and performers composing the great orchestra was 1,011; and an organ of immense proportions and power, built expressly for the occasion, was employed. The grand chorus and solo vocalists numbered 1,040. Besides, one hundred anvils (used in the rendering of Verdi's "Anvil Chorus") were played upon by a hundred of the city's firemen in full uniform; while to all this was added a group of cannon, the same being used in the performance of the "Star-spangled Banner." The vast chorus, the orchestra, and all the leading performers (among the latter were Ole Bull, Parepa, and Carl Rosa), were selected from the finest musical people of the country, being accepted only after strict testing by skilful judges. At this great gathering many of the works of the great composers were performed, and only works of real merit had a place on the programme. These were all performed by this vast ensemble with a precision and an excellence that were really grand and wonderful. This achievement of Gilmore was considered the most brilliant entertainment of modern times. Of it, it has been truly said,—