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Composer from the 1853 novel Charles Auchester by Elizabeth Sara Sheppard. The novel opens in 1833, and concludes in 1847.

He doesn't like Bach.

His first name is never given.

" I mean that when Milans-André went away no one knew how much mischief he had done. His whole system was against Bach, and this is properly a school for Bach. He could not eradicate the foundation, and he could not confess his dislike against our master in so many words. The only thing was to introduce quite a new style, or I am sure it might be called 'school' for he has written such an immense deal. It was an opera of his, performed in this town, that at once did for him as far as those were concerned whom he had deceived, and that determined us not to submit ourselves any longer- He was becoming so unpopular that he was too happy to resign. Still, he left a number for himself behind him greater than those who had risen against him."

"Tell me about that opera, pray. You write interesting letters, sir."

" I have interesting matter, truly. The opera was called Emancipation; or, the Modem Orpheus. The overture took in almost all of us, it was so well put together ; but I fancy you would not have approved of it, somehow. The theatre here is very small, and was quite filled by our own selves and a few artists, — not one amateur, for it was produced in rehearsal. The scenery was very good, the story rambling and fiendish ; but we thought it fairy-like. There was a perfect hit in the hero, who was a monstrous fiddle-player, to represent whom he had Paganini, as he had not to speak a word. The heroines, who were three in number, were a sort of musical nuns, young ladies dedicated to the art; but they, first one, then another, fell in with the fiddler, and finding him, became enamoured of him. He condescends to listen to the first while she sings, or rather he comes upon her as she is singing the coolest of all Bach's solos in the coolest possible style. He waits till the end with commendable patience, and then, amidst infernal gesticulations, places before her a cantata of his own, which is something tremendous when accompanied by the orchestra. The contrasted style, with the artful florid instrumentation, produces rapture, and is really an effect, though I do not say of what kind. The next heroine he treats to a grand scene, in which the violin is absolutely made to speak; and as it was carried through by Paganini, you may conjecture it was rather bewitching. The last lady he bears off fairly, and they converse in an outlandish duet between the voice of the lady and the violin. I can give you no outline of the plan, for there is no plot that I could find afterwards, but merely the heads of each part. Next comes a tumble-down church, dusty, dark, repelling to the idea from the beginning ; and you are aware of the Lutheran service which is being droned through as we are not very likely to hear it, in fact. By magic the scene dissolves; colored lights break from tapering windows ; arches rise and glitter like rainbows ; altar-candles blaze and tremble ; crimson velvet and rustling satin fill the Gothic stalls on either side; and while you are trying to gather in the picture, the Stabat Mater bursts out in strains about as much like weeping as all the mummery is like music.

"The last scene of all is a kind of temple where priests and priestesses glide in spangled draperies, while the hierarch is hidden behind a curtain. Busts and statues, that I suppose are intended for certain masters, but whom it it is not very easy to identify, as they are ill fashioned and ill grouped, are placed in surrounding shrines. At strains for signs from that curtained chief, the old heads and figures are prostrated from the pedestals, the ruins are swept aside by some utilitarian angel, and the finale consists in a great rush of individuals masked, who crown the newly inaugurated statue of the elevated Orpheus, and then dance around him to the ballet music, which is accompanied by the chorus also, who sing his praise.

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