Bauhaus-Universität Weimar

SPIRIT—MUSIC. 
91 
drawn out with the requisite freedom to its full extent. We 
listened with suspended breath. The air was wild, and full of 
strange transitions, with a wail of the most pathetic sweetness 
running through it. The execution was no less remarkable for 
its delicacy than its power. When tluTnotes swelled in some of 
the bold passages, the sound rolled through the room with an 
astounding reverberation ; then, gently subsiding, sank into a 
strain of divine tenderness. But it was the close that touched 
the hearts, and drew the tears of the listeners. Milton dreamt of 
this wondrous termination when he wrote of 4 linked sweetness 
long drawn out.’ By what art the accordion was made to yield 
that dying note, let practical musicians determine. Our ears, 
that heard it, had never before been visited by 4 a sound so fine.’ 
It continued diminishing and diminishing, and stretching far 
away into distance and darkness, until the attenuated thread of 
sound became so exquisite that it was impossible at last to fix 
the moment when it ceased. 
“That an instrument should be played without hands, is a 
proposition which nobody can be expected to accept. The whole 
story will be referred to one of the two categories under which 
the whole of these phenomena are consigned by 4 common sense.’ 
It will be discarded as a delusion or a fraud. Either we ima¬ 
gined we heard it, and really did not hear it; or there was some 
one under the table, or some mechanism was set in motion to 
produce the result. Having made the statement, I feel that I am 
bound, as far as I can, to answer these objections, which I admit 
to be perfectly reasonable. Upon the likelihood of delusion, my 
testimony is obviously worth nothing. With respect to fraud, I 
may speak more confidently. It is scarcely necessary to say, that 
in so small a circle, occupied by so many persons, who were 
inconveniently packed together, there was not room for a child 
of the size of a doll, or for the smallest piece of machinery, to 
operate. But we need not speculate on what might be done by 
skilful contrivances in confines so narrow, since the question is 
removed out of the region of conjecture by the fact, that, upon 
holding up the instrument myself in one hand, in the open room.
        

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