Act II.

New MS. Sinfonia in ~G~ minor, composed ~C. Potter.~ expressly for the Philharmonic Society, and first time of performance.

Aria, Madame Pasta, ‘Bel raggio.’ (_Semiramide._) ~Rossini.~

Duetto, violoncello e contra basso, Messrs. Lindley ~Corelli.~ and Dragonetti.

Aria, Madame Puzzi, ‘Se amore soltanto.’ Corno, ~Mayer and obligato Signor Puzzi. Rossini.~

Overture. (_Anacreon._) ~Cherubini.~

Leader, Mr. Mori.--Conductor, Mr. C. Potter.

Beethoven’s first symphony was that in ~C~, which at once, without the usual _gradatim_ rise, placed him on a level with Haydn and Mozart. It is now nearly forty years since it was written, but, owing to the state of the continent, did not reach this country till about fifteen years after its appearance at Vienna, and was then only attempted by bold instrumentalists. This Society, however, from its very commencement took it up,--it was the first symphony ever performed by the Philharmonic band, and then was heard everywhere in some shape or other; till at length--such is the fate of all that is good in music--by too frequent repetition, it began to ‘pall upon the sense,’ and was laid aside. It now came out, after many years’ repose, in much of its pristine freshness,--it was actually new to some of the audience, and was welcomed by all.

Mr. Potter’s symphony is not only the best composition that has yet proceeded from his pen, but a work that will give him an honourable place in the temple of fame,--a work, that the oftener it is heard the better it will be understood, and the more it will be liked; for not only the experienced master, but the man of genius, is evinced in every movement. It consists of an allegro con fuoco, in ~G~ minor, strikingly original; a very melodious and effective andante in ~D~ minor; a bold scherzo in G minor, and trio in ~E~ flat; and a finale in ~G~ minor. The only point in this symphony that seems to us liable to objection, is, that all the movements, except a short trio, are in the minor key, and this three times the same; thus a want of contrast is felt at the beginning and ending of each, though in the modulations the major third is sufficiently often introduced to afford the necessary relief.

The Fantasia Drammatica, for the full orchestra, is a descriptive piece; but M. Neukomm has had the good sense to attempt only to describe generally, never particularly. The last four books of _Paradise Lost_ have supplied him with subjects, as his printed argument will show. The numbers distinguish the movements:--

No. 1. Adam’s and Eve’s happiness in Paradise.--Their Morning Hymn.--(Books IX. and X.)

No. 2. Adam and Eve go forth to their labours.--Temptation.--Transgression.--Satan’s Triumph.--(Books IX. and X.)

No. 3. Judgment of the transgressors.--Book X.

No. 4. Their lamentation.--Only consolation in the promise of the coming Redeemer.[69]--Submission.--Michael leads them out of Paradise.--(Books XI. and XII.)

The phrase alluded to by the composer is the first few bars of ‘I know that my Redeemer liveth,’ which he has introduced in a most felicitous manner. That the whole of this is well written, we hardly need say. There is some imagination in the various movements, but not of that vigorous kind which will put the indelible stamp of genius on the work.

M. Hummel’s concerto--the same that he produced at his recent benefit--is a very masterly composition, and, with a far superior band, went off much better now than at his own concert. The duet between Lindley and Dragonetti fixed the attention of the whole room, and pleased all. The last movement was loudly encored, for the wonderful command obtained over so intractable an instrument as the double-base naturally enough excites a desire to witness more of it than the single hearing of so brief a piece affords an opportunity of doing. The soft, low tones also, after the _brass band_ had been very active, operated as a great relief to the auricular nerves.

Though the vocal portion of this concert furnished nothing new, the manner in which it was executed by Madame Pasta and Signor Tamburini gave a charm to it that was most sensibly felt by all present, who testified their pleasure by the warmest applause; and applause is not here lavishly or indiscriminately bestowed.

Madame Puzzi and her _smaller half_ took more pains with the aria of Rossini than, as a composition, it deserved, but not more than that respect which they always feel for their audience taught them was required.

EIGHTH CONCERT, MONDAY, ~June~ 10, 1833.

~Act I.~

Sinfonia, No. 4. ~Beethoven.~

Aria, Signor Zuchelli, ‘Mentre ti lascio.’ ~Mozart.~

Concerto, piano-forte, M. Herz. ~Herz.~

Scena, Madame Malibran, ‘Non più di fiori.’ ~Mozart.~ Corno di bassetto obligato, M. Willman.

Overture, composed expressly for the Philharmonic ~F. Mendelssohn Society, and first time of performance. Bartholdy.~

~Act II.~

Sinfonia in ~G~ minor. ~Mozart.~

Aria, Madame Cinti Damoreau, ‘Sento un interna ~Rossini.~ voce,’ (_Elisabetta._)

First Concerto Violin, M. De Beriot. ~De Beriot.~

Duetto, Madame Cinti Damoreau and Madame Malibran, ~Mercadante.~ ‘Vanne, se alberghi in petto.’ (_Andronico._)

Overture. (_Egmont._) ~Beethoven.~

Leader, Mr. Weichsel.--Conductor, Mr. Bishop.

The symphony in ~B~ flat of Beethoven, though less known than two or three of his others, is inferior to none in beauty, and in that kind of originality which does not strike the hearer who is content to enjoy without inquiring into the remoter causes of his pleasure. Both this and Mozart’s in ~G~ minor, which it is needless to praise, were performed and received with a warmth of feeling that acts by reciprocation, and is a cause, a main one, of the acknowledged, the vast superiority of the instrumental performances at these concerts. The overture by M. Mendelssohn in ~C~, declares itself the offspring of genius and knowledge. Its rapidity and, what appears, wildness, render an analysis of it impossible, without either frequent hearing or an examination of the work on paper; we therefore venture no further opinion of it than the very general one we now express.

Great curiosity was excited to hear M. Herz, whose name has for some time past been pretty well known in all the music-shops of Europe. To those who consider mechanical dexterity, or that sort of command of the key-board which persevering labour is sure to bestow, the perfection of piano-forte playing,--or, in other words, to such as think what is termed execution the only reasonable aim and desirable end of music,--this gentleman must appear the realization of the beau-ideal of a performer: the neatness with which, without any apparent effort, he does extraordinary feats, is surprising--quite as astonishing as some things accomplished by Paganini on the violin, and equally valuable, in the eyes of those who ground their judgment on anything like sound principle. He crosses his hands, he weaves his fingers, with the cleverness of a juggler; an automaton constructed by Maelzel could hardly surpass him in precision. He invents and masters passages which the greatest musicians never dreamt of, which the best players never did and never will attempt, and is a most successful rival of that self-playing piano-forte which is manufactured and to be purchased somewhere in London within sound of Bow-bell. But with those who think that sentiment or expression,--that taste, that rich harmony, that air ‘_che nell’ anima si sente_,’ are all or any of them essential to good music, M. Herz has small chance of becoming a favourite. To which party the majority of our readers belong, we only know by conjecture: we lay the case before them in the best way that our ability will permit, and respectfully leave them to guess our opinion. The concerto performed by M. Herz is in ~C~ minor, and at least on a par with most of the other compositions by the same author.

M. de Beriot’s concerto, though not as a composition equal to that he played on the sixth night, proved highly gratifying to his audience, for his performance was marked by excellencies in which he has no rival. He was greeted with acclamations.

Not less animated were the applauses that followed the scena of Mozart, ‘Ecco il punto,’ and aria, ‘Non più di fiori,’ in which Madame Malibran displayed a compass of voice, (from ~A~ below to ~A~ above the treble staff,) a power in delivering this fine recitative, and a correctness of taste in the execution of the air, that, altogether, we never knew equalled. In the duet, which is one of the best things that Mercadante has produced, the two ladies were quite equal in their respective styles, and established a just right to the almost enthusiastic approbation they met with. The aria sung by Signor Zuchelli, a clever composition, is among the _Operngesaenge_ of Mozart, but he was not at home in it: probably he had not had time enough to study it sufficiently. He was nearly overpowered, too, by an unmercifully loud accompaniment, a fault, and a very glaring one, in these concerts, which the directors ought to have corrected. Most of the audience stayed to hear the profound overture to _Egmont_, which terminated a remarkably fine and universally admired concert.

BENEFIT CONCERTS OF THE SEASON.

~Mr. Vaughan’s~,

_Hanover Square Rooms, Friday_ Evening, _April 26_.

Mr. Vaughan filled his room completely without any aid from foreign singers; and except a duet from Spohr’s _Jessonda_--which was not well chosen for Mrs. Bishop and Mr. Horncastle--the music was almost wholly in the native language of the performers. Giovanni Croce’s madrigal, ‘Cynthia!’ was called for a second time, for madrigals are _coming into fashion_ again. Mrs. Bishop sang Hummel’s Offertorium very chastely; and Miss Stephens, in ‘Sweet Bird,’ pleased every admirer of simplicity and pure intonation. Mr. Phillips’s ‘Old English Gentleman’ was received with a universal encore.

~Mr. Moscheles’~,

_Opera Concert Room, Wednesday_ Morning, _May 1_.

M. Moscheles gave the septetto written for the Philharmonic Society, with exceedingly good effect. He also, with M. Mendelssohn, played Weber’s Gipsies’ March with concertante variations, as a duet for two piano-fortes, which excited the most lively interest--these two highly distinguished musicians having each contributed his share of variations, and, in friendly conflict, put forth all their powers in the performance of them. Their cadences were of the most masterly kind, and excited the admiration of a crowded room, in which were most of the connoisseurs in town. Miss Francilla Pixis made her first appearance in London, in a feeble air by Bellini. Her voice is a mezzo soprano, and as she had but recently recovered from an indisposition, her performance is hardly a fair subject for criticism. Mad. Pircher sang an air from _Figaro_, in German, not in the best manner. Indeed it was injudicious to give it in a translation. But the strength of the concert consisted in the instrumental part; this also included Mendelssohn’s fine poetical overture to _A Midsummer Night’s Dream_, and a clever extemporaneous performance by ~M. Moscheles~.

~M. Pio Cianchettini’s and Mad. Campanile’s~,

_At Willis’s Rooms, Monday_ Morning, _May 6_.

M. Cianchettini produced a new duet for piano-forte and flute, in which he was ably supported by M. Sedlatzek. He also performed Dussek’s fine duet for two piano-fortes, with his sister, Mad. Campanile; likewise an extempore fantasia. Mad. Cinti, Signori Rubini, Donzelli, Zuchelli, &c., rendered their vocal assistance; and M. Mori, M. Puzzi, M. Sedlatzek, and M. Sagrini, on the violin, horn, flute, and guitar, contributed their assistance.

~Mrs. Anderson’s~,

_Opera Concert Room, Friday_ Morning, _May 10_.

Mrs. Anderson introduced, for the first time in public, Beethoven’s concerto in ~G~, which she performed in her accustomed accurate and brilliant manner. Also the fantasia of the same composer, in which he has joined voices and instruments. She likewise played Czerny’s Military Fantasia, which, having the least merit of the three pieces, was most applauded, for the assembly--a remarkably full one, as usual--was of a very fashionable kind. Mad. Pasta sang (for the _hundredth_ time, we believe) ‘Il braccio mio conquise;’ and the best thing Morlacchi ever produced, ‘Notte tremenda.’ Mad. Cinti gave ‘The last Rose of Summer’ with variations. The latter were executed in a most perfect manner, and the absurdity of them did not seem to strike the audience. She also sang an unmeaning air by Pucitta, but made up for the weakness of this by accompanying herself very skilfully on the piano-forte. Mori played a violin solo by Mayseder, in which was less of that skittishness than is commonly found in the productions of this ephemeral composer. And Miss A. Windsor performed a harp concerto by Labarre, with considerable applause.

~M. Hummel’s~,

_Opera Concert Room, Monday_ Morning, _May 13_.

The most attractive piece in this performance was a new concerto by M. Hummel, a composition in which knowledge and taste are equally and happily combined. He also played a new _Rondo Brillante_, the subjects and style of which are quite of the popular kind, though, of course, it can only be made available, should it be published, by a few--by those who devote their lives to the overcoming of difficulties. Mesdames Pasta, De Meric, and Pircher, Signori Donzelli and Tamburini, with Herr Blume and Herr Binder, sang each one aria. The _German vocalists_ also attended, and performed what we should be inclined to call an English glee, to German words, and not a very good one. In fact, had they not been _foreign_, and had not the music been throughout the same, nothing but the urbanity of the audience would have prevented their manifesting some disapprobation at such a performance. The room was not fully attended.

~Mr. F. Cramer’s~,

_At the Hanover Square Rooms, Wednesday, May 15_.

To the regret of his numerous friends, Mr. F. Cramer was by indisposition prevented from being present at his own concert, but his place was ably filled by Mr. Mori; and his brother, Mr. J. B. Cramer, delighted the Audience by a _concertino_, a _pasticcio_ in fact, made up for the occasion, on the piano-forte. Mr. F. Cramer’s pupil, young Blagrove, played Mayseder’s concerto in ~E~ minor with great neatness and spirit; and Mr. Wright exhibited much talent in Hummel’s favourite concerto, adapted for the harp; a change, however, which we cannot quite approve, and trust that it will not often be imitated. Mrs. Knyvett sang ‘If guiltless blood,’ very feelingly. Mr. Phillips was very great in Neukomm’s cantata, _Napoleon’s Midnight Review_, and very amusing in ‘The Old English Gentleman.’ Mad. Pasta sang ‘Ah! come rapida!’ admirably: but why will she not extend her catalogue of arie? She doubtless has heard of ‘toujours perdrix.’

~Madame Cellini’s~,

_Hanover Square Rooms_.

Mad. Cellini sang in good taste a duet of Rossini with her pupil, Miss Heath, and joined in other pieces. Mad. Pasta, Mad. Devrient, Signori Zuchelli, De Begnis, Mr. Parry, jun., Mr. Bennett, &c., assisted in the vocal department. M. De Beriot played very finely a violin solo; and a M. Dorn made his first appearance in London, in a solo for the horn. He is a master of his instrument, but not so great a master as Puzzi.

~Mr. Dressler’s and Mr. F. Pelzer’s~,

_Opera Concert Room, Wednesday_ Morning, _May 15_.

This was not very fully attended, but Mr. Dressler and Mr. Pelzer on their respective instruments very much delighted their audience.

~Miss Dorrell’s~,

_At the residence of Sir Giffin Wilson, Stratford Place, Wednesday_ Evening, _May 15_.

Miss Dorrell, late a pupil of the Royal Academy of Music, performed Hummel’s piano-forte concerto in ~A~ minor, also the principal part in his military septet, in a very correct, neat manner. The rest of the concert was vocal; among the pieces were ‘Ah! come rapida!’ and a Tyrolienne, by Mad. Cinti, an aria, by Signor Zuchelli, a duet by the latter and Signor De Begnis, a serenade by Mr. Bennett, composed by Lord Burghersh, &c. A numerous and elegant company attended this concert.

~M. Kiallmark’s~,

_Opera Concert Room, Thursday_ Morning, _May 16_.

The first movement of Moscheles’ concerto, No. 5, a concerto by Mendelssohn, and the piano-forte part of a trio by Hummel, were played with much brilliancy by M. Kiallmark. M. Dressler performed a flute solo. The concert was otherwise chiefly vocal; and except what was assigned to Mad. Cinti, was far from laudable. A song, in the programme, named ‘The Rhine,’ is too palpable an imitation of Neukomm’s ‘Sea,’ to pass without a stricture; and as if it had been intended to expose the author of it, the model was subsequently produced.

~M. Mori’s~,

_Opera Concert Room, Friday_ Evening, _May 17_.

The whole force of the London orchestra, and the corps de l’opera, were, as usual, assembled by M. Mori, and his room was filled in every part. He played with great force and execution a _concertino_, made up of Mayseder and Maurer, and some ‘grand variations’ by the former composer; besides the violin part of an ottetto by Spohr, in which Handel’s celebrated air in ~E~ is introduced, a work which certainly will not add to the fame of M. Spohr. In addition to the above were, Mrs. Knyvett, Mrs. Bishop, Mad. Devrient, and Miss C. Novello. MM. Moscheles and Mendelssohn repeated the duet which they had played at the concert of the former, and M. Bochsa played some variations on the harp. The concert opened with Beethoven’s symphony in C minor, which was very well executed.

~M. Cipriani Potter’s~,

_Opera Concert Room, Friday_ Morning, _May 24_.

On this occasion M. Potter produced a new symphony, a new piano-forte concerto, and some brilliant variations on a French theme, all of which well sustained the high reputation he has acquired, both here and in Germany, as an instrumental composer. We regret that our limits do not admit of our entering fully into the merits of these fresh proofs of his ability. Mesdames Pasta and Devrient, Signori Donzelli, Tamburini, &c., were his vocal supporters; and his band consisted of nearly all the performers of the Philharmonic Concerts.

~M. Henri Herz’s~,

_Opera Concert Room, Wednesday_ Morning, _May 29_.

This was M. Herz’s first public appearance in England, and as his fame had preceded his arrival among us, a large audience assembled to hear an artist concerning whom so much diversity of opinion prevailed. As we have spoken of him in another part of our number we shall merely state here that he was received in a most encouraging manner, and that his performances were followed by very flattering applause. He played a concerto in ~C~minor, ‘grand variations’ on the march in _Otello_, and a duet on one piano-forte, with M. Moscheles. His extemporaneous performance need hardly be noticed. It was as good, and made up of pretty much the same materials, as such things generally are. And we will take this opportunity of observing, that such exhibitions are, in our opinion, as derogatory to a great musician, as improvisation would be to a great poet. The vocal strength consisted of Mad. Cinti, Signori Rubini and Tamburini. Signor Puzzi played in a charming manner a fantasia on the horn, and M. de Beriot performed a solo admirably on the violin.

~Mr. Salaman’s~,

_Hanover Square Rooms, Thursday_ Evening, _May 30_.

This gentleman announces himself as a pupil of Mr. Neate, to whom he does credit. On this occasion he played Mendelssohn’s fine concerto in ~G~ minor, and Czerny’s ‘Grand Military Fantasia,’ in a manner that gained him much applause. Mesdames Pasta, Devrient, De Meric, Puzzi, Mrs. Bishop, MM. Phillips, Donzelli, Haitzinger, Zuchelli, &c., were the vocalists; and M. Eliason played a pleasing fantasia, _à l’Espagnol_, on the violin. The King’s Theatre having been open this evening, Mr. Salaman was incapable of forming a very good orchestra, and Beethoven’s symphony in ~C~ minor suffered in consequence. A trio _à la Tyrolienne_ was sung by Mad. de Meric and two debutantes, the Demoiselles Correldi, who accompanied themselves with the castagnettes! Neither the music nor the performance proved very satisfactory. The room was exceedingly full, but we doubt whether it was equally productive.

~Mr. Sale’s~,

_Hanover Square Rooms, Friday_ Morning, _May 31_.

A very charming selection, in which some excellent music was allotted to our best English singers, and equally good Italian music was assigned to Italians. This is just as it should be, and proves Mr. Sale’s discrimination. A new and clever madrigal by Lord Burghersh was performed for the first time; as was a pleasing song by Mr. Phillips. Mrs. Knyvett in ‘Let the bright seraphim,’ accompanied by Harper, was most deservedly applauded; but we wish that she would not add any cadenza to what is an _aria d’agilità_ from beginning to end. Miss Stephens in ‘John Anderson,’ and Mr. Braham ‘In native worth,’ from the _Creation_, (_sung by command_) drew abundance of plaudits; as did Mad. Pasta in (the old story) ‘Ah! come rapida,’ and Mad. Cinti in Hasse’s fine bravura, ‘Sorprendermi vorresti.’ Sig. Rubini sang, or rather sacrificed, Mozart’s ‘Il mio tesoro intanto;’ and the _Adelaida_ of Beethoven is too much for the physical powers of Mr. Hobbs. The concert opened with ‘God save the King,’ in compliment to the Duchess of Kent and the Princess Victoria, who, with their suite, were present in the royal box, and seemed highly delighted with the performance.

~Sig. Giubilei’s and L. Sagrini’s~,

_At the residence of Sir John De Beauvoir, Connaught Place, Monday_ Morning, _June 3_.

All the strength of the Italian Opera were here, augmented by Mrs. Bishop, Miss H. Cawse, Messrs. Haitzinger and Parry, jun., &c. Mrs. Anderson, Mr. Mori, and Sig. Costa, as instrumentalists. The performance was well attended, and deserved the applause it received.

~Messrs. Chelard’s and Eliason’s~,

_Hanover Square Rooms, Friday_ Morning, _June 7_.

This opened with the overture by M. Chelard performed at the third Philharmonic Concert, whose drinking chorus in _Macbeth_ was also given effectively by the German party. Mr. Eliason played a violin concerto, the music by Rode and Mayseder, with much brilliancy of execution, and the violin part of a duet concertante with the harp. M. Herz played his ‘variations de concert’ on a subject from _Guillaume Tell_.

~M. Sedlatzek’s~,

_At the residence of J. Taylor, Esq., George Street, Hanover Square, Saturday_ Morning, _June 8_.

Well attended, and M. Sedlatzek performed several pieces on the flute with that ease of execution and delicacy of manner for which he is distinguished.

Mr. ~J. B. Cramer’s~,

_Opera Concert Room, Friday_ Morning, _June 14_.

The highest treat in this concert was Mr. Cramer’s performance of his own beautiful concerto, op. 48, which he played with that pathos in which he excels all pianists, and with the spirit--but spirit devoid of feats of agility--that he ever possessed. With M. Hummel he performed the fantasia in ~F~ minor of Mozart, and, as a last movement, the finale to his duet in ~F~ major,--a most finished performance; and with M. Herz, a ‘grand concerto duet,’ which, though admirably executed, we could not but think a very incongruous union. He also introduced, by permission of the Philharmonic Society, the new quintet he wrote for their concerts, and which now went off in a very perfect manner. Messrs. Mori, Nicholson, and Wright, played fantasias on their respective instruments; and Mad. Cinti, Mrs. Knyvett, Miss Novello, Messrs. Phillips and Parry, jun. contributed their vocal aid. The room was full from the commencement.

~Sig. and Mad. Puzzi’s~,

_At the residence of the Countess Cornwallis, Friday_ Evening, _June 14_.

The _élite_ of the foreign artistes now in London came in support of this concert, and the company consisted almost exclusively of people of fashion. The music exhibited little that is new, but it was well performed, and chiefly vocal. Mad. Puzzi sang an aria, ‘Se amore soltanto,’ by Rossini, and was charmingly accompanied by Sig. Puzzi. The latter also played a fantasia on the horn. Messrs. Moscheles and Herz performed a duet on the piano-forte; and Messrs. Osborne and De Beriot a divertimento for piano-forte and violin. The tickets to this were a guinea each, and the rooms were well filled, but not crowded.

FOREIGN MUSICAL REPORT.

VIENNA.

A second concert has been given at the _Hofoperntheater_ by Bernhard Romberg, which was in every respect equal to the first. The young prodigy, Apollinar Kontsky, aged seven years, has also given a concert; this precocious virtuoso, who still plays upon a small-sized violin, evinced extraordinary strength of arm and perfect fulness of tone, and particularly delighted his audience by the correct taste he displayed, and by the expression which he infused into his performances. With the genius which is already apparent in him, and the promise which his present astonishing proficiency holds out, if he persevere in the cultivation of his instrument, under the care of a really good master, there is reason to expect that he will become one of the first violin players in the world.

BERLIN.

A young singer, Mad. Schodel, from Vienna, has made her first appearance at the _Königstadt theater_; her voice, which is of an agreeable quality, is rather weak, particularly in the lower notes; she has, however, considerable flexibility, and she sings simple melodies with exquisite sweetness and taste; her acting, moreover, is very good. There has been no novelty at this theatre of late; the operas of _Melusine_ and _Des Adler’s Horst_ have been the principal attractions.

A new opera has been produced at the _Königliche theater_, _Das Schloss Candra_ (Candra Castle), by Joseph Wolfram, which was rather favourably received. The music makes no pretensions to genius, at the same time the opera contains much that is very meritorious; the choruses, if not beautiful, are at least good, and the same may be said of the concerted pieces; the arias, however, are weak. The other performances have been, _Alcidor_, _Die Stumme_, and _Fra Diavolo_.

DRESDEN.

The unceasing efforts of the Kapellmeister Reissiger have led to an engagement as a compensation for the temporary loss of Mad. Schroeder Devrient, whose characters will be sustained during her three months’ absence by Mad. Kraus Wranitzky; Mlle. Maschinka Schneider is also engaged for one year. The opera, however, experiences an irreparable heavy loss in the departure of Mad. Schebest, who appeared for the last time as _Irma_, in _Der Maurer und der Schlosser_ (le Maçon.)

On Palm Sunday there was a grand performance of Bach’s oratorio, _St. Matthew the Evangelist_, at the great opera house, under the very able direction of Kapellmeister’s Morlacchi and Reissiger, in aid of the fund for the relief of the distressed widows and orphans of members of the Royal Chapel; the choruses consisted of upwards of two hundred voices, and there were ten eminent solo singers--among them, Mesdames Kraus Wranitzky and Schebest; the tenors, Babnigg and Schuster, and the bases, Risse, Wächter, and Zezi; and upwards of a hundred instruments judiciously proportioned.

FRANKFORT.

Mlle. Carl has arrived here, and has sung at a concert which, notwithstanding her fame, was but thinly attended. On the 15th April M. Kalkbrenner gave a concert and was received with enthusiasm.

BREMEN.

The winter concerts, which were very successful, having terminated, there was a benefit concert got up for Mad. Mühlenbruch, the principal singer, who has a sweet voice and exquisite taste. On Good Friday, the _Messiah_ was given in the cathedral, when Mad. M. and the younger Mlle. Graban, and some talented dilettanti, did justice to the music of the immortal Handel.

DUSSELDORF.

It is expected that the musical festival which is to take place this year will be one of the most brilliant on record for many years. Among the attractive pieces which are announced for performance, are Mozart’s symphony in ~G~ minor, the overture to _Leonore_, by Beethoven; Handel’s oratorio, _Israel in Egypt_; a cantata by Wolf; and _Die Macht der Töne_ (the Power of Sounds), by Weber; and some compositions of M. Bergmuller and of M. Felix Mendelssohn, director for the present year. Mad. Decker (late Fraul. von Schätzel) is to sing on the occasion.

DESSAU.

For some years past few foreign artists of eminence have played at our concerts; the recent visit therefore of M. Haase, jun., from Dresden, was the more welcome, from the rarity of such occurrences. He played a fantasia by Molique, on Swiss airs, a duet by Lafont and Hertz, from _Fra Diavolo_, and Mayseder’s Thema, with variations in D major. His tone is full of exquisite expression, his style remarkable for elegance and freedom, his cantilena is exceedingly grand, and his bowing masterly, like that of Polledro his instructor.

JENA.

Our usual concerts and musical entertainments under the direction of Dr. Hand have given great satisfaction. A concert by the Vocal and Instrumental Society was the first of the season. The selection comprised an overture by Reissiger and one by Lindpaintner, and concertos of Hummel on the piano-forte, Keller on the flute, and Jansa on the violin, all played by dilettanti.

Mad. Filipowicz gave a concert, at which she played a polonaise by Kalliwoda with much feeling, and Mayseder’s variations in ~E~ major. There was also a musical entertainment given by M. Rössner of Darmstadt, and MM. Buschmann, father and son, the former playing the harp, the other the terpodion.

UTRECHT.

At the two hundredth anniversary of our City Concerts, on the 14th March, was performed a cantata composed by M. Kufferath, a pupil of Spohr’s. The performance was conducted by the composer and surpassed every expectation; there were also given a symphony of Kalliwoda, and Mendelssohn Bartholdy’s overture to a Midsummer Night’s Dream, which were well played.

ST. PETERSBURG.

A concert was lately given at the palace of M. von Narischkin, for the relief of the widows and orphans of musicians, at which several dilettanti of rank, namely, Prince Wolchonski, Count M. Wielhorsky, Mlle. von Bolotnikow, and others, contributed their valuable services.

COPENHAGEN.

The season just past brought before the public two new operas which were very successful; the first _Das Bild und die Büste_ (the Portrait and the Bust), in three acts, by P. C. Berggreen, the other, _Die Braut von Lammermoor_, by the Kapellmeister J. Bredal; both composers in their productions successfully clothed in musical expressions the ideas of their poets, regarding melody as the first consideration--in style however they differ widely. Besides these, there was another vocal piece, _Der Rabe oder die Bruderprobe_ (The Raven, or the Test of Fraternal Affection), by J. P. E. Hartmann. The other performances of the season were Boieldieu’s _Die Zwey Nächte_ (Les deux Nuits), J. L. Heiberg’s humorous operetta, _Ein Abentheuer im Rosenberger Garten_ (An Adventure in the Rosenberg Garden), Weyse’s opera, _Ludlam’s Höhle_ (Ludlam’s Cave), _Die Stumme_, _Fra Diavolo_, _Der Liebestrank_, _Die Weise Frau_, _Figaro_, _Joconde_, _Die Weinlese_ (The Vintage), _Der Erlenhügel_ (The Alder Hill), music by Kuhlau; _Don Juan_, _Das Schloss Montenero_, _Der Schatz_ (Le Trésor Supposé), _Der Schlosser und der Maurer_, _Preciosa_, _Der kleine Matros_ (Le petit Matelôt), and _Die verliebten Handwerksleute_ (The Love-smitten Mechanics.)

MADRID.

Italian operas are performed here twice a week, alternately in the _Teatro del Principe_ and in the _Teatro della Cruz_; thus the lovers of the opera are obliged to take boxes in both houses. None, indeed, but Italian operas are tolerated, and Rossini is the favourite composer. Hence piano-forte arrangements of his music are to be met with all over Madrid, and there is scarcely a female of the middle rank in life who has not acquired some degree of proficiency on the piano-forte. The guitar is almost entirely discarded. People alone of the lower class are now and then to be seen playing that instrument before their doors. Spanish music, too, is completely out of vogue, and the ladies invariably sing that of Italy, unless expressly entreated to sing a national air; so that the lively Spanish airs are now only to be heard in the mouths of the common people.

THE DRAMA.

~King’s Theatre.~

The _Pirata_ of ~Bellini~, which is not only his best opera, but the only one of that composer which has a chance of surviving above another year or two, has been performed since our last report, Madame ~Pasta~ in the character of _Imogene_, who enabled us to enter fairly into the merits of the work, which, at its first representation in this country four seasons ago, were not so discernible, the then _prima donna_ having made a very sad affair of it, though she was amazingly bepraised at the time, and we were exceedingly vituperated for pointing out her incapability.

Fragments of operas have also been performed; the best works have suffered all kinds of mutilations and martyrdom, and the audiences have been content, which is a sufficient justification of the manager. The fact is that in the months of May and June the opera fills, however conducted. A really good manager directs his efforts to the first few months of the season, well knowing that after Easter a single great name is sufficient to draw crowds.

On Thursday the 20th of June, a new opera was actually produced--the first attempt of the kind this season! The occasion was Madame ~Pasta’s~ benefit; the name of the piece, _Norma_, a tragic opera in two acts, composed by Signor ~Bellini~, and got up under his personal direction.

The following are the characters:--

_Pollione_, Pro-Consul of Rome, in Cambria, Sig. ~Donzelli.~ _Oroveso_, Chief of the Druids Sig. ~V. Galli.~ _Norma_, Druidess, daughter at _Oroveso_, Mad. ~Pasta.~ _Adalgisa_, a young priestess Mad. ~De Meric.~ _Clotilde_, confidante of _Norma_ Mad. ~Castelli.~ _Flavio_, friend of _Pollione_ Sig. ~G. Galli.~

‘The scene lies in Cambria, in the sacred forest, and in the Temple of Irminsul.’

The story is as wide a departure from anything in the shape of historical _vraisemblance_ as can be imagined. The Gauls subjugate the Romans in Wales, then commit the government of that country to _Pollio_, a pro-consul of Rome! He becomes enamoured of _Norma_, daughter of the Arch-Druid, and is secretly married to her, though she, something like the Vestal virgins, had devoted herself to celibacy. After she has become the mother of two children, _Pollio’s_ affections are transferred to _Adalgisa_, who consents at first to fly with him to Rome; but, struck by remorse, she reveals all to _Norma_, whose ‘love to hatred turns,’ and the latter determines to avenge herself by destroying her children; but she changes her purpose; impeaches herself in the assembly of Druids, and is condemned to be burnt alive; to which fate her faithless husband is also sentenced; but his love for her suddenly returns, and he unreluctantly ascends with _Norma_ the fatal pile.

That this is an imitation of _Medea_ is evident, and, as in that opera, Madame ~Pasta~ is the life and soul of this. Her acting alone saves it here, as it did in Milan, where it was first produced last year.

Considered as a whole, the music, though not censurable in regard to the rules of composition, possesses the most fatal of all faults--it is deplorably uninteresting: except the motivo of the duet, _Deh! con te li prendi_, an aria, _Norma! che fu?_ and the finale, not a piece has the slightest pretence to originality, or produces the least effect. The overture and introduzione stun one with all kinds of noisy instruments, and half, or more, of the first act is accompanied by the same intolerable din. The music of the last scene, and the acting of ~Pasta~, but especially the latter, will keep the opera on the stage while she remains to fill the part; without her, or her equal, if such should ever be found, it has no chance of being listened to in London; and even with her, it is with a half reluctance permitted[70].

~Drury-Lane Theatre.~

On the 4th of June a nondescript piece, called _The Students of Jena_, or _The Family Concert_, was produced here, the principal character by Madame ~Malibran~ but it was a decided failure, and the theatre was shut very shortly after.

~Covent-Garden Theatre.~

This theatre closed very early last month, the lessee declaring that, as the performers declined acceding to the terms he proposed, he could no longer carry on the concern, without incurring the most ruinous loss. The company then obtained the Lord Chamberlain’s permission to open the Olympic, and transferred themselves to that theatre, where they have since continued to perform. Shortly after, this theatre was re-opened with the German company, brought hither from Drury-lane, in consequence of an agreement between ~M. Laporte~ and Mr. ~Bunn~! Their first performance was ~Mozart’s~ _Zauberflöte_, ~M. Haitzinger~ as _Tamino_, who sung the airs with great feeling, but was occasionally too loud and turbulent,--~M. Dobler~, a fine deep, musical base, and a very superior singer, as _Sarastro_,--Madame ~Schroeder Devrient~ as _Pamina_, who did the most ample justice to the part,--Madame ~Stoll Böhm~, a soprano with an indifferent voice, whose deficiencies as a singer are not compensated for by her acting, as _Astrifiammante_,--and ~M. Uetz~, a very excellent actor, and a singer of great merit, as _Papageno_. Though much of this opera was performed remarkably well, parts of it disappointed our expectations: the two lovely trios, best known here by the Italian words, ‘Te guida a palma nobile; and ‘Già fan ritorno,’ were executed in but a slovenly manner, and the fine religious march lost some of its effect by being played to an empty stage. This, however, we believe, was afterwards corrected. The _Zauberflöte_ has not drawn, in spite of its many beauties, and the German Opera is not in a much better condition in London than the national, the _legitimate_ drama!

THE MUSIC OF THE PRESENT NUMBER.

The titles of the pieces in this number leave us little to add, for as four out of six of them are of modern date, their authors are well known, and no history at all interesting is connected with those compositions.

The cavatina is in the last scene of _The Pirate_, sung in the character of _Imogene_, who addresses it to her young son. The words are thus translated into not very good English verse, in the printed book of the opera:--

Thy innocent smile and thy glances of love, To mercy and pardon thy father will move: Oh! tell him thy life has been purchased by me, And each kind look he gave I have purchased from thee.

* * * * *

The _Romanza_ is from the most admired of Mozart’s concertos. The author has not indicated the movement, but it is commonly played as an andante. Sig. Cimador, who arranged it, was an excellent musician, well known in the fashionable and musical world some thirty years, or more, since.

* * * * *

Purcell’s air is from an ode on the birth-day of Mary, consort of William III. Our arrangement is made from the score published by--Goodison, Esq., an amateur, about forty-five years ago. The beauty of this melody speaks for itself.

The quartet, _Agnus Dei_, is from a mass of Beethoven and of his sacred compositions, may fairly be deemed the most melodious and elegant.

* * * * *

The Minuet and Trio from Haydn’s Eleventh Symphony, were composed for Saloman’s Concerts about the year 1794.

* * * * *

The movement from Handel’s 4th Hautboy Concerto[71] is one of his most beautiful _morceaux_. The melody of the latter part, marked pianissimo, is written for the bassoon, an octave lower than it now appears; but in arranging it for the piano-forte, we thought it advisable to place it an octave higher, as we could not add the hautboy accompaniment in any convenient form for the player. It should be borne in mind that the allegro of Handel’s time was not so quick as the allegro of the present day.

