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Denise Henry
Charles Auchester
Charles Auchester
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Charles Auchester by Elizabeth Sheppard, with an Introduction and Notes
By George P. Upton, author of “The Standard Operas,” “Standard Oratorios,” “Standard Cantatas,” “Standard Symphonies,” “Woman in Music,” etc.
In 2 Volumes, Volumes 1 and 2
CONTENTS
Volume 1.
Introduction.
The romance of “Charles Auchester,” which is really a memorial to Mendelssohn, the composer, was first published in England in 1853. The titlepage bore the name of “E. Berger,” a French pseudonym, which for some time served to conceal the identity of the author. Its motto was a sentence from one of Disraeli’s novels: “Were it not for Music, we might in these days say, The Beautiful is dead.” The dedication was also to the same distinguished writer, and ran thus: “To the author of ‘Contarini Fleming,’ whose perfect genius suggested this imperfect history.” To this flattering dedication, Mr. Disraeli replied in a note to the author: “No greater book will ever be written upon music, and it will one day be recognized as the imaginative classic of that divine art.”
Rarely has a book had a more propitious introduction to the public; but it was destined to encounter the proverbial fickleness of that public. The author was not without honor save in her own country. It was reserved for America first to recognize her genius. Thence her fame travelled back to her own home; but an early death prevented her from enjoying the fruits of her enthusiastic toil. Other works followed from her busy pen, among them “Counterparts,”--a musico-philosophical romance, dedicated to Mrs. Disraeli, which had a certain success; “Rumor,” of which Beethoven, under the name of Rodomant, is supposed to have been the hero; “Beatrice Reynolds,” “The Double Coronet,” and “Almost a Heroine:” but none of them achieved the popularity which “Charles Auchester” enjoyed. They shone only by the reflected light of this wonderful girl’s first book. The republication of this romance will recall to its readers of an earlier generation an old enthusiasm which may not be altogether lost, though they may smile as they read and remember. It should arouse a new enthusiasm in the younger generation of music-lovers.
Elizabeth Sheppard, the author of “Charles Auchester,” was born at Blackheath, near London, in 1837. Her father was a clergyman of the Established Church, and her mother a Jewess by descent,--which serves to account for the daughter’s strong Jewish sympathies in this remarkable display of hero-worship. Left an orphan at a tender age, she was thrown upon her own resources, and chose school-teaching for her profession. She was evidently a good linguist and musician, for she taught music and the languages before she was sixteen. She had decided literary ambition also, and wrote plays, poems, and short stories at an age when other children are usually engaged in pastimes. Notwithstanding the arduous nature of her work and her exceedingly delicate health, she devoted her leisure hours to literary composition. How this frail girl must have toiled is evidenced by the completion of “Charles Auchester” in her sixteenth year. In her seventeenth she had finished “Counterparts,”--a work based upon a scheme even more ambitious than that of her first story. When it is considered that these two romances were written at odd moments of leisure intervening between hours of wearing toil in the school-room, and that she was a mere child and very frail, it will be admitted that the history of literary effort hardly records a parallel case. Nature however always exacts the penalty for such mental excesses. This little creature of “spirit, fire, and dew” died on March 13, 1862, at the early age of twenty-five.
Apart from its intrinsic merits as a musical romance, there are some features of “Charles Auchester” of more than ordinary interest. It is well known that (Continued...)
By George P. Upton, author of “The Standard Operas,” “Standard Oratorios,” “Standard Cantatas,” “Standard Symphonies,” “Woman in Music,” etc.
In 2 Volumes, Volumes 1 and 2
CONTENTS
Volume 1.
Introduction.
The romance of “Charles Auchester,” which is really a memorial to Mendelssohn, the composer, was first published in England in 1853. The titlepage bore the name of “E. Berger,” a French pseudonym, which for some time served to conceal the identity of the author. Its motto was a sentence from one of Disraeli’s novels: “Were it not for Music, we might in these days say, The Beautiful is dead.” The dedication was also to the same distinguished writer, and ran thus: “To the author of ‘Contarini Fleming,’ whose perfect genius suggested this imperfect history.” To this flattering dedication, Mr. Disraeli replied in a note to the author: “No greater book will ever be written upon music, and it will one day be recognized as the imaginative classic of that divine art.”
Rarely has a book had a more propitious introduction to the public; but it was destined to encounter the proverbial fickleness of that public. The author was not without honor save in her own country. It was reserved for America first to recognize her genius. Thence her fame travelled back to her own home; but an early death prevented her from enjoying the fruits of her enthusiastic toil. Other works followed from her busy pen, among them “Counterparts,”--a musico-philosophical romance, dedicated to Mrs. Disraeli, which had a certain success; “Rumor,” of which Beethoven, under the name of Rodomant, is supposed to have been the hero; “Beatrice Reynolds,” “The Double Coronet,” and “Almost a Heroine:” but none of them achieved the popularity which “Charles Auchester” enjoyed. They shone only by the reflected light of this wonderful girl’s first book. The republication of this romance will recall to its readers of an earlier generation an old enthusiasm which may not be altogether lost, though they may smile as they read and remember. It should arouse a new enthusiasm in the younger generation of music-lovers.
Elizabeth Sheppard, the author of “Charles Auchester,” was born at Blackheath, near London, in 1837. Her father was a clergyman of the Established Church, and her mother a Jewess by descent,--which serves to account for the daughter’s strong Jewish sympathies in this remarkable display of hero-worship. Left an orphan at a tender age, she was thrown upon her own resources, and chose school-teaching for her profession. She was evidently a good linguist and musician, for she taught music and the languages before she was sixteen. She had decided literary ambition also, and wrote plays, poems, and short stories at an age when other children are usually engaged in pastimes. Notwithstanding the arduous nature of her work and her exceedingly delicate health, she devoted her leisure hours to literary composition. How this frail girl must have toiled is evidenced by the completion of “Charles Auchester” in her sixteenth year. In her seventeenth she had finished “Counterparts,”--a work based upon a scheme even more ambitious than that of her first story. When it is considered that these two romances were written at odd moments of leisure intervening between hours of wearing toil in the school-room, and that she was a mere child and very frail, it will be admitted that the history of literary effort hardly records a parallel case. Nature however always exacts the penalty for such mental excesses. This little creature of “spirit, fire, and dew” died on March 13, 1862, at the early age of twenty-five.
Apart from its intrinsic merits as a musical romance, there are some features of “Charles Auchester” of more than ordinary interest. It is well known that (Continued...)