|"Tiresome shapers scraping fiddles, eye on the bowend," (U11.574)|
|"sawing the 'cello, remind you of toothache. Her high long snore. Night we were in the box. Trombone under blowing like a grampus, between the acts, other brass chap unscrewing, emptying spittle. Conductor's legs too, bagstrousers, jiggedy jiggedy. Do right to hide them." (U11.575)|
|"Only the harp. Lovely gold glowering light. Girl touched it. Poop of a lovely. Gravy's rather good fit for a. Golden ship. Erin." (U11.580)|
"The harp that once or twice." (U11.581)|
From the song 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.'
"Down stage he strode some paces, grave, tall in affliction, his long arms outheld. Hoarsely the apple of his throat hoarsed softly. Softly he sang to a dusty seascape there: A Last Farewell. A headland, a ship, a sail upon the billows. Farewell. A lovely girl, her veil awave upon the wind upon the headland, wind around her. |
- M'appari tutt'amor:
Il mio sguardo l'incontr..." (U11.588)
"She waved, unhearing Cowley, her veil to one departing, dear one, to wind, love, speeding sail, return. |
- Go on, Simon.
- Ah, sure, my dancing days are done, Ben... Well..." (U11.596)
"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)
|"By Graham Lemon's pineapple rock, by Elvery's elephant jingle jogged." (U11.606)|
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.
"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
|"Tenderly Bloom over liverless bacon saw the tightened features strain. Backache he. Bright's bright eye. Next item on the programme. Paying the piper." (U11.614)|
|"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)|
|"Blackbird I heard in the hawthorn valley. Taking my motives he twined and turned them. All most too new call is lost in all. Echo. How sweet the answer. How is that done? All lost now. Mournful he whistled. Fall, surrender, lost." (U11.633)|
|"He knows it well too. Or he feels. Still harping on his daughter. Wise child that knows her father, Dedalus said. Me?" (U11.644)|
"By the sandwichbell in screening shadow, Lydia her bronze and rose, a lady's grace, gave and withheld: as in cool glaucous eau de Nil Mina to tankards two her pinnacles of gold. |
The harping chords of prelude closed. A chord longdrawn, expectant drew a voice away." (U11.660)