The Hautboy Concertos, six in number, were written at Cannons, the seat of the Duke of Chandos, (Pope’s _Timon_,) in the year 1720, and published in 1729. Four of them still continue to be used in the Ancient Concerts, where they are admirably performed, and are great favourites with the subscribers, as they deserve to be with all lovers of good music.

[Sidenote: August, 1833.]

BIOGRAPHICAL SKETCHES OF MARIN MERSENNE AND ATHANASIUS KIRCHER.

[Chiefly from ~Hawkins’s~ and ~Burney’s~ Histories.]

Among the laborious and voluminous writers on music, those now selected stand prominently forward; and though their respective merits are far from equal--the French ecclesiastic being undeniably superior to the German jesuit, both in knowledge and exactness--yet the works of each have long enjoyed a high reputation, and will always be found useful to those who study music as a science, or historically, and as connected with general literature.

* * * * *

~Marin Mersenne~ (in Latin, Marinus Mersennus), a most learned French writer, was born in 1588, at Ayse, in the province of Maine. He received his instruction in polite literature at the college of Flêche; but, quitting that seminary, he went to Paris, and, after having studied divinity some years in the college of the Sorbonne, entered himself among the Minims (a religious order), and, in 1611, received the habit. In 1612, he went to reside in the convent of that order at Paris, where he was ordained priest, and performed his first mass in 1613. Immediately upon his settlement he applied himself to the study of the Hebrew language, under the direction of Father John Bruno, a Scotch Minim, and having acquired a competent degree of skill therein, became a teacher of philosophy and theology in the convent of Nevers. In this station he continued till the year 1619, when he returned to Paris, determined to spend the remainder of his life in study and conversation, as indeed he did, making them his whole employment. In the pursuit of his studies he established and kept up a correspondence with all the learned and ingenious men of his time.

During his stay at Flêche he contracted a friendship with Des Cartes, and manifested it in many instances; of which the following may be reckoned one. Being at Paris, and looked on as the friend of the great philosopher, he reported that Des Cartes was erecting a new system of physics on the foundation of a vacuum; but finding that the public were indifferent to it, he immediately sent intelligence to his friend that a vacuum was not then the fashion, on which the philosopher changed his system, and adopted the old doctrine of a plenum. The residence of Mersenne at Paris did not prevent his making several journeys into foreign countries, for he visited Holland in the middle of the year 1629, and Italy four times, in 1639, 1641, 1644, 1646. In the month of July, 1648, having been to call on his friend Des Cartes, he returned home to his convent excessively heated; to allay his thirst, he drank cold water, and soon after was seized with an illness which produced an abscess in his side. His physicians, imagining his disorder to be a kind of pleurisy, ordered him to be bled several times, but to no purpose. At last it was thought proper to open his side: the operation was begun, but he expired in the midst of it, on the 1st of September, 1648, being then about sixty years of age. He had desired the surgeons, in case of miscarriage in the operation, to open his body, which direction they complied with, and found that they had made the incision two inches below the abscess!

The character of Mersennus as a philosopher and a mathematician is well known in the learned world. To that disposition which led him to the most abstruse studies, he joined a nice and judicious ear, and a passionate love of music; these gave a direction to his pursuits, and were productive of numberless experiments and calculations, tending to demonstrate the principles of harmony, and prove that it is independent of habit or fashion, custom or caprice, and, in short, has its foundation in nature, and in the original frame and constitution of the universe.

In the year 1636, Mersenne published, at Paris, in a large folio volume, his _Harmonie Universelle_, in which he treats of the nature and properties of sound, of instruments of various kinds, of consonances and dissonances, of composition, of the human voice, of the practice of singing, and a great variety of other matters concerning music.

This work consists of a great number of separate and distinct treatises, with such signatures for the sheets, and numbers of the pages, as to make them independent of each other. The consequence whereof is, that there are hardly any two copies to be met with that contain precisely the same number of tracts, or in which the tracts occur or follow in the same order; so that to cite or refer to the _Harmonie Universelle_ is a matter of some difficulty. Among these are to be found the most minute and satisfactory account of the state of music in France during the reign of Louis XIII. Indeed, Dr. Burney remarks,--his _Harmonie Universelle_ is a work in which, notwithstanding his ‘partiality to his country, want of taste and of method, there are so many curious researches and ingenious and philosophical experiments, which have been of the greatest use to subsequent writers, particularly Kircher, as render the book extremely valuable.’ This work, corrected and enlarged, was translated into Latin, and published by the author in 1648, the year of his death, under the title of _De Sonorum Natura, Causis et Effectibus_.

In his twenty-third proposition, liv. i., Mersenne explains and describes twelve different kinds of music and movement used in France during his time: namely, motets, songs or airs, passacailles, pavans, allemandes, gaillards, voltes, courantes, sarabands, canaries, branles, and balets; of all which he gives examples in notes. But though most of these movements were the specific names of the dances then in vogue, the minuet, which during the last century was in such general favour all over Europe, is never mentioned.

In the _Préface Générale_, the author speaks of Galileo’s discoveries in harmonics; and in his liv. ii., _Des Consonances_, of sympathetic vibrations. In other parts of his work he clearly explains the twelve major keys of practical music; and shows, for the first time perhaps, that there may be seventy-two keys, or six for each note, flat, natural, and sharp, major and minor. There is nothing in this good Father’s book which reflects more honour on his taste and penetration than his partiality for the violin, to which, in liv. iv., _Des Instruments_, prop. 1, he gives the preference over all other instruments then in use, at a time when it was thought unworthy of being admitted into the concerts of other countries.

One proposition in this book (xxxiv.) is to inquire whether the French method of singing is the best of all possible methods? and he determines in the affirmative, not only with respect to this, but affirms, that of all those he ever heard sing in neighbouring countries, as in Spain, Germany, Flanders, and Italy, he had met with none who sang so agreeably as the French. ‘There may,’ says he, ‘be now and then a miraculous performer in other countries, but I speak here in general.’

He mentions recitative as a thing little practised in France, for want of courage. The Italians, he observes, succeed in this species of singing, which Giacomo Peri had invented at Florence at the beginning of the century. Here he speaks of several musical dramas in Italy, but does not call them operas. (Liv. vi. _L’Art de bien chanter_.)

* * * * *

~Athanasius Kircher~ was born at Fulda in Germany, in 1601. At the age of seventeen he entered the society of Jesuits, and, after going through a regular course of study, during which he distinguished himself by his vast attainments in literature and science, he became a teacher of philosophy, mathematics, and the Hebrew and Syriac languages, in the University of Wurtzburg in Franconia. In 1631, when the Swedes entered Germany under Gustavus Adolphus, he returned to France, and settled in the Jesuits’ college at Avignon, where he remained till 1635. He was then called to Rome to teach mathematics in the Roman college, where he continued during six years. He afterwards became professor of Hebrew in that city, and died there in 1680, having written and published twenty-two volumes in folio, eleven in quarto, and three in octavo. Kircher was more than ordinarily addicted to the study of hieroglyphics, and it is said that certain young scholars caused to be engraved some unmeaning fantastic characters or figures upon a shapeless stone, then buried it in ground which was shortly to be dug up. Upon digging the place, the stone was found, and, by the scholars who had hidden it, carried to Kircher as a most singular antique, who, quite in raptures, applied himself instantly to explain the characters, and, as he perhaps persuaded himself, and certainly attempted to persuade others, made them intelligible.

The chief work of Kircher is his _Musurgia Universalis_, which is written in Latin, in ten books, occupying two volumes in folio, the first containing seven books, the second three. The subjects on which he treats are principally the following--of the propagation of sound--of the elements of practical music--of harmonics, or the ratios of sounds--geometric and algebraic division of the monochord--new experiments in the construction of musical instruments--of melody, comprehending new _secrets_ for producing every species of melody (!)--a parallel between ancient and modern music, pointing out the dignity of the ecclesiastical _canto fermo_, and the means of arriving at the pathetic style--of composition, or the combinations of sounds, and the application of air to poetical numbers and rhythms in all languages--musical wonders produced by hidden means, and new experiments of all kinds--and, lastly, of the various derivations of music, and the physical and artificial purposes to which it is, or may be, applied.

Kircher was the inventor of the Æolian harp, which he thus describes in his _Musurgia_, (lib. ix. 352.):--The instrument is not only new, but agreeable, and very easy of construction, and every one admires it who hears it in my museum. It is silent while the window remains shut, but when this is opened, sudden bursts of harmony surprise the auditor, who cannot tell whence they proceed, or by what kind of instrument they are produced, the sounds not resembling those of a stringed or a wind instrument, but are a mixture of both. This instrument is made of deal, is fifteen inches long, six broad, and three deep. It may be strung with fifteen strings, or more, all equal, and of catgut.

This work, says Dr. Burney, speaking of the _Musurgia_, which undoubtedly contains many curious and amusing portions, is, however, disgraced by the author’s credulity and ill-founded assertions. Kircher has been truly called ‘Vir immensæ quidem, sed indigestæ eruditionis’--a man of immense but indigested learning. Yet, with all its imperfections, the _Musurgia_ contains much ‘curious and useful information for such as know how to sift truth from falsehood, and usefulness from futility;’ for a considerable portion of which, however, he was indebted to the _Harmonie Universelle_ of Mersenne, which appeared in 1636; the _Musurgia_ not having been published till fourteen years later.

OTTO ON VIOLINS[72], &c.

The professed object of M. Otto’s work is to guard purchasers of violins, &c., against imposition, and to show how such instruments may be kept in order and repaired. But it is quite clear that he has prudently had the main chance in view, and, while thinking of the interests of others, has not been unmindful of his own, for he takes especial care to let his readers into the history of his business, where he and his sons reside, and what--of course for ‘a consideration’--they undertake to do in the way of trade.

But while advertising himself and Co.--perhaps very justifiably--he has embodied in his pages a number of facts interesting to amateur players, highly useful to professional performers, and curious to all whose pursuits lead them to inquire into the state of the mechanical arts, among which is to be reckoned the manufacture of musical instruments; and if he has really taught ‘the best means of preserving a good instrument, and of improving a spoiled one,’[73] he has rendered a service which entitles him to the gratitude of the musical world.

Many of our readers will be surprised to learn that a really good, a complete violin, consists of fifty-eight different parts, which the author thus describes:--

2 pieces for the back 2 ditto belly or sound-board 4 ditto corner blocks 2 ditto end blocks 6 ditto ribs or sides 12 ditto linings 1 ditto sound or bass bar 12 ditto purfling 1 ditto ebony rest for the tail-piece 1 ditto ebony or sometimes ivory nut 1 ditto ebony tail-piece 1 ditto ebony finger-board 4 ditto screws or pegs 1 ditto the neck 1 ditto button for the tail-piece 4 ditto strings 1 wire or catgut connecting the tail-piece with the button 1 sound post 1 bridge ---- 58

‘The wood used in the manufacture of this instrument is of three sorts. The back, the neck, the sides, and the circles are made of sycamore; the belly, the bass bar, the sound post, and the six blocks of Tyrolese deal; the finger-board and tail-piece of ebony.’

It appears that the peculiar curvature, or swell of the back and belly of good violins, is produced by scooping out of the solid wood, and not by pressing the material on heated moulds of the desired shape, a practice which the translator, in a note, informs us is common now in Germany, among the cheap makers.

M. Otto rather inclines to the opinion that violins might be now made equal to the old Cremonese, and thinks that musicians and dilettanti are blameable for not encouraging good makers, and for putting too much confidence in _repairers_. He seems to be persuaded that the rich, mellow tone of instruments depends much on the ameliorating effects of time; and his translator strengthens what is said in the original, by the following remarks:--

‘It may not be unreasonable to attribute the superiority of old instruments to _time_, which, by its slow but sure and powerful agency, mellows and softens down the asperities of many musical instruments, and in particular organs and violins. That the mechanical construction of the old instruments is in any degree superior to the present day can scarcely, upon mature reflection, be admitted, as in the present age, when every art or science is analysed and sought into with the most unsparing avidity, it is certain that many enthusiastic and scientific admirers of the violin have destroyed some of the very best instruments of the old makers, for the sole purpose of forming a correct opinion of the minutest proportions of their interior construction.... I feel rather reluctant in expressing my opinion, that were it possible to produce an old instrument, possessing precisely the same quality of tone as when _first finished_, no very great superiority, if any, would be discerned over the modern-made instruments, constructed with the care which would be bestowed upon a violin intended to be a pattern of the excellence of modern workmanship and science. I am, however, compelled to state that, as far as I can collect from many professional individuals, there is _one_ reason why many of the modern-made instruments are so inferior to the old ones. It is this: many makers of late date in England, Italy, Germany, who had succeeded in producing excellent instruments, and in consequence established their reputation, as they imagined, in a short time after their fame had gone forward to the world, relaxed in their application, and became negligent, under the impression that their name having been once established, their instruments, no matter how indifferent they might be, would be well received. It is but justice to the Italian and the German makers, to state that they entertain a very favourable opinion of the violins manufactured in England. It may also not be uninteresting to learn that the generally received opinion, collected from various sources upon which reliance can be placed, is, that there exists at the present day, in England, a greater number of the genuine instruments of the old makers than, _proportionally_, in any other country.’

The following facts, stated by the translator, are very worthy of notice, and, we will venture to say, are new, not only to musicians in general, but even to many violin-players in particular:--

‘It is an authenticated fact, that the shallower or flatter the model of a violin is, the fuller is the tone. Many amateurs conceive the very reverse. On comparison, however, between a genuine Straduarius and an Amati, this will be immediately perceived. A Guarnerius or a Straduarius is of the _flat_ model and powerful in tone. An Amati, on the other hand, has a very beautiful high _model_, very fine wood and highly-finished workmanship, and in the genuine instruments the purfling is inlaid very close to the edge, much more so than in any other genuine Italian instruments. The Amatis possess a _brilliant silvery_ tone, but from the cause above-mentioned they are not so sonorous as the flatter-modelled instruments, particularly the Guarnerius or Straduarius.’

* * * * *

‘It is a prevalent opinion, as well with professors as amateurs, that the old Italian instruments have attained their zenith, and some even aver that they have been deteriorating.... Is it not probable that the improvements, introduced within late years, added to the patterns afforded by the old instruments themselves, which have been studied with the most intense anxiety by the most skilful artists of Europe, and of England in particular, have tended to detract from the value of the old instruments?... The Amatis, from their sweetness of tone, are preferred for accompaniments to the voice. In performances strictly instrumental, a Guarnerius or a Straduarius is more valued in consequence of possessing a greater body of tone.’

There are cheats in all trades, and in all quarters of the world, it seems; even the rude mountaineers, the simple Tyrolese, we now learn, are not guiltless of a fraud which it may be well to guard the amateur against--‘The Tyrolese makers,’ says M. Otto, ‘have carried on an extensive business, and put forth a great quantity of violins, tenors, and basses; the greater part of which have been surreptitiously palmed upon the uninitiated as genuine Cremonese or Steiners.’

The author then points out the forms and mode of construction of the violins of the most celebrated Italian makers. He says, ‘I have had under my hands about thirty Cremonese instruments, of the following makers. The oldest were made by ~Hieronymus Amati~, at the beginning of the seventeenth century. After him came ~Antonius Amati~, about the middle of the same century. Then followed ~Nicolas Amati~, towards the end of the same. To these must be added ~Antonius Straduarius~, of Cremona, who flourished during the same epoch as the above, and after them ~Joseph Guarnerius~, at the commencement of the eighteenth century. All their instruments were constructed after the simplest rules of mathematics,[74] and the six which came into my possession _unspoilt_, were made after the following proportions. The belly was the strongest in thickness where the bridge rests, then it diminished about a third at that part where the _f_ holes are cut, and, where the belly rests on the sides, it was half as thick as in the middle. The same proportion is observed in the length. The thickness is equally maintained all along that part on which the bass bar was fixed; from thence to the upper and under end blocks the thickness decreases to one-half, so that the cheeks were three-fourths of the thickness of the breast, and the edges all round only one-half. These proportions are the best adapted for imparting a full, powerful, and sonorous tone.

* * * * *

‘The back is worked out much in the same proportion as the belly, and is generally rather stronger in wood.’

* * * * *

‘~Hieronymus Amati~, of Cremona, whose violins are the oldest, used the most beautiful maple, which has a very strong full figure, and, as far as I can learn, the greater part of his backs are made in one piece only. The figure runs from the left to the right side, somewhat sloping. The form of his violin is large, and the model decreases in a very beautiful manner towards each edge.’

* * * * *

‘The instruments of ~Antonius Amati~ differ but little from his father’s, though he was not so nice in the choice of his figured wood; yet in beauty of tone they are in no way inferior, if not spoilt in _repairing_.’

* * * * *

‘Those of ~Nicholas Amati~ are conspicuous for having a somewhat smaller form and a peculiar model; the swell rises gently near the purfling, and afterwards springs up more abruptly, so as to form a difference of an inch in height between the highest part at the centre and that at the edges. They swell more abruptly than those of either Hieronymus or Antonius, and in the centre form a sharp ridge. For the rest, his instruments are not constructed with the same care as those of Hieronymus.’

* * * * *

‘Those of ~Straduarius~ are remarkable for their flat construction. The model or swell on the back and the belly does not rise more than half an inch; they are therefore the flattest of all the Cremonese makers’ instruments. Those that are uninjured possess a very beautiful deep full tone. They are the most esteemed by concert violinists; for every virtuoso will obtain one, if he has an opportunity, at no matter what price.

‘Their shape is invariably very fine, but their corners are not quite so obtuse as those of Hieronymus Amati. The _f_ holes are beautifully cut out and lie near together, as in all genuine Italian instruments; the back, the sides, and the neck are made of beautifully figured maple, and coloured with dark brown amber varnish.

‘The violins of Joseph Guarnerius are beautifully constructed. They are extremely similar in shape, model, and the cutting of the _f_ holes, to those of Nicholas Amati, and are coloured with the same deep yellow amber varnish.

‘The instruments made by Jacob Steiner, of Apsam, differ from the Cremonese both in outward shape and in tone. They are higher modelled, and their proportions of strength are calculated quite differently. The nearest comparison which can be drawn between a Cremonese and a Steiner is this: a Cremonese has a strong reedy, sonorous tone, something similar to that of a clarionet, whilst a Steiner approaches to that of a flute. The belly is modelled higher than the back. In length they are somewhat shorter than the Cremonese. The sides and the back are made of the finest figured maple, and covered with a deep yellow amber varnish.’

The author now digresses, for the purpose of letting us know that for sixteen years he became a guitar maker, but that he has now given that trade up to his sons, for reasons which, as a matter of profit, are obvious enough. We may just remark, _en passant_, that guitars are now to be had in all parts of Europe, at less than half the price they used to be sold at. But M. Otto shall be heard--‘I must in this place observe that the guitar had originally five strings only. The late Herr Naumann, _Maître de Chapelle_ at Dresden, gave me the order for the first guitar with the sixth or low ~E~ string, which I added according to his instructions. Since then the guitar has always had six strings, for which improvement amateurs have to thank Herr Naumann. As, however, for the last ten years a great number of instrument makers, as well as cabinet makers, have taken up this business, I have since then entirely given it up. When I receive any orders I turn them over to my sons at Jena and Halle, who are doing considerably in that branch. The substitution of covered strings for the ~D~ and ~G~ is a small improvement of my own.’

But we must return to the violin, and hasten to the close of this article; not, however, till we have communicated to our readers some useful instructions given by the author for the preservation of instruments.

‘I shall now,’ he says, ‘lay down some brief hints for the treatment and preservation of the instrument. A good old violin should be kept in a wooden case, lined with cloth or flannel, as the too great heat in summer, as well as the sudden transitions from cold to warmth in winter, are injurious. Too great a heat renders the wood brittle, which gives the instrument a harshness of tone, besides drying and parching the strings. In winter the too great warmth of a room produces the same effects.... Much greater damage is done to the instrument in summer by the flies when it is left out of its case. They get in at the _f_ holes, and in a few years the inside of the back and the belly gets so much spotted with dirt as to feel like shagreen to the touch.

‘The instrument should be kept particularly clean, and the dust carefully wiped off the rosin with a linen rag. The insides should be cleaned out once every six months, with a handful of barley made warm, and poured into the _f_ holes, and well shaken. The dust or dirt inside adheres to the barley, and is brought out again through the _f_ holes. In order to preserve the strings a length of time in good condition and sonorous, it will be advisable to keep in the spare bag, (which should be lined with a piece of bladder moistened with oil of almonds,) a small piece of silk taffeta, slightly damped with the same oil. The strings should be rubbed with this piece of silk from the bridge to the neck, before putting the instrument away in the case, and when again wanted for use, the oil should be wiped off dry with a piece of fine linen, and particularly in that part where the bow is used.’

The best strings, called Roman, come from Milan, and the purest rosin from Prague, in the opinion of the author. He then remarks that much playing in fourths and in fifths on a violin improves its tone, as ‘tending to extract the resinous particles from the wood’! If this be a fact, he assigns _a_ reason; but afterwards declines divulging the cause of ‘this singular effect,’ from a sense of ‘duty to his family.’ This smacks rather of what is commonly called quackery; but we must make due allowance for the worthy man’s paternal care.

The present translation--which, on the whole, is well executed--will be found very useful to all violinists, especially amateurs who are not acquainted with the German language. In fact no violin-player ought to be without it, for the cost is trifling, the time it will occupy in reading cannot exceed a couple of hours, and the information it contains is of a very valuable kind.

OXFORD CONCERTS.

During the last week but one in June, the annual ~Commemoration~ of the Founders and Benefactors of the University was celebrated in the usual academical manner, and by several musical performances.

On Monday evening, June 17th, a concert was given by the members of the _Amateur Musical Society_, in the New Assembly Room at the New Inn; at which there were upwards of 500 visiters, who were all, and with good reason, much gratified by the performances they were invited to hear.

On Tuesday morning, June 18th, the vice-chancellor, heads of houses, proctors, &c. assembled in the Radcliffe Library, and thence proceeded to St. Mary’s Church, to hear a sermon preached for the benefit of the Radcliffe Infirmary. Full service was performed by the members of the different choirs in Oxford, under the direction of Mr. Vicary, who took the organ.

On Wednesday, the 18th, the heads of the University, the young noblemen, &c. attended at the Sheldonian Theatre, to hear the Crewian Oration, in commemoration of the founders and benefactors, &c., and also the several literary compositions to which the prizes for the present year had been adjudged. They entered and retired to solemn peals of the organ.

The Stewards of the Music Room, with that zeal which always marks their management, made ample preparations for two concerts to be given in the Town Hall, on the evenings of Tuesday and Wednesday, for which they engaged Madame Malibran, Sig. Tamburini, M. de Beriot, Mr. Willman, the clarinet, and many excellent orchestral performers, in addition to the force resident in Oxford: but the illness of Madame Malibran frustrated all their intentions, and the absence of an individual rendered unavailing, it seems, the talents of all the rest. Upon such occasions, why not engage a _double_; one who is able, if required, to take the pieces intended to be sung by the principal? Thus the accidents to which female singers are occasionally liable, and the caprices in which they more frequently are suffered to indulge, would be provided against, and the public be saved from that complete disappointment which the absence of the only female performer must necessarily produce.

When it was found that Mad. Malibran could not perform, the Stewards immediately issued a bill, announcing the fact. Nevertheless, about 300 persons were present. “At the commencement of the concert,” says the _Oxford Journal_, “Mad. Malibran was handed to the front of the orchestra by Mr. Nicks, and an apology made.... The lady certainly appeared ill; but it may be asked, if Mad. Malibran had been ill for three or four days, as stated, why did she venture to come to Oxford? But we learn that she played exceedingly well (at Covent Garden) on Saturday night. Be it as it may, Mad. Malibran has lost the esteem of the Oxford audience; many of whom were not sparing of exclamations against her when they left the hall.... The other performers exerted themselves to the utmost, to supply the vacancy; but the absence of the _only female singer_ left a chasm that could not be supplied. Sig. Tamburini sang an extra song; and the powerful efforts of M. de Beriot and Mr. Willman, who generously played an extra concerto each, failed to restore _harmony_ to the company.”

Now we cannot help thinking that the Oxford critic is a little hard on Mad. Malibran. That she was ill he seems to admit, and that she did all in her power to convince the company of the fact is proved by her having been a _second_ time led into the orchestra, and, as she could not sing, sitting down to the piano-forte, and accompanying Sig. Tamburini in the air “_Largo al Factotum_.” Of course the lady did not receive, or expect to be paid, the 200 guineas for the two concerts.

An express was sent to London the same evening, which brought down Mrs. Bishop on the following afternoon; who, at the second concert, sang “Gratias agimus tibi,” and “Should he upbraid?” with much applause. But the principal feature of both concerts was M. de Beriot on the violin; who produced as much effect on a University audience as he had before done on the best judges in the metropolis.

Sig. Tamburini sang with great ability some _arie_ of Rossini--(everlasting Rossini!) which were well received: but many wished that he, as well as other singers, would a little enlarge their _repertoire_, and endeavour to learn that there are other composers besides those of the last dozen years whose works are worth studying, and would be infinitely more acceptable to real judges of music than pieces which, whatever their merits, are worn threadbare, and become almost nauseous from frequent repetition.

Mr. Marshall (of Oxford) led the band at these concerts, and Mr. Vicary (a Mus. Bac. of this University) sat at the piano-forte.

OXFORD COMMEMORATION CONCERTS.

_To the_ ~Editor~ _of the_ ~Harmonicon~.

~Sir~, _Oxford, July 8th, 1833_.

It is very well known that many persons are annually induced to visit Oxford at the time of The Commemoration. The town is always unusually gay at this season. The friends and relatives of the students go thither to gratify the proud satisfaction they feel in hearing a brother or cousin recite his prize poem in the theatre; strangers, of all ranks and degrees, to hear speeches in Latin and Greek, of which they do not understand a syllable, and to see--the lions! Hence it follows that throughout both the University and city there is visibly a greater air of gaiety, more stir and bustle in the streets, and in each “lane and alley green,” you hear more sounds arising from the “busy hum of men” (and women too) at this particular time than at any other part of the year. To, stroll in Christ Church meadow, and hear the “mighty Tom” beat the hour, or to loiter at sunset in “Addison’s Walk,” is, with many of those annual visitants, a _classical_ event, much talked of, and never to be forgotten. You may not, perhaps, be aware that, at the Commemoration, it is usual for the stewards of the music-room to get up some musical performances, and which, for the reasons before stated, have generally been well attended. According, therefore, to their usual custom, two concerts were announced for the evenings of Tuesday and Wednesday, the 18th and 19th of June last, upon which occasion they (the stewards), with a spirit of liberality that has indeed marked all their former proceedings, engaged (and it is said at a very large sum) Madame Malibran and Signor Tamburini. Nor did they stop here; for in order to make the attraction still greater, and at the same time to render the performances as perfect as possible, to those eminent and celebrated vocalists was added M. de Beriot, who, I understand, is confessedly the finest and most finished performer on the violin either in this or any other country.

That the performers were few in number will not be disputed; but, to borrow a theatrical phrase, they were all “stars,” and of the first magnitude. With a view to accommodate the public in general, and that “the listening crowd” might meet with no impediment, the Town Hall (being larger than the music room, where the concerts are usually given) was, by permission of the mayor, fitted up, at a considerable expense, for the occasion.

The programmes were printed and circulated; and I beg leave to send you a copy of each, to enable both you and your readers to form an opinion for yourselves of what I shall venture to call the musical treat that was prepared to gratify the excited expectations, and realize the anticipated pleasures of, what was naturally enough conjectured would prove, a crowded audience: for, be it remembered, the aforesaid three eminent performers were new at Oxford.

FIRST CONCERT, Tuesday, June 18, 1833.

~Act I.~

Overture. (_Semiramide._) ~Rossini.~

Aria, Signor Tamburini, “Come un ape.” ~Rossini.~ (_Cenerentola._)

Aria, Madame Malibran, “Voi che sapete.” ~Mozart.~ (_Figaro._)

Concerto, Violin, M. de Beriot. ~De Beriot.~

Duo, Madame Malibran and Signor Tamburini, ~Rossini.~ “Di Caprici.” (_Corradino._)

Concerto, Clarinet, Mr. Willman. ~Weber & Spohr.~

Aria, Madame Malibran, “Il soave e bel contento.” ~Pacini.~ (_Didone Abbandonata._)

~Act II.~

Overture. (_Agnese._) ~Paer.~

Song, Madame Malibran, “Holy, holy.” ~Handel.~

Aria, Signor Tamburini, “O colpo impensato.” (_La ~Rossini.~ Gazza Ladra._)

Fantasia, Violin, M. de Beriot. ~De Beriot.~

Duo, Madame Malibran and Signor Tamburini, ~Rossini.~ “Bella immago.” (_Semiramide._)

Overture. (_Il Barbiere._) ~Rossini.~

Provençal Airs, Madame Malibran, (in which she will accompany herself on the Pianoforte.)

Finale, Overture to Lodoiska ~Cherubini.~

SECOND CONCERT, Wednesday, June 19, 1833.

~Act I.~

Overture. (_Anacreon._) ~Cherubini.~

Aria, Signor Tamburini, “Una voce m’ha colpito.” ~Rossini.~ (_Inganno felice._)

Recit. ed Aria, Madame Malibran, “Alma invitta.” ~Rossini.~ (_Il Sigismondo._)

Concerto, Violin, M. de Beriot ~De Beriot.~

Duo, Madame Malibran and Signor Tamburini, ~Rossini.~ “Dunque io son.” (_Il Barbiere._)

Fantasia, Clarinet, Mr. Willman ~Crusell.~

Aria, Signor Tamburini. “Non speranza di grandezza.” ~Coccia.~ (_Edoardo in Iscosia._)

~Act II.~

Symphony, No. 1. ~Mozart.~

Aria, Madame Malibran, “Non più di fiori.” (_La ~Mozart.~ Clemenza di Tito._) (Corno Bassetto, Mr. Willman)

Aria, Signor Tamburini, “Sorgete.” (_Maometto ~Rossini.~ II._)

Adagio and Rondo Russe, Violin, M. de Beriot ~De Beriot.~

Duo, Madame Malibran and Signor Tamburini, ~Mozart.~ “La ci darem la mano.” (_Don Giovanni._)

Symphony ~Haydn.~

Ballad, Madame Malibran, “The deep, deep sea.” ~Horn.~ (Accompanying herself on the Pianoforte.)

Finale--“God save the King.”

So far all was well; and I think it will be allowed that the authorities here had left nothing undone that they ought to have done, in order to make the concerts literally as good and as attractive as possible. Well, sir, Tuesday, the day for the first concert, arrived; and about one o’clock the Worcester coach arrived. By the coach came Signor Tamburini and M. de Beriot, accompanied by Madame Malibran--and (most unfortunately) Madame Malibran came, accompanied with--what an Irishman would call--a great big cold! This was an ill omen to commence with. “Thus bad begins, but worse remains behind;” for just as the doors were about to be opened, the lady informed the stewards that it would be impossible for her to sing that evening! This proved a sore annoyance to the Committee, and a very great disappointment to the public, who were flocking in crowds to hear this far-famed prima donna; but on being informed that Madame Malibran could not sing, hundreds turned away without entering the Hall.

But how was the concert to be got through with only one singer? All parties were placed in a most unpleasant situation. An apology was made, explaining to the thin audience the cause of their disappointment. Signor Tamburini sang two extra Italian arias. M. de Beriot performed a third piece for the violin, which helped to put the audience in good humour. Mr. Willman played a second fantasia on the clarinet, and--and--and so the concert ended.

But while all this was going on, the stewards, it appears, were anxious to make some preparation for the next evening’s performance; and, not thinking it prudent to depend on any assistance from Madame Malibran, despatched a special messenger (who travelled all night) to London, with a carte-blanche to Mrs. Bishop, desiring her, if possible, to come down. Luckily the letter found Mrs. Bishop at home, and, at almost a minute’s notice, she very good-naturedly started, and arrived in time to sing at the second concert. It was fortunate this precaution was taken; for Madame Malibran’s cold and hoarseness continuing, she left Oxford at mid-day on the Wednesday, and returned to London. Mrs. Bishop was warmly greeted on her entering the orchestra. She sang three songs, and an Italian duet with Signor Tamburini, in all of which she acquitted herself admirably. She was (and most deservedly) much applauded. Still, however, the public disappointment was great in not hearing, Madame Malibran; and the concerts, which promised so fairly, and which every one expected would prove most successful, turned out to be a very losing concern. But you know very well, Mr. Editor, that “’tis not in mortals to command success,” and so, sir, I shall bid you adieu, for the present, by signing myself,

Your obliged and obedient servant, ~An Oxonian~.

P.S. Since writing the foregoing, I have been told that the very day before Madame Malibran went to Oxford, she was prevented singing at M. Begrez’ Morning Concert, by a severe cold and hoarseness; and that on the evening of the same day, she literally walked through the part of an opera at Covent Garden Theatre, without speaking one word of the dialogue, or attempting to sing any one of the songs. If it really were so, it may be asked, why did Madame Malibran set out for Oxford? Or, if she would persevere in going, why did she not select some female singer from among her acquaintance to accompany her, and who might, in case of an emergency, be brought forward as her substitute? Should these questions be ever put to Madame Malibran, I hope she will be able to answer them satisfactorily.

CAMBRIDGE COMMENCEMENT.

Cambridge was more full this commencement than it has been for many years past. The meeting of the ~British Association for the Advancement of Science~ brought at least 1200 visiters to the University during the last week in June, and the concerts, which followed, tempted many of those to remain, drew several county families into the town, and induced the heads of houses, as well as numerous fellows, to continue in college longer than they would have done under ordinary circumstances.

The Committee for managing the musical performances made their preparations on an extensive and remarkably liberal scale. Among the vocal performers were Mad. Malibran, Mrs. W. Knyvett, Mr. Braham, Mr. Phillips, Mr. W. Knyvett, Mr. Horncastle, and Sig. Tamburini. The instrumentalists included Messrs. De Beriot, Lindley, Dragonetti, Venua, Nicholson, Willman, G. Cooke, Mackintosh, Harper, and several others of the Philharmonic band. Mr. F. Cramer was leader; Sir G. Smart conductor; and the whole was announced as under the direction of Dr. Clarke Whitfield, the Professor of Music; but whether he took any active share in the business, except to receive one hundred guineas for the advantage of his name, we cannot say.

The first concert was given on Friday evening. The fine symphony in ~D~, by Beethoven, was executed with spirit. The air “Lo! here the gentle lark,” as sung by Mrs. W. Knyvett, was received with loud plaudits. Mr. Braham in “Oh! ’tis a glorious sight,” of Weber, and Rossini’s duet, “All idea,” with Sig. Tamburini, was extremely successful. Mad. Malibran sang the lovely aria “Non più di fiori,” from Mozart’s _Tito_, admirably; and her accompanyist, Mr. Willman, on the clarionet, was not less perfect. But in “Il soave e bel contento” she gave more pleasure to her audience--no very great proof of their judgment. Neükomm’s “Fantasia Concertante,” written for the Philharmonic Concerts, and there produced in 1832, was played by nearly, if not exactly, the same persons who originally performed it, and was heard with great attention, though, perhaps, not with that enthusiasm which it excited in an audience of London connoisseurs. M. de Beriot exerted himself to gain the same character in an English University that he has acquired in the British capital, and succeeded in convincing the Cantabs that he has no equal on the violin. Mr. Phillips, in the “Midnight Review,” the joint product of Barry Cornwall and M. Neükomm (for the poet is entitled to his share of praise in this), did not hit the taste of the company. Perhaps the mere name of Napoleon, in a colony of clergy, raises alarming associations. But Martini’s “Vadasi via di quà” was encored; an honour to which its distinct, beautiful melody and cheerfulness really entitle it. The room was not half filled, we regret to add.

The sacred concert on Saturday was miserably attended; so that Mr. Braham’s triumph, “Deeper and deeper still;” the “Benedictus” of Mozart; the “Deh! parlate” of Cimarosa, sung by Mad. Malibran, with “What though I trace,” and “Ye sacred priests,” by Mrs. W. Knyvett, were, we had almost said, thrown away. The concert in the evening was even more thin in company; and parts of the selection were not well calculated for the place. But Mad. Malibran’s “Una voce poco fà,” from Rossini’s “Barbiere;” Braham’s “Alexis;” the terzetto, from _Il Matrimonio Segreto_, “Lei faccio un’ inchino,” pleased much. “Largo al factotum,” and Horn’s song, “The deep, deep Sea,” were encored.

On Sunday, an anthem, “Let God arise,” with full orchestral accompaniments, composed as an exercise for a bachelor’s degree in music, by Mr. T. Attwood Walmisley, who has very recently been appointed organist of Trinity and St. John’s Colleges, was performed before the University, at Great St. Mary’s Church, and proved highly creditable to so young a composer, one who has not yet completed his twentieth year; and who, if he proceeds as he has begun, will, at no great distance of time, reflect great honour on his instructor, (his father,) and assist in raising the character of the English school of music.

