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Laura E. Richards, Maud Howe, Florence Howe Hall, Julia Ward Howe, 1819-1910, in two volumes, with portraits and other illustrations: volume 1 16 0 Browse Search
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Laura E. Richards, Maud Howe, Florence Howe Hall, Julia Ward Howe, 1819-1910, in two volumes, with portraits and other illustrations: volume 1, Chapter 10: the wider outlookv1865; aet. 46 (search)
with Kant.... The party proved very gay and pleasant. Now came a more important event: the Musical Festival celebrating the close of the war, which was given by the Handel and Haydn Society, at its semi-centennial, in May, 1865. Our mother sang alto in the chorus. The Journal records daily, sometimes semi-daily, rehearsals and performances, Kant squeezed to the wall, and getting with difficulty his daily hour or half-hour. Mendelssohn's Hymn of praise and Elijah ; Haydn's Creation, Handel's Messiah and Israel in Egypt ; she sang in them all. Here is a sample Festival day:-- Attended morning rehearsal, afternoon concert, and sang in the evening. We gave Israel in Egypt and Mendelssohn's Hymn of Praise. I got a short reading of Kant, which helped me through the day. But so much music is more than human nerves can respond to with pleasure. This confirms my belief in the limited power of our sensibilities in the direction of pure enjoyment. The singing in the choruses f
Laura E. Richards, Maud Howe, Florence Howe Hall, Julia Ward Howe, 1819-1910, in two volumes, with portraits and other illustrations: volume 1, Chapter 4:
241 Beacon Street
: the New Orleans Exposition 1883-1885; aet. 64-66 (search)
eacon Street: the New Orleans Exposition 1883-1885; aet. 64-66 The full outpouring of power that stops at no frontier, But follows I would with I can, and I can with I do it! J. W. H. The winter of 1882-83 found her once more with a family of some size, her son and his wife joining forces with her at 241 Beacon Street. In Harry's college days, mother and son had made much music together; now the old music books were unearthed, and the house resounded with the melodies of Rossini and Handel. It was a gay household, with Crawford living in the reception room on the ground floor; play was the order of the evening, as work was of the day. The new inmates brought new friends to the circle, men of science, the colleagues of her beloved Bunko, now Professor Howe of the Institute of Technology, Italians, and other Europeans introduced by Crawford. There was need of these new friends, for old ones were growing fewer. Side by side in the Journal with the mention of this one or tha
Laura E. Richards, Maud Howe, Florence Howe Hall, Julia Ward Howe, 1819-1910, in two volumes, with portraits and other illustrations: volume 1, Chapter 13: looking toward sunset 1903-1905; aet. 84-86 (search)
ffrage hearing soon after, she spoke of the force of inertia as divinely ordained and necessary, but ordained, too, to be overcome by the onward impulse which creates worlds, life, and civilization. Said it was this inertia which opposed suffrage, the dread of change inherent in masses, material or moral, etc., etc. Among her winter delights were the Longy concerts of instrumental music. She writes of one:-- Was carried away by the delight of the musicall wind instruments. A trio of Handel for bassoon and two oboes was most solid and beautiful.... I could think of nothing but Shakespeare's Tempest and Midsummer Night's Dream. The thought that God had set all human life and work to music overpowered me, and coming home I had a rhapsody of thanksgiving for the wonderful gift.... The next day came an entertainment in aid of Atlanta University and Calhoun School; she enjoyed this exceedingly, especially the plantation songs, which are of profoundest pathos, mixed with overpowe
Laura E. Richards, Maud Howe, Florence Howe Hall, Julia Ward Howe, 1819-1910, in two volumes, with portraits and other illustrations: volume 1, Chapter 14: the sundown splendid and serene 1906-1907; aet. 87-88 (search)
ave this note, how Grisi and Mario sang that duet. Then she would go to the piano and play from memory airs from Tancredi, I1 Pirata, Richard Coeur de lion, and other operas known to us only through her. Or she would — always without notes — play the Barber of Seville almost from beginning to end, with fingers still deft and nimble. She loved the older operas best. After an air from Don Giovanni, she would say, Mozart must be in heaven: they could never get on without him! She thought Handel's Messiah the most divine point reached by earthly music. Beethoven awed and swayed her deeply, and she often quoted his utterance while composing, Ich trat in der Ndhe Gottes! She thrilled with tender pleasure over Verdi's Non ti scordar, or Ai nostri monti, and over Martha. She enjoyed Chopin almost too much. He is exquisite, she would say, but somehow — rotten! Among the pleasures of this winter was a visit to, New York. She writes after it:-- My last day in my dear son's house<
Laura E. Richards, Maud Howe, Florence Howe Hall, Julia Ward Howe, 1819-1910, in two volumes, with portraits and other illustrations: volume 1, Chapter 15: mine eyes have seen the glory of the coming of the Lord 1908-1910; aet. 89-91 (search)
g eyes; in the latter years she rarely used glasses; but the habit dated back to the early fifties, and might not be shaken. We see her, therefore, in the summer afternoons, sitting at the piano with Florence, playing, Galatea, dry thy tears! Handel's old tie-wig music, as she called his operas. Or, if her son were there, she would play accompaniments from the Messiah or Elijah ; rippling through the difficult music, transposing it, if necessary to suit the singer's voice, with ease and accind. She seldom failed in any important thing she undertook; the chores of life she often left for others to attend to or neglect. The Christmas services, the Christmas oratorio, brought her the usual serene joy and comfort. She insists that Handel wrote parts of the Messiah in heaven itself. Where else could he have got Comfort ye, Thy rebuke, Thou shalt break them, and much besides? Late in December, 1908, came the horror of the Sicilian earthquake. She felt at first that it was impo
Laura E. Richards, Maud Howe, Florence Howe Hall, Julia Ward Howe, 1819-1910, in two volumes, with portraits and other illustrations: volume 1, Index (search)
94, 313, 324, 339. Hall, J. H., II, 67, 68, 98, 293. Hall, Julia W. H., I, 313. Hall, Prescott, I, 41. Hall, S. P., I, 340, 341, 343; II, 183. Hallowell, Mrs., Richard, II, 266. Hals, Franz, II, 10. Hampstead, II, 170. Handel, G. F., II, 351, 386. Handel and Haydn Society, I, 237, 290. Hapgood, Norman, II, 354. Hare, Augustus, II, 5. Harland, Henry, II, 165, 171, 172. Harland, Mrs., Henry, II, 167, 171, 172. Harrisburg, I, 386. Hart, Mayor, II, 162. Handel and Haydn Society, I, 237, 290. Hapgood, Norman, II, 354. Hare, Augustus, II, 5. Harland, Henry, II, 165, 171, 172. Harland, Mrs., Henry, II, 167, 171, 172. Harrisburg, I, 386. Hart, Mayor, II, 162. Harte, Bret, II, 47. Hartington, S. C. Cavendish, honorary Marquis, II, 44. Harvard, I, 237, 297; II, 47, 48, 72, 183, 338, 374. Harvard Medical School, I, 72. Harvard Musical Concerts, I, 249. Havana, I, 126, 176. Haven, Gilbert, I, 365. Hawthorne, Nathaniel, I, 152; II, 325. Hawthorne, Mrs., Nathaniel, I, 79, 152. Haydn, Joseph, II, 286. Hayti, I, 331. Hazeltine, Mrs., II, 248. Healy, G. P. A., II, 25. Healy, Mrs. G. P. A., II, 25, 26. Hedge, Freder