Saints Row 4 Custom Radio

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saints row 4 custom radio

With the suppression of the monasteries came the resultant loss of thesuccour they had for so long been accustomed to rely on at the hands ofthe monks, in case of illness or other trouble. To them they had lookedto supply, when in need, the necessities of life, and so, on the suddencessation of these benefits they, in their ignorance, visited theirastonished anger not on those who were the cause of it, but on thevictims who were no longer in a position to continue their benevolentoffices.

By the time of Queen Elizabeth the number and variety of instruments hadgreatly increased as the following lines by the poet, Michael Drayton,shew. It may be mentioned in explanation of the words, "the viol best insetts," that it was customary in those days to enclose in one case a setof these instruments, treble, tenor and bass, the last-named beingprobably the viol da gamba, the predecessor of the modern violoncello.

An age that could witness without protest the appointment of JonathanSwift, the author of "The Tale of a Tub," to the position of a dignitaryof the Church, must surely have been one in which, at least among theruling classes, the moral sense must have sunk low. At any rate, it maybe said that the extreme liberty of thought, encouraged by the thenprevalent doctrines, and the utter disregard of ceremonial in theservices of the Church, are far removed from the thought and customs ofto-day.

To them, long accustomed as they were to the barbaric sound of sequencesof bare fourths and fifths, it must have seemed like a revelation ofHeaven itself, and we may fain hope that many a Nunc dimittis, all thehappier in consequence, came from their grateful hearts as the passinghour arrived.

Handel died in 1759, and there is little to record of special interest,until the arrival of Haydn in 1791. With this event may be associatedthe birth of the modern orchestra, in this country. That which Handelhad employed seems amazing to modern ideas. To think of a band thatcontains as many oboes as violins is enough to take one's breath away,without insisting on other quaint details; yet up to Haydn's visit thiswas what musical people were accustomed to.

The revolution he brought about, the great[Pg 127] increase in the number ofstringed instruments, the limitation of the number of oboes to two, andthe many other changes of a like nature, may seem at first ratherstartling; a little consideration, however, may perhaps suggest a quitesimple explanation. In those days it was customary for the great noblesof central Europe to keep a resident band in their palaces, and it isonly reasonable to think that instruments of less piercing tone thanthat of the oboe, would be preferred for salon performances. Haydn hadbeen in the service of Prince Esterhazy for thirty years, had writtenmost of his music for performance in the palace, and thus when he cameto London at the instigation of Saloman, a Jewish concert agent, henaturally introduced this new type of orchestra which, with theoccasional addition of novel instruments, has remained to the presentday.

I am afraid they little know, poor people, how absolutely indifferentthe public have gradually become to this matter of certificates ofefficiency. People, in fact, have become so accustomed nowadays to see awhole string of letters after a person's name, which in ninety cases outof a hundred have no significance to them whatever, that, beyondflattering the vanity of the individual, the use of letters authorisedby these self-appointed institutions has no effect. The least educatedcould hardly be deceived by them.[Pg 252]

In the years immediately following on 1880, I held the position ofsenior teacher in a school of considerable importance, and, becomingsensible of the solemn farce of annual examinations by teachers of theirown pupils, that had been the custom of many years past, I suggested tothe authorities that they should engage an examiner from one of theprincipal institutions. I was, accordingly, desired to go to the RoyalAcademy of Music and see whether that body would entertain theproposition.[Pg 253]

That the critic, in the long run, is in the ascendant will be granted,but when he, in the person of Lord Brougham, attacked Byron, or throughsome less powerful channel, attacked Keats, thereby bringing down themagnificently expressed scorn of Percy Bysshe Shelley, he did not comeoff with his accustomed success.