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Article DESCRIPTION OF THE PEAK OF TENERIFFE. ← Page 3 of 3 Article ON THE PECULIAR EXCELLENCIES OF HANDEL'S MUSIC. Page 1 of 2 →
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Description Of The Peak Of Teneriffe.
on board ship in the offing of Orotava , took the angles , made by a line from the horizon to the summit of the Peak , at two different spots , and measuring the distance between them by the log , determined the . perpendicular hei g ht-of the Peak to be two thousand rfnd twentythree English fathoms , being nearly the same as Mens , cie Borda ' s barometers , upon the Peak ; and by the sea-side , the mountain's
height came within two fathoms of the geometrical measurement . Mr . Johnstone computed likewise the distance of the Peak from the sea-port of Orotava to be ten thousand one hundred and eighty fathoms , or nearly eleven miles and a half , hearing south forty-eight degrees west . The variation of the compass was sixteen degrees to the westward of the pole . '
On The Peculiar Excellencies Of Handel's Music.
ON THE PECULIAR EXCELLENCIES OF HANDEL'S MUSIC .
[ cOS-CLfOED FROM OUIl LAST . ]
THE operas of Handel are confessedly superior to all preceding and contemporary ones . His oratorios , though called by a well-known name , may be justly esteemed original , both in design and execution . These last being the pieces which are so frequently performed , I will with the utmost impartialit )* consider their merits and defects , and how far they deserve their continued approbation . '
Any works of a fashionable composer , especially if exhibited by performers we are in the habit of applauding , will take a present hold on our attention , to the exclusion of works of superior merit not possessing the same advantages ; but when they have . had their day , they set , to rise no more . On the contrary , those compositions which depend on their own intrinsic meritmay make their way slowl or
, y , perhaps , by being cut off from a possibility of taking the first step , may ^ never get forward at all ; yet , if once they are presented to the public , and their effect felt and understood , they are always heard with new pleasure , and claim an equal immortality with poetry and painting . Let us consider what are the essentials of good music , and how far Handel ' s compositions possess them .
The first essential ( and without which all others are of no consequence ) is what in popular music is called tune ; in more refined , is denominated air ; and in . the superior class of composition , subject . Music having this property alone is entitled to a long existence , and possesses , it . The next essential is harmony , the strongest ally by which air can be assisted , but which receives from air more
consequence than it communicates . To these must be added expression , giving a grace to the former ; and facility , which has the effect of immediate emanation , and seems to accomplish with ease what from its apparent difficulty should be rather soughtfor than found . If words are to be connected with music , they ought like that to be light and airy for tune , passionate for air , and both passionate and sublime for subject ; but in every case ( except particular applications )
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Description Of The Peak Of Teneriffe.
on board ship in the offing of Orotava , took the angles , made by a line from the horizon to the summit of the Peak , at two different spots , and measuring the distance between them by the log , determined the . perpendicular hei g ht-of the Peak to be two thousand rfnd twentythree English fathoms , being nearly the same as Mens , cie Borda ' s barometers , upon the Peak ; and by the sea-side , the mountain's
height came within two fathoms of the geometrical measurement . Mr . Johnstone computed likewise the distance of the Peak from the sea-port of Orotava to be ten thousand one hundred and eighty fathoms , or nearly eleven miles and a half , hearing south forty-eight degrees west . The variation of the compass was sixteen degrees to the westward of the pole . '
On The Peculiar Excellencies Of Handel's Music.
ON THE PECULIAR EXCELLENCIES OF HANDEL'S MUSIC .
[ cOS-CLfOED FROM OUIl LAST . ]
THE operas of Handel are confessedly superior to all preceding and contemporary ones . His oratorios , though called by a well-known name , may be justly esteemed original , both in design and execution . These last being the pieces which are so frequently performed , I will with the utmost impartialit )* consider their merits and defects , and how far they deserve their continued approbation . '
Any works of a fashionable composer , especially if exhibited by performers we are in the habit of applauding , will take a present hold on our attention , to the exclusion of works of superior merit not possessing the same advantages ; but when they have . had their day , they set , to rise no more . On the contrary , those compositions which depend on their own intrinsic meritmay make their way slowl or
, y , perhaps , by being cut off from a possibility of taking the first step , may ^ never get forward at all ; yet , if once they are presented to the public , and their effect felt and understood , they are always heard with new pleasure , and claim an equal immortality with poetry and painting . Let us consider what are the essentials of good music , and how far Handel ' s compositions possess them .
The first essential ( and without which all others are of no consequence ) is what in popular music is called tune ; in more refined , is denominated air ; and in . the superior class of composition , subject . Music having this property alone is entitled to a long existence , and possesses , it . The next essential is harmony , the strongest ally by which air can be assisted , but which receives from air more
consequence than it communicates . To these must be added expression , giving a grace to the former ; and facility , which has the effect of immediate emanation , and seems to accomplish with ease what from its apparent difficulty should be rather soughtfor than found . If words are to be connected with music , they ought like that to be light and airy for tune , passionate for air , and both passionate and sublime for subject ; but in every case ( except particular applications )