“This is one of the public parks that have been planted to secure the health and improve the pleasures of the citizens;” said the stranger. “Here you see are thronging the young and the old, the philosopher and the student, the statesman and the mechanic, all with happy faces, and each intent that his neighbour shall share in his happiness.”
“And who are yonder group of beautiful girls that seem so much delighted with one another. It is strange that they should appear in a public place without some male friends or relations;” observed Oriel.
“Not at all;” replied Sophos. “Who can look upon them without respect? They want no protectors, for there is here no one who would even think them harm. They are probably proceeding to the concert for the purpose of joining in the choruses, and are the daughters of the noblest of our citizens. We have made music a part of our system of education, and not unwisely; for there is no source of gratification so capable of refining and intellectualising the feelings. Each individual possesses the power of distributing pleasure to the rest, and here, when they can escape from the necessary labours of life, come all,—from the humblest to the highest, from the most ignorant to the most enlightened, and tuning their instruments and their voices into one grand harmonious concert, they create such a powerful and delicious music as I should imagine it would be impossible to excel.”
The party had now arrived at the top of a hill, from which they had a splendid view of the scene before them. Down to the very base of the hill on which they stood, at least twenty thousand citizens, men, women, and children, clad in a costume, varying in some degree from that worn by Sophos, were reclining on the grass. Opposite to them was a hill of smaller dimensions, upon which an immense orchestra was being arranged. At the top, on each side, were a pair of gigantic drums, between which were several smaller ones. Below these were the brass instruments, then the flutes, bassoons, oboes and clarionets: the double basses and violincellos flanked the violins, and outside the stringed instruments, the choruses were stationed; a place was left at bottom for the principal singers, in the centre of which stood the conductor, ready to give the time of the performance.
The spectators had hitherto carried on a conversation each in his own circle; but immediately the conductor’s bâton was seen in motion, every one was in an attitude of attention, and then among the whole mass of listeners not a sound arose. The first piece performed was for instruments only. It commenced with a movement remarkable for the solemnity of its character and the richness of its harmonies, which changed into a sweet and graceful subject in quicker time, wherein several beautiful phrases were worked up by the musician in a variety of pleasing shapes. The piece ended with a more lively movement, introducing a magnificent fugue, in which the different instruments followed each other with an effect astonishing for its grandeur and beauty. To say it was well played, would convey only a feeble conception of the excellence of the performance: it was played with that perfect precision, and exquisite attention to the expression required in the composition, which can only characterise the very best performances. As soon as it was over there arose from the delighted multitude who thronged the hill a loud and continued burst of applause, mingled with exclamations expressive of the approbation of the listeners, and every one seemed to turn to his neighbour to observe if he was as well gratified as himself.
A song, or rather descriptive scene for a bass voice, with orchestral accompaniments, followed, in which the poet and musician sought to describe the temptations to evil, its committal, and its evil consequences; and the piece ended with a most harrowing picture of madness and death. After this there was a dramatic duet between a treble and tenor, delineating the first appearance and confession of a mutual affection. This was succeeded by a vocal air for a female voice, marked by a simple and exquisite pathos that seemed to touch every heart; and its subject was the despair of the heart, when, having for a long time believed itself beloved, it awakes to the full conviction that it is deceived. A grand chorus in praise of nature followed; and the effect of so many hundred voices swelling out the harmonies, was grand in the extreme; and the act concluded by a descriptive symphony for the orchestra, full of sweet pastoral effect, and admirable instrumentation.
Each composition was performed in a manner as nearly approaching perfection as was attainable, and this the audience seemed to acknowledge by the liberality of their plaudits. Upon Zabra the effect seemed to be extraordinary. He drank in every sound as if his life depended upon its enjoyment, and he listened with a sense of pleasure beaming in his features that nothing but the most intense gratification could have created. The rest of the performance was of a similar degree of merit, and the party left the hill impressed with the conviction that they had seen and enjoyed more rational pleasure than they had ever known at any public place of amusement.
“I would not have missed the exquisite delight I have received, on any consideration;” remarked Zabra. “Enraptured as I am with music, I have known nothing in my experience that bears a comparison with the enjoyments of this day. And what could create more pleasure? It would be sufficient, one would suppose, to be made familiar with the skill of ordinary musicians; but you could take no interest in their performances, they are drilled to do them, and they can do nothing else: but here is a multitudinous family of musicians, hastening from the loom, the study, the workshop, the laboratory and the warehouse, who each has a distinct business to which he must devote his attention, to join, from a desire to please his fellow-citizens, in the execution of the most difficult and beautiful productions of the musical art; and every one takes his part, caring not, however unimportant it may be, so that he is allowed to share in producing the general happiness. Of all the arts of civilised life there can be none so humanising in its tendency, so refreshing in its influence; so pure, exalting, and subduing in its effects as music. The man who is insensible to its charms is afflicted with a most pitiable blindness. There can be no harmony in his nature. His feelings must be in an unchangeable state of discord. But point out any human creature sensitive to all musical impressions, and I would affirm that you might mould him into any good purpose. Music, as a means of educating the feelings, can never be excelled. The experience of a hundred ages has proved its power as an instrument for creating or subduing the passions; and yet never till now have I seen any attempt made to try its beneficial effects on a large scale, and by making good musicians, to endeavour to create good men.”
There was no time for a reply to be made to these observations, as the carriage stopped at the door of a handsome mansion, and the party prepared to alight.