On Monday the Messiah was performed in an excellent manner by the principal singers, at St. Mary’s, though the choruses certainly wanted strength. The church was completely filled, at very high-priced tickets, too. Indeed the terms of admission to all the performances were rather extravagant, and produced a smaller total than if they had been forty, or even fifty, per cent lower. The concert in the evening, at the Senate House, was also well attended, and went off with proportionate spirit and effect. Mad. Malibran’s national airs, sung to her own accompaniment, excited a very lively interest: one of them was loudly encored. Braham, in Attwood’s beautiful cantata, “The Soldier’s Dream,” Phillips in Neükomm’s splendid song, “The Sea,” and Tamburini with Phillips, in “Se fiato in corpo avete,” Cimarosa’s favourite but hacknied duet, seemed to delight every person present. The inimitable Lindley, on his violoncello, and the equally unrivalled De Beriot, on his violin, made the audience fully sensible of their powers. Indeed, everything was good, and received in a manner that proved the cultivated taste of the company.

However, the affair has been a losing one: the guarantee committee have had to pay a balance of 400_l._ out of their own pockets. The fact is, that the festival was ill-timed. It came when all were exhausted by the breakfasts, dinners, and fêtes, given to the _ambulant philosophers_; and the prices of tickets were too high. London is now brought so near Cambridge by improved travelling, that the public performances in the metropolis are quite accessible to both gownsmen and townsmen, who will not very willingly pay twelve and fifteen shillings for what, by means of a short, easy journey, may be heard, in certainly a more completely perfect manner, for little more than half the money. Nevertheless, we give every credit to the gentlemen who have sustained the loss, for their boldness and liberality.

LIVERPOOL AMATEUR SOCIETY.

_To the_ ~Editor~ _of the_ ~Harmonicon~.

~Sir~, _Liverpool, July, 1833_.

As I observe that you take an interest in whatever relates to the cultivation of music, in the country as well as in London, I beg to offer you an account of a Society which has lately been formed, on a small scale, in this town, leaving it to your judgment to accept or reject it as you may deem expedient. I have ventured to send it, because I think the Harmonicon is a valuable record of musical proceedings, and ought to be supported by amateurs, not only for their own sakes, but to assist in the promotion of the science; I shall, therefore, be rejoiced if I can, in the smallest degree, contribute to so desirable an object.

The society which I wish to introduce to your notice is called the _Apollo Vocal Concert_, and consists of a soprano and contralto, (ladies,) a tenor and two bases, with the able and esteemed conductor of the Liverpool Festival Choral Society as conductor and pianist. Their object in associating is for the purpose of practising the higher kinds of music, with a view to their mutual improvement; for which purpose they meet regularly once a fortnight all the year round; and to ensure a punctual attendance they have bound themselves, by heavy fines, to observe the rules laid down for the government of the society. So far its existence would not have been a subject of public interest, and unworthy of your notice; but the parties concerned, urged by several amateurs, and desirous of laying the foundation, if possible, of some sort of permanent musical institution in the town, determined on giving a set of four public vocal concerts; and the first of these took place on Thursday, June 27th. In order to defray the unavoidable expenses, and to secure the respectability of the meeting, none were admitted but subscribers for the set--each subscriber having a transferable ticket besides his own--the subscription being one guinea for the four concerts. The number of subscribers is limited to one hundred, which number is nearly filled, and includes the names of some of our leading gentry.

You will be surprised, Mr. Editor, to learn, that Liverpool, the second town in the empire, and distinguished, in other respects, by its liberality and splendor, cannot boast a single musical establishment of any description!--a most unaccountable, and, I had almost said, disgraceful, fact--only to be explained, even by those well acquainted with the place, on the supposition that no one likes to commit himself by being one of the first to give his name to a project which may not become fashionable.

It is hoped, however--seeing that most important undertakings have had small beginnings--that some musical institution, creditable to so opulent and important a town, may arise from the _Apollo Vocal Concert_. Unpretending though it be in itself,--it will at least show that a pleasant and unobjectionable recreation may be obtained at a very trifling individual expense. But a good band might be collected in the town, which by regular practice together would soon become efficient; and there is every encouragement to take such a step, from the example of Manchester, where the best orchestra in this country, out of London, is found at the _Gentlemen’s Concert_ in that town.

I subjoin the programme of the public concert on the 27th of June already mentioned. The company, consisting of nearly two hundred persons, appeared to be not only satisfied, but extremely pleased with the performance; indeed, the execution of some of the pieces would have done no discredit to performers of much longer standing; and the members of the society have expressed themselves highly flattered by the manner in which their endeavours were received.

I fear I have taken up an unreasonable portion of your space: if so, you must either curtail this letter, or excuse

Your obedient servant, ~Un altro Dilettante~.

* * * * *

~Part I.~

Symphony (_in_ ~E~ _flat_) Mr. G. ~Mozart.~ Holden and Mr. W. Comber

Trio, “Tremate! Empi, tremate,” Miss Johnson, ~Beethoven.~ Mr. Caird, and Mr. Pemberton

Cavatina, “Una voce poco fà,” Miss Potts ~Rossini.~

Duo Buffo, “Mentre Francesco,” Mr. Pemberton ~Coccia.~ and Mr. Aubrey

Scena, “Cœur de Lion,” Mr. Caird ~G. Hargreaves~[75]

Glee, “Blest pair of Sirens,” Miss Johnson, ~J. S. Smith.~ Miss Potts, Mr. Entwistle, Mr. Caird, Mr. Pemberton, and Mr. Aubrey (encored)

Aria, “Miei rampolli femminini,” Mr. Aubrey ~Rossini.~

Finale, “Venite pur avanti,” (_Don Giovanni._) ~Mozart.~ Miss Johnson, Miss Potts, Mr. Entwistle, Mr. Caird, Mr. Pemberton, and Mr. Aubrey

~Part II.~

Overture. (_Zaira._) Mr. G. Holden and Mr. W. ~Winter.~ Comber

Duetto, “D’ un bell’ uso di Turchia,” Mr. ~Rossini.~ Caird and Mr. Aubrey

Song, “Batti, batti,” Miss Johnson ~Mozart.~

Terzetto, “Dolce tranquillita,” Miss Johnson, ~Pucitta.~ Miss Potts, and Mr. Caird (encored)

Scena, “The battle of Hohenlinden,” Mr. ~C. Smith.~[76] Pemberton

Glee, “Hark the curfew,” Miss Johnson, Miss ~Attwood.~ Potts, and Mr. Aubrey

Terzetto, “Pappataci!” Mr. Caird, Mr. ~Rossini.~ Pemberton, and Mr. Aubrey (encored)

Finale. (_Guy Mannering._) “The Fox jump’d ~H. R. Bishop.~ over the Parson’s gate,” Miss Johnson, Miss Potts, Mr. Caird, Mr. Pemberton, and Mr. Aubrey (encored)

[We wish all possible success to the _Apollo Concert_, and to every society of the kind, but cannot congratulate the founders of it on their choice of a name.]

HISTORICAL NOTICES RELATIVE TO THE VIOLIN. ~By~ G. E. ANDERS, _of Paris_.

(From the German ~Cæcilia~.)

Whoever may hereafter wish to write a history of the violin, a desideratum in musical literature, will scarcely seek for historical notices in a book which, according to its title, treats only of old edifices, monuments, tombs, and the like. I allude to Millin’s _Antiquités Nationales, ou Recueil de Monumens pour servir à l’Histoire de l’Empire François_. In the fourth volume of that work, the author describes, among other churches, abbeys, castles, &c., the chapel of _Saint-Julien-des-Ménestriers_, in Paris; and a statue in the porch of this edifice, representing a man with a violin, affords to the author an opportunity of inquiring into the age of this instrument. It may be sufficient to observe, that this chapel was founded in 1330, by two members of the company, or guild, of musicians, which in the fourteenth century was very numerous. It received the name of St. Julian because adjoining an hospital which was so called, and existed up to the time of the French revolution, when, together with other churches and monuments, it was demolished. Millin’s work, therefore, is of additional value, because it preserves from total oblivion buildings of which there is no vestige left. The following are the author’s own words:--

The front of the chapel of St. Julian was very picturesque. The porch, executed in a neat Gothic style, consisted of a great arch with four niches. The frieze was decorated with little angels, delicately carved in stone, playing on various instruments, such as the organ, a triangular harp, with perpendicular (not horizontal) strings, the violin, (a three-string rebeck,) the lyre, mandoline psalterium, bagpipes, horn, oboe, flutes, kettle-drums, lutes, and dulcimer. In the niche to the left of the porch stood the image of St. Julian, and in the right-hand niche was placed, as is stated, that of Colin Moset; but it is more natural to suppose this to be the statue of St. Genest, the patron of musicians, and of their church.

The statue of St. Julian has a singular head-dress, is decorated with a wide mantle, and in the hand holds a violin. It has frequently been appealed to by antiquaries. The violin has four strings, and is quite similar to that of the present day. Unfortunately the statue is mutilated, and the right arm, with the bow, broken off. The antiquity of the violin has been the subject of much inquiry. Laborde, in his investigation, refers to the paintings of Philostratus, and maintains, that on a fountain represented in one of these a violin is introduced, which, with the exception of its shorter finger-board, resembles our present violin. He would not have committed so great a mistake, had he considered that we have only the _descriptions_ of these paintings, not the _realities_. He further maintains that the fountain, with the violin represented by Philostratus, occurs again on the medals of Scribonius Libo; but these pretended violins are lyres, decorating a kind of altar, which the ancients called _puteal_, an appellation which Laborde very improperly translates by the word _fountain_. Terrasson has written a dissertation on the lyre (vielle), wherein he endeavours to prove that this instrument is of greater antiquity than the violin. He has found some passages in which the word occurs, and makes them subservient to his theory. But the words _vielle_ and _viole_ manifestly signify the same thing as _violon_; and _vieller_, _violonner_, the same as _jouer du violon_. The word _archet_ and _arçon_ (bow) which is always mentioned in conjunction with the lyre (vielle), leaves no doubt on this matter.

J’allai à li et praclet, O la vielle et l’archet.[77]

But the defenders of the lyre (vielle) maintain, against all reason, that the words _archet_ and _arçon_ signify the winch or the keys of the instrument.

Maffei’s reference to a painting, representing Orpheus playing upon a violin, is as little to the purpose: every thing bespeaks its later origin.

It is indeed certain that the violin is an instrument of great antiquity, and may be traced to the earliest periods of the French monarchy. This fact is incontestably proved by the evidence of monuments, the most important of which is the statue of a French king, on the lower and right-hand side of the porch of the church of _Notre-Dame_ in Paris.

Montfaucon, who has also given an engraving of this figure--though by no means a correct one--conceives it to be a representation of King _Chilperic_, because that monarch was the author of some hymns, and of two books of songs for the church service. _La Ravallière_ has furnished a better delineation of this statue. Without stopping to inquire whether, according to the highly probable opinion of Montfaucon, that statue be a representation of King Chilperic, it is evident that the crown and the royal mantle are intended to represent royalty. The violin in the left hand has four openings or sounding-holes, the bow in the left is broken. La Ravallière has instanced another remarkable monument, a small basin, which the Abbé Le Bœuf; who transmitted it to him, conceived to be a production of the earliest times of the French monarchy. This was found where a royal palace is supposed to have stood formerly. It is gilt, and embellished with enamelled embossed work, and in all probability was used for washing the hands in. The design of the embossed work is divided into several compartments. In that of the centre is a harp-player sitting on a chair; on his right is a singer, judging by the roll of paper in his hand; and on his left is a violin player. In one of the lateral compartments we observe a violin with a double bridge.

The vignette of a manuscript of the beginning of the fourteenth century, which was in the possession of _Gayon de Sardiere_, exhibits the figure of a _jongleur_ sitting on a high bench and playing the violin. As the manuscript contains the songs of the King of Navarre, the intention of the artist was to represent the jongleur in the act of singing the songs of the king, who is present with his consort, the queen. Both are sitting, and seem to be listening to the performer. The courtiers appear to pay him no less attention. These various monuments prove that the violin had been long in use among the jongleurs. The most celebrated people of this calling were the best violin players of their time; and the lyre was at all times but a very subordinate instrument.

The Antiquities of Struth contain many interesting figures. One represents an English fiddler, whose violin has only two strings, while others have four. One has but three. This was during a long period the usual number, and the instrument was called a rebec. It is not exactly known when the fourth string was permanently added. Laborde thinks in the sixteenth century, and rests his opinion on the fact, that the best violins which we possess are still those which Charles IX. of France caused to be constructed by the celebrated _Amati_ of Cremona. These are also the best models. But there is a drawing of the instrument by Matthew Paris, which proves its antiquity to be great. Perhaps it was only in the sixteenth century that its use became general, about which time the form of the violin, as well as the art of playing on it, reached a high degree of perfection. The violin of St. Genestus is no rebec; it has four strings, and is formed like ours.

It remains for us to speak of a singular dignity or office, which owed its origin to this instrument. Every company, or guild, had formerly a head or leader, who bore the title of king. The grocers, surveyors, barbers, &c., nay, even the poets, had their king: but the usurpations and arbitrary sway of these singular monarchs brought about their dethronement, and nothing remained of such royalty except the _king at arms_ and the _king of the fiddlers_.

The history of the first kings of the fiddlers is not known, and it would be impossible to enumerate them in the order of their succession. The earliest on record is _Jean Charmillon_, who, under Philip le Bel, was chosen king of the jongleurs in the city of Troyes, ~A.D.~ 1295. Constantine, a celebrated violin player at the court of Lewis XIII., obtained the dignity of _king of the fiddlers_ and _master of the musicians_ (_roi des violons et maître des ménestriers_). He died in 1657, and was succeeded by Dumanoir, known by the name of William I. After the death of the latter, the crown descended to his son, William II., who abdicated, and thereby caused a state of anarchy. Lewis XIV. looked with indifference on the extinction of a royalty of this kind, and declared that he had no inclination to revive it.

The musical kingdom had long been troubled by internal and external feuds: the dancing-masters, supported by their leader, had for more than half a century carried on a warfare against their rivals, the common fiddlers, who, to the disgrace of their art, used to play in the taverns and beer-houses. They prosecuted the town-dancers, until, in 1666, they obtained a formal decree. No company was so rich in strife and turmoil; their contests produced a number of judicial sentences. The momentous object of these contests was the suppression of one string in the fiddles of their adversaries, whom they wished to bring back and limit to the ancient and legitimate form of their instrument, the rebec.

This interregnum lasted from 1685 to 1741, when _Gaignon_, a celebrated violin player, aspired to the rank of fidicinal royalty, and was honoured with it, by Lewis XV., on the 15th of June of the latter year.

But _Gaignon’s_ government was too arbitrary; he wished to revive a number of obsolete privileges; and many musicians, especially the organists, successfully opposed his attempts, and _Gaignon_ in disgust resigned his royal dignity, which was finally abolished in 1773.

The second bridge, above mentioned, is a matter of some surprise; for it is difficult to conceive what could have been the use of the finger-board, or indeed of the neck altogether, if the sounds of the strings were fixed between the two bridges. I have myself met elsewhere with drawings of this kind, the execution of which, however, is so bad and indistinct, that it is not easy to guess the purport of the little cross-stroke which _Millin_ takes for a second bridge. Might it not be possible to explain the matter in a more obvious manner?--The sounding-holes in violins (our present _f_ holes) have in former times often changed their figure and place, until the shape of an _f_ was universally adopted. Sometimes they were in the form of a crescent; sometimes they were contrived in the sides of the instrument, either above or below. In short, their shape and place depended entirely on the fancy of the constructor: I therefore think it probable that the little cross-stroke may have been meant to represent, not a second bridge, but a sounding-hole.

WORCESTER MUSICAL FESTIVAL.

The hundred and tenth meeting of the choirs of Gloucester, Hereford, and Worcester, for the benefit of the Widows and Orphans of Clergymen of the three dioceses, will be held at Worcester on Tuesday, Wednesday, Thursday, and Friday, the 24th, 25th, 26th, and 27th of September next. There will be, in all, seven performances--four in the Cathedral, on the mornings of the days before mentioned, and three Grand Miscellaneous Concerts at the College Hall, on the evenings of Tuesday, Wednesday, and Thursday.

We feel happy in being able to make this announcement, because, from the great loss with which several of the late triennial meetings have been attended--(the receipts not having been equal to the expenditure, and consequently leaving a large sum to be advanced by the stewards, to make good the deficiency)--it was for some time very doubtful whether these musical performances, which have been so long established, and from which, we believe, all other of our provincial musical festivals have emanated, would, or would not, be continued. To prevent, however, the abandonment of these most respectable and useful meetings--(we say _useful_, because although, as we have before stated, a heavy loss has sometimes fallen on the stewards, yet the ends of the establishment have not been defeated, for the total amount of donations, and the collection made each day of the performance at the doors of the cathedral, amounting, on the average, annually to between 700_l._ and 800_l._, is invariably, and without the least deduction towards the expenses, distributed amongst the several claimants--we say, then, in order to keep up these respectable and useful meetings)--and that the objects of the charity may not suffer from their being discontinued, the following distinguished personages have most willingly consented to take upon themselves the office of steward for the ensuing meeting: Lord Foley, Lord Southwell, Sir Offley Wakeman, Bart., Colonel Russell, M.P., Osman Ricardo, Esq., Joseph John Martin, Esq., Elias Isaac, Esq., John Taylor, Esq., the Bishop of Worcester, the Venerable Archdeacon Onslow, Hon. and Rev. James Somers Cocks, Rev. John Davison, Rev. John Peel, and the Rev. Thomas Pearson.

To the foregoing list we have no doubt that other names will yet be added.

The music to be performed in the cathedral will be chosen from the works of Handel, Mozart, Beethoven, Cherubini, and other masters of the greatest celebrity, including selections from the following Oratorios, which may justly be ranked amongst the most highly classical productions, viz.: The _Creation_ (Haydn); _Mount Sinai_ (the Chevalier Neukomm); _The Last Judgment_ (Spohr); the _Deluge_, a new work, held in the highest estimation in Germany, no part of which has hitherto been performed in this country (Schneider); and, though last not least, _Palestine_, the masterly production of our countryman Dr. Crotch. This augurs well for the undertaking; and that the music so judiciously selected may lose none of its charms in the performance, the following principal vocalists are engaged: Madame Malibran, Miss Clara Novello, and Mrs. W. Knyvett; Messrs. Braham, Vaughan, W. Knyvett, Ed. Taylor, and Mr. Phillips; with a strong and efficient chorus. Signor Donzelli is also engaged, whose splendid voice will no doubt prove a great acquisition at the evening concerts. Mr. F. Cramer will lead the band, and be supported by Messrs. Moralt, Marshall, Loder, R. Ashley, Lindley, Dragonetti, Nicholson, Cooke, Willman, Mackintosh, Platt, Harper, &c. &c. The repieno performers will be principally selected from the Philharmonic Concert; and to make the arrangements as perfect as possible, M. de Beriot is engaged as concerto player, who, we believe, is allowed, by all good judges, to be the most finished performer on the violin in Europe.

From this brief outline, it appears to no that the conductor (Mr. Clarke) has left nothing undone that is likely to contribute to the success of the meeting; and if novelty, combined with excellence, has lost none of its usual attraction, we predict that the meeting will be fully attended.

THE UTILITY OF MUSIC TO SAILORS.

Though it is well known to every one that seafaring men of all grades are warm admirers of music,--that the song is as welcome to the admiral in his state cabin, as to the foremast-man seated on his chest amidst the lower-deck guns,--that the ‘soft complaining flute’ is constantly in request in the ward-room and cockpit, when less gentle winds than those which give it utterance are not blowing hard,--and that ‘sharp violins proclaim,’ in every part of the ship, except indeed the quarter-deck, Jack’s love for innocent scrapes, as well as mischievous ones;--yet we never knew music recommended, from anything like authority, to mariners as a pursuit, till we took up the _Nautical Magazine_ for May last, wherein we find ‘A Sailor’s advice to his Son,’ a sensible essay, so far as the matter is concerned, in which the art of modulated sounds is mentioned as one that may, with the most beneficial results, be cultivated by the sailor, whatever his degree, for reasons that will be seen in the following extract, which we make with much pleasure, as it affords another proof of the increasing spread of an art to which our work is devoted; though we do not attempt to conceal that some allowances must be made for the style of one whose life has, most likely, been devoted to studies of more importance to him than the very exact value of a word, or the turning of a period.

‘The influence,’ says the sailor, ‘of music in elevating the enjoyments and alleviating the daily disturbances of life, by lulling its cares, its passions, and its follies, into calm repose, is perhaps still more instantaneous. Music alone can open every avenue to the heart, and unfold the various treasures with which a beneficent Creator has furnished the susceptibility of his creatures. The most painful ebullitions of grief are stifled, and charmed into tranquillity by skilful music. To dissipate affliction, to moderate the anguish of severe disappointment, or to adorn the sparkling moment of festivity, music is equally powerful and efficient: it can quell the agitation of despair, and exhilarate with speechless tremor the heart, while it overflows with delight. Music is the language of those regions where happier and better beings reside, and its sympathy with the fine and tender affinities of our own species gives it unlimited sway over the modulation of our feelings. The mother’s lullaby to the darling in her lap breathes music upon us in our infancy; it affects us in various modes in after life--in the midnight serenade, in the festive tabor, in the shrill clarion of war, and in the full toned organ, which sounds a requiem over the departing reliques of mortal existence. Amidst the wildest scenery of nature, music can breathe sentiments of humanity in the breast of the most obdurate savage; and among the infinite gradations of civilized life can call down the monarch from his throne, can console the exile under his expulsion, and can elate the breasts of humble peasantry with jocund celebration of their evening repose. In its simplest form, music requires neither skill nor precautionary steps to find access to the heart--the ploughboy’s carol, the milkmaid’s ballad, the seaman’s ditty, or the recitation of the foreign mountaineer chanted with inartificial melody, produce powerful and pleasing sensations. But to create that intensity of feeling, which solely identifies itself with the accordance of musical composition, the corresponding symphony of which awakens from their secluded cells the sweetest and tenderest affections, elucidates emotions of hope, fear, surprise, terror, and joy,--and as the stream of harmony flows along calls forth involuntary exclamations of delight, wonder, and admiration--demands a much more copious extent of subject and execution. The sublime compositions of Handel, Haydn, Arne, Mozart, and Cimarosa, are of this description.’

THE MADRIGAL SOCIETY.

This ancient and excellent Society held its last meeting of the season at Freemasons’ Tavern, on Thursday the 18th of July, when a remarkably full attendance of members, and numerous visiters, showed that such music as is here performed, instead of producing satiety, as is the case with too many modern compositions, becomes more exciting and delightful the longer it is enjoyed. Sir John Rogers, Bart., the highly-talented President, was in the chair; and under the guidance of one possessed of so much knowledge and tact, aided, too, as he was, by such a host of vocal supporters, nothing less than so satisfactory, so brilliant an evening could have been expected.

But for this Society, the Madrigal, when by fashion--which always thirsts for change, and is generally tasteless--banished from every other musical circle, would, most probably, have been utterly unknown and lost to our generation. And even this very Society, the only place of refuge that was left for so masterly, so beautiful a species of composition, was, not long ago, in imminent danger of speedy dissolution; when its extinction was not only averted by the accession of the President who now sways the sceptre, but its means were extended, and its importance increased, by the addition of members in whom taste and rank are united, and it received a new impetus, which has given it a high place among the most distinguished musical associations in Europe, and ensures its stability and prosperity so long as its present course is pursued.

Of the dinner, though the best of its kind, and of the wine, which is equally good, being chosen for and reserved for this Society, we will not speak,--though far from holding the reasonable pleasures of the table in contempt,--because music is here the grand, the almost sole object. Instead, then, of laying before our readers the number and nature of the various dishes and wines, we will present them with a list of the musical pieces performed, the intellectual treat, after the cloth was removed--

I will sing of thy power 5 voices. ~Dr. Greene.~ At sound of her sweet voice 5 „ ~Quintiani.~ Con la sua 6 „ ~Luca Marenzio.~ Due begl’ occhi lucenti. 5 „ ~Gio. Pizzoni.~ Lo! ladies, where my love comes 5 „ ~Ruggiero Giovanelli.~ How springs each plant 5 „ ~Quintiani.~ O that the learned poets 5 „ ~Orlando Gibbons.~ Phillis, go take thy pleasure 5 „ ~Weelkes.~ Round about her chariot 6 „ ~Ellis Gibbons.~ Since neither tunes of joy 4 „ ~Bennet.~ Sweet love, if thou 5 „ ~Wilbye.~ When Oriana walked 6 „ ~Bateson.~ _The Waits_, a Fal la la 4 „ ~Jer. Savile.~

Some three or four of the above had never been tried here before, were quite unknown, but turned out real treasures. To the director of the music, Mr. Hawes, the Society is indebted for bringing these madrigals forward.

THE LEADER OF THE ANCIENT CONCERTS.

The instrumental band belonging to the Ancient Concert, in testimony of the regard and esteem they feel for their leader, Mr. F. Cramer, have presented him with a very handsome and valuable silver salver. This reflects great credit on all parties. It is, unquestionably, most highly gratifying to Mr. Cramer, after having led the band for thirty-five years, to receive this flattering mark of approbation from his brother professors; and we hope he will maintain his post, and live many years to enjoy the use of so solid a token of their regard, which should (and we have no doubt but it will) descend to his posterity in the nature of an heir-loom. The simple circumstance in itself may serve as a stimulus, and, at the same time, prove a wholesome lesson to the aspiring young artists who are rising in the profession, and who may be destined hereafter to preside over a large orchestra, for it will show them that talent in a leader, when combined with agreeable manners and gentlemanly conduct, will not only entitle him to the attention and obedience of the band when _in_ the orchestra, but, what is of infinitely more value, it will ensure him the kind regard, good will and friendship of his band when _out_ of it.

THE OLD ENGLISH GENTLEMAN.

_To the_ ~Editor~ _of the_ ~Harmonicon~.

~Sir~, _June 11th, 1833_.

In consequence of a low puff, in the form of an advertisement, having appeared in several papers, relative to the song of ‘The Old English Gentleman,’ I have presumed to ask the favour of your contradicting the assertion made through that medium, which is entirely false from beginning to end, indeed almost too contemptible to notice, and should have been passed in silence, but that I think such manœuvres ought to be exposed. It is a fact, that the very man who issued the article in question has been himself prevented from publishing the copy of which he so unjustifiably possessed himself, and of which he accused _me_ of having robbed _him_!

However, to avoid all further contention, I have rewritten and re-set the song, and thus, in future, mean to sing it. This is not the first attack made upon me by the same person, who pirated the ballad of _The Maid of Llammelyn_ when in its height of popularity, and issued circulars and advertisements to say that the song bearing my name was not the popular ballad--a declaration as false as the present.

I am, Sir, yours, &c.

_Hart Street, Bloomsbury Square._ ~H. Phillips.~

REVIEW OF NEW MUSIC.

1. ~Novello’s Masses~ _for Four Voices, with an Accompaniment for the Organ or Piano-forte_. No. 1. (J. A. Novello.)

2. ~A Collection of Sacred Music~, _adapted to the Hymns of_ ~Burder~ _and_ ~Dr. Watts~, _with an Accompaniment for the Organ or Piano-forte, composed by_ ~William Atter~. (Goulding and D’Almaine.)

Mr. Novello, it appears, is republishing his Masses, of which the above is the first number of a second edition. Not being a new work, we must be governed by our rule, and speak of it generally only, though it would have been very agreeable to us to enter particularly into its merits; for it does not very often fall to our lot to be called upon to notice a composition, the examination of which is attended with so much satisfaction as the present has afforded.

We have always been of opinion, and see no reason to depart from it now, that in the Masses of the last hundred years--we might have extended the term--there is far too much levity, the solemnity of the subject being fairly considered; no small part whereof arises out of the accompaniments, which are frequently those of as opera air, and excite nothing but secular, not to say ludicrous ideas. Nay, to the very singers, who are pronouncing the sacred words, melodies are often given which would be well received in the ball-room as dance-tunes; and passages in them, strictly the same both in air and movement, may readily be found in quadrilles and gallopades. If Erasmus, more than three hundred years ago, complained of the lightness of the church-music of his time,--if Salvator Rosa, himself a composer, could not restrain his indignation at the profane melodies to which sacred words were set in the middle of the seventeenth century--in what language would these have uttered their invectives could they have heard some of the compositions of the last age,--some of Haydn’s Masses?

Mr. Novello carefully avoids such errors: there is a fitting soberness in his mass, a judicious avoidance of extremes, that prove his good sense; while the smoothness, the elegance of his airs, the richness of his harmony, and the able manner in which he has worked some of his subjects, are no less decisive proofs of his taste and skill as a musician. He certainly is not very energetic, nor does he evince much boldness of enterprise, but he is always correct; and, as a composer, gracefulness is one of his chief attributes.

* * * * *

Mr. Atter’s collection is of about seventy--hymns, we suppose they may be called; some few of which we have closely looked into, but must confess that we were deterred from going very far into the volume by what we met with in the early pages. The composer seems to possess a commendable share of industry, and a taste for melody, but we cannot say much in favour of his success as a harmonist; and, occasionally, his manner of setting words is not quite judicious. In the latter, however, he fails much less often than in the former; and upon the whole, so far as we have examined, Mr. A. appears to have entered into the intentions of the poets, and has expressed their sentiments with as much fidelity as musical effect will allow. Exceptions, nevertheless, occur, two of which we point out, lest the author should accuse us of being too general. At page 9, the emphasis is laid on ‘from’ instead of ‘caves:’ the preposition should have been set to the last quaver in the preceding bar. And at page 14, by means of rests after ‘we bless,’ the verb is made to act on the previous noun instead of the succeeding one. The repetition, too, of the words ‘flow down,’ and the bar of symphony between, will hardly fail to excite a smile.

Against the harmony we have to remonstrate before quitting even the second page. At the ninth bar of this is a chord of the sixth and fourth, which will displease most ears. But at page 11 is a chord of 7/4, which we should have set down as an error of the engraver, but that the voice part and accompaniment agree; and to ‘make the charm grow madder,’ the seventh rises to its resolution! But we persevered, and got on to the fifteenth page, when the following opening of a hymn convinced us that it would be needless to pursue our inquiry any further.

One word, however, as to originality, for which the composer, in his Preface, takes some credit to himself. Surely he is aware that his very first page holds forth to view an imitation of what is called _The Evening Hymn_; and the succeeding page will immediately call to recollection Haydn’s celebrated movement in ~A~--that in his favourite old symphony in ~D~.

* * * * *

1. ~Lays of the German Minstrels~, ~T. Otto~, ~F. Busse~, ~A. Schneider~, _and_ ~F. Otto~, _with the original German Words, and a Translation, by_ ~W. Ball~. _Book I._ (Ewer.)

2. ~Songs for Leisure Hours~, _composed by_ ~Robert E. Brewer~. (Luff.)

From the title of the Lays, many may be led, and naturally enough, to suppose that the ‘Minstrels’ therein named are the poets and composers, as well as the performers, of them; but the executive part alone belongs to them, with the exception of one melody, the second, which claims Herr F. Otto as its author: the third is by Eisenhofer; the remaining four are anonymous.

The first, ‘The Sabbath Call’ (we give the English words only,) is a quartet for two tenors and two bases, entirely in the manner of our English glee, but with a piano-forte accompaniment. This is a pleasing piece of almost simple counterpoint, and would be effective, even if sung by voices only. The crotchet rest in the fifth bar of page 3 should have been omitted, and the two last quavers written as crotchets; the sense of the English words would then have been unbroken, and that of the German not affected.

The second is a pretty, but not very new ballad, in ~E~. For the commencing bars of the third, a song, M. Eisenhofer has undisguisedly borrowed the beginning of the Sicilian Mariner’s Hymn. This is in two movements; the first an andantino; the second, allegretto, in the Swiss style, and very common: the fourth boasts one novel feature, in the shape of what the composer calls a trio. The principal movement is in ~F~ major; the second (the _trio_, though for a single voice) in ~F~ minor, and the first is repeated. The fifth of the set, the time of which changes frequently, is overflowing with gaiety, both melody and accompaniment, and is the cleverest of the whole, though too long, the author seeming to think that certain passages--his favourites, no doubt--could not be too often repeated. The last in the book is a duet for two sopranos, very simple, easy, flowing, and the most popularly written of any in the collection. Thus the set begins and ends well; and when we have stated that the English words are correctly adapted, taking the difficulty of the task into consideration, we shall have said as much in favour of the present work as honest criticism will justify.

* * * * *

Mr. Brewer’s Songs, six in number, afford strong presumptive evidence that he understands music better than language,--that his knowledge of composition exceeds his skill in reading. And this, we lament to say, is a case of very common occurrence in the musical world, arising from an obvious cause, which we are unwilling to name; one that will not cease to operate till an _efficient_ academy of music be established--an academy, or something of the kind, which shall make the _general_ improvement of the intellect of students an object of equal importance to that of the art they are intended to practise. When this is brought about, (if it ever can be accomplished,) false emphasis, erroneous accentuation, and puerile conceits, will be as rare as undisguised consecutive fifths and unresolved discords; and composers will be looked upon in a far different light from that in which they are now viewed by the well-educated portion of society.

The first of these songs is an undeniable proof of what we advance: the music, with an exception which we shall presently mention, is clever--the emphasis abominable. ‘_I_ watch for thee, _when_ parting Day,’ is the composer’s manner of treating this line, thus throwing the emphasis on exactly the wrong words. Then after the word ‘day’ is a rest, though the author (Mrs. Cornwell Baron Wilson) has made it perfectly clear that no pause can be at all intended. And so throughout the whole song. In the sixth and two following bars of page 3 are octaves between the accompaniment and base, which are equally opposed to rule and good taste. If the composer intended to strengthen his base, he should have written these notes below, not above: as they stand, they form part of the accompaniment to the base, and are not allowable. But for such drawbacks, the song would have been entitled to great praise[78].

The second is extremely well set, the melody animated and pleasing, and there are points in the accompaniment (bars 5 to 8, page 7) which show more vigour than is usual in compositions of this kind. The third is very full of feeling, and charming altogether, musically considered; but here, unhappily, the words--their emphasis and connexion--have not been understood. In the fourth much is attempted, and little achieved. It is a very long song written to very few words,--to the following lines:--

The lark has her gay song begun, She leaves her grassy nest--

which Kirke White assuredly never intended to end here, for he could not have thought it worth his while to record a bare fact of so exceedingly unimportant a kind. But the composer has given no less than five pages to the brief narrative, which include a brilliant accompaniment for the flute; this part, we surmise, being intended as an imitation of one of the lark’s best bravuras. The fifth affords a compensation for the preceding; it is melodious, expressive, and free from fault. The last, ‘a Fairy Song,’ is well imagined, lively, and agreeable; but here we find long notes given to short syllables, to connecting words, and lines joined that ought to be separated by some kind of pause,--errors which, though they are, as we well know, thought trivial by many composers, very forcibly strike the most sensible people, and often lead them to doubt whether music is worth the time and trouble which its cultivation costs.

PIANO-FORTE.

~First Concerto~, _with Orchestral Accompaniments, as performed by the Author at the Public Concert of the_ Royal Academy of Music, 1833; _composed by_ ~W. Sterndale Bennet~. (Cramer, Addison, and Beale.)

The concerto now before us is by a young musician, who has only just completed his seventeenth year, a pupil of the Royal Academy of Music, and is published ‘by the express direction of the committee’ of that institution. We were present when it was performed by the author, in the Hanover Square Rooms, and in our Number for May last have spoken of it in terms dictated by the impression it then made on us. We have now considered it deliberately, and unconditionally state, that, as the work of so youthful a composer, it is a surprising production. Even viewed without reference to his age, it is entitled to a very considerable share of praise, especially if compared with the current compositions of the day, most of which, including several by masters of some name, are inferior to it, both in design and in the manner of treating the subjects.

This concerto is in three movements of reasonable length: the first, an allegro--moderato in ~D~ minor; the second, an andante in ~F~; and the finale, a presto, ending the piece in the key in which it began.

The principal subject of the first movement is resolute, and commands attention; the subordinate one, in ~F~, is gentle and expressive, and contrasts well with the other. The motivo of the andante is a melody in which is much elegance, but less of decided originality; it is, however, a promising specimen of the author’s taste; though, had he adhered more to the subject, and spared some of the not very congenial runs of half-demisemiquavers, we should better have liked the movement. The finale is bold and energetic, and, in our opinion, the most effective part of the concerto. The spirit of this is kept up to the last note, and it has a unity which leads us to prefer it to the other movements.

The success of this work ought to operate on the youthful composer as an incitement to study and write much; but let us advise him to publish little at present, however flattering the temptations thrown in his way. What he may produce and think worth preserving, he should lay aside, and at the end of about half the period recommended by Horace to poets, examine and retouch it: then, having first consulted a judicious friend, he may venture into print without endangering that fame of which his present publication will have laid a very good foundation.

