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Title: The Harmonicon - Part the First
Author: Various
Language: English
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Transcriber’s Notes
This e-text is based on ‘The Harmonicon, Part the First,’ from
1833. Inconsistent spelling and hyphenation have been retained, but
punctuation and typographical errors have been corrected. Uncommon
and outdated spelling has not been altered.
In the table of contents, the ‘Foreign Musical Reports’ for the
towns of Marienburg and Nurenberg have no correlation to any
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to be incorrect. Since the source of error cannot be determined,
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THE
HARMONICON.
1833.
PART THE FIRST,
CONTAINING
ESSAYS, CRITICISMS, BIOGRAPHY, FOREIGN REPORTS,
AND
MISCELLANEOUS CORRESPONDENCE.
LONDON:
PRINTED FOR LONGMAN, REES, ORME, BROWN, GREEN, AND LONGMAN,
PATERNOSTER-ROW.
LONDON:
PRINTED BY WILLIAM CLOWES.
Duke Street, Lambeth.
PART THE FIRST.
ESSAYS, CRITICISMS, AND MISCELLANIES.
CONTENTS.
I. BIOGRAPHICAL MEMOIRS.
Page
Ayrton, Edmund, Mus. D. 142
Batten, Adrian 117
Blake, William, D.D. 118
Danby, John 186
Dupuis, Thomas S., Mus. D. 142
Garcia, Manuel del P. V. 21
Hayes, William. Mus. D. 141
Herold, Louis J. F. 69
King, Charles, M.B. 118
Kircher, Anastasius 161
Mersenne, Marin 161
Metastasio, (Pietro Trapassi) 93
Paxton, Stephen 186
Righini, Vincenzo 1
Rubini, Gian B. 23
Smith, John Stafford 186
Spofforth, Reginald 186
Stevens, Richard James Samuel 186
Tamburini, Antonio 125
Travers, John 141
Tudway, Thomas 117
Webbe, Samuel 185
Weldon, John 117
Zelter, Carl Friedrich 45
II. MISCELLANEOUS ESSAYS, CORRESPONDENCE,
NOTICES, &c.
Amateur’s Musical Party, at the Freemason’s Tavern 97
Ancient Concerts, the Leader of the 172
Anders, M., historical notices relative to the Violin, by 169
Barnett, (Mr.) and the Philharmonic Society 120
Base Voice, on the 100
Beethoven, a theoretical work, by 6
Beethoven’s Opinion of Contemporary Composers 46
Beethoven on Canon 47
Beethoven, Characteristic Traits and Anecdotes of 25
Belgium, on the actual state of music in 191
Bellini’s last Opera 193
Birmingham Musical Festival 63
Burney, (Dr.) Memoirs of, by Mad. D’Arblay 52, 75, 99, 121
Cambridge Commencement 167
Canon, on, by Beethoven 47
Castel-Blaze, (M.) notice of Tamburini, by 125
Cathedral Service and Lord Henley 56
Characteristic Anecdotes and Traits of Beethoven 25
Choirs, Ecclesiastical, of Great Britain and
Ireland--Armagh--Canterbury 50
Commemoration of Sir Thomas Gresham 180
Concerts, Memoirs of the Metropolitan 4
Concerts at Oxford, and on the State of Music at both
Universities 73
Composers, contemporary, Beethoven’s opinion of 46
Compositions of Handel, on some 29
Critique, a German 146
D’Arblay, (Mad.) Memoirs of Dr. Burney, by 52, 75, 99, 121
Ecclesiastical Choirs of Great Britain and
Ireland--Armagh--Canterbury 50
Fallacies of some Writers on Music 2
Fashionable Music, rules for composing 187
Fétis, (M.) an Official Note to 109
_Fortunatus_, the new German Opera of 7
German Opera, _Fortunatus_, a new 7
Glasgow Amateur Society 188
Glee Club, the Manchester Gentlemen’s 30
Glees, on Prizes for 126
Gresham Prize Medal for 1832 29
Gresham, Sir Thomas, Commemoration of 180
Handel, on some compositions of 29
Harmonics of the Violin 143
Hints to Leaders and Conductors 95
Leader of the Ancient Concerts 172
Leaders and Conductors, hints to 95
Lindley’s (Mr. G.) Answer to Mr. Gödbé 4
Liverpool Amateur Society 168
Lord Henley and the Cathedral Service 56
