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"The harp that once or twice." (U11.581)
From the song 'The Harp that Once Through Tara's Halls' by Thomas Moore: 'The harp that once through Tara's halls The soul of music shed, Now hangs as mute on Tara's walls As if that soul were fled.' |
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"Mr Dedalus laid his pipe to rest beside the tuningfork and, sitting, touched the obedient keys.
- No, Simon, Father Cowley turned. Play it in the original. One flat. The keys, obedient, rose higher, told, faltered, confessed, confused. Up stage strode Father Cowley. - Here, Simon. I'll accompany you, he said. Get up." (U11.600) |
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"By Graham Lemon's pineapple rock, by Elvery's elephant jingle jogged." (U11.606) |
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"Elvery's elephant"
An advertisement for J.W. Elvery (Waterproofers) in a tourist pamphlet from 1902. They had stores at 46 & 47 Lower Sackville Street, and 18 1/2 Nassau Street. |
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"Most beautiful tenor air ever written, Richie said: Sonnambula. He heard Joe Maas sing that one night. Ah, what M'Guckin! Yes. In his way. Choirboy style. Maas was the boy. Massboy. A lyrical tenor if you like. Never forget it. Never." (U11.610)
Joseph Maas (1847-1886) was an English tenor. As a boy, he was for 5 years soloist in the choir of Rochester Cathedral. He studied under J. C. Hopkins and Mme Bodda-Pyne, then in Milan in 1869. He made his first appearance in London In 1871 at one of Henry Leslie's concerts; a little later, he made his stage debut in Boucicault's 'Babil and Bijou'. In 1877 he jointed the Carl Rosa Company, and in 1878 became its principal tenor. He had a beautiful voice and finished style (that more than compensated for somewhat poor acting skills). Maas achieved highest and widest renown as an oratorio and concert singer, mostly of sacred music. I found in 'The Musical World' reviews of his singing in Haendel's Messiah, Gounod's Messe Solennelle, Mendelssohn's Hymns of Praise etc |
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"Richie cocked his lips apout. A low incipient note sweet banshee murmured: all. A thrush. A throstle. His breath, birdsweet, good teeth he's proud of, fluted with plaintive woe. Is lost. Rich sound. Two notes in one there." (U11.630) |
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"Love that is singing: love's old sweet song. Bloom unwound slowly the elastic band of his packet. Love's old sweet sonnez la gold." (U11.681) |
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"Tenors get women by the score. Increase their flow. Throw flower at his feet when will we meet?" (U8.686)
Hmm, not always it seems. |
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"My head it simply. Jingle all delighted. He can't sing for tall hats. Your head it simply swurls. Perfumed for him. What perfume does your wife? I want to know." (U11.687) |
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"Jing. Stop. Knock. Last look at mirror always before she answers the door. The hall. There? How do you? I do well. There? What? Or? Phial of cachous, kissing comfits, in her satchel. Yes? Hands felt for the opulent." (U11.689) |
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"Martha it is. Coincidence. Just going to write. Lionel's song. Lovely name you have. Can't write. Accept my little pres. Play on her heartstrings pursestrings too. She's a. I called you naughty boy. Still the name: Martha. How strange! Today." (U11.713)
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"The voice of Lionel returned, weaker but unwearied. It sang again to Richie Poldy Lydia Lidwell also sang to Pat open mouth ear waiting to wait." (U11.717)
... or waiting to be waited on... |
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"Singing. Waiting she sang. I turned her music. Full voice of perfume of what perfume does your lilactrees. Bosom I saw, both full, throat warbling. First I saw. She thanked me. Why did she me? Fate. Spanishy eyes." (U11.730)
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"Under a peartree alone patio this hour in old Madrid one side in shadow Dolores shedolores. At me. Luring. Ah, alluring." (U11.733) |
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"Jingle, by monuments of sir John Gray," (U11.762) |