Charles Dickens and Music | Page 7

lecture on 'The National Music of the World,' and subsequently wrote him a very friendly letter criticizing his delivery, but speaking in high terms of the way he treated his subject.
In one of his letters he makes special reference to the?singing of the Hutchinson family.[5] Writing to the Countess of Blessington, he says:
I must have some talk with you about these American?singers. They must never go back to their own country?without your having heard them sing Hood's 'Bridge?of Sighs.'
Amongst the distinguished visitors at Gad's Hill was Joachim, who was always a welcome guest, and of whom Dickens once said 'he is a noble fellow.' His daughter writes in reference to this visit:
I never remember seeing him so wrapt and absorbed as?he was then, on hearing him play; and the wonderful?simplicity and un-self-consciousness of the genius?went straight to my father's heart, and made a fast?bond of sympathy between those two great men.
In Music Drama
Much has been written about Dickens' undoubted powers as?an actor, as well as his ability as a stage manager, and?it is well known that it was little more than an accident?that kept him from adopting the dramatic profession. He ever took a keen interest in all that pertained to the stage, and when he was superintending the production of a play he was?always particular about the musical arrangements. There is in existence a play-bill of 1833 showing that he superintended a private performance of Clari. This was an opera by Bishop, and contains the first appearance of the celebrated 'Home, Sweet Home,' a melody which, as we have already said, he reproduced on the accordion some years after. He took the part of Rolano, but had no opportunity of showing off his singing abilities, unless he took a part in the famous glee 'Sleep, gentle lady,' which appears in the work as a quartet for alto, two tenors, and bass, though it is now arranged in other forms.
In his dealings with the drama Dickens was frequently his?own bandmaster and director of the music. For instance, in?No Thoroughfare we find this direction: 'Boys enter and?sing "God Save the Queen" (or any school devotional hymn).' At Obenreizer's entrance a 'mysterious theme is directed?to be played,' that gentleman being 'well informed, clever, and a good musician.'
Dickens was concerned in the production of one operetta--_The Village Coquettes_--for which he wrote the words, and John?Hullah composed the music. It consists of songs, duets, and concerted pieces, and was first produced at St. James's Theatre, London, on December 6, 1836. The following year it was being performed at Edinburgh when a fire broke out in the theatre, and the instrumental scores together with the music of the?concerted pieces were destroyed. No fresh copy was ever made, but the songs are still to be obtained. Mr. Kitton, in his?biography of the novelist, says, 'The play was well received, and duly praised by prominent musical journals.'
The same writer gives us to understand that Hullah originally composed the music for an opera called The Gondolier, but used the material for The Village Coquettes. Braham, the?celebrated tenor, had a part in it. Dickens says in a letter to Hullah that he had had some conversation with Braham about the work. The singer thought very highly of it, and Dickens adds:
His only remaining suggestion is that Miss?Rainforth[6] will want another song when the piece is?in rehearsal--'a bravura--something in "The soldier?tired" way.'
We have here a reference to a song which had a long run of?popularity. It is one of the airs in Arne's Artaxerxes,?an opera which was produced in 1761, and which held the?stage for many years. There is a reference to this song in?Sketches by Boz, when Miss Evans and her friends visited?the Eagle. During the concert 'Miss Somebody in white satin' sang this air, much to the satisfaction of her audience.
Dickens wrote a few songs and ballads, and in most cases he fell in with the custom of his time, and suggested the tune (if any) to which they were to be sung. In addition to those that appear in the various novels, there are others which?deserve mention here.
In 1841 he contributed three political squibs in verse to?the Examiner, one being the 'Quack Doctor's Proclamation,' to the tune of 'A Cobbler there was,' and another called?'The fine old English Gentleman.'
For the Daily News (of which he was the first editor) he?wrote 'The British Lion, a new song but an old story,' which was to be sung to the tune of the 'Great Sea Snake.' This was a very popular comic song of the period, which described a?sea monster of wondrous size:
One morning from his head we bore?With every stitch of sail,?And going at ten knots an hour?In six months came to his tail.
Three of the songs in the Pickwick Papers (referred to?elsewhere) are original, while Blandois' song in