Lyre, on the re-introduction of 124
‘Mad Tom of Bedlam,’ the Song of 58, 74
Maelzel’s new Metronome 96
Manchester Gentlemen’s Glee Club 30
Melody, a treatise on 118
Melody and Harmony, Mr. D. Walker on 145
Memoirs of Dr. Burney, by Mad. D’Arblay 52, 75, 99, 121
Metropolitan Concerts, Memoirs of the 4
Millard, (Mrs.) letter from 72
Millard’s, (Mrs.) Letter, reply of Mr. Purday to 98
Moscheles, (M.) at Leipzig 9
Music, fallacies of some Writers on 2
Music, actual state of, in Belgium 191
Music, state of, in the Provinces 71
Music, state of, at both Universities 73
Music, on Thoughts or Ideas in 186
Music, utility of to Sailors 171
Musical Festival, Worcester 170
Musical Metronomes 192
Musical Party, Amateur’s, at the Freemason’s Tavern 97
Norwich Festival 191
Note, an official, to M. Fétis 109
Obituary--Herold--Nozzari--Deville 30
‘Old English Gentleman,’ song of the 172, 190
Opera Department, state of our Theatres chiefly as
relates to the 27
Otto. M., on the Violin 162
Oxford, Concerts at 73, 165
---- Commemoration Concerts 165
Philharmonic Society and Mr. Barnett 120
Prize Medal for 1832, the Gresham 29
Prizes for Glees, on 126
Provinces, state of Music in the 71
Purday’s (Mr.) Reply to Mrs. Millard’s Letter 98
---- reply to Mr. H. Phillips 190
Rules for composing Fashionable Music 187
Sailors, utility of Music to 171
State of our Theatres, on the, chiefly as relates to the
Opera Department 27
Swan, song of the 26
Thoughts or Ideas in Music 188
Treatise on Melody, a 118
Voice, on the base 100
Violin, Harmonics of 143
---- M. Otto, on the 163
---- M. Anders’, historical notice of the 169
Walker, (Mr. Donald) on the re-introduction of the lyre 124
---- on Melody and Harmony 145
Worcester Musical Festival 170
Work, a theoretical, by Beethoven 6
III. REVIEW of NEW MUSIC, with Extracts and
Illustrations--New Operas--Sacred Works--Arrangements
for various Instruments--Vocal--Elementary
Books, &c. 10, 31, 59, 85, 101,
127, 148, 173, 194
IV. EXTRACTS from the DIARY of a DILETTANTE,
(in which the prevailing Topics connected
with Music are noticed) 16, 36, 64, 89, 109,
135, 178, 199
V. LONDON CONCERTS.
Ancient, the 79, 106, 131, 152
Benefit, of the Season 155
Madrigal Society 8, 88, 177
Metropolitan, Memoirs of the 4
Philharmonic, the 81, 107, 134, 154
Royal Academy of Music 108
Società Armonica 108
Vocal Society 35, 55, 83
VI. THE DRAMA.
Covent Garden Theatre 20, 43, 60, 67, 115, 160, 183
Drury Lane Theatre 19, 43, 66, 91, 115, 139, 160
English Opera House 43, 115, 184
German Opera 91
King’s Theatre 43, 66, 91, 139, 159, 183, 205
VII. FOREIGN MUSICAL REPORT.
Attenburg 138
Bergamo 42, 65
Berlin 18, 40, 90, 111, 137, 158, 181, 203
Bernburg 138
Bologna 41, 182
Breslau 19, 204
Bremen 158, 204
Brunswick 138
Brussels 182
Carlsruhe 65, 204
Cassel 138
Constantinople 41, 159
Copenhagen 158
Dessau 158
Douay 42
Dresden 40, 112, 158, 181
Dusseldorf 112, 158
Frankfort 112, 138, 158, 182
Greifswald 113
Hamburg 112
Jena 158
Königsberg 19, 182
Leghorn 19
Leipzig 18, 112, 137, 182
Madrid 159
Manheim 112
Merseburg 112
Milan 40, 65, 182
Munich 40, 90, 111, 137, 181
Naples 41, 182
New York 113
Novara 41
Paris 19, 42, 65, 90, 183
Pesth 40, 112
Prague 90, 138, 181, 203
Rome 41, 65
Schwaz 113
Strasburg 137, 182
Stuttgart 40
St. Petersburg 159, 182
Toulouse 183
Trieste 113
Turin 41
Utrecht 159
Venice 65, 90
Vienna 18, 39, 90, 111, 136, 158, 180, 202
Warsaw 19
Würtzburg 112
Weimar 112, 138, 182
VIII. OBSERVATIONS on the MUSIC given in
each Number 20, 43, 68, 92, 116,
140, 160, 184, 206
[Sidenote: ~January, 1833.~]
THE HARMONICON.
1833.
MEMOIR OF VINCENZO RIGHINI[1].