* * * * *

1. ~The Beauties of Neukomm~, _a characteristic_ ~Fantasia~, _in which are introduced_ The Stormy Petrel, Count Balthazar, _and_ The Sea Rover, _arranged by_ ~J. B. Cramer~. (Cramer and Co.)

2. ~Beauties of Neukomm~, _a_ ~Fantasia~, _in which are introduced_ The Bloodhound _and_ The Roaming Mariners, _arranged by_ ~J. N. Hummel~. (Cramer and Co.)

Our readers have by this time made up their minds on the merit of the above airs of M. Neükomm, for there are few by whom they have not been heard: we have therefore no occasion to speak of them but as applicable to the purposes to which they are now applied by these eminent composers; and such is the charm of good melody--a very distinguishing feature in the ingenious Chevalier’s compositions--that it pleases, whatever the form it may assume.

These fantasias are calculated for a rather superior, though numerous, class of performers. Both have, as indeed a matter of course, an introductory movement, and are nearly equal in length. But the particular style of each master is obvious in his respective work. In the one, great refinement and expression, not devoid of spirit, are the leading traits; in the other, freshness of fancy, energy, and depth of harmony, mark the more vigorous composer. The introduction to the first is brilliant, and familiarly written: that to the second inclines to the grand, and is rather studiously composed; the syncopated passage towards the end is a charming bit of classical harmony, and the author is apparently aware of its attractive qualities, for he repeats it in the body of the fantasia. These will prove valuable additions, in every sense, to any musical catalogue.

* * * * *

1. ~Second Rondino~, _on_ ‘Questa e la Dea,’ _the Quintet in_ ~Rossini’s~ _Opera_ Corradino, _by_ ~Charles Czerny~.

2. ~Souvenir de Bellini, Variations~ _sur un Motif de l’Opéra_ La Sonnambula, _par_ ~Antonio Fauna~. (Goulding and D’Almaine.)

No. 1 is to be counted among the least perplexed and extravagant of M. Czerny’s labours. There are two or three whimsical, but short passages in it, that serve to show his propensities, but, upon the whole, we can speak of this as an agreeable arrangement; the connecting parts and the additions to the original materials are in character, and a good player--for it is beyond the means of mediocre performers--will find it worthy of some notice.[79]

* * * * *

No. 2 presents us with six variations on one of the many common airs in an opera which good singing and some good acting have kept for a time on our _denaturalized_ national stage. About half of these, the last, _alla Polacca_, especially, really take a form somewhat new,--a fact which argues favourably of the composer’s talent; for the writer of variations, above all others, must have learnt by experience how very little novelty there is under the sun. Altogether this publication has afforded us pleasure.

* * * * *

1. Hommage à Handel, ~Divertimento~ _on the air_, The Harmonious Blacksmith, _composed by_ ~Pio Cianchettini~. Op. 27. (Chappell.)

2. ~The Gipsies’ March~, _being No. 4 of Recreations for the Piano-Forte, arranged by_ ~E. C. Vernet~. (Cramer and Co.)

To his Divertimento Mr. Cianchettini has prefixed a prelude, consisting of nothing but arpeggios in demisemiquavers, to the almost incredible extent of seven pages! We have been present when pianists have begun to indulge themselves in such long-winded extemporaneous effusions, but never had self-devotion enough to wait the conclusion; and we shrewdly suspect that if any one shall have the courage to play through the black forest of notes which has grown up under Mr. C.’s hand, the auditors, however numerous at the beginning, will glide away, till the performer is ‘left alone with his glory.’ After the prelude comes (mercy on us!) an _Introduzione_, in which the subject is, _à la mode_, anticipated. Then we at length arrive at Handel’s air; but how altered! how wo-begone!--transposed into ~B~ flat, and treated as a theme for modern descant! Had Handel added no variations to it himself, this would have been allowable; but as he has written many, and most fitting and beautiful ones, it was really a bold thing to render _homage_ to the great composer in language which, however well meant, his spirit must view in the light of a very _gauche_ compliment.

* * * * *

We know not the arranger, as he modestly terms himself, of No. 2, but whoever or wherever he may be, we feel indebted to him for a pleasant divertimento, formed on the original and beautiful march of Weber; the latter very advantageously adapted, and well set off, by what Mr. Vernet has added. The Introduction to this, _à la militaire_, is spirited and brilliant, and the whole is showy, without being difficult.

* * * * *

~Select Airs~ _from_ ~Auber’s~ _Ballet-Opera_, La Bayadère, _or_, The Maid of Cashmere, _arranged with a Flute accompaniment_, ad lib., _by_ ~J. F. Burrowes~. Books 1 and 2. (Chappell.)

These books contain nearly the whole of the opera, but not the overture, arranged in Mr. Burrowes’s matter-of-fact manner. We have always approved his plan, because he places within reach of most players what many would so adapt as to become useful to only a comparative few. He has given ten pieces, but as we know nothing of the score of _La Bayadère_, we are enabled merely to say, that he appears to have embodied all the essential parts of the accompaniments in his arrangement, so far as a pair of hands can take them in with that ease which is a main object with publishers who calculate on a large sale.

Of the opera we have had occasion to speak before; it is, intentionally we suppose, the lightest that the modern theatre ever produced, and prettiness is the only quality to which it can make any pretence. In fact _La Bayadère_ is of mongrel breed, half ballet, half opera; the music, therefore, is fitted to it accordingly. The overture to this will be found noticed in our next article.

* * * * *

DUETS, PIANO-FORTE.

1. _The_ ~Overture~ _to_ La Bayadère, _composed by_ ~Auber~. (Chappell.)

2. Recollections of Nieborg, _composed by_ ~Fred. Kuhlau~. (Wessel and Co.)

3. Recollections of Bogensee, _composed and published as the preceding_.

4. Souvenir à Schönbrunn, ~Second Grande Marche~, _composée par_ ~Charles Czerny~. Op. 250. (Wessel and Co.)

No. 1 is certainly not likely to gain admission into the Philharmonic Concerts; it will never be put forward as the companion or rival to the _Zauberflöte_, _Prometheus_, or _Freischütz_ overture, but is well suited to the Ballet Opera of which it is the gentleman-usher. Opening with a pastoral gaiety, then changing into a movement of bolder liveliness, but free from all those combinations, that modulation, so necessary to the connoisseur of northern climes, it is in good keeping with the music that follows, and with the temperament of those oddly-mixed tropical personages who appear in that strange, nondescript theatrical representation, called _La Bayadère_.

* * * * *

Nos. 2 and 3 have Danish melodies, or airs so called, for their foundation, worked up with considerable ingenuity by the late M. Kuhlau. No. 2, consisting of three short movements, is graceful, airy, and easy. No. 3 is also divided into three parts, but they are longer than those in the preceding, have cost the composer rather more thought, and require a quicker finger in the performer. Though there is nothing strikingly original in either of these duets, they have nothing vulgar, and little that is common, in them; and there is enough fancy and good taste in their composition to enable us to mention both in favourable terms.

* * * * *

No. 4 was, it appears, composed for her Majesty Maria Anna Carolina, queen of what state we are not told; and it certainly was not likely to puzzle her royal brains, for not a bar is there in it that had not, in some shape or other, been played by her Majesty during the progress of her musical studies. To compose anything new in the form of a march is undoubtedly a difficult task, and M. Czerny seems to have been determined that his two hundred and fiftieth opera should not be a work of labour.

* * * * *

VOCAL.

La Bayadère, _or_ The Maid of Cashmere, _a Ballet-Opera, composed by_ ~Auber~; _adapted to the English stage by_ ~Henry R. Bishop~. (Chappell.)

1. ~Air~, ‘Why discontent?’ (‘Je suis content.’)

2. ~Air~, ‘Ah! ne’er for me.’ (‘Ainsi pour me.’)

3. Trio, ‘Oh! this heart palpitating.’ (‘Tu ne peux t’en défendre.’)

No. 1 is meant as a comic song, but we were unable to perceive the drollery of it on the stage, and are equally at a loss to discover any in it while lying before us. Certainly there is no joke in its great length. The air is quite à la Auber. It begins thus:--

No. 2 is a tender address from _Brahma_ (the unknown) to the _Bayadère_, a delicate, pleasing air, though without stage action it will be thought somewhat long.

* * * * *

No. 3, a short trio for soprano, tenor, and base, in ~A~ flat, an andante, is one of those _morceaux d’ensemble_ (all of them imitated from ‘Protegga, il giusto cielo,’ in _Don Giovanni_) which rarely fail of success; and this will be as welcome in the drawing-room, in a domestic party, as on the stage, where it always meets with the warmest applause.

* * * * *

1. ~Duetto~, ‘Non ridir non potro mai,’ _composed by the_ ~Hon. Emma and Catherine Maynard~. (Willis.)

2. ~Ballad~, ‘Thy form was fair,’ _the words by_ ~Miss Costello~; _the Music_ by ~Lady Augusta Kennedy Erskine~. (Willis.)

3. ~Ballad~, ‘The sally of the students,’ _by the_ ~Hon. Mrs. Bertie Percy~. (Willis.)

4. ~Arietta~, ‘Se più felice oggetto,’ _the words by_ ~Metastasio~; _the Music composed by_ ~Miss Blaydes~. (Willis.)

5. Hajji Baba’s song in the Harem, _the words by_ ~J. Morier~, Esq.; _composed by the_ ~Baron Seymour de Constant~. (Willis.)

6. ~Duet~, ‘Never forget me!’ (the words from the Spanish, by Mrs. Lawrence) _composed by_ ~John Lodge~, Esq. (Lonsdale and Mills.)

7. ~Ballad~, ‘Good-nature,’ _written and composed by_ ~J. Augustine Wade~, Esq. (Hawes.)

Many a professional composer would be too happy to call himself author of so pleasing and clever a duet as No. 1, which, in whatever way it is considered, proves the musical knowledge and elegant taste of the joint composers. Its style is Italian, but there are notes in the accompaniment which show that the writers are well read in the German school. Young as the ladies are who have produced this, yet there is a method and consistency in it that indicate considerable experience. They must have entered on the study of music with hearty good will, and pursued it with an earnestness which is rarely found in those who have no other object in view but amusement. We regret, however, to inform these very ingenious dilettanti, that the engraver has left so many errors--for _his_ errors they clearly are--that it was with some difficulty we ascertained the intention of the composers in numerous instances; insomuch that we strongly recommend them to make a sacrifice of all the copies printed off, to have the plates corrected, and then publish another edition. They may rest assured that the duet is well worth the trouble and expense. This is dedicated to one of the wonders of the present age, certainly the greatest musical phenomenon that ever existed[80], and is a well-timed tribute to such genius.

* * * * *

No. 2 is very simple, but set with great feeling and taste to well-chosen words. It is now in ~G~, and was, it seems, originally in ~A~ flat. Why not have remained in that key? It would not have been at all too high for any soprano voice; and as it is, the ~B~ below the clef, to which it extends, may be too low for many singers.

* * * * *

No. 3 is a spirited melodious _song_, not a ‘ballad,’ as the authoress calls it, for it consists of three movements. The second of these, in ~A~ flat, the former ending in ~G~, is much too sudden a transition from a key so entirely irrelative. There are two or three slight oversights in this, which may easily be corrected: and the title of the song at first view is not a little ambiguous. We really read ‘Sally’ as a prænomen, as a Christian name. Would not _sortie_ answer the purpose?

* * * * *

There is much sweetness and grace in No. 4, and the words are most correctly set. It is remarkably easy, and, except a single ~A~ above the staff, is within the compass of almost every female voice.

* * * * *

No. 5 is pleasing and elegant, though it does not lead us to suppose that the noble composer has made much effort in search of new effects. The Baron, however, has set the words--a mild anacreontic--with a correctness that many an English composer may take pattern from.

* * * * *

No. 6, written for two young ladies well known in the fashionable circles for their charming manner of singing, is one of those compositions which never fail to please in the drawing-room, for which the author has exclusively calculated his duet. It runs much in smoothly-flowing thirds and sixths, but Mr. Lodge’s natural tendency to something beyond these, occasionally peeps out, with good effect, though without calling on the performers for any additional exertion.

* * * * *

No. 7 sings very agreeably of the most valuable quality to be found among the _petites morales_, good-nature. There is an ease and suavity in his ballad that well agree with the theme his muse has furnished.

* * * * *

1. ~Ballad~, ‘Pretty Love-birds,’ _in_ The Yeoman’s Daughter, _the words by_ Mr. ~Serle~, _composed by_ ~J. Augustine Wade~, Esq. (Hawes.)

2. ~Ballad~, ‘Is Love a thing of Joy?’ _in the same, composed by_ ~W. Hawes~. (Hawes.)

These ballads are sung by Mrs. Waylett at the Adelphi Theatre, to whom they are not a little indebted, for she gives a character to whatever of the kind she undertakes, that scarcely ever fails to draw ‘thunders of applause,’ in the theatrical phrase. But they have also inherent merit. The first is playful and winning, and free from all vulgarity of cadence. The second is in a very popular style, with a _pizzicato_ accompaniment, strongly marked in rhythm, though possessing little of that originality which is so difficult to find.

1. ~Air~, ‘Friendship,’ _composed by_ ~Henry R. Bishop~. (Chappell.)

2. ~Ballad~, ‘I’ve been a Wanderer on the Seas,’ _composed by_ ~John Barnett~. (Chappell.)

3. ~Song~, ‘Above doth stand the ~Digger of Graves~,’ _translated by_ ~W. M. M’Gregor Logan~, _from the German of_ Der Todtengräber, _composed by_ ~Fred. Kuhlau~. (Wessel and Co.)

4. ~Ballad~, ‘The two Ravens,’ _composed by_ ~G. Hargreaves~. (Hawes.)

5. ~Song~, ‘They bade me sing,’ _the words by_ ~J. Roby~. Esq.; _the Music by_ ~Charles Smith~. (Cramer and Co.)

6. ~Nautical Song~, ‘The Sailor’s Notion,’ _composed by_ ~W. A. Wordsworth~. (Monro and May.)

7. ~Ballad~, ‘O’er the green Waters,’ _the words by_ ~W. Ball~; _the Music by_ ~William Orde~. (Cocks and Co.)

8. ~Ballad~, ‘The Chain,’ _composed by_ ~W. Neuland~. (Chappell.)

The first of these is one of those correct and gracious airs which always, to a certain extent, please when heard, but, for want of distinctness of character, are forgotten the moment the last note is sounded.

* * * * *

No. 2 meets our longing ears with something in the shape of originality, something which informs us that the composer has taken the trouble to think. Of the latter, the notes at the words, ‘whose voices came,’ is a proof, and the whole is indicative of reflection and knowledge of effect.

* * * * *

No. 3 is true German, both words and music. A giant ‘in sable armour’ goes to a grave-digger, (_der Todtengräber_)--and insists on being buried. The man of the mournful spade tremblingly complies. The grave-wooer lies down, his head resting on his shield, and is covered up. The sexton crosses himself, and the story ends; but what it means, beyond what is stated, we know not, and suspect that the grave-digger never was better informed on the subject than are we and our readers. The music has a grand simplicity in it that proves of what the composer was capable, and how much we lost by his early death. He was, most probably, impressed with an idea of something mysteriously awful in the words, and admirably adapted his harmony to his conception of the poet’s meaning, into which he penetrated further than we are capable of doing. This is for a base voice, and the English translation is adapted to it with an accuracy seldom attained.

* * * * *

No 4 is also very Germanic, and quite as full of horrors as the former, but of another kind. The poet here sings of two birds, who ask, ‘Where shall we dine?’ The one is in favour of the remains of some shipwrecked mariners, whose corpses look inviting: the other recommends the cold remains of ‘a new-slain knight.’ How the hungry ravens determine, the song saith not, though the arguments of the latter, who seems to have been strongly tempted by the jelly of the knight’s eye, most likely prevail. This really does not seem a lyrical subject, but the composer (an amateur) has made much of it. Indeed, we have here a work of considerable genius, pleasing in spite of the not very inviting story, and superior to most of the songs that come before us.

No. 5 is a clever and very pleasing song, with many beauties, and never a fault.

* * * * *

No 6 possesses the best characteristics of a good sea-song, without any of those vulgarisms in cadence which are often met with in music of this description. The melody is free, the accompaniment unaffected, and the effect of the whole agreeable.

* * * * *

No. 7 is also a sailor’s song, but of the gentlest kind,--of a mariner who sings of ‘The chime of the vesper, the music of prayer;’ so that nothing at all approaching to nautical _slang_ is to be found here. The air is very pretty, and a short chorus, for three sopranos, at the end of each stanza, adds such to effect.

* * * * *

No. 8 is more elegant than new. The composer, a foreigner, may be excused some errors in emphasis that appear in this ballad, which may be corrected without much trouble.

* * * * *

DOUBLE-BASS.

~Method~ _for the_ ~Double-Bass~, _according to the English system of tuning and fingering, compiled from the treatises of_ ~Miné, Frohlich~, &c., _and illustrated by numerous extracts from the Orchestral Compositions of_ ~Haydn~ and ~Mozart~; _together with an explanation of the mode of simplifying_ ordinary Bass-parts, _so as to adapt them to this instrument, by_ ~J. Hamilton~. (Cocks and Co.)

The reader perhaps will start at seeing a treatise on such an instrument announced, but the double-base has risen to great importance in the orchestra, and requires a much more regular course of study than in days gone by, when all sorts of people undertook to perform on it.

The title-page of this publication so fully sets forth its contents, that it is unnecessary to add a word on that subject. The precepts are few and clearly expressed, but the examples are many and very judiciously selected.

We learn from the present work, that in Germany this instrument is mounted with four strings, which are tuned by fourths descending, beginning with ~C~, the second space in the base; or more frequently with ~G~, the first base line. In Italy, England, and France, only three strings are used, which in the two former countries are tuned to ~G~, ~D~, and ~G~; in the latter, to ~G~, ~D~, and ~A~. The double-base plays from the violoncello part, but generally an octave below that instrument.

* * * * *

It appears that the fault we complained of in our last, page 149, in mentioning a Fantasia by M. Chaulieu, is imputable to the London engraver, who mistook a new mark endeavoured to be brought into use by the composer, for the contratenor clef. See Acknowledgments to Correspondents.

EXTRACTS FROM THE DIARY OF A DILETTANTE.

[Resumed from page 135.]

_June 8th._ The following facts, which appear in the _Court Journal_ of this day, are so correct, as far as they relate to Sig. Paganini’s recently advertised concerts, and the remarks are so just, that I shall beg leave to transfer them to my Diary:--

‘An extraordinary change seems to have taken place in the public mind with respect to Paganini: his concerts, on his first visit to this country, were so well attended that frequently his receipts exceeded 1000_l._, and on one occasion 1400_l._ were received, of which he had two thirds, leaving M. Laporte to pay the whole expenses out of the remaining third. On his arriving here, about two months ago, he was advised to defer giving any concert until the anger, caused by his refusal to play for the distressed English actors in Paris, should have blown over. It being supposed, however, last week, that this affair had been forgotten, and that there was every prospect of obtaining full houses, Paganini announced a concert for yesterday (Friday, the 7th June) evening. On Thursday, so few boxes and stalls had been taken, that Paganini, despairing of an attendance that would compensate him for his trouble, and dreading, perhaps, that there would be some disturbance arising out of the Paris affair, yesterday advertised that there would be no performance! M. Laporte cannot, we imagine, regret the disappointment, for if his agreement with Paganini be similar to the former one, he would have had all the expenses to pay out of a third, which would hardly have covered the charge of the musicians.’

* * * * *

_21st._ This evening Sig. Paganini had his first concert this season in the King’s Theatre, when he performed nearly the same pieces that he has so often repeated in London. The pit was not half full, the gallery not one-third, and the boxes almost empty. He advertises _two concerts_ as the number he has determined to give. These will both be too many, if his second is no better attended than his first.

* * * * *

_24th._ The _Globe_ of this evening has the honesty to point out the discordance in the account given of Paganini’s concert, in two Sunday papers of yesterday. Such things will happen so long as free tickets are accepted by our journals, beyond the number necessary for the actual use of the reporters. It is charitable to suppose, that the writer of the article, who filled the house so _overflowingly full_, was himself never for one moment within its walls. In this case he may have _guessed_ wrong. But let us hear the _Globe_:--

‘~Paganini’s Concert.~ We find the following discrepancies as to a mere matter of fact, in the account given by two of the Sunday papers, in Paganini’s concert on Friday. We, not, however, having been present, cannot decide between these two differing “doctors:”--

‘“Sig. Paganini had his first concert for the season on Friday evening, at the King’s Theatre. The excitement--probably by the delay in the Signor’s appearance, as well as in the novelty of the performances--produced _an overflowing house._”--_Observer._ “The Modern Orpheus was employed on Friday in enchanting the empty boxes and trenches of the Opera House: never was there a greater appearance of _desolation within its walls_.”--_Sunday Times._’

* * * * *

_29th._ A weekly paper of this date makes a great flourish in an article most unluckily headed ‘critical blunders,’ in which the writer himself commits a couple of choice and entertaining _étourderies_, much resembling certain small paragraphs, served up for the public amusement in a daily paper, on Monday mornings, and probably from the same goose quill. The learned article runs thus:--

‘_Critical Blunders._ Certain journalists, our contemporaries, have been somewhat severe upon the “extravagant trash” forming the original _libretto_ of “The Magic Flute,” being, we conclude, unaware that the opera of [the] _Zauberflöte_ is one of the early works of Goethe. The character of _Papageno_ is, in fact, one of the most elegant of his fantastic creations.’

Now it happens, that the drama in question--if such a farrago of nonsense is to be dignified by such a title--was written by Emanuel Schickaneder, proprietor of a suburb theatre at Vienna, who, pleading his embarrassed circumstances, persuaded Mozart to set the opera, and was saved from ruin by the success of the piece. But to saddle the character of _Papageno_, the bird-catcher, on Goethe, would be ‘too bad,’ were it not so vastly comical. ‘One of his most elegant creations,’ too! Who has now been hoaxing the unhappy victim of many a joke?

* * * * *

--I think I trace the identical pen that wrote the above, in the annexed, which appeared in the very some paper:--

‘_Titled Opera Singers._ It might be inferred that Louis XIV., in founding the French opera, was gifted with second sight, or had anticipated an era when Count de Rossys, Count Giustinianis, and other high mightinesses, would bestow their titles upon the play bills. By the letters patent of the foundation in 1672, it was enacted, that “all gentlemen, and other distinguished persons, might sing at the said opera, without forfeiting their _titles of nobility_, places, rights, or immunities.” Louis XIV., and his successor, Louis XV., were frequently performers in the court masques and _ballets_.’

Here are other blunders, by implication! Paul ought to have known, because he knows every thing, that no Count _Rossi_ (not _Rossy_), no Count Justiniani, ever appeared on any stage. Madame Camporese, the actual wife of the latter, and Madlle. Sontag, who became the wife of the former, were performers, no doubt; but the one suppressed her title, and the other had none to suppress.

* * * * *

_July 1st._ Legitimate music, it is to be feared, is in danger of suffering the fate of the legitimate drama; both are becoming the victims of freshly-imported foreigners, who, whatever their other knowledge may be, are well acquainted with the weak side of our _West-Endians_. On Saturday last, at a concert for the benefit of Madlle. Pixis, two instances of egregious folly were displayed: the one a performance of the overture to the _Zauberflöte_, on three piano-fortes, by twelve hands; the other, a _Quatuor Concertante_, for four piano-fortes! The ‘confusion worse confounded,’ thus produced, may be imagined, not described. Some such piece of foolery was exhibited at Vienna last year, and justly reprobated by the good, uninfluenced German critics; but as it would not do a second time, even in the Austrian capital, the exploit was repeated in a country which, having paid upwards of 20,000_l._ to hear an Italian play on one fiddle-string, it was reasonably supposed would encourage any other kind of musical nonsense.

* * * * *

_July 3d._ Sunday the 30th of June was a high festival day at Tadcaster, says a Yorkshire paper, on ‘account of the opening of a large organ, built by Elliott and Hill, of London, who erected the stupendous instrument in York Cathedral. The fact having been publicly announced, occasioned a great influx of visiters from York and the surrounding country, and Tadcaster has not presented so lively a scene for some time. Dr. Camidge performed on the instrument with the greatest ability, and the numerous congregation, which crowded every part of the church, were highly gratified by hearing the full harmony of the organ, which possesses vast richness of tone, peal forth in that grand melody, the Old Hundredth Psalm, with which the morning service commenced.’

There is now hardly a church of any importance which does not boast an organ, and generally one of large dimensions. This alone is a proof of the advance of music in Great Britain; for of all instruments the organ is the noblest, the most capable of producing great effects, in the hands of a good harmonist, of a performer of sense, who feels that he himself is appearing to advantage only when in solemn or in sober music he is displaying the best qualities, exhibiting the real character, of an instrument that is absolutely desecrated by any attempt at what is called brilliancy of execution.

* * * * *

_4th._ This morning a concert was given at Willis’s Rooms, by Mr. Osborne, a native of Ireland, I believe, but who has passed much of his life on the Continent, in which he, for the first time, exhibited his talents as a piano-forte player, before a London audience, and was very favourably received. His sister, also, Miss Saunders Osborne, made her débût, and appears to have studied in a good vocal school.

* * * * *

_12th._ In a work very lately published (_The Infirmities of Genius Illustrated, &c. by R. R. Madden, Esq._) the author has given lists of twenty persons of different professions, with the ages at which they died, for the purpose of showing the influence of various intellectual pursuits on longevity. In his selection of musical composers he might have been more successful as regards the eminence of the individuals, though the result would not have differed very widely. The following are the names he has chosen, and the ages at which they died:--

Arne, Dr. 68 Seb. Bach 66 Beethoven 57 Burney, Dr. 88 Bull, Dr. 41 Cimarosa 41 Corelli 60 Gluck 75 Gretry 72 Handel 75 Haydn 77 Kalkbrenner 51 Keiser 62 Martini 78 Mozart 36 Paisiello 75 Piccini 71 Porpora 78 Scarlatti, A. 78 Weber, C. M. 40 ---- Total 1289

Giving an average of 64 years.

But Dr. Burney cannot be classed as a great musical composer; and Mr. Madden has omitted names of infinitely more celebrity, as well as real merit, than some he has inserted; I would therefore propose the following list.

Arne 68 S. Bach 66 Beethoven 57 _Boyce_ 69 _Cherubini_ 80[81] Cimarosa 41 Corelli 60 _Clementi_ 82 Gluck 75 Gretry 72 Handel 75 Haydn 77 _Lully_ 53 _Marcello_ 53 Mozart 36 Paisiello 75 _Pergolesi_ 22 _Purcell_ 37 Scarlatti 78 Weber 40 ---- Total 1116

Giving an average of 60⅘ years.

Mr. Madden gives the following as the general result of his inquiry:--

Aggregate Average years. years. Natural Philosophers 1504 75 Moral ditto 1417 70 Sculptors and Painters 1412 70 Authors on Law and Jurisprudence 1394 69 Medical Authors 1368 68 Authors on Revealed Religion 1350 67 Philologists 1323 66 Musical Composers 1284 64 Novelists and Miscellaneous Authors 1257 62-1/2 Dramatists 1249 62 Authors on Natural Religion 1245 62 Poets 1144 57

In relation to composers, he remarks,--‘musical composition demands extraordinary sensibility, an enthusiastic imagination, an instinctive taste, rather than deep thought. The same qualities differently directed make the poet. Is it, then, to be wondered at, that we should find the poets and the musical composers shorter lived than the followers of all other learned and scientific pursuits, whose sensibilities are not exercised by their studies, whose imaginations are not wearied by excessive application and enthusiasm?’ But Mr. Madden overlooks other causes quite as operative as those he enumerates.

COMMEMORATION OF SIR THOMAS GRESHAM.

This took place in Haberdashers’ Hall, on Thursday, July 4, when the Gresham Prize Medal, for the best composition in sacred vocal music, was presented to Mr. K. J. Pye, whose successful work is an Anthem for five voices, ‘Turn thee again, O Lord!’ This was sung before a respectable company assembled on the occasion, among whom were Lord Burghersh, Sir John Rogers, Bart., Sir Robert Fitzwygram, Bart., Alderman Copeland, M.P., &c., who acted as directors. A small band, led by Sig. Spagnoletti, was engaged, and the following appropriate compositions were performed after the anthem:--

‘Blest are the departed’ ~Spohr.~ ‘His body is buried in peace’ ~Handel.~ Selection from the Requiem ~Mozart.~

Then, after a short interval, the subjoined pieces were sung by a professional party who attended for the purpose, Mr. Novello officiating as conductor:--

Madrigal, ‘Now is the Month of Maying’ ~Morley.~ Spenser’s Epithalamium ~Horsley.~ Glee, ‘Whilst I listen to thy voice’ ~Sir J. L. Rogers, Bart.~ Glee, ‘It was a lover and his lass’ ~Stevens.~ Madrigal, ‘Cynthia, thy song and chanting’ ~Giovanni Croce.~

And Mr. Distin performed on the trumpet the voice part of the ‘Soldier tired of War’s alarms,’ from _Artaxerxes_, in which he displayed an extraordinary command over this difficult instrument.

* * * * *

CATHEDRAL MUSIC.--GRESHAM PRIZE MEDAL.

A gold medal, of five guineas value, will be annually awarded by ~Dr. Crotch~, Professor of Music in the University of Oxford; ~R. J. S. Stevens~, Esq. Professor of Music in Gresham College; and ~William Horsley~, Esq. Mus. Bac. Oxford; for the best original composition in Sacred Vocal Music, either Hymn or Anthem.

The words to be selected from the Canonical Scriptures, Apocrypha, or Liturgy of the church of England, and to be set for three, four, or five voices, with a separate part for the organ.

The music to be entirely new; and one composition only to be sent in by each candidate.

Each composition to be distinguished by a motto. A sealed paper, inclosing the composer’s name and address, to be endorsed with the same motto.

The successful composition will remain the property of the author. The unsuccessful candidates may receive back their compositions, on producing a written copy of the motto.

The candidates are to send their compositions, in score, fairly written out, to the Gresham Lecture Room, at the Royal Exchange, before the end of October, on any Wednesday in Term, between the hours of twelve and two. Or they may be left in the care of Messrs. Smith, Elder, and Co., Booksellers, Cornhill; or of Mr. J. A. Novello, 67, Frith-street, Soho, by whom they will be duly forwarded, and who will give any further information that may be required.

It is intended to hold the next Commemoration on Saturday, June 7, 1834, being the Anniversary of the Day on which Sir Thomas Gresham laid the First Stone of the Royal Exchange.

FOREIGN MUSICAL REPORT.

Rossini’s _Italienerinn_ (Italiana in Algeri) has been produced on the _Josephstädter Theater_, but the admirers of his music were less satisfied with this composition than with the former operas of the maestro. This may in some degree have been owing to the sudden indisposition of one of the principal singers, whose part was but indifferently filled by a substitute.

The fourth and last Concert of the Society of the Friends of Music in the Austrian dominions took place on the 24th of March.

Mr. Klein, member of the _Hofoperntheater_, gave a concert on the 8th of April. The musical world already recognizes him as one of the first virtuosi of the present day on the clarinet, and his performance on this occasion added if possible to his former fame.

Spring festivals have been given in all our public gardens, and our most celebrated composers of dances have contributed thereto their latest labours. Strauss’ and Lanner’s orchestras are certain of attracting the public in crowds. The finest weather adds to the popularity of these entertainments, and the influenza, with which we are still visited, does not prevent the jovial Viennese from seizing upon pleasure wherever it is to be met with.

The celebrated violinist, Lafont, performed before the Imperial Court on the 18th of May. He executed the two compositions of his own which he had previously given at a concert in the Hall of the Musical Society. Of all the violinists that we have heard, he possesses most true taste. He has the secret to touch the heart, and executes forcible and rapid passages with neatness and certainty, without that capricious violation of the rules of art, which ends in the surmounting of difficulties only.

BERLIN.

~Graun’s~ _Passions_--_Cantata the Death of Jesus_ was given on Good Friday in the Singing Academy, for the benefit of the treasury of the institution. The room was overflowing, although the prevailing influenza prevented two of our principal female singers from co-operating on this occasion. Besides the above, we had two concerts which demand notice. The first was given by a young musician, Herr Otto Nicolai, from Königsberg, in Prussia, with a view of introducing himself to the public as a composer, singer, and pianist; in each of these capacities he displayed considerable talent and diligent study. There are several good ideas in a symphony of his composition. The allegro is well arranged, and the ideas properly connected. The instrumentation is effective, and on the whole there is a praiseworthy endeavour to follow Beethoven’s style, especially in the scherzo. The symphony deserved and gained an encouraging reception. As a vocal composer, Herr Nicolai proved, in a bass scena--_Tell auf der Strasse nach Küssnacht_, that he was well versed in this department.

The second concert, given under the direction of the music director, Mr. Möser, was one of the most attractive of the whole season. A new concertino (the composer of which was not mentioned) was executed by Mr. Möser with much youthful fire, and with a vigour and expression that evinced a true and deep feeling for the art. The concert terminated with a poem by Mosengeil, delivered in a most expressive manner by Mad. Crelinger and M. Devrient, and interspersed by some of Beethoven’s genial music to Goethe’s tragedy of _Egmont_, thus forming a lyric scena, which recalled to the recollection of the public the above neglected drama, while, on the other hand, the poem led to the revival of the sublime and unrivalled work of Beethoven’s. This melo-dramatic performance, exhibited for the first time in this form, created a deep and universal sensation.

In consequence of the epidemic, which also affected many of the individuals of the Royal Opera, the representations were frequently weakened, or suspended; nevertheless Miss Grünbaum, as Pamina, and Amazili in the opera of Jessonda, sang very fairly; and an equal share of praise is due to Mr. Hoffman in the characters of Nadori and Otello.

In the _Königstadt Theater_, Mad. Schodel, from Vienna, appeared with considerable success in several operas, more particularly as Julie in Bellini’s _Capuletti e Montecchi_, as Isoletta in the _Unbekannte_ (Straniera), and as Henriette in Auber’s _Braut_ (La Fiancée). Mad. Schodel’s voice is a somewhat thin soprano, and rather piercing in the higher notes, but with a little moderation and increased cultivation its force may render her a valuable acquisition to the stage. A pleasing exterior, and the energy of youth, are favourable points in this lady’s dramatic performances.

M. Kalkbrenner is arrived here. He left Paris towards the end of March, and has successively visited Francfort, Carlsruhe, Stuttgard, Leipsig, and Dresden, and everywhere has given concerts which have been as successful as enthusiastically applauded. In Germany, especially, his grand and pure style, his energy and brilliancy, have been universally admired. He proposes to give in this, his native city, a series of concerts, which, doubtless, will charm all our true connoisseurs.

DRESDEN.

~Baron Miltiz’s~ opera seria, _Saul_, the admirable text of which was furnished by his Royal Highness Prince John, displays in its full force the talent of the composer in the serious department of the operatic drama; the overture and the choruses are excellent. _Wächter_ performed the part of _Saul_, Mad. _Schröder Devrient_ Michal, and _Babnigg_ David. The opera was represented thrice in one week with the greatest applause.

Madlle. _Maschinka Schneider_, daughter of the Prussian Capellmeister Schneider, is engaged at our opera, and sang, for the first time, in April, at a concert in the palace, and appeared afterwards in the Barber of Seville. The nuptials of the Prince co-Regent with the Princess Maria of Bavaria were celebrated by a drama written for the occasion, by Theodor Hell, and composed by the Capellmeister _Reissiger_; the title is, _Der Erde reinstes Glück_ (Earth’s Purest Happiness), and the plot, which is founded on a contest between _Titania_ and _Oberon_, as to the purest happiness to be enjoyed by mortals, skilfully connects some of the most brilliant events of former ages with remarkable occurrences of the present times. There is an attractive troubadour-like sweetness in the music, which was deservedly applauded, especially the sprightly and cheerful choruses.

MUNICH.

~Handel’s~ classical work, _Alexander’s Feast_, was performed here on the 31st of March, by an orchestra (vocal and instrumental) of two hundred individuals; its masterly execution drew bursts of applause from the numerous audience which filled the great saloon of the Odeon.

Mr. Schinn of Pesth made his debût in the part of the Podestà in the _Diebische Elster_ (La Gazza Ladra). He is reported to possess a fine voice, and a cultivated musical taste. The first opera to be brought out under the new direction of our establishment is stated to be _William Tell_.

The Royal _Hofmusikus_ Böhm has, by his great mechanical talents, given such perfection to the flute, that all the tones of the instrument are rendered equally full, pure, and vibrating. Its pianos are uncommonly sweet and delicate, and the fortes exceed by far the power of an ordinary flute. In addition to these advantages, this new instrument presents an equal facility in all the keys, the most difficult not excepted. Although Mr. Böhm has only practised this new instrument for about six months, his execution upon it is almost as great as on the flute hitherto in use. He is on the point of setting out on a professional journey to England.

PRAGUE.

