Part 16 (1/2)
I
(_Major forte_)
”Rejoice, O Land! Imperial Realm, rejoice!
Wherever round the world Our standard floats unfurl'd, Let every heart exult in land, Triu, Land!
As fro joy-bells sound, Let all our happy people The wandering world around, Rejoice with the joy this jubilee brings, Circling the globe as with seraphis!”
II
(_Minor piano_)
”Lo, the wondrous story, Praise all praise above!
Fifty years of glory, Fifty years of love!
Chastened by ladness By the sun of faith: What a life, O Nations, What a reign is seen In the consu Britain's Queen!”
III
(_Finale--Crescendo_)
”Riches of Earth, and Graces of Heaven, God in His love hath abundantly given, More by a year than seven ti our Empress, the Queen!
Secrets of Science, and marvels of Art, Health of the home, and wealth of the mart, All that is best for the mind and the heart, Crowded around her are seen
Honour, Religion, and Plenty are hers, Peace, and all heavenly ers, While loyalty every spirit upstirs To shout aloud, God save the Queen!”
Here the words end, as brevity is wisdoht include touches of Rule Britannia, Luther's Hymn, and the National Anthem
I have asked my friend Mr Manns if he will set my words to music, but his modesty declines, as he professes to be mainly a conductor rather than a composer; and he recommends me to apply to some more famous musician, as perhaps Sullivan, or Macfarren, or haply Count Gleichen
All I can say is, nothing would be reat nah, I e as to my own musical idiosyncrasy as a bit of author-life
Keble is said to have had no ear for a tune, however perfect as to rhyme and rhythm; and there are those who suppose h I persistently dispute it Living (when at Norwood) within constant free hearing of the best ht to be musical, if not always so accredited; but I do penitentially confess to occasional weariness in over long repeated syet out but is cruelly driven back,--in the endlessness of fugues, and what seems to my offended ear the useless waste of tone and power in extres I cannot but acknowledge as to what is called classical_fanatico per la musica_; albeit I ao in G, by the Prayer in Mose in Egitto, the Lost Chord, Rossini's Tell, Weber's Freischutz and Oberon, Tannhauser, Semiramide, and all manner of marches, choruses, ballads, and national airs In fact, I really do like ner's apotheght be better if curtailed,--except only Schubert's,--but then his best is the Unfinished, and so the shortest In eolet, and could play it fairly
All this (wherein I am but the honest spokesman for many who do not like to confess as much) is introductory insince pencilled in the concert-rooiven to Mr Manns as soon as clearly written I insert it here very ive pleasure to one who so continually ministers to the pleasure of thousands; and I hope soust, as he well deserves a knighthood
_A Music Lesson_
”Marvellous orchestra! concert of heaven, Mingling more notes than the musical seven, Hare corace-- O whose is the ear that can hear you aright, And note the dark providence ht?
Where, where is the eye that is swift to discern This lesson in music the dull ear should learn,-- That all, froh Down, down to the lowest, fit chords can supply To the paean of praises in every tone, With thunders andthe Throne!
”We are each a brief note in that wonderful hymn, And to us its Oneness is hazy and dim; We hear the few sounds from the viol we play, But all the full chorus floats far and away: Our poor little pipe of an instant is drown'd In the glorious rush of that ocean of sound; The player hears nothing beyond his own bars, Whilst all that grand sy seems but little worth It adds to the Anthem Creation pours forth, And, whether we know it or not, we can give Not a note more or less in the life that we live
”Ah reatness the least can invest: One note on the flute or the trumpet may seem A poor petty work for ambition's fond dream,-- But what if that note be a need-be to blend And quicken the score fro to end?