It has not unfrequently happened that the works of very superior
composers have remained a long time unknown, except in the country
where they were produced. We hardly need say that Mozart’s operas never
reached London or Paris till twenty and more years after his death. His
chef-d’œuvre, _Don Giovanni_, was performed for the first time in
England in 1817, no less than thirty years after it was first produced!
Handel is now only beginning to be known on the continent! We do not
mean to place the subject of this brief memoir on anything like a
footing with either of those great masters, but he wrote many operas
that deserve notice, some of which will, we are persuaded, ere long
be thought worthy of being heard at the King’s Theatre, if being far
superior in all respects to five out of every six lately brought out
there, entitles them to be made known to a British audience.
* * * * *
~Vincenzo Righini~ was born at Bologna about the year 1758,
where also he laid the foundation of his musical acquirements,
under the direction of the very celebrated, and at that time still
vigorous, Padre Martini. After having completed his vocal studies,
he left Bologna about the year 1776 for Prague, where he contracted
an engagement as a singer for the Italian Opera-buffa, under the
management of M. Bustelli, which enabled him not only to cultivate his
talents for vocal composition, but also to bring on the stage several
operas and scenas, which were performed with success. And this is
one of the many instances on record of Italian _Maestri di Capella_,
previously mere virtuosi, becoming profound and distinguished musicians
and composers, through their connexion with German musical chapels and
orchestras.
After he had passed three years in Prague in so profitable and
creditable a manner, he repaired to Vienna, where he had the good
fortune to be chosen, by the Emperor Joseph II., singing-master to the
beautiful Princess Elizabeth, of Würtemberg, and was appointed, at the
same time, kapellmeister and composer to the Italian opera.
About the year 1788 he went to Mentz, whither he had been invited by
the archbishop and elector, whose service he entered as kapellmeister.
Here again he wrote much for the theatre, and a grand mass for the
church. During his stay in that city the fame of his delicate and
pleasing music procured for him the honourable commission from the
elector of Treves, one of the most distinguished musical connoisseurs
among the German princes of his time, to set to music the drama _Alcide
al Bivio_, which was subsequently performed at Coblentz with the
success it merited, under his own direction, in the presence of the
court.
Lastly, he was called to Berlin by Frederich Wilhelm II., to write the
opera seria, _Enea nel Lazio_, for the great opera-house there, which
being favourably received by the king, he was appointed, in April,
1793, Master of the Royal Chapel, in the room of Alessandri, with a
salary of 4000 thalers. Here, enjoying the favour of the sovereign,
and the esteem of the public, and proud of his excellent orchestra,
he married, in the year 1794, the young and handsome Madlle. Kneisel,
with whom he had become acquainted as the favourite singer of the
Frankfort Theatre, at Mentz. As, at the decease of the king (which took
place in 1798) Righini was in the most honourable manner confirmed in
his dignities by the new monarch, and remained, after his return from
Hamburg--whither he, during that year, accompanied Mad. Righini for
a short time--permanently fixed at Berlin until the year 1804, when,
with the sanction of his court, he visited Italy in company with the
youthful Madlle. Fischer, his pupil. He died at Bologna on the 19th of
August, 1812, where he had arrived in the spring, in the hope of being
relieved from a disease that had before afflicted him, and of which he
had been once cured by an operation performed by an eminent professor
in that place. The second attempt, however, of the same surgeon, proved
fatal.
In his manner of composing Righini was entirely devoid of pretension,
and remarkably pleasing; and with regard to his vocal abilities, every
ear was charmed when he sang, with his soft and subdued voice, scenas
from his own scores, accompanied by himself on the piano-forte.
His compositions are, 1. _La Vedora Scaltra_; Op. Buffa, (his first
opera,) at Prague. 2. _La Bottega del Caffé_; Op. Buffa, ditto. 3. _Don
Giovanni, o sia il Convitato di Pietra_; Op. Buffa, ditto. 4. Several
scenes, duets, &c. for introduction in serious operas performed there.
5. _La Sorpresa amorosa, Cantata à tre voci_, with full orchestra,
written at Vienna for three of his pupils. 6. _Il natale d’Apollo_, a
grand Cantata, with full orchestra, ditto. 7. Grand Serenade, with
full orchestra, ditto. 8. _L’Incontro inaspettato_; Op. Buffa, 1785.
9. _Le Demogorgone, o sia il Filosofo confuso_; Op. Buffa, ditto. 10.