The only real novelty upon our boards was _Udalrich_ and _Bozena_, a romantic opera in three acts, by F. V. Ernst, the music by Capellmeister Skraup. The various prior compositions of this author scarcely justified an expectation of so good a work as the present opera, the score of which furnishes evidence of meritorious exertions and progress in the art. Like all new operas, however, it presents reminiscences, but it is distinguished by a richness of melody not to be found in Mr. Ernst’s prior labours. Among the best pieces in the opera are the aria of _Bozena_ (Demlle. Lutzer), that of _Udalrich_ (Mr. Driska), and that of _Borowin_ (Mr. Podhorsky), as also the romance of the above lady, and her duet with the duke, the spirited allegro of which was every time encored. As further favourable specimens, we might quote the trio between _Borowin_, _Udalrich_, and _Ladka_ (Demlle. Pittner), a quartet, and all the three finales. The overture is a weak composition.

The reception was enthusiastic, and the execution, while it gave proof of careful rehearsal, did great honour to our vocal company.

FRANKFORT.

The opera of _Robert the Devil_ has been brought out here at an expense of 8000 florins, and met with enthusiastic applause. Its performance will be additionally impressed on our memory, for, during its representation on the 3rd of April, our city was suddenly thrown into confusion by riots and bloodshed, caused by a small band of political fanatics.

_Valeria_, an opera by M. Aloys Schmidt, has been brought out here. While this work certainly exhibits some original and agreeable traits, it abounds in reminiscences of Beethoven, Cherubini, and Mozart. However, it has succeeded.

LEIPZIG.

~Kalkbrenner~ gave a concert here on the 3rd of May. He is proceeding to Petersburg, and intends being at Vienna in August.

A theoretical work has recently issued here, from the press of Messrs. Breitkopf and Härtel, entitled _Aesthetisch-historische Einleitung in die Wissenschaft der Tonkunst_ (Aesthetical and Historical Introduction to the Science of Music), by Dr. William Christian Müller, in two volumes. The first volume bears the separate title, Essay on an Aesthetical Theory of Music, and treats in twenty chapters this extensive branch of the art, in a very clear and satisfactory manner. The second volume contains the chronology of music, the history of its cultivation, divided into ten epochas, from the dark ages of mythology to the present time. The industry and care of the author are praiseworthy, and are sufficiently displayed in numerous references and quotations.

WEIMAR.

In the Easter week a new opera was produced here, under the title of _The Traitor in the Alps_. The text by _Seidel_ and the music by _Genast_ are, according to the opinion of competent judges, of superior merit.

KÖNIGSBERG.

On the 3rd and 10th of October, the music director, Mr. Saemen, produced Handel’s _Alexander’s Feast_. On the 18th October, and 14th November, the music director, Mr. Riel, gave, for charitable purposes, Handel’s _Messiah_, in the Lobnicht Church. On the 25th, 27th, and 31st of October, three Tyrolese minstrels gave concerts of national airs. They are jovial people, expert enough in musical tricks, such as yodling, falsetto, &c., but are anything but artists.

On the 31st October, Mr. Louis Mauer, from Hanover, gave a concert; among the pieces of which we have to notice a concertino for the violin, fantasias on melodies of the _Dumb Girl of Portici_, executed by Mr. L. Mauer, and variations of Mayseder, by Wsewolod Mauer. The father and son played also a rondo à la polacca for two violins; variations for two violins and violoncello, upon the _Cloak Song_, from Leonora, the whole composed by L. Mauer.

The theatre has furnished little of marked interest; Mr. Rosicke of the Berlin _Königstadt Theater_ appeared in various characters, with success, more particularly as Wallheim in _Leonora_. Mr. Heckscher, a new engagement from the Brunswick Court Theatre, made his appearance as Don Juan, Count Wetter von Strahl, Caspar in the _Freyschutz_, Lord Cockburn in _Fra Diavolo_, &c. The experienced actor is easily recognised in this gentleman, who possesses a powerful bass voice, but of which he does not always avail himself to the best advantage. On the 16th of October was performed, for the benefit of Miss Hulda Schaffner, _Je toller, je besser_ (Une Folie), by Méhul.

The principal novelty on our boards was the production, on the 6th December, of the opera of _Imogen_ (founded on Shakspeare’s Cymbeline), a composition of our worthy music director, Mr. _Sobolewski_, who, according to report, has also furnished the poem. Mr. S. has raised himself from the ranks in music to his present situation of commander-in-chief, and, by this opera, has furnished a new proof of musical talent of a superior order.

STRASBURG.

Our German Opera, under the direction of Mr. Weinmüller, commenced the season with the _Freyschutz_. The performance met with considerable success, although the company is not as yet complete.

BRUSSELS.

The King of the Belgians has been pleased to accept the dedication of the score of the opera _William of Nassau_, and, in proof of his satisfaction, has transmitted to the music director, _Mezeray_, a very flattering letter, accompanied with a diamond ring.

Monsieur Fétis is arrived, with the view of making the necessary arrangements for his future residence in this city; he has been nominated Maître de Chapelle of his Majesty, as well as Music Director and Professor at the Conservatoire.

ST. PETERSBURG.

Barman, the clarionet player, who has spent last winter in the higher northern latitudes, is at present here; wherever he appeared he was received with the greatest applause.

MILAN.

_Il Contrabbandiere_, a melo-drame in two acts, the music by Cesare Pugni, was produced here on the 12th of June. There are in this opera some _motivi_ new and elegant, but the instrumental part is much too noisy. The composer has too freely used his trombones and drums.

NAPLES.

Sig. Barbaja still retains the office of _Impresario_ of the Grand Theatre Royal, the San Carlo. The company which he has formed for the ensuing season comprises, among many others, Mesdames Malibran, Ronzi di Begnis, and Lablache.

BOLOGNA.

Madlle. Blasis has been very favourably received by the public in this city. _Matilde di Shabran_ would doubtless have proved more successful had all the performers contributed equally to an opera which requires a perfect company. The tenor, Duprez, has succeeded very well here; in him are united the talents of a good actor and singer.

PARIS.

~Mad. Damoreau~ (Cinti), after an absence of three months, has re-appeared at the opera. Many works, which have suffered for want of her assistance, now feel the happy effect of her return.

TOULOUSE.

The concert of the celebrated M. Field has been a remarkable event for this city. All the best society of the town assembled at the Saloon of the Athenæum on this occasion, and, accustomed to hear only those pianists who delight in noise and absurd tricks, were as much surprised as charmed by the ease with which M. Field executed the most difficult and the most delicate passages.

M. Field is a disciple of the true piano forte school; Clementi was his master; and this is the school which must generally influence public taste. The love of novelty will now and then recommend sleight-of-hand tricks, but what is really good will always ultimately prevail, and never can be wholly neglected.

THE DRAMA.

~King’s Theatre.~

The practice of giving fragments of operas has been continued during the last month, and so far as such feeble stuff as _Anna Bolena_, _Norma_, &c. is concerned, it is not worth while to complain: but when a work like _Semiramide_ is exposed to the same treatment, it is time to protest against such barbaric taste, such an insult to common sense. This fine opera has actually been compressed into one act, and so performed! But _La Cenerentola_, one of Rossini’s inferior operas, has been given in an entire state, and strongly got up, Mad. ~Malibran~ in the principal part.

On Saturday the 20th of July, ~Bellini’s~ promised serious opera, _I Capuleti e Montecchi_, (which may be translated, _The Capulets and Montagues_,--or, _Romeo and Juliet_,) was performed for the first time here, and thus cast:--

_Romeo_ Mad. ~Pasta~. _Julietta_ Mad. ~De Meric~. _Tebaldo._ Sig. ~Donzelli~. _Capuleto_ Sig. V. ~Galli~.

It was performed twice, then, it is said, finally withdrawn. Mad. ~Pasta’s~ acting could not save it! It had not even the negative support of the proverbially tolerant audiences at this theatre: none scarcely, except of the _orderly_ kind, attended the second performance, and it died without a groan; for privileged visiters never express their disapprobation, and only such were in at the death. Let it rest in peace! We will only say of this wretched work, that it is inferior even to _Norma_. Anything more would be superfluous, and a wanton waste of ink more valuable than Bellini’s opera.

The musical product of the season, then, has been two operas, fit only for the Milanese, for the Italian subjects of the Austrian government, to hear! But the apologists for such management cry out, ‘where are better to be procured?’ We will tell them--in Germany: nay, in the library of the King’s Theatre are operas enough to be found that are unknown, or forgotten, which, if properly prepared and brought out, would suffice for ten years to come,--operas that would not merely satisfy the public, but meet with their warmest approbation and most effectual support.

A Sunday paper has talked again and again about the expenses of this theatre considerably exceeding a thousand pounds a night. Doubtless the writer believes what he asserts; but we will tell him, fearless of contradiction, that they do not amount to anything like three-fourths of a thousand pounds. We know upon what saving terms the performers have all, except Pasta, been engaged; how their benefits have been managed; we have looked attentively at the scenery, dresses, &c. and challenge the lessee to produce any proof that our calculation is incorrect. Moreover we will add, that, in spite of the terms which performers, through the mismanagement of the three or four principal _impresari_ of Europe, are enabled to demand,--the Italian opera in London ought, if well conducted, to yield a certain profit of some thousands every season.

* * * * *

~Covent Garden Theatre.~

On Saturday, June 29th, Weber’s opera, _Euryanthe_, was produced at this theatre, by the German company, for the first time in England. Owing to the abominable practice of advertising pieces ‘for the last time,’--though it is almost always intended that they should continue to be performed as often as the public will attend to hear them, and that there should be two or three, or even more, ‘last times,’--we were defrauded of an opportunity of hearing this able work of Weber, knowing that it would be more correctly given on a third or fourth night, and entirely disbelieving the manager’s announcements. Hence we are enabled only to lay before our readers the _dramatis personæ_ and the story, (for which we are indebted to the _Observer_,) and to state our general opinion of the work, not as now performed, but from a pretty intimate acquaintance with it from the _vocal score_, as published at Vienna, by Steiner. Of this, it is true, we have heard portions in concerts with the full orchestral accompaniments, but have had no means of judging its complete effect as a whole, either as a musical or dramatic composition.

The parts were thus cast--

_Ludwig_, King of France, ~Herr Uetz~. _Adolar_, Count of Nevers, ~Herr Haitzinger~. _Lysiart_, a Nobleman, ~Herr Dobler~. _Euryanthe_, ~Madame Schroeder Devrient~.

_Ludwig_ has appointed a fête to be celebrated for the return of one of his most gallant knights and accomplished troubadours, _Adolar_, who arrives, and, in a beautiful romance, sings his adventures in the war in which he has just been engaged for his royal master. He is crowned with laurels by the fairest ladies of the court. His happiness is almost complete, for he is on the point of seeing once more the object of his love, _Euryanthe_, the beautiful and accomplished _Châtelaine_ of a wide domain, near Nevers. In his absence, another noble, _Lysiart_, has endeavoured to win the affections of _Euryanthe_; but finding, after repeated trials, that his attempts are useless, he resolves to blast her fame, and destroy the peace of mind of his favoured rival. In the presence of the king and his court, he tells _Adolar_ that his mistress is inconstant. _Adolar_ cannot believe it, and offers to defend, in single combat with the accuser, the innocence of _Euryanthe_. The challenge is accepted. In the mean time, _Lysiart_ is sent by the king to the castle of _Euryanthe_, to conduct her to court, where, for the present, _Adolar_ is tarrying. The traitor, in conjunction with _Eglantine_, an attendant of _Euryanthe_, gets possession of a ring given to the latter by _Adolar_, and with this proof, supported by the false evidence of _Eglantine_, convinces _Adolar_, the king, and the court, of _Euryanthe’s_ infidelity. She is stripped of her possessions, and abandoned by _Adolar_. She is afterwards seen, in all the agony of wronged innocence, wandering alone in the woods. In heart-rending accents she sings her woes, and falling down exhausted, is found by a party of hunters, and conveyed to a place of safety. The last act opens with a view of _Euryanthe’s_ castle, from which is seen issuing a gorgeous procession, going to celebrate _Lysiart’s_ marriage with the perfidious _Eglantine_. _Adolar_ having, however, now become convinced of the innocence of his mistress, and the treachery of _Lysiart_, breaks in on the pageant, accuses _Lysiart_, and forces him to draw and defend himself. Their swords are already crossed; when the king arrives and separates the combatants. _Eglantine_ confesses her guilt, and accuses _Lysiart_ of his crime. She is by him stabbed, and he then is dragged to meet his doom. At this juncture _Euryanthe_ rushes in, _Adolar_ receives her in his arms--the king proclaims her innocence--her possessions are restored to her--and she becomes the bride of him whom she long has loved.

The overture to this opera has abundance of both beauty and science to recommend it; its frequent performance at the Philharmonic Concerts has made it known to most connoisseurs in London, and we have more than once spoken of it. An extract from this was published in our work some few years ago, and in our early numbers will be found two of the most lovely airs in the opera, with English words adapted to them, as well as other pieces from the same.

Though _Euryanthe_ is not so popularly formed as the _Freischütz_, it does not less show the hand of a great musician. There is not so much, by a great deal, in it that at once commands attention and admiration, but a closer acquaintance with it developes beauties that are not so obvious on a first or second trial. Neither the _Freischütz_ nor the present work were produced without great labour, but this is more apparent in the latter than in the former. In the one, genius and skill are combined in nearly equal proportions; in the other, there is more of skill than genius; though the invention displayed in _Euryanthe_ would be enough to confer a great name on any composer of any country. Let us, however, repeat, that our judgment, in the case of the opera now under notice, is formed from a knowledge of an adaptation--of what is called the vocal score--only.

* * * * *

~English Opera, Adelphi.~

Mr. Arnold resumed the management of this company at the beginning of last month, and brought out a new operetta, _The Convent Belle_, the main support of which was Mrs. ~Waylett’s~ very charming ballad singing; this kept it the piece till the 16th, when it was superseded by _The Yeoman’s Daughter_, a clever, affecting drama, written by Mr. ~Serle~; the music by Mr. Wade, Mr. Hawes, and others. This has proved very successful, and fills the house, notwithstanding the heat of the weather, which is a sure friend to Vauxhall, an implacable foe to theatres.

THE MUSIC OF THE PRESENT NUMBER.

The Overture to _Cosi fan tutte_ is the lightest of Mozart’s orchestral compositions, and in the style of the Italian sinfonias of his day, but as far superior as was to be expected from a genius which, even when relaxing, was comparatively great.

* * * * *

The Madrigal, ‘When all alone,’ is one of the most beautiful compositions of the kind known, and but for a single modulation which marks its age, might be mistaken for a modern production, so free and fresh is its melody. Of Conversi scarcely any record remains. Walther bestows only two lines on him: Gerber merely states that he was born at Correggio, and published a set of canzoni for five voices, at Venice, in 1575, and a set of madrigals for six, at the same place, in 1584. Of course, therefore, his present work was among the former, though it has always in England borne the title now given to it. To the best of our knowledge, the canzone for many voices only differs from the madrigal in being less laboured; fugal points and imitations do not so necessarily enter into its formation.

* * * * *

Of the Song, we can only say, that we think it worthy of a place in our work.

The two movements of Clementi are now, alas! little known. After playing both through, we recommend the performer to repeat and end with the first.

* * * * *

The _Incarnatus_ is from the composer’s most esteemed mass. The resemblance of this to Purcell’s song, ‘What power art thou,’ in _King Arthur_, is so striking, that surely something more than accident must have occasioned it. But if Caldara borrowed from Purcell, Handel was indebted to the borrower; for his ‘Vouchsafe, O Lord,’ in the Dettingen Te Deum, seems formed on the model of the Italian composer.

Antonio Caldara, born at Venice about the year 1680, was vice-master of the Imperial Chapel at Vienna from 1714 to 1763. He was one of the most distinguished composers of his age, both for sacred and dramatic music; but his fame now rests on the former. As to his operas, Metastasio, an excellent judge of the matter, did not think highly of them, notwithstanding their reputation at the time, for, in a letter to Eximeno, he mentions the composer as ‘an eminent contrapuntist, but extremely deficient in expression and pleasing melody.’

[Sidenote: ~September~, 1833.]

BIOGRAPHICAL SKETCHES OF S. WEBBE, J. S. SMITH, S. PAXTON, J. DANBY, R. J. S. STEVENS, ~and~ R. SPOFFORTH.

Counterpoint is said, by Johannes Nucius[82], to have originated in this country, an assertion which, well or ill founded, proves how very soon the art was practised in England after being first discovered and reduced to rule. Indeed our early ecclesiastical composers, as well as madrigalists, who suffer nothing by comparison with their contemporaries, the Flemings and Italians, shew the high degree of perfection which music in parts speedily attained in this island; and it may be consoling to our national pride--if as a nation we have any musical pride at all--to reflect, that our composers lost no ground till the encouragement bestowed by the court, and, consequently, by the great generally, on foreigners, tended much to check and depress British genius, by depriving it of that motive for exertion, without which the imagination grows cold, and industry is unavailing.

Nevertheless, the appointments in our choirs, poorly as they now reward talent, formerly kept the art of church composition from sinking, and madrigals never entirely fell into neglect; the study of counterpoint, therefore, was still pursued by a few, and led to the birth of the glee, which is the lovely offspring of the madrigal, the not very distant relation of our church music, and, undeniably, indebted to England for its creation.

It is for the latter reason that we conclude our biographical notices with some account of the most eminent of those glee-composers who have not yet been included in this department of our work[83]; but we feel it necessary to confine ourselves to such as ‘their worldly tasks have done,’ or have long retired from active professional life. Though we lament that, notwithstanding very diligent inquiries, our materials are, except in one or two instances, extremely scanty, furnishing little more than dates, and not always supplying even these. Our musical biography, however, would have been incomplete in the opinion of English readers, without names so well known as those now introduced, and in communicating all that we have been able to learn, we discharge a duty that we should with regret have left unfulfilled.

* * * * *

~Samuel Webbe~ was born in the year 1740. His father, a highly respectable gentleman, died suddenly at Minorca, where he held an office under the British Government, leaving the subject of this sketch an infant,--his property in such a state that his family never benefited by it, and his widow in circumstances which deprived her of the means of bestowing a proper education on her son, who was, at the early age of eleven, apprenticed to a cabinet-maker. When his term was completed, he immediately quitted an employment so far beneath his powers of mind, and commenced the study of the Latin language. But his mother dying a year after he had abandoned his mechanical pursuits, he was reduced to the necessity of copying music as a means of subsistence, being then nearly ignorant of the art, though a great admirer of it. This occupation led to an acquaintance with a German named Barbandt, organist of the Bavarian chapel, who initiated him in the rudiments of music. His almost unparalleled industry enabled him not only to support himself by copying, but to acquire, in addition to the Latin, a knowledge of French. At the age of twenty-three he married, and the birth of a child, while it did not lessen his difficulties, occasioned no interruption in his studies, for he now engaged an Italian master. He must by this time have obtained a considerable knowledge of music, for shortly after becoming a father, he began to give lessons, as well as to compose, and such was his progress, that at the age of twenty-six he gained a prize-medal from the Catch-club for the best canon. In 1768, only two years after, he received the medal for his glee, ‘A gen’rous friendship,’ which immediately established his reputation, and has ever since been admired as one of the most beautiful specimens of simple vocal harmony that the art has to boast.

From the year that first crowned his efforts with success, to 1792, Mr. Webbe had no less than twenty-seven medals awarded him, for glees, catches, canons and odes. But here it may not be irrelevant to remark, that four of his finest compositions, namely, ‘When winds breathe soft,’ ‘Hence, all ye vain delights,’ ‘The mighty conqueror of hearts,’ and ‘To me the wanton girls insulting say,’ were unsuccessful candidates for the golden honours bestowed on works of inferior merit; while of the many medals he obtained, not more than seven or eight were given for compositions that are now known. Eight, indeed, were the reward of useless mechanical labor, exhibited in the form of canons, none of which have survived the composer; and seven were the meed of catches, one of which, ‘To the old, long life and treasure,’ still maintains its ground.

On the death of Mr. Warren Horne, in 1784, Mr. Webbe was appointed Secretary to the Nobleman’s Catch-club, which office he held till his decease.

On the establishment of the Glee club, in 1787, Mr. Webbe became a professional member, and librarian. It was for this society he wrote his glee of perennial popularity, ‘Glorious Apollo,’ both words and music. During the time that he was actively pursuing his professional occupations, he found leisure to acquire an extensive knowledge of the German and Hebrew languages, and made himself conversant in many branches of polite literature. He even wooed the Muses, and of several of his works the poetry as well as music is believed to be from his pen. He also excelled in fencing and dancing, and added to his various accomplishments a simplicity of manners and benevolence of disposition, that endeared him to a large circle of acquaintance, among whom were some of the most distinguished persons of his day.

Mr. Webbe’s glees, &c., amount in number to one hundred and seven, and have been published in three large volumes. Besides these, he was the author of masses, (being a catholic) anthems, single songs, &c., many of them well known, but too numerous to be specified here. He died in 1817.

* * * * *

~John Stafford Smith~, who is still living, though he has long since retired to privacy, is a native of Gloucester, where he was born about the year 1750. His father, who was organist of that cathedral, having instructed him in the principles of music, sent him to London to complete his musical education under Dr. Boyce. At an early age he was appointed one of the gentlemen of the Chapels Royal, and on the death of Dr. Arnold, in 1802, he became organist of the same. In 1805 he succeeded Dr. Ayrton as master of the King’s choristers, which office he resigned in 1817, and shortly after withdrew from all professional employment.

When only twenty-three years of age, in 1773, Mr. Smith obtained the prize for a catch, which had, in fact, nothing to recommend it but that kind of grossness so much admired in those days; but the year following produced his fine serious glee, ‘Let happy lovers fly where pleasures call,’ to which the prize given by the Catch-club was most justly allotted. The same honour was with equal discrimination conferred in the three succeeding years, on his ‘Blest pair of syrens,’ ‘While fools their time in stormy strife employ,’ and ‘Return, blest days.’ He obtained in the whole eight of them honourable distinctions; but his very delightful, cheerful glees, ‘Let us, my Lesbia,’ and ‘As on a summer’s day,’ missed the reward due to them. Mr. Smith also is author of a madrigal, ‘Flora now calleth forth each flower,’ a work which, for contrivance and effect, may compete with anything of the kind extant. He likewise published a volume under the title of _Musica Antiqua_. containing specimens of the earliest compositions; and another, a collection of _Ancient Songs_; both of which bear testimony to his industry and research, and now form a part of every valuable musical library.

* * * * *

~Stephen Paxton.~--Of this sweet composer nothing whatever is recorded, except the years when he obtained prizes for his glees. In 1779 he gained a medal for ‘How sweet, how fresh, this vernal day!’ in 1781 for ‘Round the hapless Andre’s urn;’ and in 1783, 1784, and 1785, for a catch, a glee, ‘Blest power!’ and an ode. He also composed ‘Go, Damon, go!’ the answer to ‘Turn, Amaryllis,’ and ‘Upon the poplar bough,’ two admirable glees. He had a brother, William, who wrote the delicious three-voiced glee, ‘Breathe soft, ye winds,’ in ~E~; likewise a canon, which gained a prize in 1780. One of the Paxtons, but we cannot ascertain which, was a distinguished performer on the violoncello, and alternately with Crosdill, afterwards with Cervetto, played first violoncello at the Ancient Concerts.

* * * * *

~John Danby~--Still less is known of this composer than of the preceding. He gained ten prizes from the Catch-club, for seven glees, two canons, and an ode. Among the first are three which will secure to him a niche in the temple of Fame, viz., ‘When Sappho tuned the raptured strain,’ ‘Awake, Æolian lyre,’ and ‘The fairest flowers the vale prefer.’ He was a member of the Catholic church, and died, either at the end of the last or beginning of the present century, at the moment a concert was performing for his benefit; for long-continued bad health had much impaired his circumstances, and rendered the assistance of his friends and the public essentially necessary.

* * * * *

~Richard James Samuel Stevens~ is still living, at an advanced age, but has long retired from active life. His first appointment was as organist to the Temple. In 1795 he succeeded Mr. John Jones in the place of organist of the Charter House; and in 1801, on the death of Dr. Aylward, was elected Professor of Music to Gresham College. In 1782 he gained the prize-medal for a serious glee, ‘See, what horrid tempests rise!’ and another in 1786, a cheerful glee, ‘It was a lover and his lass.’ But his most popular works, those which will transmit his name, are, ‘Ye spotted snakes,’ ‘Sigh no more, ladies,’ ‘From Oberon,’ ‘Crabbed age and youth,’ and ‘Strike the harp in praise of Bragela,’ compositions sparkling with genius, but which some who delectate in canons affect to despise, unmindful of Æsop’s well-known apologue. The most stubborn line-and-rule critics, however, are forced to admit the merit of his five-voiced serious glee, from _Ossian_, ‘Some of my heroes are low,’ in which the poetry and science of music are equally blended.

Mr. Stevens published two, if not three, sets of glees, and edited a useful Collection of Anthems, &c., in three folio volumes. He has one son, recently a gentleman-commoner at Oxford, who, it is to be presumed, will inherit his very independent fortune.

* * * * *

~Reginald Spofforth~ was a native of Southwell in Nottinghamshire, a place famed for its venerable collegiate church, of which his uncle, Mr. Thomas Spofforth, was organist, who so ably instructed his nephew in music, and by his example as well as precept fixed in him such habits of industry, that at en unusually early age he became qualified to officiate for his relation, and distinguished himself at the concerts given in different parts of the county. Being much noticed by Sir Richard Kaye, Bart., a prebendary of Southwell and Dean of Lincoln, he accompanied his patron to the latter place, and for a short time acted as deputy-organist of the cathedral[84], but soon quitted that city, and proceeded to London, where he became a disciple of Dr. Cooke, under whom he studied upwards of three years, with every advantage that could be derived from so admirable an instructor, seconded by the most unwearied assiduity. He also took lessons of Steibelt on the piano-forte, and devoted some portion of his time to the Italian language. But his knowledge and skill were not immediately productive, and he had to encounter pecuniary difficulties, for his father was unable to assist him, and his uncle--a miser, such as is rarely met with but on the stage--was unwilling. His wants, however, were few, and his talents in every branch of his profession at length forced him into notice. In 1793, he offered to the Catch-club a serious and a cheerful glee, as candidates for the prizes, and obtained both: ‘Where are those hours?’ and ‘See, smiling from the rosy East,’ were the successful compositions. He now formed an acquaintance with Mr. Shield, musical manager of Covent Garden, and contributed many songs, duets, &c. to various pieces produced at that theatre. When the latter set out on his Italian tour, Mr. Harris offered the vacant appointment to Mr. Spofforth, who, weighing the difficulties and vexations inseparable from the office, with great prudence declined the proposal. He now determined to divide his time between teaching and the composition of glees, and was soon so much occupied by the former, while he devoted to the latter hours that ought to have been surrendered to sleep, that his health was gradually undermined, and he at length fell a victim to his industry and application.

In 1797 he undertook the musical direction of a _toxopholitico-musico-theatrical_ club, called the Bowman’s Lodge, which was supported by some of the _beau monde_. He also accepted the place of organist to Fitzroy Chapel, which he relinquished for that at Eltham, where he passed much time, giving lessons at a great school in the neighbourhood, and enjoying the society of his friend Mr. Laurence, brother to the learned civilian, who was the intimate of Burke, and for some years member for Peterborough.

In 1826 Mr. Spofforth lost his uncle, whose fortune fell to him: he, however, enjoyed his independence but for a short period. The year after, in the month of August, the nervousness of which he had so long been the prey, and which for many years had prevented his attempting any new work, appeared in a fatal form. On the 31st he was attacked by paralysis, and lost the use of one side. In this state he continued till the 8th of September, when he expired, in the fifty-eighth year of his age.

Besides the two prize-glees above mentioned, Mr. Spofforth produced several of at least equal excellence; among which, ‘Mark’d you her eye of heavenly blue?’ ‘Health to my dear!’ ‘L’Ape e le Serpe,’ ‘Hail, smiling morn,’ and ‘Come, bounteous May,’ have received the stamp of public approbation that never will be effaced, and which their intrinsic merit alone obtained; for the author was a man too modest in his nature, too retiring in his habits, to have recourse to means adopted by many composers, and perhaps fairly, for the purpose of forcing their works into notice.

RULES FOR COMPOSING FASHIONABLE MUSIC.

[In a Letter from Milan.]

A composer of the present day stands in no need of that divine spark which comes from above. All that is required now is, to place himself within a musical circle, composed of some thirty of the operas of Rossini, spread open for the facility of instant reference. It is true that he will find in these works much genius, much that abounds in beauty, grace, and vigour; but he will also meet with numerous passages, not to say whole motivos, which this master has had the address, by a thousand ingenious devices, such as embellishing, altering the movement, &c. &c., to appropriate to himself from others. The composer, therefore, who is thus seated in the midst of these volumes, may go to work without much apprehension, as he will here find brought into one focus all the scattered rays of beauty that he would have to collect, with no small labour, from hundreds of volumes. A ready artist need not trouble himself much with the deeper studies of composition, as the public will give him sufficient credit for talent, if he do but possess the happy art of combinations, and can produce a piece of ingenious mosaic work. Let him but get a good subject, no matter how, and it will not be difficult to conceal the theft under a mass of noisy instrumentation. In the midst of this clamour, too, the many errors in harmony will be equally hidden. It may be observed, that the rules we have thus laid down are equally applicable in the composition of a symphony, terzetto, aria, duet, finale, &c., since in all our modern works the same form, the same colouring, the same general process is considered indispensable: above all, it must never be forgotten that, on every occasion, the orchestra should be everything; song, sentiment, situation, &c., must give way to this. To say the truth, such is the feature by which modern music is distinguished from that of the old school, which was silly enough to allow melody to take the lead, and paid it, on all occasions, the most unaccountable respect.

The modern composer must not neglect to provide himself with a ready-made store of showy piano and harp passages, with which he must sprinkle pretty thickly the parts for the voice; and when he gets hold of a soprano air, let him ornament the conclusion of it with a flight of demi-semiquavers, the more unvocal the better. And even if the singer should find it difficult to hit them off, never mind, the public will not be a whit the wiser. But one of the principal rules to be observed is this, that no rest of any kind, no pause, must be allowed the wind-instruments; the trumpet, the trombone, the drum, and the octave-flute most be kept incessantly at work, so as to deprive the hearer of every means of following the singer, who, to say the truth, has not in general much to do with the piece, and is only an object of subordinate interest in the opera.

Now if an artist has wit enough to compose according to these rules, let him begin every piece with an assortment of strong chords, with the indication mark of the pause over the last. Upon this should follow a _pizzicato_ movement of violins and basses, which is immediately to be succeeded by the motivo, (taken, as before observed, from some of the open books by which the composer is encircled,) performed by the bassoon and clarionets. This motivo must soon make its appearance again, and be given either by the octave-flute or the singer, just as may suit; for it is quite a matter of indifference whether the singer or that instrument performs it. And now a transition should be made into some out-of-the-way key; a series of skipping passages should follow, which should invite the feet to dance, and lead in, upon ‘light fantastic toe,’ the never-failing _crescendo_. Again: a transition should be made, by a series of modulations of the most extraneous kind, into the original _pizzicato_ movement. At last a flight of quadruple-tailed notes should wind up the singer to the very acme of exertion, supposing breath enough left for the operation; the drum, the trumpet, the trombone, and the octave-flute should be summoned to display all their energies, and this concluding burst should not cease till the moment when the public think the proper time is come to assist with vehement applause.

Ye modern composers, forget not the debt of gratitude you will owe me, for having thus liberally let you into the secret of the art! Hie ye to London! first getting letters to the Duchesa di----, who will introduce you to some English bookseller, or some third-rate French actor, neither of whom, you will find will understand one note of music; therefore you will have no cause to fear detection. You will be sure of applause from persons kept in a kind of pay for the purpose; and there are journalists enough to assist the fogs in mystifying the public, and to make you a reputation for a year or two, during which time, if you do not fill your pockets with English guineas, you will be proved unworthy of the advice now given you by your friend

~Rossini, Junior~.

GLASGOW AMATEUR SOCIETY.

_To the_ ~Editor~ _of the_ ~Harmonicon~.

~Sir~, _Glasgow, Aug. 12, 1833._

As you have always taken an interest in the proceedings of provincial societies for the cultivation of music, I have thought that it might be interesting to you to hear of the existence of an association so far north as Glasgow, the object of which is the performance of the choral compositions of the great masters.

This Society has been now nearly two years established, and consists entirely of amateurs; one of its fundamental laws being the ineligibility of professional musicians as members. It is called the ~Glasgow Amateur Musical Society~. I beg leave to transmit a programme of their Second Annual Concert, which took place on Wednesday evening, the 7th August, in the nave of the venerable cathedral. The admission was entirely gratuitous, by tickets issued by members of the Society, and the audience, a most respectable one, amounted to upwards of 600 in number. The orchestra, led by Mr. Andrew Thomson, was composed partly of professional gentlemen of Glasgow, and partly of the band of the 7th Hussars, now stationed here. Mr. Thomas M’Farlane, organist of St. Mary’s Episcopal Chapel, conducted, and Mrs. M’Millan, (late Miss Thomson,) of Edinburgh, took the principal soprano parts.

~Programme.~

Overture. Recit. ‘Comfort ye.’ Aria, ‘Every valley,’ (Mrs. } M’Millan.) } Chorus, ‘And the glory.’ } _Messiah_, ----, ‘For unto us.’ } ~Handel~. ----, ‘Hallelujah! for the Lord God.’ } ----, ‘Worthy is the Lamb.’ } Solo and Chorus, ‘Luther’s Hymn.’ ~Luther.~ Recit. ‘In the beginning.’ Chorus, ‘And the } spirit.’ Recit. ‘And God saw.’ } Aria, ‘Now vanish.’ Chorus, ‘Despairing, cursing, } raging.’ } Solo, ‘The marvellous works.’ (Mrs. M’Millan.) } Chorus, ‘And to the ethereal vaults.’ } _Creation_, Recit. ‘And God said.’ Aria, ‘With verdure } ~Haydn~. clad.’ (Mrs. M’Millan.) } Recit. ‘And the heavenly hosts.’ Chorus, ‘Awake } the harp.’ } Recit. ‘In splendour bright.’ } Chorus, ‘The heavens are telling.’ } ----, ‘Sing the Lord.’ } Old Hundredth Psalm. ~Luther.~ Chorus, ‘Hallelujah to the Father.’ (_Mount ~Beethoven.~ of Olives._) Chorus, ‘Let their celestial concerts.’ ~Handel.~ (_Samson._)

I do not presume to take up your space by a critique on the several performances, but I cannot allow the opening recitative and aria of _The Messiah_, and the recitative and aria, ‘With verdure clad,’ from _The Creation_, as performed by Mrs. M’Millan, to pass unnoticed: the first was given with a thrilling distinctness and precision which told well in the spacious high-arched nave, while the manner in which the latter was sung was well adapted to the flowery and polished style of that most beautiful melody.

Among the choruses, ‘Hallelujah!’ from _The Messiah_, ‘Hallelujah to the Father,’ the beautiful chorus from Samson, ‘Let their celestial concerts,’ ‘The heavens are telling,’ ‘Worthy is the Lamb,’ and the closing chorus of the Creation, ‘Sing the Lord,’ were done with great precision, and received reiterated applause; and the whole performance was deemed by adequate judges to be highly creditable to the amateur taste of Glasgow.

~An Amateur.~

[We are happy to hear from all quarters of the increasing number of Amateur Societies in Great Britain; but surely it is a misnomer to call _this_ an ‘Amateur Society,’ seeing that the only performance which its members think fit to notice publicly, depended for support almost wholly, if not entirely, on professional performers.--_Editor._]

ON THOUGHTS OR IDEAS IN MUSIC.

(From the French of Gretry.)

As from instinct we love and admire all that is beautiful in nature, so a feeling for, and love of the fine arts may exist without a knowledge of their principles. One day, when a party of professors and myself were discussing the question as to the ideas best adapted to express our sensations in music, an amateur interrupted us by asking what an idea in music could possibly be? As his question was abruptly put, we all looked at him for some moments without answering; he prided himself upon the idea that he had pozed us, and laughing, repeated several times over, “An idea in music, how singular!” A musical idea, said I to him, is nothing more than the sound, the inflexion of words employed to communicate an idea, whether verse or prose. If you agree that, with respect to accent, it is indifferent, however it may be placed, I am ready to allow that music has no fixed principle.--No, replied he, I will not agree to that; on the contrary, I think that improper accents, or misplaced punctuations, may spoil the most elegant prose, and disguise the finest poetry.--In the same manner, said I, sounds at variance with the sentiment of the words make bad music.--But, added he, there is such a thing as music without words; and when it is good and well executed, I like it much. What say you of such music?--It is, said I, a discourse of sounds, a song from which the words have been withdrawn. Have you never seen a woman on the point of fainting? she has only strength sufficient left to make herself understood by the signs of those words which she is incapable of uttering.--Very well.--Still you comprehend her?--Yes, I understand that she complains; that she says to her children, her husband, the friends who surround her, ‘I feel better now, do not be frightened.’--Well, in this instance, and in a thousand others, we see exemplified the principle of music without words.

