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The symphonic poem, "Edris," was also performed by the Thomas Orchestra. It is based upon Marie Corelli's novel, "Ardath," which gives opportunity for much programmism, but of a mystical highly colored sort for which music is especially competent. It makes use of a number of remarkably beautiful motives.
These compositions are regarded as invaluable for the instruction of young players, and some of them may be frequently heard in the concert-room at the present day, two hundred years since they were written. Corelli's most celebrated pupils, Somis, Locatelli, Geminiani, and Anêt, settled respectively in Italy, Holland, England, and Poland.
Such, for instance, as the following: "Talking about Marie Corelli's new book reminds me, Mr. Fitzgerald your occupation is connected with books, is it not?" his prospective mother-in-law enquired, artlessly. Mr. Fitzgerald bowed assent. "I am cashier at Howell & Wilson's in Cheapside," he said. "We sell a great many books there as many, I should think, as any retail establishment in London."
He began with Weber's "last waltz," and dreamed off from it into a gavotte of Corelli's, and from that into something else, calling up favourite after favourite to suit the passing moods of his spirit, and feeling happier than he had felt for months.
I loved the art, so that in less than twelve months I had made a sufficient progress to join in Corelli's and even Handel's trios, and thus to strengthen the parsonage-house band.
As Giuseppe called himself "Gesù," so there was a member of the famous violin-making family of Guadagnini who was called "John the Baptist," and of whom I only know that he belonged to a large family. But to turn from these unsatisfactory violin makers to violin players: I know nothing of the great Corelli's personal history; his pupil Geminiani is said to have led a life full of romance.
Hogarth's character is written upon his work so plainly that he who runs may read it, so is Handel's upon his, so is Purcell's, so is Corelli's, so, indeed, are the characters of most men; but often where only little work has been left, or where a work is by a new hand, it is exceedingly difficult "sentir la mediocrite" and, it might be added, "ou meme sentir du tout."
The people were dull and pretentious; old ladies with elderly maiden daughters; funny old bachelors with mincing ways; pale-faced, middle-aged clerks with wives, who talked of their married daughters and their sons who were in a very good position in the Colonies. At table they discussed Miss Corelli's latest novel; some of them liked Lord Leighton better than Mr.
"Soliman the Magnificent" is evidently resolved to do justice to his title on this occasion with his carefully-powdered wig, frills, maroon-colored coat, and buckled shoes; and as he makes his progress up the room, the company draw aside for him to reach his favorite seat near Handel. A trio of Corelli's is gone through; then Madame Cuzzoni sings Handel's last new air; Dr.
Scarlatti had written a masque, which was to be played before the king, but owing to the composer's limited knowledge of the violin, Corelli's part was very awkward and difficult, and he failed to execute it, while the Neapolitan violinists played it with ease.
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