Several scenas and rondeaus, introduced in various operas produced
at the Vienna theatre. 11. The scena _Berenice, Che fai?_ from
Metastasio’s opera, _Antigono_. 12. The scena _Se cerca, se dice_, from
Metastasio’s _Olimpiade_. 13. _Armida_; Op. Seria; first performed at
Aschaffenburg. 14. _Alcide al Bivio_; Op. Seria; produced at Coblentz,
1789. 15. A grand solemn mass, performed at the election of the Emperor
Joseph II. 16. _Enea nel Lazio_; Op. Seria; composed for the theatre at
Berlin. In this Righini himself sang, and made his first appearance on
the stage of the great Opera-house in January, 1793. 17. _Il Trionfo
d’Arianne_; Op. Seria, 1793. 18. _Atalanta e Meleagro, Festa teatrale
che introduce ad un ballo allegorico_, performed at the Opera-house at
Berlin, on 15th February, 1797, on the occasion of the marriage of the
princess. 19. _Armida_; Op. Seria; the text remodelled by Filistri;
the music almost entirely re-composed, 1799; published at Leipzig in
1805. 20. _Tigrane_; Op. Seria; Berlin, for the Carnival, 1799, 1800;
score published 1810. 21. _Gierusalemme Liberata_; Op. Seria. 1802. 22.
Various detached compositions for the church. 23. _Der Zauberwald_ (La
Selva incantata), an opera published at Leipzig.
* * * * *
Besides the above works, Righini’s minor productions, vocal and
instrumental, but chiefly the former, are very numerous. He was a ready
man, of most industrious habits, and his taste and judgment, the result
of great experience, could be relied on. Hence he was resorted to when
occasion demanded the prompt exertion of a composer’s talent. But it
follows as almost a necessary consequence, that most of what was thus
suddenly called for and brought forth, was calculated for an immediate
purpose--not written with any hope that it would add much to his
reputation. His fame he well knew would rest on his operas[2].
FALLACIES OF SOME WRITERS ON MUSIC.
_To the_ ~Editor~ _of the_ ~Harmonicon~.
~Sir~,
As you have considered my first paper admissible, I beg leave to
continue my remarks on what I conceive to be the fallacies of some
writers on music, and proceed with those of Dr. Browne, whose fifth
charge against Handel is contained in the following words:--
‘Choirs (or choruses) sometimes (though seldom) calculated more for
the display of the composer’s art, in the construction of figures and
canons, than for a natural expression of the subject.’ The writer,
then, is evidently no admirer of the fugue style; and such choruses
as the “Amen” (_Messiah_), “He led them through the deep” (_Israel in
Egypt_), and many others, were, to his ears, nothing more than musical
exercises!
On the subject of fugue, which obliges the various voices to sing
different words at the same time, thereby producing confusion in the
sense, argument for and against has been nearly exhausted by some of
the first literary and musical writers of the present and past age. In
the _Harmonicon_, a few months back, some excellent remarks, I think,
appeared on both sides. Vocal composers, from the time of Palestrina,
have all augmented their fame by their fugues, the variety which such
style of writing imparts to the subject often rendering a simple, nay,
even a meagre one, interesting. But it must be allowed that it is
highly necessary that he who would enjoy such composition should be
somewhat of an educated musician, or he will never enter into the true
meaning and spirit of it.
This, perhaps it may be said, only proves a prejudice, engendered
by education and habit. But if so, every subject on which men have
dissented is liable to the same objection. Different advances in
civilized life and education are attended by more or less of such
prejudices; and in search of truth a man must be endowed with almost
superhuman powers who can divest himself wholly of the influence
of early impressions. As a striking proof of this, it is enough to
state that, up to the present hour, our two universities cannot agree
concerning the pronunciation of the Latin A; it is, therefore, clear
that one of these great emporiums of learning must be labouring under a
prejudice.
But, to return to the subject immediately before us:--if the objection
which obtains so much among literary men (who are not musicians by
education) against fugue writing, _viz._ “the confusion of words”
produced by it, is valid, then to the same objection many other high
classes of composition become equally obnoxious. Madrigals teem with
this alleged error, and superadded to it are the most barbarous faults
in accent. All, or nearly all, glees have similar failings to atone
for. If we look at the works of the great continental writers, in their
masses and motetts, the same confusion of words is conspicuous; and
what is more to my purpose here, even the _duetts_ of Steffani, Handel,
Clari, and Travers,--and, in our time, of Jackson, Bishop, Neukomm,
&c. &c. are equally guilty in this respect. If the authority of names
is of any weight, we have on our side the opinion of the greatest poet
England ever produced, Milton, who, in his Paradise Lost, book 11,
speaks not in a very contemptuous manner of the fugue.