The Italians, in public places, either from indolence, or from a fear of openly declaring their opinions, speak little and much at the same time; that is, by articulating some solitary words, preceded and followed by one of the vowels _a_, _e_, _i_, _o_, _u_, all enforced by an expressive pantomime, they make their thoughts understood without the aid of speech. Go, for example, and tell a composer that such a man spoke very freely in the coffee-houses against his work:--What did he say?--_i_, _a_, _u_, _o_, of such an air, _e_, _i_, _a_, _u_, of another, he will perfectly comprehend you: this is another instance of the principle of instrumental music. Men of more northern latitudes are but little acquainted with this species of dissimulation, but it is natural to Italians. If therefore a musician is unable to discover any meaning in a sonata, rest assured the reason is that the sonata has no meaning; and if _Fontenelle_ could not understand a good sonata, you may take it for granted that it was owing to his possessing more wit than imagination and feeling. A fine piece of instrumental music has always a reference to some sentiment or passion, which has its characteristic accent, its peculiar movement: one is expressed in acute sounds; another in grave; another, between the two, consists of long-drawn tones.

Again, if it be said that a sound is not an idea, yet it must be allowed that a tone is; at the very instant I utter _mi_, I argue that _mi_ is the third of _ut_, _re_ precedes, and _fa_ succeeds it. To be a good musician, an idea both can and ought to be attached to every musical phrase of a different character: for example, such a phrase is only composed of grave sounds, sustained and lengthened without any rhythm or measure; immediately, and by analogy, I picture to myself darkness, and the horrors which it inspires. But if the sound of a _reed_ is heard breaking this gloomy harmony, I imagine the awakening of a shepherd, I look in the sky for the morning star, and the phantoms of night are dispersed.

Cùm durant noctis tenebræ, Cuncta videntur horrida; Ad nova profert gaudia, Si cœlo surgat lux.

I was not eight years old when I went to the wise man of our neighbourhood[85], and said to him, ‘Give me some words, I want to compose music,’ and he gave me the above four Latin verses, first translating them to me in the Liégois dialect.

With respect to moral ideas in music, they, like the accents of oratory, depend on the declamation of the words; and if the inexperienced musician declaims all in one tone, there will, as long as he lives, be a sameness in his music: this fault is much more common than is generally supposed. But to declaim is not all; the declamation must be just: I prefer the music that is vague,--that says nothing, or says every thing--to improper declamation. Let us then conclude that in music, as in nature, a sensation is not an idea; but that many sensations compared with each other constitute an idea. Again it must be recollected that the undefined effect of instrumental music acts differently upon individuals, according to their respective organization: it is like a cloud floating in the air; the warrior sees a battle; the peasant girl the flock conducted by her lover.

I have always thought that good music must produce more or less effect, in proportion as its language is more or less familiar. I have been at the side of _Voltaire_, and seen him grow irritable under the influence of the most melodious strains; I have often thought of it since, and I conclude that he experienced sensation without ideas, because he was not sufficiently conversant with musical language, and the variety of emotions which it produces. A more simple being would have said, ‘I feel enjoyment, what else do I want?’ or he would have enjoyed without any reflection; but _Voltaire_ became irritated with a pleasure of which he did not comprehend the cause. Yet at last he was softened, and I have seen the tears start into his eyes. Yes, music, contrary to our nature, at first irritates, but if its seductions are listened to for some considerable time, it calms, softens, and finally triumphs over every resistance. Thus _Orpheus_, in the infernal regions, soothed the anger of _Cerberus_, and softened the hearts of the divinities of Tartarus. If you find a man who does not love music, be assured that it is either because he has not yet heard any suited to his peculiar turn of mind, or that his heart is for ever closed against pure pleasures.

I must however confess, that since speech, with its inflexions, is not always sufficient to explain certain ideas, still less will accent alone do so; yet still the gentle agitation caused by good instrumental music, that undefined repetition of our feelings; that aërial flight which suspends us midway between earth and heaven, without fatiguing our organs; that mysterious language which captivates without persuading, which speaks to our senses without the aid of reasoning, and yet which is equivalent to reason, since it charms, gives to the unsophisticated heart the most refined pleasure. Never will a wicked man understand the language of sounds; such a faculty is the result of the most harmonious organization, and the perfection of our being. The virtuous man seems to hear a choir of angels, the echo of which is in his own heart.

Enough has already been said as to what constitutes a good musician; yet perhaps it has not been sufficiently enforced, that without genius, without original ideas, the most scientific composition is nothing else than a copy, more or less excellent. In looking at the origin of the thoughts of a phlegmatic man, it will always be found that the type is the same as in a man of impassioned soul. Second-rate talents come after him, and criticise, distort, and misplace the same ideas. Following this course, it is always seen that A. has taken from B. what B. borrowed from C. and that the latter took all from D. the original proprietor, who only copied from nature.

Again it may be said, that our ideas in music arise from the choice of sounds and their measures. The time alone in sounds, only gives birth to ideas emanating little or not at all from sentiment; in music, as in poetry, great poetical effects may be produced without the charm of poetry: such movements belong to harmony; melody possesses essentially the beauty of sentiment. We know that in natural, and even in moral philosophy, nothing can exist without motion; but this argument does not prove that immoderate motion produces true feeling: on the contrary, too vehement motion is a convulsion, and a moderate movement causes agreeable sensations. Nature without doubt has her convulsions, but happily they are rare, and only occur in their proper place. Let us follow her example, and not be too lavish of violent effects.

When a young man of talent exhibits originality of thought, however wild, however untutored, he ought to be encouraged, and have the path smoothed for him: he is a choice plant, and should be cultivated. Such a young man is, perhaps, at first devoid of any knowledge of harmony, yet there is within him a genuine reservoir, whence the purest beauties may flow. I would add, that the young artist born with original genius may be looked on as one of the benefactors of the human race.

Why did the ancient philosophers recommend so strongly the practice of sounds? Why consider music as the principle of all morality? Why publicly reproach _Themistocles_ with not understanding music? Because they knew that, in rendering a man sensible to the harmony of sounds, it was establishing in him the principle of order, which tends to general happiness. They seized the cause, to arrive at the effects. They said, ‘If we preach wisdom to you, before your mind is disposed towards it, we shall lose our time; but if by harmonious sounds we establish harmony in your mind, you will yield without opposition.’ Let us then, like these philosophers, make men more or less musicians, and they will be disposed to every sort of harmony--for that of colours in a picture, or the order that pervades an architectural pile.

In short, to be alive to the beauties of harmony is to love the order which pervades the system of the Creator. When I behold a true musician, I say to myself, ‘That man is a lover of peace; he is my friend.’ When the philosopher tells us that he comprehends the language of birds; that he hears the music of the stars as they roll above us, it is the pure harmony of his nature that effects these prodigies. Let us be _one_ with nature, and all her treasures will be our portion. In short I will boldly say with _Shakspeare_:--

The man that hath no music in himself, Nor is not mov’d with concord of sweet sounds, Is fit for treasons, stratagems, and spoils; The motions of his spirit are dull as night, And his affections dark as Erebus: Let no such man be trusted.

_Merchant of Venice_, Act v. Scene iii.

THE OLD ENGLISH GENTLEMAN.

[Having given insertion to Mr. Phillips’s letter concerning the song ‘The Old English Gentleman,’ we feel bound to publish Mr. Charles H. Purday’s answer, if that which replies to nothing can be said to be an answer; and have only to regret being placed in a situation which hardly allows us to decline becoming the medium through which direct charges--whether true or false--are met, not by facts, not even by a bare contradiction, but by calling the author of them ‘a fool.’

Let it be understood that we make ourselves no party in the dispute; we know nothing of the merits of the case, and hope to hear no more of it.]

_To the_ ~Editor~ _of the_ ~Harmonicon~.

~Sir~, _9, Clarendon Square, August 7th, 1833._

In reply to Mr. H. Phillips’s erudite epistle, touching ‘The Old English Gentleman’ controversy and ‘The Maid of Llanwellyn’ piracy, I need only quote the words of Solomon, who says, ‘answer a fool according to his folly.’

I am, Sir, With the most profound respect, Your very humble Servant, ~Charles H. Purday~.

* * * * *

The following was received just in time for insertion.

_To the_ ~Editor~ _of the_ ~Harmonicon~.

~Sir~, _45, High Holborn, August 19th, 1833._

As I am the ‘very man’ who, Mr. Phillips says, has been stopped from publishing ‘The Old English Gentleman,’ and who issued the ‘bills and circulars’ respecting ‘The Maid of Llanwellyn,’ I conceive I have a right to be heard in my defence against that person’s false assertions, which I doubt not he would have you and the public believe are true.

First, if the ‘low puff in the shape of an advertisement,’ which I issued, was ‘false from beginning to end,’ how came Mr. Phillips to _acknowledge its truth by causing the plates of his pirated copy of ‘The Old English Gentleman’ to be sent to me to be destroyed_?

Secondly: I do not envy Mr. Phillips’s object in stating as ‘a fact’ what _he knows to be untrue_, respecting the sale of my song being suppressed!--and as to my ‘unjustifiable possession’ of the said song, I know of neither courtesy nor law to prevent any man from re-arranging an ‘old chaunt.’

Thirdly: Will Mr. Phillips oblige me by stating from what quarter my brother pirated ‘The Maid of Llanwellyn?’ It certainly could not be from Mr. Phillips; for although the song he alludes to does ‘bear his name,’ yet it is _only as the singer_. It is rather unfortunate for Mr. Phillips’s veracity on this charge, that the very song to which he alludes is a piracy on the words of my brother’s! as the following quotation from the last verse of each will clearly prove.

But of all our proud fellows, the proudest I’ll be, While the Maid of _Llanwellyn_ smiles sweetly on me.

_Mrs. Joanna Baillie._

Yet prouder than even the proudest I’ll be, While the Maid of _Llangollen_ smiles sweetly on me.

_Pirated, or ‘imitative version.’_

One word with reference to Mr. Phillips’s name to songs. I believe that person does not allow songs to ‘bear his name,’ especially those not ‘entirely composed’ by himself, for nothing--which some of the poor composers and publishers know and feel to their cost; and I should presume that a _feeling_ of this kind induces him to _take so much interest_ (I had almost said principal too) in their publications.

If, Sir, Mr. Phillips is not now satisfied with this ‘exposé of such manœuvres,’ I have a little more at his service, and that of the public, when occasion may require; but as I should presume that the pages of your valuable Journal may be filled with far more interesting matter to your musical readers, I conclude with an apology for being once more dragged into your columns,

And subscribe myself Yours, very obediently, ~Zenas T. Purday~.

NORWICH FESTIVAL.

_To the_ ~Editor~ _of the_ ~Harmonicon~.

~Sir~, _August 16th, 1833_.

In making their engagements for the ensuing Musical Festival at Norwich, the Committee have, there can be no doubt, acted, as they think, prudently, and no one has any right to question their fairness, however their policy may be disputed: for the public will know beforehand what performers they are to expect; and those who are usually engaged at those meetings, but whose services are not called for on the present occasion, had the option of accepting or rejecting the reduced terms offered.

But, Sir, it must not be supposed that the performers who declined the proposals made were influenced by avaricious motives; they only asked the sum they had before received, and which was hardly enough to cover their expenses, and indemnify them for what they lost by their absence from their regular business in London. For travelling to Norwich and back, living there at such a time, when of course the price of everything is increased, and when half-a-guinea per night is demanded for a bed, and that not of the best kind, the sum of twenty-five guineas surely is not unreasonable; and one-fifth of this struck off, as was proposed, would leave little indeed to the performer for his labours at three long morning, and as many fatiguing evening, concerts, and as some compensation for losses sustained by quitting his pursuits in town, during a whole week.

Let the labours of a singer of the first class be compared with those of an instrumental performer of the same rank, and it must be admitted that they bear no proportion. The latter is called upon for ten times the exertion, but his reward is sometimes less than one-tenth of that bestowed on the more fortunate foreign vocalist. The singer, it will be urged, is a commodity more rare than the instrumentalist, and like all rarities bears a higher price. Granted; but is it reasonable that so enormous a disparity should be suffered, as that existing between the sums of _three hundred guineas_ and _twenty_? The best instrumentalists in Europe are offered one-fifteenth of the amount bestowed on a single singer, while the labour required is about in the inverse ratio.

My motive is not to complain, but to place the matter in a true light, and to apologise for those who have declined to accept the terms proposed by the Norwich Committee.

I am, Sir, Very respectfully yours, ~An Orchestral Performer~.

ON THE ACTUAL STATE OF MUSIC IN BELGIUM, AND ITS PROSPECTS OF ADVANCE IN THAT COUNTRY.

[In a letter from M. Fétis to his Son.]

~My dear Friend~, _Bruxelles, June 8, 1833_.

When proposals were made to me to return to my native land, to devote myself to regenerate the art of music, and to fill the honourable situation of _maitre de chapelle_ to the king of Belgium, as well as director of the Conservatory of Music at Bruxelles, it was proper to examine if I could be more useful to the art I with passion cultivate, in endeavouring to suppress innovations, and in perfecting it, than in remaining in the capital of France, where my labours might not be followed by a beneficial result. To convince myself upon this point I took a general view of the state of Belgium, as regards music, from the middle age to the present, in order to ascertain whether I should find the necessary elements for the work they demanded; that is, a favourable organization for the culture of music in the Belgians, with suitable disposition to develope, by study, this organization, if it existed.

When the sensibility and genius of a people for the culture of the arts is the question, it is difficult to anticipate the future, if history has not informed us of the past. I own that the facts which I collected gave me a high idea of the future fate of the art in this country, if circumstances seconded the efforts I proposed to make. I shall cast a hasty _coup d’œil_ on these facts, that the readers of the _Revue Musicale_ may understand on what foundation I build the hope I have formed in coming here to try a regeneration, which equally flatters my self-esteem and patriotism.

In the fifteenth century a Belgian, ~Jean Tinctoris~, (or the _Dyer_) of Niville, was the most learned theoretical musician of his period, and, at the same time, one of the ablest composers. He wrote many works on musical subjects, which have descended to us, and show that ~Gaforio~, and all other Italian theorists of the fifteenth and sixteenth centuries, drew their science from him, and were his scholars and imitators. Becoming _maestro di cappella_ to the king of Naples, Ferdinand d’Arragon, he was founder of the oldest Italian school of music; and composed masses and motets, which still exist, in manuscript, in the library of the Sistine Chapel.

In the following century, Adrien Willaert, born at Bruges, was _maestro di cappella_ of Saint Mark, at Venice, and there established a musical school, where Zarlino was educated, the most learned of Italian theorists, and Cyprien Rore, another Belgian, one of the finest musicians of his time, who became _maestro di cappella_ to the duke of Ferrara. Willaert also ranked among the best composers of his day; and Zarlino signalized himself as the inventor of Church Music in many parts. Cyprien Rore, of whom I have just spoken, Pierre de la Rue, Clement, surnamed _non Papa_, Jacquet, or Jacques, of Berchem, so called because he was born in the village of Berchem, near Antwerp, Jacques of Turnhout, and a multitude of Belgic composers, occupied places in all the European capitals as chapel-masters to kings and princes, during the sixteenth and part of the seventeenth centuries.

At this period all the singers of the Pontifical chapel were engaged from Belgium, and the greater part of the musicians in the service of the king of Spain left that country. The most celebrated composer of the latter half of the sixteenth century, who alone was qualified to struggle for glory with Palestrina, and who, like him, was called _the Prince of Musicians_, was _Roland de Lassus_[86], born at Mons; his renown was equally great in Italy, Germany, France, and England. His countryman and contemporary, Phillipe M. Mons, was likewise considered as one of the most distinguished composers of his time, and his works show that his reputation was deserved. I should never conclude, were I to name all the Belgian musicians worthy of being reckoned amongst the most able artists. You will observe that I do not mention many other composers and theorists, who,--born in that part of Flanders, reunited to France during the reigns of Louis XIII. and XIV., or in the northern provinces under the dominion of Prussia,--belong nevertheless to Belgium.

After the prosperous musical period of which I have just spoken, Belgium passed successively under the dominion of various rulers, was the theatre of all the plagues of war, and finished by losing its nationality, and saw vanish the glory of her musicians. Notwithstanding which, the genius of its inhabitants triumphed from time to time over the circumstances in which they were placed.

In modern days, do we not see Gossec (born in a village near Walcourt) convey the germ of a good school of harmony to France, after having studied in the cathedral of Antwerp, and obtained a justly celebrated name for the composition of symphony, before Haydn’s works were known to the musical world? This same artist became one of the founders of the _Conservatoire de Musique_ in France, and member of the Institute, and powerfully contributed to the success of the French, from the part he took in compiling various elementary works, and by the scholars he produced. At the head of these Catel distinguished himself.

The most celebrated composer who shone in France in the eighteenth century was a Belgian: you at once know that I mean Grétry, born at Liege. The creation of a species which belongs to him, and more than fifty operas, of which the greatest number are filled with excellent things, either as respect melody or dramatic expression, speak more than my praises can to his honour. At the present period, the musical talent of the Belgians manifests itself in a way which leaves no doubt of success for the future, when, by a proper mode of instruction, their natural genius is well cultivated.

The _Conservatoire de Musique_ at Paris has furnished some young Belgian composers to the Institute who are distinguished by their works, or who have been favoured by government with a pension. Such are MM. Mengal, Ermel, and Angelet. The Belgian violinists, among whom we notice Bériot, Roberechts, Haumann, Ghys Massart, the young Vieutemps, and many others, shine the first in rank of any in Europe. Antwerp awards the palm to M. Chevillarch, one of the first violinists of the present age. Young Servais promises fair to be another virtuoso on that instrument. The Belgians have the honour to have given birth to Drouet, the most astonishing of flutists. In fact, every species of talent is daily produced by this ancient country of art. There is, then, a guarantee for the musical regeneration about to be operated by the government of Belgium. This is what I perceived, and sufficed to convince me that my labours would not be bestowed on an ungrateful soil.

Belgium has re-conquered her nationality. Its government has secured a return to civilization, and the restoration of arts, which have long languished under foreign dominion. From this moment it gives the country those means of instruction which were wanting. Shortly it will secure, by adequate institutions, a succession of artists distinguished by talent. Thus the Belgians will recover that high rank they once held in art.

Such is my belief, and this has determined me to devote the rest of my days to my native country.

~Fetis.~

MUSICAL METRONOMES.

_To the_ ~Editors~ _of the_ ~Harmonicon~.

~Gentlemen~, _Olive Mount Street, Liverpool_.

I notice in your valuable work, the _Harmonicon_, for May last, a Report made to the [French] Academy of the Fine Arts, 20th of October, 1832, by its Musical Committee, on the Third Metronome of Maelzel.--With this report I am much pleased, and feel glad that so small, yet very _useful a thing_ has received such attention from men of scientific knowledge, in their endeavours to improve the system of musical education. Their notice of the subject redounds greatly to their credit.

My object in this communication is to furnish you with a paragraph from the _Liverpool Mercury_, of Friday the 19th inst., upon what I consider a very important matter, viz. Improved Musical Time Beaters.--It is as follows:--‘Many of our musical readers are, no doubt, acquainted with Maelzel’s Metronome, for ascertaining the time in which musical pieces should be played. It is a very simple instrument, but is not intended to accompany the player, as it is completely dumb. We would not say anything in disparagement of any useful invention, but we may be permitted, we trust, to observe, that every object attained by Maelzel’s Metronome would be fully accomplished on a graduated pendulum with a sliding ball, which might be sold for half-a-crown at the utmost. Mr. Abbot, of Manchester, has very greatly improved upon Maelzel’s instrument, by rendering it what it ought to be, not only a time indicator, but a time beater. At the commencement of each bar it gives a very audible beat. It will be found advertised under the head “Musical Indicator,” in another part of our paper. In consequence of some conversation we had with the inventor on the subject, we trust that Mr. Abbot will construct some Indicators which shall not only mark the beginning of the bar, but any sub-division of it. The Musical Time-beater, invented many years ago by Mr. Egerton Smith, of Liverpool, and simplified by Mr. Condliffe, of the same place, possesses this advantage over every similar instrument previously or subsequently introduced. It marks the beginning of the bar by a pretty loud blow, and indicates also the component parts of the bar by minor but audible beats, whether there be 2, 3, 4, 6, 8, 9, or 12 in the bar. The machine, however, is perhaps too complicated for common use, and we should greatly prefer Mr. Abbot’s, if it gave the subdivisions of the bar.’

I have seen Mr. Abbot’s Time Indicator; it is a simple, good instrument, but not what it professes to be, in my humble opinion: it beats every crotchet, or rather it is like a clock that beats, or ticks loud and quick.

Mr. Smith’s invention, simplified by Mr. Condliffe, is greatly superior to it in every respect. It gives a good beat at the beginning of every bar, and generally divides the bar into its smaller proportions very accurately. It is not so complicated as the above; is an excellent contrivance, and the best that has ever yet appeared.

I am, Sir, your constant reader, And humble Servant, ~L. T. Crossley.~

_July 22d, 1833._

BELLINI’S LAST OPERA.

A friendly correspondent, whose letter exhibits more gentlemanlike politeness than musical judgment, has mildly reproached us for the contempt we have expressed for the Italian opera, _I Capuleti e Montecchi_. Of this work we hoped never to hear further mention, but the grave remonstrance of our correspondent, who desires that his communication may not be published, induces us to insert a critique, a very just and able one, from the German _Iris_, of the 21st of June last, by which our friend will perceive that foreign critics _do_ entertain the same opinion of this last production of Signor Bellini, as that universally felt in London.

---- As to the opera itself,--says the German writer, M. Rellstab,--it is like many other modern works, which we might find ample fault with, if we found but a footing in any part which was good or beautiful, so as to be able to separate the bad and to submit the latter to criticism; but when a thing is awry on all sides,--if no part of it display rationality of ideas, much less beauty, where is a poor critic to begin? Begin? whether we start from above, from below, at angles or across, whether we skim like a swallow over the work, weaknesses will present themselves at every step. But suppose he has begun, where is he to leave off? but no matter, let us venture upon the task. Why is _everything_ to be censured? Why is criticism to demand absolute perfection, since the art itself cannot arrive at it; and since the greatest work of art must fall short of the desired perfection, at least as far as regards an author who culls his labour to a strict account? Goethe himself confesses unceremoniously, that a work of art can never be finished: why should we, _Dii minorum gentium_, not subscribe to that opinion? Why should criticism take into its head to attain a greater perfection? No such thing! The reader therefore shall be served with more critical aphorisms;--a critical thunderstorm, with some flashes of lightning. But _ad rem_! The overture, a _charivari_ more destitute of ideas, a more unmeaning ding-dong of instruments, a more mawkish whine of melody, has never reached my ears or eyes. Verily the overture is invaluable! it is as if it were prefixed to the work as a sort of board, with the warning ‘Here nothing is to be gained, a mere triumph of insipidity is celebrating within.’ It is, indeed, a bold thing to speak thus of a renowned man, who has the public so much on his side. Honest Germans! Honest Viennese in particular!--for you more especially constitute the public of Bellini--I have but a poor opinion of you who can live tens of years without hearing Gluck, who can find Mozart antiquated, and Beethoven’s _Fidelio_ and Weber’s _Euryanthe_ dull and tedious. From that which you reject and spurn, we may judge to a nicety of the value of that which you choose. But let us proceed: choruses, arias, recitativos, everything runs helter skelter, without rhyme or reason, into each other, and at cross purposes. _Tebaldo_ sings like _Romeo_; _Romeo_ like _Lorenzo_; _Lorenzo_ like _Julia_; the enemy like the friend; the happy like the miserable; the lover like the deadly foe. How divine! how perfectly freed is the critic from the odious task of entering into the sense and meaning of a work of art! How heavenly a state of existence when the mind is absolved from all exertion, when we may stretch our limbs comfortably, gape away, and enjoy the _dolce far niente_! I myself had nearly fallen into this pleasing state; I felt as if I had exclaimed, ‘Pursue your musical sounds; blow on, whistle, fiddle, and drum away; drag the melody through endless suspensions like a chain of sighs, then let it rattle off like a Dutch alarm clock, which enhances the enjoyment of sleep, because it just renders us conscious of being asleep. But how is all this? How comes it that every thing penetrates but skin deep? How? because the question was to write something which should not remind the hearer that he possessed a heart or brains; or, in short, that he was an intellectual being. But surely this problem might have been solved by the composer in a less offensive manner. Fifths and octaves will split the tympanum of a New Zealander, of a buffalo; will rupture the asses’ skin of a drum itself. Oh, Signor Bellini, you really are going beyond a joke with our poor ears! Faults and crudities are permitted, we allow, but such lumps and clumps of faults which would make an elephant stumble, such blocks, ought surely not to have been strewed across my critical path. The public, it is true, regards them as genial mountains, as aërolites dropped from the moon, or a something else unheard of before. Ah, if they remained but unheard! if they were but inaudible! but there are many abodes upon earth, and I will add, there are many sorts of ears.

Dearest friend,--I hear my readers exclaim,--we perfectly perceive that you will never cease censuring; but do pray begin to bestow your praise too. Courteous readers of the _Iris_, the latter is more difficult than to leave off finding fault. You fancy perhaps I need only say the composer writes advantageously for the voice; really that would be one of the most barefaced fibs that I could be guilty of, according to my notion of what constitutes genuine song. True it is, that he writes for vocal caricature, for the very destruction of the vocal art, in which everything noble and beautiful stands a fair chance to be thus ruined. Although there may be found, here and there, singers who know how to transfer what is great and valuable in their art, even to such specimens of its degeneracy and abuse. And this indeed is the sole reason why the operas of such composers maintain their ground in Italy; they afford opportunities to a singer destitute of true feeling of showing his vocal volubility and execution, and of creating astonishment by such means; while to the great singer they present a field for compensating by his art, that which the brainless author was incapable of producing. But in the eye and ear of the true connoisseur, such productions must ever remain monsters. Bellini, and still worse Rossini, laugh at the idea of expressing words or feelings by means of music; inasmuch as the most insipid, commonplace ideas are often resorted to, to depict situations of the most intense interest. But let it not be thought, after all, that the composers or the public intend to forego this requisite expression. Far from it. The singer is expected to supply this desideratum, and thus coarse minds get hammered into them that which is insupportable to a cultivated taste; in the same manner as children or savages look upon a glaringly rouged and tinselled doll as a decided beauty, while to a cultivated eye the sight is revolting. In this doll, we no doubt trace the embryo of an attempt at the beautiful, as much as in Bellini’s finales, which, like the _papier maché_ busts in barbers’ shops, with their full blown cheeks and inch deep rouge, are meant to represent loveliness.

_Jam satis!_ But is there really nothing whatever to be praised? For the true judge in the art, _nothing_? Here and there we distinguish an evanescent bubble, as it were, of some little melodic beginning, which just proves that, as in the most obdurate being, the spark of what is good is not totally extinct,--so in the most perverted taste, and in a state of its greatest degeneracy, there will still lurk some remains of the feeling for the beautiful inherent in our nature. Of this kind are the Romance, however supported by the most clumsy harmony--the funeral dirge of the young maidens, &c. &c. But enough: were I to begin to enumerate the mere germs of what is good, I should have to do the same with the full-leaved, full-blossomed weeds, in which case, my critique would probably occupy the whole of the future numbers of the _Iris_ for the remainder of the year.

REVIEW OF NEW MUSIC.

1. ~Anthem~, ‘Turn Thee again, O Lord!’ _the_ ~Gresham Prize Composition~ (No. 2), _composed by_ ~Kellow J. Pye~, _of Exeter, Member of the Royal Academy of Music_. (J. A. Novello.)

2. ~Cantata~, The Orphan’s Ode to the Patriots, _arranged, with accompaniments for the Piano-forte and Harp, by the_ ~Lady Dunstaffnage~. _The Music by_ ~Hummel~.

3. ~The Monthly Sacred Minstrel~, _edited by_ ~John Goss~. Nos. 6 and 7. (Cramer, Addison, and Beale.)

4. ~A Collection of Tunes~, &c., _adapted to the_ Hymns _in use by the Wesleyan Methodist Societies, arranged in Classes, and designed for Choirs and Congregations, by_ ~Thomas Hawkes~, _of Williton, Somerset, Land Agent_. (Mason, _Paternoster Row_.)

Mr. Pye’s work is, in choir language, a full anthem with verse, for soprano, alto, two tenors, and a base, in three movements: the first, full, in ~D~ minor; the second verse, five voices, in ~F~; and the third, a fugue in ~D~ major, full, for four voices. The whole, both design and execution, is in the orthodox style of the latter end of the seventeenth and beginning of the eighteenth centuries. Weldon and Croft have been the composer’s models, but only so far as regards manner; he has borrowed nothing, for though we cannot ascribe any positive originality to this anthem--not any absolutely new thought,--yet the author has made himself debtor to no one for a single passage that we can recognise. The first movement is decidedly the best, it evinces much musical learning without any of its pedantry: the fugue style is adopted for effect, not for display; the harmony is rich without being loaded, and the modulations are of that grave and becoming kind which characterises the works of the composers whom we have just named; but throughout the whole we feel a want of their melody. There is, however, more of this essential ingredient in the verse, though it is not over-abundant even here. The last movement is a fugue of two subjects, sufficiently worked to satisfy those who delight in composition that smells of the lamp, and not so laboured as to offend such as think music an art to be addressed to the ear, rather than the eye.

Mr. Pye, a very young artist, has done himself much honour by this composition. Will our choirs second his efforts, and encourage others to proceed in the same course, by immediately adopting his anthem? They ought, if they have any respect for talent, or if they consult the interests of cathedral establishments.

* * * * *

Neither the title-page nor an advertisement, added to a large list of subscribers, enable us to penetrate deep into the history of the Cantata No. 2, which we at first took for a sacred composition, but afterwards found to be an abominable _mésalliance_ of religion and politics, beginning with a part of the fortieth chapter of the prophet Isaiah, and ending with such profitless lines as the following:--

‘A Cumberland, Eldon, pillars of the nation, Newcastle, and a Mansfield, who nobly filled their station, As stars at midnight shone those orbs,’ &c. &c.

But the music, by Hummel, and in his best manner, is worthy of so much of the poetry as is borrowed from the inspired writer, and far too good for the uninspired verses that follow. The promoters of this work, however, it seems, intend to make some provision for two orphans out of the proceeds, and we hope that success will attend their benevolent endeavours; wishing at the same time that they had been as fortunate in their choice of words as in their music and number of subscribers.

* * * * *

No. 3 is a continuation of a work noticed before. In this appears the Lord’s prayer, set to music by Mr. T. Cooke, who--we are sure very unintentionally, but very unluckily--has, by his manner of setting, turned it almost into burlesque, _e. g._

Then we have a rest after ‘earth,’ but none after ‘heaven,’ so that the reading is thus,--‘As it is in heaven give us this day our daily bread;’ and ‘daily’ is made emphatic, (with a certain jerk,) instead of the word ‘bread;’ thus--

After this comes ‘trespasses,’ with a strong accent on the third syllable. The last fifteen words are so often repeated as to fill two closely engraved pages, and the phrase, ‘for ever and ever,’ is reiterated no less than ten times, the movement being marked _allegro moderato_! Let us hope that but few, if any, will be found to misemploy this fine, comprehensive, universal prayer, by singing it as thus set. Indeed, we never wish to hear it _sung_ at all. The other pieces in these numbers are, a very pleasing duet from Marcello’s Psalms; the first stanza of Sir Walter Scott’s translation of _Dies Iræ_, well set, particularly the first movement, by Mr. M’Murdie; and Millico’s beautiful arietta, ‘Ho sparso tante lagrime,’ with English words adapted to it.

* * * * *

No. 4 includes the greatest number of hymns we ever met with in one collection. The volume, which takes a shape we can only describe by its dimensions, is twelve inches wide by rather more than six deep, consisting of nearly four hundred pages, which contain at least five hundred tunes. These are selected from various works, and are all in score, in four parts, for soprano, alto, tenor, and base; and as no accompaniment is given, the want of a figured base will be felt by the organist. For the middle parts a new character is used--something in the form of a treble clef, and giving the same names to the staff; the intention of which is, to save the trouble of directing the alto and tenor to sing the notes an octave lower. The inventor of this is a Mr. Gay, who disapproves the employment of the base clef for the tenor voice, preferring the treble, or his own character. He assigns no reason for this, and most probably has none to offer, unless he can defend prejudice. But he is bound to show cause why such harmony as the subjoined is to be allowed:--

Such consecutive fifths, though false fifths, are much worse to the ear than some successions of perfect ones. The crotchet ~A~ ought to have fallen to ~G~. But the same gentleman--who it appears has ‘revised and corrected’ this work--is answerable for a very extraordinary error, in calling certain keys by their wrong names. For instance, he denominates the key of ~B~ flat, ‘~B~ major;’ ~E~ flat, ‘~E~ major;’ and, _mirabile dictu!_ gives the right name to the _real_ key of ~E~ major; thus making the keys of ~E~ three flats and ~E~ four sharps, &c., the same in denomination.

Of these numerous tunes, only the notes are inserted, we therefore cannot tell how the words are adapted to them, or how accented; but, with an exception or two, the harmony of such few as we have examined is correct, and the parts sing well. The compiler, Mr. Hawkes, has inserted some few of his own compositions, which show great taste, and afford another proof of the progress making in musical knowledge by amateurs. The work is printed in a remarkably neat, small, but clear type, and we doubt not will prove of considerable utility to the large class of persons for whose use it is published.

* * * * *

~The Passions~, _being_ ~Six Songs~, _each with a descriptive Proem, and Graphic Illustrations: the Poetry by_ ~Jos. Lunn~; _the Music by_ ~G. F. Stansbury~, ~T. Cooke~, ~J. Parry~, ~F. W. Horncastle~, ~J. C. Clifton~, _and_ ~E. Taylor~. _The Illustrations by_ ~R. J. Hamerton~. (Goulding and D’Almaine.)

The Passions are hazardous matters for poets, painters, and musicians to meddle with in the way of art. Collins succeeded in them well; Le Brun tolerably. Dr. Cooke set Collins’ Ode, but reaped no laurels from his labours; and we are not aware that any other attempt to describe, in musical language, these powerful emotions of the mind was ever made till now; for those choruses called ‘The Passions,’ in Handel’s _Solomon_, are improperly designated.

But what are the passions? Metaphysicians are by no means agreed on this point. Nay, a distinguished writer goes so far as to allow but one, self-love! and asserts that all the others are but modifications of this. Mr. Lunn well observes, that ‘there are many affections, attributes, &c., usually denominated passions, which have no claim to that definite appellation.’ And he afterwards adds, ‘I am induced to consider the six which I have chosen for my task,--namely, Love, Joy, and Hope, and their opposites, Hate, Grief, and Despair, as the roots, or bases; or, if the expression be admissible, the Cardinal Passions, of which all the rest are ramifications, modifications, or combinations.’ (_Introduction._)

It appears from the Preface to this volume, that two composers were severally invited by Mr. Lunn to set his poetry to music, but that one, after requiring many months to consider the subject, declined; and the other was bound by engagements which prevented his undertaking the task. The probability is, that the latter, Mr. Bishop, well knew the difficulty of such an enterprise, and was not very willing to risk his reputation in it. The other was blessed with more intrepidity, and embarked in a work of a similar kind[87], though he had, in a modest excuse, declared his incompetency to set the poetry of his friend.

Mr. Lunn, being thus deserted and disappointed, at length presented his manuscript to the Melodists’ Club, six of whose members undertaking to set the words, the volume under notice was produced.

The first, ~Love~, is an elegant composition in ~A~ flat, but much too grave for the words, which, we should imagine, the author meant to be set in a light, playful manner.

The second portrays ~Hate~ in the proem or exordium, but in the song launches out into certain moral reflections on valour, and the generosity springing from this, describing the passion by its contraries; which we cannot but consider as injudicious, because at variance with what was, or what ought to have been, the general design of the poet, who, when he ceased to depict, should at least have illustrated by resemblances, not opposites. Hence the composer, who has well expressed the deadly passion, has been driven into a trumpety, military style in his air, which, we must add, is quite of the common theatrical kind.

Joy is the third, and, with the exception of a _pastoral_ movement, which certainly is anything but suited to so active, so almost riotous a passion, the composer has well designed his work, but wanted vigour in the execution.

No. 4, ~Grief~, is evidently the work of a thinking composer, and of a very good musician. There are some excellent points in this; but the want of unity in the poem has necessarily influenced the composer. We conceive that each passion should have stood alone, unweakened by any adjunct. Here we have the pleasure of memory added to the pangs of grief; thus both poetry and music are enfeebled.