The sound
Of instruments that made melodious chime
Was heard, of harp and organ; and who moved
Their stops and chords was seen; his volant touch
Instinct through all proportions, low and high,
Fled and pursued transverse the resonant fugue.
But the truth is--and here I must confess the fact--that composers must
be allowed to mix the words, under certain limitations, in chamber and
oratorio music; it is a licence absolutely necessary to musical effect,
and equally allowable in the dramatic composer when he has five or six
characters on the stage, all influenced by different feelings, to make
them utter not only various words, but each, at the same moment, his
own sentiment of rage, joy, despair, triumph, love, and revenge. I am
no advocate for the mixture of words when it can be avoided, which
might often be done, did composers bestow proper attention on the
subject.
I now pass on to the sixth charge against Handel. ‘The choir, in many
instances (and the single song in some) not sudden enough in its
intervention, being generally prepared by a correspondent symphony
of instrumental music, which creates expectation and presentiment,
destroys surprise, and thus lessens the impression and effect.’
Dr. B. allows that Handel’s defects proceeded ‘not so much from
himself, as from the period in which he lived.’ This sixth charge is a
remarkable proof of it; for, by observing the compositions of Handel’s
contemporaries, we constantly find the symphony; let the sentiment be
ever so sudden or violent, still the everlasting symphony is present,
to ‘destroy surprise and lessen effect.’
Haydn’s genius, at a more advanced stage in the practice of music,
enabled him to break through the trammels of these _chaperoning_
symphonies, and, had he been only a vocal writer, would, no doubt, have
done more. Beethoven, too, whose mighty powers of mind were not so
fully appreciated in his own time as now, sets another example--in his
trio ‘Tremati,’ for instance--of the non-intervention of symphonies.
And in the dramatic music of many other modern writers, a custom so
injurious to both stage and musical effect, is generally laid aside.
Even instrumental writers are beginning to feel the tediousness of
introductory symphonies. In the beautiful concerto of Mendelssohn,
which he played last season at the Philharmonic, how did he delight
his audience by the bold spirit with which he rushed at once into
the principal solo subject, instead of following the old daudling
practice of tiring expectation by four or five pages of tedious, and
often irrelevant, symphony![3] I therefore agree with Dr. Brown on
this point, so far as his principle goes. At page 189 is a striking
fallacy and extraordinary contradiction of himself by this critical
writer. Speaking of Sternhold’s version of the Psalms, he says,
‘There are few stanzas which do not present expressions to excite
the ridicule of some part of every congregation. This version might
well be abolished, as it exposeth one of the noblest parts of divine
service to contempt; especially as there is another version already
privileged, which, though not excellent, is, however, not intolerable.
The parochial music seems to need no reform.’ The opinion, that what
is only not intolerable needs no reform, will find but few abettors in
the present times. I have thought, ever since my attention was turned
to the subject, that nothing in the whole range of musical performance
requires so much reform and improvement as our parochial Psalmody.
There are in London, certainly, instances of its being in a very
respectable state, but in the majority of churches and chapels, no one
with a tolerable ear and the slightest devotional feeling can say, that
the squalling of dozens of children, untaught (at least not properly
taught), all straining their voices to the utmost, produces anything
but unmodified disgust.
While I am on this subject, I must notice a proceeding which some
parishes have adopted--namely, that of greatly reducing the salaries of
their organists,--in some cases within my own knowledge--from 70_l._
to 40_l._ per annum! Now this is Church reform with a vengeance! but
the vengeance falls on the already ill-rewarded organist. And here
is a striking proof of the injudicious manner in which we Englishmen
set about retrenchment. This is to degrade those who hold important
situations in the church to about the rank of beadles or vergers, and,
in the end, will only more effectually injure the establishment: for
so soon as a man of talent feels himself in danger of losing his just
remuneration, it is not likely that he will perform his duties with
much zeal.
In Lord Henley’s much-read pamphlet on Church Reform (p. 35, 4th
edition) is a passage recommending the entire abolition of what his
lordship is pleased to call ‘such relics of popery as chanting anthems,
solos, duets, voluntaries, &c.’ in our cathedral service, and advising
the introduction of a simple mode of Psalmody. Is it not amazing that
a man who is so learned in ecclesiastical law should forget that the
Deans and Chapters of all the cathedrals throughout the United Kingdom
hold their appointments on the _express condition_ of performing divine
service in the manner now practiced? Does he mean by a side-wind, by a
little law-cunning, to get rid of all deans and chapters?
I could accumulate the fallacious opinions of many writers till I had
half filled your Journal, Sir; but for the present will only add one
more, and an extraordinary one it is. In a copy of Sir John Hawkins’
History of Music, in the British Museum, containing MS. notes in his
own hand-writing (vol. v. p. 16), is the following remark:--‘Singing
follows so naturally the smallest degree of proficiency on any
instrument, that the learning of both is unnecessary!’
I am, Sir, &c. &c.
~Honorius~.
MR. G. LINLEY’S ANSWER TO MR. GÖDBÉ.
_To the_ ~Editor~ _of the_ ~Harmonicon~.
_Bolton Cottage, Chelsea._
~Sir~,
Mr. ~Gödbé~, with all the adroitness of a posture-master, pirouettes
from point to point, and assumes names and positions, as though he
were accountable neither for words nor actions. I will, as briefly as
possible, reply to those parts of his letter which seem worth my notice.
_He asserts._
1st. That ‘Under the Walnut-tree’ was originally written for Mr.
M’Keller, of Glasgow.
2nd. That the subject (his Title states _Melody_) of my Song is
only a slight modification of his Quartett.
3rd. That Mr. Pelzer positively declared that there could be no
doubt of my composition having been taken from his.
4th. That I proposed stating on my Song, that his Quartett had been
composed first.
5th. That Mr. Duff mentioned to me the name of a Song written by
him, but never published, called ‘Ladye Jane,’ _before_ I wrote one
bearing the same title; and inclines to the opinion, that he also
read to me another Song, entitled ‘The First Green Leaf.’
_I answer._
It was not.
He does not, by his own notation, show one entire Bar of my
composition to be like his. My Song has a totally different
Emphasis; and this is a fact not to be overlooked, Emphasis being,
I conceive, in Music, what punctuation is in parts of speech.
Mr. Pelzer denies that ever he made such a statement.
When accidentally appealed to, he admitted there was a slight
resemblance, but expressed his conviction that this was the effect
of accident, _not_ design. Mr. J. Addison and Mr. G. Herbert
Rodwell were similarly appealed to by Mr. Gödbé’s publisher. The
former gentleman allowed that parts of the 1st and 4th Bar had
some affinity, while the latter frankly confessed that he saw no
resemblance at all between the two compositions. The passages
that _do_ assimilate are common phrases used by everybody; and I
am aware of no patent which secures the right of such passages
exclusively to Mr. Gödbé.
I could not acknowledge a composition that I had never seen--a
thing unborn, that, for aught I knew, had no existence beyond the
author’s brain.
Mr. Duff never made mention to me of having written any such Song
as ‘Ladye Jane’ until _after_ the publication of mine; and declares
that he never read to me ‘The First Green Leaf;’ moreover, that Mr.
Gödbé has used Mr. Duff’s name without his consent or authority,
and that, too, after having been _assured_ by Mr. Duff that _no
such reading ever took place_.
So much for Mr. Samuel Gödbé’s veracity.
Touching the ‘Isle of Beauty,’ and his friends Messrs. Prowse and
Purday, Mr. Gödbé does not condescend to name the ‘identical Song,’
or the ‘Country Music Seller,’ whose coffers were thus likely to
overflow from so scrupulous a regard to the laws of copyright. I leave
him, therefore, to the full enjoyment of his two City friends, whose
testimony and opinion might have some weight, did the question hinge
on a tureen of turtle, or pitcher of punch. I beseech him to cultivate
the acquaintance of all such good fellows; he might do worse than
press their vocal powers in behalf of his Quartett, where, with a
‘merry Christmas, and a happy new year,’ they might stand a chance of
obtaining some praise, and a few pence. He never will, nor shall I,
get fat by controversy; and taking your hint to be brief, I dismiss
Mr. Gödbé and his ‘tangible elements of disputation,’ with a full
conviction that he is ever more likely to succeed in finding fault with
the works of others than in improving his own.
As was said of the critic may be said of him,--He has sifted a dunghill
to find two cinders that tally, and bestowed a great deal of pains upon
a dirty business.
I am, Sir,
Your obedient servant,
~George Linley~.
MEMOIRS OF THE METROPOLITAN CONCERTS.
[Continued from last Volume.]
Although the failure of public support occasioned the abandonment first
of the professional concerts, and eventually rendered it matter of
prudence even in Salomon to withdraw from the field, yet the impulse
which these establishments had given to musical taste, both in the
profession and amongst amateurs, continued to be felt long after the
immediate cause was no more. The tone of concerts, both public and
private, was materially improved, and some of the best pieces of modern
instrumental music were performed in orchestras where nothing beyond
the overtures and concerts of Handel or Corelli had been heard before.