The fifth, ~Hope~, is not lyrical poetry--the composer therefore must not be blamed for having made little of it. He does not seem to have spared effort, but his labour has been bestowed on an unfruitful soil.

Mr. Lunn’s ~Despair~ is nearly of the same cast as Virgil’s--

----Moriamur, et in media arma ruamus.

We much prefer Spenser’s, who is found in

‘----darksome cave---- ----low sitting on the ground, Musing full sadly in his sullen mind; His greasy locks, long growen, and unbound, Disorder’d hung, about his shoulders round, And hid his face; through which his hollow eyne Look’d deadly dull, and stared as astound.’

The ‘proem’ to this, the actual description of the passion, is graphic; and, if we may use the expression, is graphically set. A modulation here is worth quoting:--

But the rest of the song, though ably composed, is neither more nor less than a moral to the tale, therefore objectionable in our eyes, because abandoning that which ought to have been the sole object,--the passion itself.

The lithographed illustrations have all considerable merit, that of _Joy_ excepted: the work is very well brought out, and proves the liberal views of the society.

* * * * *

PIANO FORTE.

1. ~Grand March~, composed by J. N. Hummel. (Cramer and Co.)

2. ~Second Fantaisie Elegante~, _sur des Motifs favoris de l’Opéra_ Fra Diavolo d’~Auber~, _par_ ~C. Czerny~. (Chappell.)

The first of these is one of those happy effusions of genius that rarely occur, combining originality, most agreeable effect, and that simplicity of construction as well as of notation, which places it within reach of every tolerable player. It is in ~B~ minor, and consists of but five pages.

* * * * *

No. 2 exhibits M. Czerny in a rational shape; he has here not only selected some of the best airs from the popular opera of Auber, but arranged them with taste, and in a manner that will exclude no ordinary performer from benefiting by his fantasia.

* * * * *

1. Terpsichore in Vienna, a ~Divertimento~ _for the Piano-Forte and Flute, composed by_ ~I. Moscheles~. (Chappell.)

2. ~Gems a la Pixis~, _the German Songs, sung by_ Mad. ~Pixis~, _composed and arranged by_ ~J. P. Pixis~. Op. 124. (Dean.)

No. 1 is, we conclude, made up of German dance tunes, well blended, and arranged in an easy familiar manner for both instruments, the flute part being almost necessary as an accompaniment, if not what is understood by the term _obbligato_. This is a gay, exhilarating bagatelle; but some few passages, particularly for the left hand, show that it is not intended for mere tyros; and it may, without any loss of caste to the parties, be introduced by performers of the first class.

* * * * *

No. 2 are the very pretty airs sung so often in public last season by Madlle. Pixis, and now very soberly arranged by the composer, making three remarkably pleasing divertimentos, not difficult, short, and sure to be admired by nearly every description of auditors. But the title is curious, considered as coming from the author himself. Few persons have the hardihood to speak of their own productions as ‘Gems;’ and that they are _in the manner of_, or _à la_, Pixis, cannot be denied, seeing that he composed them.

* * * * *

1. ~A First Pasticcio~, _consisting of an Introduction and Airs, arranged by_ ~T. A. Rawlings~. (Monro and May.)

2. A Second, do. do. do.

3. ~Introduction and Rondo~, on ~Bishop’s~ _Cavatina_, ‘Fear, ne’er assail me,’ _arranged by_ ~R. Andrews~. (Goulding and D’Almaine).

No. 1 is composed of Shield’s beautiful air, ‘The Streamlet,’ the march in _Mosé_, ‘Il ne sont plus,’ and the Cobourg Waltz; No. 2, of three Swiss airs. These are formed into very easy divertimentos, extremely well adapted for young players; to be occasionally mixed, however, with music of a better description than the Swiss and Cobourg productions.

* * * * *

We are not acquainted with the air of No. 3 in its original state, but it makes a good rondo, and Mr. Andrews’ share in this entitles him to some praise.

* * * * *

1. ~Grand Triumphal March~, _by_ ~J. D. Rohlffs~. Op. 1, No. 1. (Cramer and Co.)

2. Polonaise, do. do. do. Op. 1, No. 2.

3. ~Trois Bagatelles~, _composées par_ ~Henry Lemoine~. Nos. 1, 2, and 3. (Wessel and Co.)

No. 1 is clever, without showing much invention. His enharmonic modulation is bold and effective.

* * * * *

No. 2 has cost a good deal of labour without making at all a proportionate return.

* * * * *

The subjects of No. 3 are, the Gallope in _Faust_, a chansonnette of Plantada, and an air in the ‘Sybarites of Florence,’ short and easy, but not possessing much of an interesting kind.

* * * * *

DUETS, PIANO-FORTE.

1. ~Overture~ _to_ ~Rossini’s~ Semiramide, _arranged, with_ Flute, Violin, and Violoncello _accompaniments_ (ad lib.), _by_ ~W. Watts~. (Chappell.)

2. Les Jonquilles, ~Deux Rondeaux Mignons~, _composées par_ ~C. Czerny~. (Wessel and Co.)

3. ~Chorus of Peasants~, _with Introductory Movement, from_ ~Weber’s~ Euryanthe, _arranged by_ ~George Perry~. (Blackman.)

The overture to _Semiramide_, Rossini’s fine serious opera, is a most effective work in almost any shape, but as a duet, and with the accompaniments now added to the piano-forte part, it leaves nothing to wish, when performed in private rooms, where loud wind instruments are never heard to advantage, and a drum is unendurable. Mr. Watts’s arrangement is full, but not crowded, and he has given more than usual importance to his instrumental parts, which, however, are not difficult, but form highly valuable additions to the composition.

* * * * *

No. 2 are, ‘Papataci,’ the everlastingly-hacked, worn-out trio from _L’Italiana in Algeri_, and ‘Ah! se a me riede,’ from _Elisa e Claudio_, both extremely well converted into duets, the second part quite easy, the upper not so much so, but far from difficult, and both moderate in length and agreeable in effect.

* * * * *

No. 3 is a clear arrangement of a chorus very popular in Germany now, and which will be so here two or three years hence.

* * * * *

VOCAL.

1. ~Madrigal~, ‘Violets again are here,’ _for Five Voices, the words by_ Mrs. ~E. L. Emmerson~; _the Music composed by_ ~Lord Burghersh~. (Power.)

2. ~Madrigal~, ‘Troppo t’affidi,’ _as performed at the Gresham Commemoration, 1833, the words by_ ~Strozzi~ (_sixteenth century_); _composed by_ ~Lord Burghersh~. (J. A. Novello.)

3. ~Pastoral Glee~, ‘Sweet flowing river,’ _with accompaniments for Flute, Clarionet, and Bassoon, or Piano Forte, composed by_ ~C. Guynemer~. (J. A. Novello.)

From the time of the Prince of Venosa, who died in 1614, to the present year, not a single instance of a noble composer of madrigals was to be found, till Lord Burghersh produced No. 1 of the above, which was first heard at Mr. Sale’s concert in May last. The decidedly favourable manner in which madrigals were received last season, both at the Ancient and Vocal Concerts, most likely induced the noble Lord to turn his attention to this kind of music, and we are glad that it has found so able and influential a patron. No. 1, in ~B~ flat, carries with it internal evidence of having been wholly designed before any part of it was committed to paper; the unity, so well sustained from beginning to end, is an incontestable proof of this. Herein consists one of its greatest merits, while the melody which flows through it is not less to be admired. This is written in the true _stile madrigalesco_, a style distinguished by its free imitations and double counterpoint, and the effect of the whole is remarkably good; though to bring it fairly out the singers must be on the alert, and give their earnest attention to the unexpected transitions that occur. While we state how much this has pleased us, we must confess that there are one or two points in which we differ from the composer. Had, for instance, the diminished 7th (page 10, bar 7) been resolved, we should have been better satisfied; and wish that the piano-forte accompaniment (which should only be used when singers require support) had continued with the voices throughout, instead of being raised an octave above them in the latter part of the composition.

* * * * *

No. 2 will please the most uncultivated hearers by the beauty of its melody, and connoisseurs will discover that it possesses also other claims to notice, founded on what is not so obvious to the uninitiated in such compositions. The same consistency is observable in this as in the preceding; the subjects all stand in a certain traceable relationship to each other, and lead us to suppose that the whole was struck off at a heat. This is an original work, and not less pleasing than new. The ease and sweetness of the air will, of course, be most generally noticed, but those who are alive to the charms of harmony may find enough here to engage their attention very agreeably. In a word, there are no commonplaces either in this or the former; both bear the uncounterfeited stamp of true genius,--by which we mean, the union of invention and taste.

* * * * *

No. 3 is a pastoral _quartet_, andantino, in six-eight time, the words are set with judgment, the melody is flowing and happily imagined, the inner parts are well written, and the whole produces that agreeable, tranquillizing effect which, we conclude, was the main object of the composer.

* * * * *

1. ~Recit.~ _and_ ~Air~, ‘Ah! che i giorni,’ _from_ ~Spohr’s~ _Opera_, Der Alchymist, _translated from the German by_ ~Edward Taylor~. (Cramer and Co.)

2. ~Three German Songs~, _with English and German words, composed by_ ~J. P. Pixis~. (Dean.)

3. ~Arietta~, _in_ ~Donizetti’s~ _opera_, Anna Bolena, _with graces and embellishments by_ ~Signor Rubini~. (Willis and Co.)

No. 1 is a deeply expressive air in ~A~ flat, with an accompaniment abounding in those riches of harmony which Spohr possesses in his ample stores. This was sung by Mrs. Wood at a Philharmonic concert, Mr. E. Taylor having very cleverly converted the German into Italian for the occasion. It may be thought a bold thing to differ from the author respecting the movement of his air, but it seems to us that in using the words ‘_Allegro Vivace_,’--(we say nothing about the literal meaning and tautology)--he either mistakes their power, or directs a much greater degree of quickness than is favourable to good effect. That time understood by the term _allegretto_, appears to us to be best suited to both words and music. But, to say the truth, most of the Italian words used in music are very barbarously perverted.

* * * * *

M. Pixis’ three songs, though imitations of Swiss airs, are the most pleasing things that we have seen from his pen for a long time past. They were sung by Madlle. Pixis, at the Queen’s palace this spring, and pleased much.

These are for a mezzo-soprano, and though not very difficult, require much flexibility of voice, as well as some skill to do them justice. The airs are varied to the second and third stanzas, and the singer is there called upon to exert herself. The English words are well adapted to the melodies.

* * * * *

No. 3 is not distinguishable from at least a hundred airs of the same kind that have been heard on the Italian stage within the last fifteen years. Signor Rubini’s ‘Graces and Embellishments’ amount to little beyond a turn or two, written at length; and we are thankful to him for adding no more: if he had inserted only half that he sings, we never could have got through one quarter of this arietta.

* * * * *

1. ~Duet~, Content, _written and composed by_ ~M. Virtue~. (Goulding and D’Almaine.)

2. ~Ballad~, ‘She ne’er forgot him,’ _the words and music by_ G. M. (Willis and Co.)

3. ~Canzonet~, ‘Adieu! my native shore;’ _the words by_ ~Lord Byron~; _composed by_ ~John Lodge~, Esq. (Chappell.)

4. ~Ballad~, ‘Oh! do not say farewell,’ _composed and published as the preceding_.

5. ~Song.~, ‘I’m just eighteen, and quite a man;’ _the poetry by_ ~T. H. Bayly~, Esq.; _the Music by_ ~G. Linley~, Esq. (Chappell.)

6. ~Song~, ‘The wave of the ocean,’ _composed by_ Dr. ~John Smith~. (Willis and Co.)

7. ~Air~, ‘Peaceful night,’ _composed by_ ~Henry R. Bishop~. (Chappell.)

8. ~Song~, ‘Oh! music, what magic thy melody brings,’ _the poetry by_ ~R. Folkestone Williams~, Esq.; _the music by_ ~Henry Smart~. (Chappell.)

9. ~Ballad~, ‘Lady mine,’ _composed by_ ~William Forde~. (Cocks and Co.)

10. ~Song~, ‘The honey-bird and the woodpecker,’ _set to music by_ ~M. E. Williment~. (Boosey and Co.)

11. ~Cantata~, ‘Medora,’ _composed by_ ~Charles Goodban~. (Dean.)

12. ~Song~, ‘The Zephyr,’ _composed by_ ~C. L. Wrenshall~. (Dean.)

No. 1 is a very humble attempt at composition.

* * * * *

No. 2--which we rather think is by a fair amateur--is in the Scottish style, simple, tender and pleasing.

* * * * *

No. 3 is a charming melody, well accompanied. Perhaps the music is a little too tranquil for words which speak such ill-suppressed agony of feeling.

* * * * *

No. 4 displays more elegance of taste than originality; but the poetry is most correctly set, and the ballad being popularly composed, will soon make its way.

* * * * *

No. 5 is the soliloquy of a very youthful dandy, the words entertaining, and the music not inappropriate.

* * * * *

No. 6 is not less pleasing for being in the neglected rondo style. The melody is good, and the words correctly set, both as regards meaning and accent.

* * * * *

No. 7 has cost the composer some labour, we fear in vain, for it is not calculated to become very popular; nevertheless, the hand of a musician is conspicuous in every part of it.

* * * * *

No. 8 is a clever song, and the air has some novelty in it, therefore a rarity. The accompaniment is full, and may alarm those who are apt to take fright at double sharps; but it is ably composed. The poet’s notion, that music is ‘the wine of the soul,’ is to us new: we know by sad experience that it often operates as a narcotic, when not so noisy as Bellini’s _Norma_.

* * * * *

No. 9 is respectable, but certainly boasts not a new thought; except, indeed, the introduction of a solitary bar of nine quavers, which had better have been omitted.

* * * * *

No. 10 is a sly attack on the slave system. If the arguments against it had always been as feeble as the music of this song, real emancipation would have even a poorer chance than it now has, when a trifle of twenty millions is devoted to its accomplishment.

* * * * *

In No. 11 is a great deal more than we fear will be properly appreciated. The composer will gain reputation by his _canzonet_--(_a cantata_ implies recitative) but no profit.

* * * * *

No. 12 is pretty, but like a thousand other songs. Why such a runaway ritornel? Is it an imitation of the West wind?

HARP.

1. ~The Bard~, _a fourth_ Sérénade du Troubadour, _with_ ad lib. _accompaniments for Piano-forte, Flute, and Violoncello, composed by_ ~F. C. Meyer~. Op. 54. (Chappell.)

2. ~A Third Scottish Gem~, _arranged with Variations, by_ ~T. H. Wright~. (Chappell.)

The first of the above is in three short movements, besides a few introductory arpeggios. A certain gracefulness characterizes this, rather than originality or energy. It is, however, skilfully adapted to harp-players, who, generally speaking, are not very desirous of combating difficulties; and they have reason on their side, so far as relates to those of execution; but difficulty arising from novelty, from unexpected cadences and combinations, is of a totally different kind, and ought to be encouraged whenever met with; which is but seldom, we must allow.

* * * * *

No. 2 is a very lovely air, and, though Scotch, quite unknown to us, to which are added four variations of the usual kind. An easy prelude in a few arpeggioed chords, in fact, introduces the air; the whole filling six pages only.

HARP AND PIANO-FORTE.

The favourite ~Airs~ _in the Ballet-Opera of_ La Bayadère, _arranged by_ ~T. Labarre~. Op. 48. (Chappell.)

We have here the march in ~F~, with the airs, ‘Ainsi pour me sauver la vie,’ and ‘Sois ma Bayadère,’ combined into a Fantaisie. Neither of the parts is difficult, but the greatest responsibility is thrown on that of the piano-forte, which indeed is just, for this instrument possesses far more capability than the other. M. Labarre has made a very pleasant piece out of these airs, and will do well to select a few more for a similar purpose.

VIOLIN.

~Thema~, _with_ ~Variations~, _with an accompaniment for the Piano-forte, composed by_ ~Henry G. Blagrove~, _Violinist to_ ~Her Majesty~. (Boosey and Co.)

This consists of an introduction and an air in ~E~, with five variations. The air is delicate and pleasing; the variations are of the bravura kind for the violin, the piano-forte part being, as stated, a mere accompaniment. We find no room here for censure, and should not be justified in saying any great deal in the shape of praise.

VIOLONCELLO AND PIANO-FORTE.

1. ~Classical Selections~ _from eminent Authors, arranged as_ ~Duets~, _by_ ~F. W. Crouch~. No. 1. (Chappell.)

2. Ditto. No. 2. Ditto.

Mr. Crouch has selected for No. 1 an andante, and a romance with three variations, by Bideau; a romance by Bochsa and Duport; an allegro by Bernard Romberg; and an air, andante, by Weber. No. 2 contains an andante by Romberg; an air, with six variations, by Dotzauer; a rondoletto by Beezwarzowsky, the latter preceded by an adagio; and an allegretto by Weigl. Most of these are compositions of decided merit, those of Romberg especially so. In point of difficulty they preserve a just medium, but require performers possessing taste for both instruments. In the violoncello part the arranger uses only the base and treble clefs, which proves his good sense. He need not fear the anathemas of the sticklers for ancient practices; such folks are daily diminishing in number.

GUITAR AND PIANO-FORTE.

‘Jadis régnait en Normandie,’ _from_ ~Meyerbeer’s~ Robert, _arranged as a Duet by_ ~M. Neuland~. Op. 13. (Chappell.)

Duets for these instruments are getting more and more into use, and M. Neuland is well qualified to make arrangements of this kind, as the present shows, which is a very excellent adaptation of the original, clever, and popular air in an opera which will be better understood in England a few years hence than it has yet been.

EXTRACTS FROM THE DIARY OF A DILETTANTE.

[Concluded from page 178.]

_July 15th._ I broke off with some calculations, and a remark of Mr. Madden, in his _Infirmities of Genius_, &c., concerning the longevity of musicians. I now extract what he says of the temperament and disposition of the same class of artists, though I do not agree with him either in his premises or conclusions.--‘Music,’ says Mr. M., ‘is to sensibility what language is to poetry--the mode of expressing enthusiastic sentiments and exciting agreeable sensations. The more imagination a composer is able to put into his music the more powerfully he appeals to the feelings. Sensibility is the soul of music, and pathos its most powerful attribute.

‘Pythagoras imagined that music was the soul of life itself, or that harmony was the sum total of the faculties, and the necessary result of the concert of these faculties and of the bodily functions.

‘Musical composition, then, demands extraordinary sensibility, an enthusiastic imagination, an instinctive taste rather than deep thought. The same qualities differently directed make the poet. Is it, then, to be wondered at that we should find the poets and the musical composers considerably shorter lived than the followers of all other learned or scientific pursuits, whose sensibility is not exercised by their studies, whose imaginations are not wearied by excessive application and enthusiasm. The term “_genus irritabile_” deserves to be transferred from the poetical to the musical tribe; for we take it that an enraged musician is a much more common spectacle than an irritated bard, and infinitely more rabid in his choler.

‘Generally speaking, musicians are the most intolerant of men to one another,--the most captious,--the best humoured when flattered, and the worst tempered at all other times. Music, like laudanum, appears to soothe the senses when used in moderation, but the continual employment of either flurries and excites the faculties, and often renders the best-natured men in the world, petulant, irritable, and violent.’

Of the short-lived composers, Cimarosa died of corpulency, no indication of an irritable state of mind; Lully, from an accident; Mozart was weakly from his birth; Pergolesi lost his life in consequence of a hemorrhage; Purcell, it is to be feared, from imprudent indulgencies in conviviality; and Weber, from hereditary consumption. Surely there is as much wear and tear of the body from excited imagination in poets and painters as in musicians; but the two former do not live so much in society, have not to breathe the foul air of theatres, to bear heated rooms; and, generally speaking, they are more cautious. As to the comparative professional jealousy of painters and musicians, the former themselves admit their possession of it in the greatest abundance. And with regard to temper, Mr. Madden must have founded his calculations on some two or three unhappy instances: had he drawn his inference from any general experience, it would have been widely different. Poets and painters have commonly more cultivated minds than musicians, and these may enable them better to control their emotions; thus what is suppressed is by an easy mistake supposed not to exist.

* * * * *

_20th._ The musical profession has lost a clever and highly respectable member in Mr. Philip Knapton, of York, who died in June last, at an early age. He was author of several popular compositions, both vocal and instrumental: among the former, the songs, ‘There be none of beauty’s daughters,’ and ‘When we two parted,’ will long prevent his name from being forgotten by those who were unacquainted with his personal merits.

* * * * *

_26th._ All who are interested in German literature have by this time read the _Characteristics of Goethe_, either in the original, or as admirably translated by Mrs. Austin; but many who have no leisure or no inclination to look into publications of the kind, are anxious to be acquainted with whatever relates to their own professional or favourite pursuit: hence admirers of music will be pleased to meet with the following notices concerning Zelter, who was not long since made known to this country by a memoir of him, and an air, published in the _Harmonicon_.

The intimacy of Zelter with Goethe was of the closest kind, as will appear from the following extract of a letter to Mrs. Austin from Prince Pückler-Muskau, dated June 25th, 1832. He says, ‘The celebrated composer Zelter, one of Goethe’s most intimate friends, has died at Berlin, literally of Goethe’s death. They wrote to each other regularly every week (the correspondence will soon be published). Zelter was in perfect health. But the first Saturday (the day on which he used to receive his letters) after Goethe’s death, he became dejected and silent: the second found him ill; and on the third, death softly led him to rejoin his immortal friend.’

The great poet mentions his early acquaintance with his friend,--who was divided between that which was then his profession, and that which he wished it to be--in the following energetic language:--‘With Zelter, too, my connexion became nearer; during his fortnight’s visit we had mutually become much more intimate, in both an artistical and moral sense. He found himself in a strange dilemma between a business[88] which he had inherited, exercised from youth up, and mastered, and which secured to him a maintenance, and an innate, powerful, resistless passion for art, which unfolded the whole riches of the world of sound out of his own soul,--carrying on the one, carried along by the other,--possessing in the one an acquired dexterity, in the other striving after a dexterity yet to be acquired: he stood not, like Hercules, on the boundary between what was to be embraced and what to be shunned; but he was drawn hither and thither by two muses equally worthy of his homage; one of whom had already possession of him, the other wished to win him to herself. With his honest, sturdy, citizen-like earnestness, he was as much impressed with the necessity of moral culture as that is akin to, nay, embodied with, æsthetic--and the existence of perfection in the one, and not in the other, is not to be thought of.’--(_Tag-und-Jahres Hefte_, 1803.)

The correspondence of these two friends, which it is supposed will occupy many volumes, is preparing for the press, and anxiously expected by the lovers of genius, who, in Germany, may be said to include nearly all the adult population.

* * * * *

_August 5th._ In a work just published, under the title of--‘Exposition of the False Medium excluding Men of Genius from the Public,’ is a direct charge against the musical manager of a theatre, which, if not met by a contradiction, will certainly be believed, and not much to the glory of the party concerned. If true, the only apology to be offered is, that this is the true country of Mammon; nowhere is pelf so eagerly grasped at; notwithstanding which, nowhere are so ostentatiously displayed the outward signs of a religion which makes the contempt of riches, or in fact downright poverty, the condition on which future happiness is to depend.

* * * * *

_6th._ Three more delightful volumes of Horace Walpole’s letters, addressed nearly a century ago to Sir Horace Mann, have just been published by Lord Dover, who only lived to see the work out!

The noble author, in a letter dated October 8th, 1741, thus mentions an inclination in the public of that period to put down the Italian opera. It is curious to remark the time of its opening. In those days people went into the country in the spring, and returned to town in the autumn. What Hottentots!

‘The Opera begins,’ he tells his friend, ‘the day after the King’s birth-day. The directors have already laid out great sums. They talk of a mob to silence the operas, as they did the French players, which will be more difficult; for here half the young noblemen in town are engaged, and they will not be so easily persuaded to humour the taste of the mobility: in short, they have already retained several eminent lawyers from the Bear Garden (boxers) to plead their defence.’ In a letter dated May 24th, 1743, he thus speaks of Handel’s first oratorio.--‘Handel has set up an oratorio against the operas, and succeeds. He has hired all the goddesses from farces, and the singers of _Roast Beef_ from between the acts at both theatres, with a man with one note in his voice, and a girl without ever a one; and so they sing, and make brave hallelujahs; and the good company encore the recitative (!) if it happens to have any cadence like what they call a tune.’ The song alluded to is ‘The Roast Beef of Old England,’ which the galleries used always to call for between the acts. As to recitatives having ‘any cadence like what they call a tune,’ I must confess that I do not understand what is meant: unless, which is possible, the satirical writer means to insinuate that the public of his day could not distinguish between recitative and air.

In another letter of the same year, he writes,--

‘We are next Tuesday to have the _Miserere_ of Rome. It must be curious! the finest piece of vocal music in the world to be performed by three good voices, and forty bad ones, from Oxford, Canterbury, and the farces!’ From this it appears that the chorus singers of his day were brought from the country choirs to London; the metropolis, even with the assistance of the chorus from the theatre, (the ‘_farces_’) could not furnish forty voices!

In March, 1746, Horace Walpole thus speaks of the Italian opera, and of Gluck, the celebrated composer:--

‘The opera flourishes more than in any latter years; the composer is Gluck, a German; he is to have a benefit, at which he is to play on a set of drinking-glasses, which he modulates with water. I think I have heard you speak of having seen some such thing.’

The Chevalier Gluck exhibiting on the musical glasses! There must be a mistake in this; some other person, surely, was engaged by the great composer for this purpose.

But a few months later in the same year, the same writer is in another story. The anecdote is curious for half a dozen reasons:--

‘Lord Middlesex[89] took the opportunity of a rivalship between his own mistress, the Nardi, and the Violetta, (a German, afterwards Mrs. Garrick,) the finest and most admired dancer in the world, to involve the whole menage of the opera in the quarrel, and has paid nobody; but like a true lord of the treasury, has shut up his own exchequer. The principal man-dancer was arrested for debt; to the composer his lordship gave a bad note, not payable in two years, besides amercing him entirely three hundred pounds, on pretence of his siding with the Violetta.’

* * * * *

_9th._ The annexed advertisement--for such it undoubtedly is--appears in the _Morning Post_ of to-day. This paper would never have inserted it unless paid for, I am convinced:--

‘Bochsa, with Mr. and Mrs. R. Bishop, Phillips, and Mori, is going in a few days to Leamington and Malvern, and to the Isle of Wight, to give some concerts, under the patronage of their Royal Highnesses the Duchess of Kent and the Princess Victoria. The success which that distinguished harpist met with last season in the provinces, while exhibiting his new harp effects, has perhaps induced him to try the experiment again.’

Mr. and Mrs. Bishop, Mr. H. Phillips, and Mr. Mori, must feel highly dignified, and equally gratified, at being thus announced as the train of M. Bochsa,--as his _tail_!--to use a term applied, rather vulgarly, to a small parliamentary party; and the Duchess of Kent and Princess Victoria will not, I should suppose, be very well pleased at such use being made of their names.

* * * * *

_11th._ In the _Observer_ of this date is the following paragraph:--

‘It has been a mystery to many how Laporte has been able, under such accumulating losses, to carry on his season to its present termination, by which the subscribers, if we mistake not, are losers by several nights. It seems now generally admitted that he has paid scarcely anybody in full--that he has disbursed as far as his means by subscription and the takings at the doors went, and that his performers, giving him credit for good intentions, as well as for a large sum of money, have agreed to take bills at long dates, to be paid (if he can) out of the receipts of next season. This arrangement presumes that Laporte will continue his speculations at the King’s Theatre next season, which, we have some reason to know, may be questionable.’

I doubt the reality of M. Laporte’s _great_ losses, though the losses of the subscribers, in almost every way, admit of no doubt.

* * * * *

_18th._ The Sunday evening performances of _entirely sacred music_ at the Apollonicon Rooms in St. Martin’s Lane, have been stopped, by order of the Bishop of London, on the plea of money being taken for admission. Does not the poor curate serve two or three churches on a Sunday for money?--do not many public singers exercise their callings in various churches on a Sunday for profit?--In fact, do not the whole of the clergy labour more or less on that day with a view to gain? And is it not better that people should listen to sacred music on a Sabbath evening, after every place of worship is closed, than be compelled to wander about the streets for amusement, or be driven into places where drinking is a necessary condition of their admittance? Surely our bishops, some of them at least, have not read the History of Puritanism, or else they have read unprofitably. Do they not know that should ‘over-righteousness’ once more gain the ascendancy in this country, episcopacy would be the earliest of its victims?

* * * * *

_25th._ It appears from the _Spectator_ of this day, that _The Deluge_, an oratorio composed by F. Schneider, was rehearsed on the 19th at the Hanover-square Rooms, preparatory to its performance at the ensuing festival at Norwich. The writer of the notice, a good critic, says, it ‘more than realizes our anticipations of its excellence: it combines the choral grandeur of the school of Bach and Handel with the instrumental richness of Haydn. _The Deluge_ is a subject which affords an ample field for musical expression, and admits of every variety of vocal and instrumental combination. The parts which particularly struck us were,--a double chorus in ~E~ flat; a song, in which the instruments describe the rushing and roaring of the waters; a chorus in ~C~, terminating with a fugue on two subjects; a terzetto in ~A~; and the concluding chorus.’

Compositions of this class, when really excellent, ought to be the grand, nay almost the only, object of all musical festivals, considering the great vocal and instrumental force now usually assembled on such occasions; and they would actually cost less to perform than a train of vapid Italian airs of the living school--of the school of Mercadante, Bellini, &c., which, if they must be heard, would succeed much better--that is, would produce less intolerable effect, accompanied by a piano-forte, violoncello, flute, and horn, than by the finest band that can be assembled. The power of the orchestra, like the physical strength of a mob, only increases the evil when badly employed.

FOREIGN MUSICAL REPORT.

VIENNA.

Our winter season was abundantly rich in concerts. Bernhard Romberg, the king of violoncellists, introduced himself to the public in the _Hof-Operntheater_, with two concertinos, a fantasia on Norwegian mountain airs, and a humorous melodic tableau, under the title of the _Masked Ball_, consisting of the following subdivisions. A. Introduction. B. Inclination for a dance. Tuning. Beginning of the dance. C. Dispute among the dancers. Peace and good order are enjoined. Tender endeavours at reconciliation. D. Music in the supper-room. E. Short interruption. Promenade in the _Seufzer-Allee_, ‘Avenue of Sighs.’ F. Crowding to the ball-room. Galoppade. Merry conclusion. Even those who are not particularly fond of the picturesque in music, could not help being pleased with the characteristic conception of the individual component parts of this medley, their ingenious combination into a consistent whole, and lastly, with the high skill and unique talent displayed by the master; for Romberg, although advanced in years, still continues to be the same great artist as hitherto, his instrument sings as sweetly as before, he playfully dallies with the most deterring difficulties, and will probably remain unexcelled for a long time to come. Mr. M. Schmidt, trombone player to the Electoral Chapel of Hesse Cassel, has visited us for the second time, on his return from Italy, and excited not only renewed admiration by his own performance, but also by the talents of a son, who fully promises to equal his father. Mr. Joachim Hoffman has brought out a new symphony of his composition, with which the theorist will scarcely be able to find fault; but the spirit of the present day demands imagination and inventive power, and is not satisfied with a mere learned combination of cold, dry, scholastic phrases.

The concerts of Messrs. Lewy, Krähmer and his lady, and of Miss Salamon, were very well attended; the first-named gentleman displayed his whole skill in a divertimento with the piano, by Thalberg; in a concerted duet between bassoon and piano; and also in a vocal piece, sung by Madlle. Heinefetter, accompanied by the same instruments. This mode of accompaniment with the tinkling of a piano, and a little horn, violoncello, or bassoon ‘sauce,’ which is gaining daily more ground in all Musical Academies--these pretty sort of instrumental duos and trios, however pleasant in a room, begin to be vastly tiresome and sickening in concerts. Mr. Krähmer and his lady played a concertante for the oboe and clarinet, with great taste, also solo variations on the czakan. Madame K. also played a violin rondo of Kreutzer, with a masculine power of bow, and the most vigorous precision; and in Beethoven’s Adelaide, which she gave on the clarinet with the greatest tenderness and feeling, we missed nothing but the text of the poem. A Polish family of artists, of the name of Kontsky, consisting of five branches, has created a great sensation here. Eugenie is a pleasing, cultivated singer. Anton, a pupil of Field, is a fine pianist, and instructor of his younger brother Stanislaus, who is only ten years old; Carl, who wields the violin with the hand of a master, is again the teacher of his younger brother Apollinar, who, although but seven years old, already creates surprise by his performance.

The _Tonkünstler Societät_ (Society of Musicians) has brought out a new oratorio entitled _Jephtha’s Gelubde_, (The Vow of Jephtha,) composed by the court organist Assmayr. The poem is somewhat homely, but the composer has done all that could reasonably be expected, and has shown himself particularly conversant with the fugue style. The individuals of the orchestra and chorus establishments of the _Kärnthnerthortheater_ have opened series of four subscription concerts, under the title of the _Künstler Verein_ (union of artists). Among a variety of classic works of Beethoven, Mozart, C. M. von Weber, Cherubini, &c., some compositions of Mr. Lachner, their director, consisting of a symphony, a duet from his Cantata, ‘The four ages of mankind,’ together with some other works of his, were received with high approbation.

Although Vienna may justly boast of excellence in musical performances at all times, all parties nevertheless concur in opinion, that these performances excelled all previous ones, and that a composer may consider himself fortunate, if his works are seized with such deep feeling, and executed with such zeal, and a union of such masterly skill. The two movements from Beethoven’s last Mass, hitherto unknown to the public, appeared somewhat strange in their effect. The violin solo in this Mass, played by Mayseder with a rich bell-like tone, yet unembellished, raised expectations which were not realized: no one ventured an expression of censure, all was silent. This indeed was the most prudent course; and a critical judge observed very properly, ‘We hear all that this immortal master produced in the latest period of his active career, without being able to understand and relish his novel conceptions, because we have not yet arrived at the point of view from which the work is to be surveyed and judged of. We hear it for a second time, and individual passages begin to become luminous and clear; we hear it frequently, and then only we are struck with admiration and astonishment. Beethoven has made giant strides in advance of all of us: he will be better understood by a succeeding generation.’

The _Concerts Spirituels_ were also of first-rate excellence. It would be superfluous to notice the numerous classic compositions of Mozart, Cherubini, Beethoven, C. M. von Weber, Vogler, and other great masters, which constituted the rich bills of fare; but a new _Te Deum laudamus_, by Tomascheck, must not be passed over in silence, although its merit can only be critically judged of when it shall have been published; it is grand and original, like every thing else produced by this great master.--Our Dance-Orpheus, Strauss, has lately launched a new set of waltzes, for the christening of which the whole of the Vienna public were invited to stand godfathers and godmothers. These waltzes were to be produced for the first time for his own benefit. Every visitor, on paying for his admission, had the privilege of giving in any title which he might like best. At the awful hour of midnight lots were drawn for the title to be adopted, and chance decreed it to be _Tausend Sapperments Walzer_[90], under which name the new-born child has already begun its terrestrial career.

BERLIN.

The month of May, which was here unusually warm, presented many interesting musical occurrences. The first of these was the performance of Haydn’s ever beautiful oratorio ‘The Seasons,’ produced by our general director of music, Spontini, on the boards of the Royal Opera Theatre, with the assistance of the whole of the solo and chorus singers of that establishment, and of the whole Royal Chapel, for the benefit of the charitable musical institution bearing his name. The performance was grand and effective in the extreme, though here and there some of the _Tempi_ were rather hurried; a crowded audience expressed their delight at the masterly manner in which this classical composition was executed.

The Royal Opera distinguished itself by the excellent performance of _Ferdinand Cortez_, _Castle Candra_, _The Vestal Virgin_, _Alcidor_, and a new opera entitled _Hans Heiling_; the text by Edward Devrient, the singer, and the music by Henry Marschner, Kapell Meister, who attended in person. The success of this opera was not brilliant, but certainly honourable to the composer: its value, however, stands higher in our estimation than in that of the generality of the public; the reason is, it requires in many parts a serious, deep power of conception on the part of the audience; it takes for granted a sense, and a degree of cultivation for what is noble, which the major part of the theatrical public does not possess, which expects, for the most part, to be amused with senseless vulgarity, or, as is the case with Spontini’s newest operas, to be excited by tasteless splendour and noise. Marschner’s opera is calculated for a more civilized audience, and, by the few that belong to that class, its merit is fully acknowledged.

The music is varied in point of invention, highly intellectual in faithfully expressing the import of the poetry, and admirably instrumentalised. The poem contains many situations eminently susceptible of musical expression, some borrowed from the awful realms of the romantic, others taken from the more cheerful domain of pleasure and joviality; and in both respects, the composer has satisfied the expectation of the judicious critic.