The music, which was found on the desk, and formed the amusement of
amateurs, was much superior to any thing which a few years previous had
been thought within their reach; they were no longer contented with
the faded productions of a past age, but excited to keep pace with the
discoveries and improvements of the times in which they lived. The City
Amateur Concert, called the Harmonic (mentioned in the last of these
articles), arose out of and continued to keep alive this feeling, but
it required a more energetic effort and more comprehensive arrangements
to give it full effect.
This effort was at length made by the musical profession in London.
In the early part of the year 1813, Messrs. Corri, J. B. Cramer,
and Dance, met at the house of the last-named gentleman, and may
be said to have laid at that meeting the foundation-stone of the
~Philharmonic Society~. To a subsequent meeting they invited twelve
other professional gentlemen, and it was then determined forthwith to
institute a concert for the performance, if not exclusively, chiefly,
of instrumental music, in support of which the parties assembled,
not only agreed to give the gratuitous aid of their united talents,
but entered into a subscription to meet incidental expenses. They
assumed the appellation of ~The Philharmonic Society~, and associated
to themselves fifteen more of their professional brethren, thus
augmenting their number to thirty, who were to be denominated ~MEMBERS~
of the society, and in whom alone the management of its funds, and
the direction of its proceedings and concerns, were to be vested. The
thirty original members of the society were--
Messrs. ~Attwood.~
~Ayrton.~
~C. Ashley.~
~Ashe.~
~Bartleman.~
~Berger.~
~Bishop.~
~Blake.~
~Clementi.~
~Cooke, Robert.~
~Corri.~
~J. B. Cramer.~
~F. Cramer.~
~Dance.~
~Graeff.~
~Griffin.~
~Hill.~
~Horsley.~
~W. Knyvett.~
~Moralt.~
~Neate.~
~Novello.~
~Potter.~
~Salomon.~
~Sherrington.~
~Shield.~
~Sir Geo. Smart.~
~Viotti.~
~S. Webbe.~
~Yaniewicz.~
Members of the musical profession were invited to join the society
under the title of ~Associates~, but without having a vote, or
any other participation, in the affairs or constitution of the
establishment, or any privilege or advantage, except that their
subscription was fixed at a lower sum than that of the public in
general, and that, when any vacancies might occur in the list of
~Members~, they were to be filled up from the ~Associates~ by ballot.
Of this class sixty-one inscribed their names in the first season. The
subscription-list was filled up from the public at large; but in order
to be admitted as a subscriber, it was necessary to be nominated by
some member of the society, and as vacancies in the subscription-list
took place, they were filled up in the same way; the number of
vacancies being divided among the members, and each having an equal
number of nominations to divide amongst such of his friends as were
desirous of attending the performances of the society. Notwithstanding
this restriction, so anxious were the amateurs to avail themselves of
this opportunity of enjoying instrumental music of the first class,
that the whole number the room could accommodate was nearly filled up
before the first concert, and previous to the second performance many
applications for subscriptions had been of necessity rejected.
The object and principle of the Philharmonic Society is thus set forth
in its second fundamental law. The chief object ‘of the society is
the performance, in the best style possible, of the most approved
instrumental music, consisting of full pieces; concertantes for
not less than three principal instruments; sestettos, quintettos,
quartetts, and trios. No concerto solo or duet shall ever be performed
at any of the society’s concerts; and if the directors shall think it
expedient at any time to introduce vocal music with full orchestral
accompaniments, it must be under the above limitations.’ Thus it
appears that the performance of vocal music only entered conditionally
into the original plan of the founders of the Philharmonic;
nevertheless, they found it eventually advantageous, if not necessary,
to admit some singing; but for several seasons it was strictly confined
to the limits laid down by the above quoted law, and the performance
of the singers was for the first two or three seasons gratuitous.
The direction of the concert for the first season was confided to
Messrs. ~Ayrton~, ~Bishop~, ~Clementi~, ~Corri~, ~J. B. Cramer~, ~F.
Cramer~, and ~Dance~, and its performances commenced on Monday the 13th
March, 1813; a day that will be held memorable in the history of the
art. So much talent of the very highest order had never before been
assembled in the same orchestra; virtuosi who could appear elsewhere
only as leaders, here took in their turns the subordinate stations
of ripieni violins or tenors; and such masters of their art as ~F.
Cramer~, ~Salomon~, ~Shield~, ~Spagnoletti~, ~Vaccari~, ~Viotti~,
~Yaniewicz~, &c., were to be seen vying with each other which should
contribute most to the general effect of the performances. The result
was such as might have been expected from the combination of such
elements: yet when the orchestra was heard, its power, unity and force
seemed to surprise even its projectors themselves; and if in the course
of twenty years the Philharmonic Society has not appeared to improve,
it is perhaps because its very first efforts were in themselves as near
perfection as possible.