In the _Vestale_, Mademoiselle Stephan, whose vocal talent develops itself more and more, and who, in the short space of six months, has made a very marked progress in scientific cultivation, sang very successfully the part of Julia, in which she had the advantage of Spontini’s own instruction; although, in a dramatic point of view, greater freedom of action might have been desirable. This defect, however, will no doubt be removed by further practice and experience. The whole representation of this excellent opera was masterly, and had the most powerful effect on the audience. Mlle. Lehman, as High-priestess, Messrs. Bader and Devrient, as Licinius and Cinna, as also the choruses, ballet, and orchestra, under the spirited conduct of the composer, contributed essentially to this result.

Concerts we also had in abundance. In one of these, given for the benefit of the _Friederich Stift_, (Frederick’s Institution,) the two singers, Demlles. Carl and Hoffman, appeared for the first time in public since their return to their native country. Demlle. Carl, whose fame had more particularly reached us from Turin and Madrid, evinced great progress in the cultivation of a good Italian vocal method. Her sonorous voice is flexible, and particularly pleasing in the _mezza voce_ of the higher notes, which she intonates with the greatest precision and purity. Her style of execution is particularly calculated for the compositions of Nicolini, Rossini, and Pacini, but would gain considerably by a more intense degree of feeling and expression. Demlle. Hoffman had less opportunity of displaying to advantage her _mezzo soprano_ voice in a duetto buffo than in an aria of Donizetti: upon the whole, however, it seemed as if this vocalist, who in her style and action has adopted the lively character of the southern inhabitants of Europe, had paid leas attention to the display of her beautiful lower notes, and, on the other hand, had devoted more care and study to the developement of her higher scale. A decisive judgment, however, upon the merits of these two singers can probably only be formed after we shall have seen them on the boards in their respective dramatic walks.

On the 15th May, the anniversary of Zelter’s death, forty members of the Singing Academy, which he directed for so many years with unexampled zeal and success, sang over his grave, at six o’clock in the morning, two sacred hymns, _Wen hab ich sonst, als dich allein_, (Whom have I else but thee alone,) and _Wie herrlich ist die neue Welt_, (How beautiful is the new world,) by way of testifying their respect for his memory; on which occasion the pillars of the iron railing around his tomb were tastefully decorated with garlands of fresh flowers.

Madame _Caradori Allan_ gave a concert in the saloon of the playhouse. ‘This singer’ (a Berlin critic states) ‘does not possess a very strong voice, but it is uncommonly clear, vibrating, and silvery, if we may use the expression, and has received a high degree of cultivation. Madame Caradori’s style is that of the purest modern school, exempt from its faults: she executed all passages gracefully, and with taste; and in individual perfections, such as trills, divisions, &c. she has attained a degree of excellence which few singers before her could boast of. These qualifications, united to a graceful exterior, totally free from the _coquettrie précieuse_ of most female singers of repute, gained this artist the applause of the public in an extraordinary degree.’

In the same concert played Mademoiselle Josephine Eder, from Vienna, a young pianist of great talent and skill.

Madame Schechner Waagen, whose absence we had to regret during the space of four years, reappeared on our boards in Gluck’s _Iphigenia_. Her voice does not possess the power it had six years ago, but it is quite the same as we found it in 1829, when a particular change took place in its quality, and it gained in gracefulness what it lost in point of strength. This lady has since made her appearance in the part of Fidelio: the effect, particularly in the second act, was truly overwhelming.

It is a long time since we have seen an audience wrapt in such enthusiasm.

PRAGUE.

In Demlle. Josephine Eder, a young pianist from Vienna, whose concert was attended by a numerous and highly respectable audience, we found a youthful talent of superior order; and we have every reason to confirm the report which had preceded her, as regards the brilliant hopes for the future, which the high degree of her present cultivation is fully calculated to justify.

Demlle. Eder played a pianoforte concerto by Thalberg; and at the conclusion of the concert, variations by Franz Stadler upon a theme from the opera _Die Braut_, (_La Fiancée_,) and showed nut only a great sureness in conquering difficult passages, which however were not too frequent in either of these compositions, but still more an ease, mellowness, precision, and expression, united to pure feeling and refined taste, which even now entitle her to a distinguished place among competitors of a more advanced age. The fact of this young lady’s coming from Vienna might almost have been inferred, by her selecting the overture from _Fidelio_, by Beethoven.

With us Auber, Bellini, and Lindpainter, are now the order of the day. Bernhard Romberg has again visited us, and furnished to our musical public three very agreeable evenings by his unequalled skill; a circumstance the more welcome, as our Opera, in consequence of the indisposition of Mde. Podhorsky and Mr. Drake, is in a state of utter depression, and reduced to the representation of the most miserable farces and trash.

Mr. Romberg played in his first concert a concertino for the violoncello in ~G~ minor, written in his usual pleasant and cheerful style; and at the conclusion, the _Masked Ball_, a humorous piece for the violoncello. In his second concert Mr. Romberg again treated us with a couple of his newest compositions, viz. a second new concertino; and at the close of the evening a fantasia upon Norwegian rural national airs, which, however attractive, do not equal his Polish and Swedish national melodies.

BRESLAU.

Our music-director, Mr. Mosevins, whose influence on the taste of the public, and especially of the singers of our city, is universally and gratefully acknowledged, has gained a fresh claim on our thanks by the production of Handel’s oratorio of _Samson_, on the eve of Palm Sunday, in which the vocal solo pieces, as well as the choruses, were chiefly performed by amateurs; the execution showed a careful and zealous rehearsal, and was received with universal satisfaction. In the Passion week we had abundance of musical performances. On Ash Wednesday, Graun’s _Versöhnungslerden Christi_, (the Redeeming Sufferings of Christ,) under the direction of Mr. Siegert; on Holy Thursday, Haydn’s _Creation_; on Good Friday, Graun’s _Tod Jesu_ (the Death of Jesus); all these performances, however, were more or less deteriorated by the prevailing epidemic, the influenza. A variety of _obligato_ cough accompaniments between the songs were, alas! too prevalent. Of our theatre we have but little to report. Herold’s _Zampa_ was received with approbation. Meyerbeer’s _Robert the Devil_ did not meet with success. Madame Piehl is, since the departure of Demlle. Wüst, our first and last singer. In the Autumn the meeting of natural philosophers to be held here is to derive additional interest by a musical festival, at which Handel’s _Jephtha_, and several vocal compositions of Spohr, Mozart, Hesse, and other eminent masters, are to be produced.

BREMEN.

We have the pleasing task of reporting upon the performances of Demlle. Henriette Grabau, who, together with her brother Mr. A. Grabau, and Mr. Ullrich, (both members of the Leipzig orchestra,) delighted our musical public with two concerts. This lady’s voice has gained greatly in sureness and volume; her execution is pure and finished; she unites the Italian florid style to solid German song, so that she may be justly pronounced a classic vocalist. Mr. A. Grabau, as violoncellist, has also earned considerable applause; his endeavours to attain still higher perfection in his art will not fail to be crowned with success, for he possesses every qualification to arrive at first-rate eminence; he has a fine melodious tone, great versatility and strength of bow, and a true feeling and inspiration for the beautiful. A similar judgment may be passed on the violinist Mr. Ullrich, whose playing met with deserved approbation, and warrants the highest hopes for the future.

In conclusion, we have to mention a composition of our worthy Mr. Riem, performed by our Vocal Academy, at a country trip, which takes place every year in the fine season. It celebrates the charms of the month of May; and consists of eight parts with two quartet solo voices, so skilfully interlaced, so sweet, cheerful, and lively, that it would be impossible to imagine anything more attractive for such an occasion. It is a true lovely picture of delightful May, and excited universal interest.

KARLSRUHE.

The Musik Verein (Musical Union), established about 1820, for the performance of sacred compositions, continues in a state of flourishing activity. Only the more ancient Italian and German compositions for the church are performed;--no operas. Among the former the pious labours of Palestrina, Durante, Bach, Handel, and Feska, are particularly attended to.

PARIS.

_Don Giovanni_ is about to be represented at the _Académie Royale de Musique_ with all the theatrical pomp end excellence of execution which are habitual to this theatre. Mad. Damoreau is to be the _Zerlina_, Madlle. Dorus _Donna Anna_, and Madlle. Falcon _Donna Elvira_; Nourrit represents _Don Giovanni_, Alexis Dupont _Ottavio_, Levasseur, _Leporello_, and Dabadie _Mazetto_.

[We are assured that the artistes who have just finished their engagements at the King’s Theatre, London, are thoroughly discouraged, and that few of them feel disposed to return another year to the capital of England. They complain of the deceptions which have for four or five years been practised on them. But these deceptions have not surprised us, for it is long since that we predicted what has at length happened. _Revue Musicale._]

THE DRAMA.

~King’s Theatre.~

This theatre closed on Saturday the 10th of last month, with Paer’s _Agnese_, his finest work, in which the principal part, _Uberto_, was most ably performed by Sig. Tamburini. Of the rest we will in mercy say nothing.

Thus has terminated a season eminently distinguished by the performance of operas thoroughly worn out, and the production of two imported fresh from Italy, which proved less endurable than the hacks that preceded them. Nearly half the subscription nights passed with scarcely a tolerable performer on the stage; and for the other moiety, that is from Easter, twice as many performers were engaged as could be properly employed. This is called liberal and judicious management! But there is not much difficulty in being liberal when performers are sent off with bills at enormously long dates; and it is perfectly easy to gain a character for skilful management, if bringing out old operas badly, and new ones utterly destitute of every kind of merit, is thought worthy of praise.

The _Observer_ has replied in the following article to a remark made in our last Number:--

‘Laporte’s total losses this season are said considerably to exceed 30,000_l._, but even including the 10,000_l._ he sacrificed to his unfortunate Covent Garden speculation, we cannot help thinking there is an exaggeration in the account. Some time since we mentioned the nightly expenses of the Opera as nearly 1,000_l._, a statement which has since been disputed by the Editor of _the Harmonicon_, who contends that they are not more than 750_l._; but he is obviously referring to the year 1819, and seems not to take into view the increased charges in all the departments since that date. We are quite ready to admit that they ought certainly not to exceed 750_l._; and a stop must be put to the exorbitant demands of foreign singers and dancers.’

Our contemporary has forgotten that he stated the nightly expenses of the theatre at _considerably more_ than 1000_l._; but no matter. He is extremely mistaken in supposing that our estimate of 750_l._ a night was made on the expenditure of 1819. The entire expenses of that season--a very wretched one--did not amount to 410_l._ nightly. And we will add, for the information of the writer in the _Observer_, that in the season of 1817, when the most complete company that ever performed on the Italian stage was engaged, the whole of the disbursements, of all and every kind, did not exceed 430_l._ a night. We are aware that the increased rent is now to be added; and for this, and other advances, we made much more than ample allowance: 650_l._ would have been nearer the mark than the larger sum. In some important departments, the expenses are less now than in the year to which we allude: the present mode of lighting with gas instead of wax, is a diminution of many hundred pounds; and in 1817 the lowest sum paid to the orchestral performers was eighteen shillings per night: do not several now take twelve, or even less? And during the best part of the season, are not some discharged for the evening, in order to admit auditors at fifteen shillings or a guinea each, thus saving the pay of performers, and gaining by filling their places with company? What, we would further ask, has been the cost of scenery, dresses, decorations, copying, &c. this season? Any frequenter of the Opera will answer, little more than half the usual sum, and less than half of what was due to the subscribers and the public. For, let it be borne in mind, the subscription was _three hundred guineas_ for a box that cannot conveniently hold four persons, and rarely contains so many, though six tickets are issued for it; that is more than a guinea and a half per night for each person actually seated!

M. Laporte’s losses, it has been said, considerably exceed 30,000_l._!--whoever reported this might as well have added another cypher, and made the sum three hundred thousand. That he lost much by Covent Garden there can be no doubt; but if he has very materially suffered by the King’s Theatre, why go on with it? With the increasing unwillingness to pay so enormously for boxes,--with the spirit of emigration so active,--when the public have found out that stalls are better in every respect than boxes, and cost a family about three-fourths less,--and when unskilful management is pretty sure to co-operate with all these causes,--what possible chance is there that the ensuing season will be better than the last? It must be worse; and with this prospect before him, M. Laporte would not risk another, should his losses by the Italian Opera have amounted to one-half, or even one-fourth of the most moderate sum reported.

It is easy to understand why statements of extraordinary losses are authorised, or, at least, why they remain uncontradicted. The King’s Theatre has always had the reputation of being a losing concern, but it is easy to show that most of those who have held it for the last fifty years have made money, much money, by it. And it is not very difficult to prove that, with tolerable management and a fair rent, it might always, upon an average of three years, be made a most profitable undertaking for the lessee, and a place of elegant amusement, highly creditable and useful to the metropolis of a great empire.

THE MUSIC OF THE PRESENT NUMBER.

The Movement by Haydn is from his _Œuvre_ 41^{me}., published at least forty years ago in Paris, and scarcely known here: the beauty of the melody, and the original manner in which it is treated, will not fail to strike our readers, and excite their surprise at its having been so long neglected.

* * * * *

The Minuet of Handel, from the fifth of his twelve Grand Concertos, is known to the frequenters of the Ancient Concerts, and to none else! Wonder is often expressed, on the exhumation of such music, that it so long should have remained buried; but the wonder on this subject will at once cease, when it is considered that music is now a _trade_, carried on between professors and the shops.

* * * * *

The Andante of Beethoven has found its way to few piano fortes in England. It is one of the composer’s early works, written when his genius was in full vigour, and before he had got into the habit of crowding his pages with passages which only few can execute.

* * * * *

We are not aware that any one composition by Kirnberger has ever before been printed in this country. In fact, he was more distinguished as a theorist than as a composer: as the former he ranks, among those who read on the subject of music, who really study the science, as the greatest writer Germany ever produced. The present trifle is from Reichardt’s _Musicalisches Kunstmagazin_, there set to German words. Kirnberger, born at Saalfeld in 1721, was a pupil of Sebastian Bach, and died at Berlin in 1783. To him the world is indebted for most of the articles on music in the first volume of Sulzer’s _Theory of the Fine Arts_.

* * * * *

The lovely quartet of Mozart is from one of his Motets.

* * * * *

The Song presented to us by Mr. Satchell is new, and, in our opinion, a most happy imitation of the best Scottish style.

* * * * *

Very little of Buononcini’s music is now known any where: the formidable antagonist of Handel, the subject of Swift’s famous epigram, would be, but for the latter, forgotten. The arietta, however, now published for the first time in England, is alone sufficient to show that he possessed an elegant taste for melody. Giovanni Buononcini was born at Modena, about the year 1661, Dr. Burney conjectures. In 1748 he was invited to Vienna, by the Emperor of Germany, and composed an opera to celebrate the peace of Aix la Chapelle! The time of his death is not known, but it is supposed that he attained nearly 100 years.

London: Printed by WILLIAM CLOWES, Duke Street, Lambeth.

ADDRESS.

With this Number the ~Harmonicon~ ceases,--at least for the present: whether or not it will ever be revived, depends on circumstances on which it would be utterly in vain now to calculate. A new era has commenced in many things: publications at a cost which enables the great mass of the people to enjoy the advantages resulting from a knowledge of literature and science, absorb almost the exclusive patronage of all classes; and the increased, and still increasing, cultivation of music, its diffusion among those who formerly considered it as an accomplishment only adapted to the more wealthy portion of society, seem to demand that the best productions of the art should be furnished on even less expensive terms than those on which the ~Harmonicon~ has been circulated. Hence, a cheaper work has been announced. We yield to what it would be idle to oppose, and wish the projected publication,--advertised in our present Number, and which it appears will in some measure follow our plan, but be issued at a price rendered impossible by our sale,--every success it may deserve, and its proprietors can desire.

It has been observed, that to perform for the last time any action, unattended by suffering or guilt, is affecting and painful, and we cannot add these last words without sensibly feeling the truth of the remark. We cannot take leave of those to whom we have so long addressed ourselves without an emotion of sorrow. To such as have favoured us with their friendly communications,--(indeed we have had to complain of very few of a different description,)--we offer our grateful acknowledgments; and in respectfully bidding our readers farewell, indulge a belief that, during a long period of eleven years, we have not incurred their disapprobation by any intentional neglect, and that nothing has ever fallen from our pen which will be likely to leave an unfavourable impression on their minds--at parting.

THE EDITOR.

PREPARING FOR PUBLICATION,

THE MUSICAL LIBRARY;

TO APPEAR IN WEEKLY NUMBERS, PRICE FOURPENCE; AND MONTHLY PARTS, PRICE TWO SHILLINGS.

The principle which has been so extensively applied in Literature and the Graphic Art, of producing works at the lowest possible point of cheapness without any abandonment of the qualities by which the popular knowledge and taste may be advanced, has yet a wide field for its employment in the department of ~Music~. This most delightful of the arts was never so generally cultivated in this country as at the present moment. The Pianoforte, especially, contributes to the recreation and enjoyment of thousands of families throughout the United Kingdom, and in our colonial possessions. And yet the publications by which this taste ought to be kept up and improved are sold at a price which, in many cases, amounts to a prohibition. An article in universal demand is charged at the same rate, if not much higher, than was paid for it when it was sought for only by the luxurious few. The consequence has been that the musical taste of the country has not grown in an exact proportion with the musical appetite. It has been directed, in a great measure, by an interested tutelage; while the real guides, the great classical masters of the art, have been rendered in a remarkable degree inaccessible.

The design of the Musical Library is to afford the same advantage to amateurs in music that the lovers of literature are deriving from the cheap publications for the advancement of real knowledge, that are now distributed through every part of the empire, and are within the reach of persons of every condition. It is proposed to publish a Collection of Music, both vocal and for the piano-forte, by the best masters, ancient and modern: the ancient in a state adapted to the improved condition of our musical instruments; and the modern the best, and only the best, that the continent of Europe and our own country can supply. We shall revive and put into an inviting form the compositions of the older classical masters, now only known to a few connoisseurs, keeping in mind the saying of a famous French _modiste_,--‘nothing so new as that which is forgotten;’ and thus endeavour to spread widely a taste for what is excellent in the various departments of the art, and available to the purposes of private society. At the same time it will be our further object to naturalise the confessedly good productions of the newest foreign composers, especially of the German masters, by the adaptation of English words to their best vocal compositions; and also by publishing movements, or extracts complete in themselves, from such of their instrumental works as are of a length not suited either to such a publication as ours is intended to be, or to the habits of the people of this country. It is also our design, occasionally, to engage composers of the first eminence to supply us with new compositions; and we shall never neglect an opportunity of giving currency to such productions of real genius as may be offered to us by those who have no means of securing extensive circulation to them, and who might be deterred from publishing them on their own account, from the difficulties they have to encounter, and the number of chances against them of ever obtaining a fair hearing.

In the prosecution of these objects, which we may not unjustly consider likely to advance our national enjoyments, we propose to issue a ~Number~ once every week, of eight music-folio Pages, to contain generally one Vocal and one Piano-forte piece at least in each, but depending on the length of the composition. The Price of each Number will be Fourpence.

A ~Part~, containing four or five Numbers of Music, according to the number of Saturdays, will be published monthly. To these numbers will be added a _Monthly Supplement_ of letter-press, comprising musical news, foreign and domestic; notices of new music; critical accounts of the more important public musical performances; with memoirs of the lives, and remarks upon the works, of eminent composers, and especially of the authors whose productions are published in the “Musical Library.” The price of each Monthly Part, consisting of forty-eight folio pages, will be Two Shillings.

* * * * *

LONDON:--CHARLES KNIGHT, 22, LUDGATE STREET, AND 13, PALL-MALL EAST.

_Orders are received by all Booksellers, and Wholesale by the Agents of “The Penny Magazine.”_

FOOTNOTES:

[1] All, except the first and last paragraphs, from Gerber’s _Historisch-Biographisches_ Lexicon.

[2] In the tenth Number of this work (for October, 1823) we published a lovely quartet from Righini’s _Enea nel Lazio_. And the present Number contains his overture to _Tigrane_, which, if the score at all realizes the expectations excited by the piano-forte adaptation, ought to have been familiar to our orchestras long ago.--(_Editor._)

[3] In a work entitled _Historical Memoirs of Armagh_, by J. Stuart, I find a charge against Handel that is stronger than any alleged by Dr. Brown, and which I should feel it improper not to notice before I quit the subject. Mr. Stuart says (p. 548)--‘Some objections may be made to the church music composed by that eminent master, inasmuch as it is sometimes discordant with the meaning of the passages for which it is written. Thus, _exempli gratia_, in an anthem which comprises the following sentences taken from the Psalmist, the sentiments of David and the music of Handel are both sublime; but the rhythmus of the latter does not correspond with the emphasis necessary for the true enunciation of the former:--“_Who_ is the King of Glory? The Lord of Hosts, _He_ is the King of Glory”--in singing this sublime interrogatory and response, the emphasis is unnaturally laid on the verb _is_; thus: Who _is_ the King of Glory, the Lord of Hosts, He _is_ the King of Glory. As the question and answer are often repeated, the impression made on the mind of the hearer is, that the respondents are warmly maintaining the claim of the Deity to pre-eminence in glory, which the querists seem obstinately to doubt. Thus the music and the sense of the passage are at variance, and the meaning is sacrificed to the sound.’

[4] See musical portion of the present number.

[5] This Air is given in the German work with the critical article, but, if we are entitled to judge from an arrangement, is much over-praised by the writer, in a paragraph which we have omitted.--_Editor._

[6] It was no wonder at all that the cannon made a great noise, and broke the glass.

[7] The _Chaconne_ is an ancient, slow dance. M. Ginguené thinks that the word originally was written _ciecona_, but gives rather a far-fetched reason for this supposition.

[8] The fact is, that his voice which had for years past been much impaired, had now almost entirely deserted him.--_Editor._

[9] If they omitted their roulades, it must have been for the purpose of enabling Rubini to introduce his own, for no singer was ever so absurdly prodigal of them as this. And as to his ‘elocutionary style,’ he must have acquired it very recently; he shewed no symptom of it so late as May last.--_Editor._

[10] This remark was, probably, aimed at the composer of _Der Freischütz_, of whom Beethoven was somewhat jealous, rather than at Mozart.--(_Editor._)

[11] A few years before his death, Beethoven received Arnold’s edition of Handel’s works in score, as a present from M. Stumpff, the well-known harp-maker, from which period his admiration of that great composer seemed to have no bounds.--(_Editor._)

[12] _Manu propria_, with his own hand.

[13] The same civilizing improvements may also have been the means of giving the swans lessons in singing, a possibility which our correspondent seems to have overlooked.--_Editor._

[14] For the conditions, see _Harmonicon_, &c.

[15] But M. de Camus has talked of the _pizzicato_ of the voice! (page 61) a term never before applied to anything of a musical kind, except stringed instruments, and the exact meaning of which he perhaps had not duly considered.

[16] We shall give this song, with a full piano-forte accompaniment, in our ensuing number. _Editor._

[17] Published in 8vo. from the original Manuscript, by André of Offenbach, who vouches for its authenticity, which, in fact, has never been called in doubt.

[18] ‘Asseyez-vous, mai enfans.’--‘Il n’y a pas de quoi, mon seigneur.’

[19] Balfe is of Irish birth, and his history somewhat romantic. While yet a boy he played a violin concerto at a theatrical benefit in London, but without any marked success. To sing, however, was always the object of his ambition; and, not having the means of achieving his purpose in any other way, he actually walked to Italy, that he might have an opportunity of hearing and imitating the great singers of that country. A few years ago he returned, for a short time, to London, when we had an opportunity of hearing him in the great Scena of _Assur_, from _Semiramide_, as well as in a rondeau of his own composition, and some other pieces. His voice was then a bass of two octaves compass, from ~F~ to ~F~, combining great power, and very considerable facility of execution. If his subsequent improvement has been in equal ratio to the advances he had made when we heard him; if he has realized the prospects which his voice and style then held out,--the United Kingdom may, at no distant period, claim the first bass singer of the day, as she can already boast of having produced the greatest soprano and tenor of their times.

[20] This opera, our readers are well aware, entirely failed in London; it was hissed off the stage! (_Editor._)

[21] This was printed some time ago in our work, by consent of the author, who would not allow any other part of the sonata to be republished, fearing that the sale of his Opera VII. would be injured! We give it again, that the sonata may appear in an entire state.

[22] _Account of the Commemoration of Handel_, page 61.

[23] _Ibid._

[24] _Present State of Music in Germany_, vol. i. p. 346. (1773.)

[25] _Ibid._

[26] It was with great difficulty, and only through the most resolute perseverance, that a director of the Philharmonic Society, who had early obtained a copy of this symphony, succeeded in getting it performed at the Philharmonic Concerts.--_Editor._

[27] From his _Studien in Generalbasse Contrapuncte_, &c. See p. 6 of our number for January last.

[28] Those, says the learned Albrechtsberger, who would dive deep into such subtleties, which, he remarks, are now little valued, may consult the second part of the _Traité de la Fugue_, &c. of Marpurg.

[29] Here the second voice comes in, beginning from the commencement.

[30] The third voice comes in here, beginning from the commencement.

[31] The Author should have used the past tense; Canons are no longer written in this stenographic manner.--_Editor._

[32] Among these pamphlets may be mentioned ~Remarks upon Church Reform~, by the Rev. Edw. Burton, Regius Professor of Divinity. ~Letters on Church Reform~, by the Rev. C. Girdlestone. Principles of Church Reform, by the Rev. Dr. Arnold. A Plan for abolishing Pluralities, by the Rev. G. Townsend, Prebendary of Durham. A few Words on the Episcopal Church and Cathedral Clergy of England, by the Rev. W. L. Bowles. Remarks on the prospective and past Benefits of Cathedral Institutions in the promotion of sound Religious Knowledge, by Edward Bouverie Pusey, Canon of Christ Church. A ~Letter~ to ~Lord Henley~, by the Hon. and Rev. ~A. P. Perceval~.

[33] Lord Henley, Plan, p. 17.

[34] At Oxford, these benefits are not merely past and prospective. The three choral schools of Christ Church, St. Mary Magdalen, and New College, are conducted on a liberal and judicious plan, in accordance with the will of the founder. In those of the sister university, every inferior scale of education has been adopted.

[35] Gal. iv. 26.

[36] 2 Heb. viii. 5.

[37] Exod. xv. 20, 21.

[38] Judges v. 1.

[39] Rev. xiv.

[40] Ut vero pueros supradictos habeat capitulum rite institutos, tam morum modestia, quam canendi peritia, vobanus et statuimus, ut unus, qui sit honestæ famæ, vitæ probæ, et cantandi peritus, ipsis pueris choro destinatis, præficiatur magister et rector chori, qui eis docendis et instituendis organis suo tempore pulsandis aliisque ecclesiasticis muniis in choro obeundis studiose vacabit, qui congruam habeat operæ suæ mercedem annuam per capitulum designandam et per dictum receptorem exolvendam.

Prospiciat etiam puerorum salute: quorum et in literis, et in mensa et convictu, educationem et liberalem institutionem illius fidei et industriæ committimus. (Qui si negligens, aut in munere suo fungendo desidiosus, aut in salute puerorum et recta eorum educatione, (ut verbum Dei postulat) minime providus et circumspectus inveniatur, post trinam admonitionem nisi resipuerit ab officiis deponatur et privetur.)

[41] Query, _moonlit flowers_?

[42] ‘Maria illuminatrix, sine Stella maris.’--_Isidor._

[43] Pacchierotti had not yet visited England.

[44] Afterward, Lord Cardigan.

[45] Afterwards Lord Malmsbury.

[46] Printed in an early number of the Harmonicon.

[47] By the way--though it is not common to descend from the artist to his instrument--the piano-forte played on by Mr. Cramer (one of Broadwood’s) was the most powerful and rich-toned we ever heard. Had the alteration in the orchestra anything to do with the effect produced?

[48] We do not forget the song of ‘Mad Tom’ introduced in the first concert, but scarcely feel warranted in considering it a legitimate production of this great composer; indeed, it has never generally been received as such, though not wanting in strong points of resemblance.

[49] The practice of beating time with the bow was introduced into this country by M. Spohr, and he, being a great musician as well as leader, has been, of course, imitated, for we are most industrious imitators of what is foreign: and, in truth, quackery is so much the order of the day, that without a due share of it success is hardly to be hoped for. How many small persons, singers, _soi-disant_ composers, &c., are now-a-days raised to something like importance by grossly open as well as artful and disguised _charlatanerie_ and puffing!--(_Editor._)

[50] By the Countess of Tankerville.

[51] Afterwards George the Fourth.

[52] There is some great mistake in this. From the year of the Commemoration it was resolved to enlarge, not contract, the scale, and each succeeding season saw an augmentation, till the number of performers was gradually increased from between 500 and 600, to nearly 1000. (_Editor of Harmonicon._)

[53] We cannot understand by what process of reasoning the author of this article would set about to prove that the hero of a lyric drama should have a base in preference to a tenor voice. We admit that he should not on any account be a soprano; that it would be better that he be not an alto; but here our objections cease. (_Editor of Harmonicon._)

[54] ‘The reason that moved the king to this act of munificence was a singular one. The parish had chosen him their churchwarden, and he executed the office for two months; but at the end thereof he grew tired of it, as he well might, and presented the parish with that noble instrument which is now in the church.’--_Hawkins’s Hist._ v. 60.

[55] ‘In the time of the Duke of Somerset’s chancellorship at Cambridge, during the discontents of several members of that university at the rigour of his government and paucity of his patronage, Tudway, himself a malecontent, and joining in the clamour, said, “The chancellor rides us all, _without a bit in our mouths_.” Nor did the wicked sin of punning quit him even in sickness; for having been dangerously ill of a quinsy, and unable, for some time, to swallow food, the physician who attended him, after long debates and difficulties, at length turning to Mrs. Tudway, said, “Courage Madam! the doctor will get up Mayhill yet--he has been able to swallow some nourishment.” On which he exclaimed, “Don’t mind him, my dear, one _swallow_ does not make a summer.”’--_Burney’s Hist._ iii. 459 note.

[56] In our next number, we shall give a very clever article from the ‘Westminster Review,’ on the subject of Harmonics, which really leaves nothing more to be said on the subject, and saves us the trouble of analysing the works now before us.

[57] The son of John Christopher Schmidt, Handel’s copyist and managing man. Dr. Burney has given a list of four oratorios composed by Smith, but takes no notice of _Gideon_, which is not mentioned in either his or Hawkins’s History of Music.

[58] Hawkins’s Hist., v. 407.

[59] Burney’s Hist., iii. 619.

[60] Dr. Philip Hayes was, with the exception of Bright, the Essex miller, the most corpulent man of his time, and his obesity, instead of being the result of good temper, was the cause of rather an irritable disposition; but he was an honourable man, and perfectly master of what is commonly called the theory of music. He died very suddenly in London, in 1797, aged about fifty-eight years, and was interred in St. Paul’s Cathedral, the gentlemen of the King’s Chapel, and the choirs of St. Paul’s and Westminster Abbey, attending the funeral.

[61] From the Restoration in 1660 to the year 1805, but seven persons filled the office of Master of the Children; they were, Captain Henry Cook, Pelham Humphrey, Dr. Blow, Dr. Croft, Bernard Gates, Dr. Nares, and Dr. Ayrton. (_Editor._)

[62] These consist of two complete Services, each comprising a Te Deum, Jubilate, Nicene Creed, Kyrie Eleison, Magnificat, and Nunc Dimittis, and several Anthems. (_Editor._)

[63] ‘Instructions to my Daughter, for playing on the Enharmonic Guitar, by a Member of the University of Cambridge.’

[64] Agreeing with our correspondent as to the paramount importance of melody, we differ from him most materially on other points. We say this, lest it should be inferred from our silence that our opinion on German music generally, and on that of Handel and Mozart in particular, is in unison with the sentiments Mr. D. Walker has here avowed. If he had only said that the accompaniments to vocal music are too commonly injurious, because almost always played too loud, we should at once have agreed with him.--(_Editor._)

[65] In more vulgar minds, the combinations of harmony and the power of the orchestra excite also notions of pomp and majesty, because such minds are more readily excited in this way by noise than by nature and truth; and the same persons would be more delighted by a large picture, or a large palace, than by a small one, however exquisite.

[66] Or, I may add, than the beautiful and simple forms of their letters with those hooks and angles with which Gothic taste has decorated them and made them truly its own.

[67] The words and accompaniments are by John Crosse, Esq. F.S.A. late of Hull; and the whole, in score, appears in our volume for 1825, p. 229.--_Editor._

[68] How much good music is to be found in our libraries, that is utterly unknown to the public! It is a curious fact, that an entire opera by Haydn, the full score in his own hand-writing, and which not only has never been performed, but has never been seen, except by very few persons, is now in the possession of a gentleman in London! It was composed for the King’s Theatre, but never paid for, therefore never delivered.--_Editor._

[69] The composer’s intention is, to bring to mind this consolatory promise, by a musical phrase familiar to all lovers of Handel’s sublime _Messiah_.

[70] The musical critic in the _Examiner_ makes himself merry with our opinion of ~Rubini’s~ singing. To differ from so profound a judge is, no doubt, a proof of great hardihood, not to say presumption, but our temerity is not without other abettors besides the _Spectator_; a Sunday print of the very day on which the _Examiner_ is pleased to be jocular, had the boldness to handle the Signor rather roughly; and two, if not three, other papers--not contemptible ones--have been rash enough to hint that he is not quite so perfect a singer as a few French journals and our facetious friend so unhesitatingly assert. Moreover, if the sprightly critic will condescend to consult some of those who have made music the chief study of their lives, and have a due portion of cerebral matter in their craniums, he will find that our opinion is tolerably well backed though certainly it differs much from that entertained by many members of ~Crockford’s~, and by divers lady-singers who are deeply learned in the opera songs of the last dozen years.

[71] We have inadvertently stated this to be from the 4th _Grand_ Concerto.

[72] Treatise on the Construction, Preservation, Repair, and Improvement of the Violin, and all Bow-Instruments, together with a Dissertation on the most eminent Makers, pointing out the surest marks by which a genuine Instrument may be distinguished, by Jacob Augustus Otto, Instrument Maker at the Court of the Arch-Duke of Weimar. Translated from the German, with Notes and Additions, by Thomas Fardely, of Leeds. 66 pages in 8vo. (Longman, Rees, Orme and Co.) 1833.

[73] _Repairing a damaged one_ would have been a more logical expression; but whether the author or his translator is answerable for the phrase, we cannot pretend to say.

[74] What _mathematics_ had to do in the matter, we cannot guess. (_Reviewer._)

[75] An amateur of Liverpool.

[76] Of Liverpool.

[77]

J’allai à elle dans la prairie Avec la vielle et l’archet.

[78] The melody of this is founded, the composer tells us in a note, on the chimes of St. Mary’s clock, at Cambridge, which are as follows:--

This tune was invented by the Rev. Dr. Jowett; and the drolls of the University, from the moment or its birth, called it _Jowett’s jig_.--_Editor._

[79] Since the above was _set up_, we have discovered that this is not a new composition, though it may have been newly published. It is now too late conveniently to take out the article.--(_Editor._)

[80] Master Frederick Arthur Gore Ouseley, son of the Right Honourable Sir Gore Ouseley.

[81] He is, however, still living.

[82] In his _Præceptiones Musices Poeticæ_: see Ravenscroft’s _Brief Discourse_, 1614, p. 1.

[83] Memoirs of Dr. W. Hayes, Dr. Arne, Lord Mornington, Dr. Cooke, Dr. Nares, and Dr. Callcott, will be found dispersed throughout the eleven volumes of the _Harmonicon_.

[84] In a memoir of Mr. Spofforth, written by a friend, and prefixed to a collection of his glees now publishing, it is stated that he became actually organist of Lincoln Cathedral, an error which the author will doubtless be happy to rectify.

[85] Outre-meuse, at Liége.

[86] Orlando di Lasso, as the Italians and English call him.--_Editor._

[87] A circumstance which had escaped our recollection when we stated this to be the first attempt since Dr. Cooke’s.

[88] Zelter was brought up as a builder. It may be interesting to mention, that Felix Mendelssohn was his pupil. Goethe speaks of ‘the incredible talent of Zelter’s most astonishing pupil.’ This was written when Mr. Mendelssohn was a child.--_Translator._

[89] ‘Charles Sackville, eldest son of Lionel, Duke of Dorset, a Lord of the Treasury,’ (in 1746).

[90] ‘Sapperment’ is a very common and rather homely German exclamation of sudden surprise, scarcely susceptible of translation, but somewhat similar to the English word ‘zounds.’ The Germans, moreover, as Mr. Russell correctly states in his Travels, observe a regular degree of _decimal_ gradation in the use of their ‘Sapperment;’ viz.--Sapperment (simply) 1 Sap, _Hundert Sapperment_, 100 ditto. _Tausend Sapperment_, 1,000 ditto. _Hundert Tausend Sapperment_, 100,000 ditto: which latter term, as may be supposed, is only applicable to a state of amazement a hundred thousand times greater than what would be expressed by the simple exclamation of ‘Sapperment.’ The Germans are a calculating people, even in their oaths.