Every thing connected with this society is so interesting, and so
united with the history of the art in England, that we feel certain
it will be gratifying to our readers to peruse the bills of its
performances. Those who were present at them will thank us for reviving
the recollection of past pleasures, and those who were not must be
interested in seeing from what sources the directors drew, and what
description of music they naturalized, if they did not first introduce,
in this country.
FIRST CONCERT, Monday, March 8th, 1813.
~Part I.~
Overture, _Anacreon_ ~Cherubini.~
Quartetto, Two Violins, Viola, and Violoncello, ~Mozart.~
Messrs. F. Cramer, Moralt, Sherrington, and Lindley
Quartetto and Chorus, ‘Nell’ orror,’ Mrs. Moralt, ~Sacchini.~
Messrs. Hawes, P. A. Corri, and Kellner
Serenade, Wind Instruments, Messrs. Mahon, Oliver, ~Mozart.~
Holmes, Tully, and the Petrides
Symphony ~Beethoven.~
~Part II.~
Symphony ~Haydn.~
Chorus, Mrs. Moralt, Miss Hughes, Messrs. P. A. ~Mozart.~
Corri, C. Smith, &c. ‘Placido è il mar’
Quintetto, Two Violins, Viola, and Two Violoncellos, ~Boccherini.~
Messrs. Salomon, Cudmore, Sherrington, Lindley,
and C. Ashley
Chaconne, Jomelli; and March ~Haydn.~
Leader, Mr. SALOMON.--Piano-forte, Mr. CLEMENTI.
SECOND CONCERT, Monday, March 15th, 1813.
~Part I.~
Overture, _Zauberflöte_ ~Mozart.~
Trio, Miss Hughes, Mrs. Moralt, and Mr. Kellner ~Salieri.~
Quartetto, Two Violins, Tenor, and Violoncello, ~Haydn.~
Messrs. Salomon, Mori, H. Gattie, and Lindley
Notturno, Wind Instruments, Messrs. Mahon, Oliver, ~Mozart.~
Griesbach, M. Sharp, Petrides, Holmes, and Tully
Symphony ~Haydn.~
~Part II.~
Symphony ~Beethoven~.
Sestetto, Miss Hughes, Mrs. Moralt, Miss Bolton, ~Mozart~.
Messrs. P. A. Corri, C. Smith, and Naldi, ‘Sola,
sola’
Concertante, Violin, Tenor, Oboe, and Violoncello ~Bach~.
Obligati, Messrs. F. Cramer, Sherrington,
Griesbach, and Lindley
Finale, _Zaira_ ~Winter~.
Leader, Mr. F. CRAMER.--Piano-forte, Mr. CRAMER.
THIRD CONCERT, Monday, April 19th, 1813.
~Part I.~
Overture, _Les Deux Journées_ ~Cherubini.~
Septuor, Violin, Tenor, Violoncello, Double Bass, ~Beethoven.~
Horn, Clarinet, and Bassoon, Messrs. Spagnoletti,
Vaccari, Lindley, Hill, Petrides, Cramer,
Holmes
Quartett, Miss Hughes, Messrs. Hawes, Hobbes, and ~Haydn.~
Kellner, ‘Benedictus’
Symphony ~Pleyel.~
~Part II.~
Symphony, _Jupiter_ ~Mozart.~
Quartett, Mrs. Moralt, Messrs. P. A. Corri, Hobbes, ~Sarti.~
and C. Smith, ‘Dorina mia carina’
Quintett, Two Violins, Two Tenors, and Bass, Messrs. ~Romberg.~
Vaccari, Watts, Spagnoletti, Mountain, and
Lindley
Finale, _Tamerlane_ ~Winter.~
Leader, Mr. SPAGNOLETTI.--Piano-forte, Mr. CLEMENTI.
FOURTH CONCERT, Monday, May 3d, 1813.
~Part I.~
Overture, _Numa Pompilius_ ~Paer.~
Quintett, Two Violins, Two Tenors, and Violoncello, ~Beethoven.~
Messrs. Bridgtower, F. Cramer, Moralt, H. Gattie,
and Lindley
Terzetto, Mrs. Moralt, Messrs. Braham and Naldi, ‘Che ~Cherubini.~
ascoltai’
Quintett, Piano-forte, Violin, Tenor, Violoncello, ~Dussek.~
and Double Bass, Messrs. Neate, Salomon, Watts,
Lindley, and Hill
Symphony ~Mozart.~
~Part II.~
Symphony ~Clementi.~
Terzetto, Mrs. Moralt, Miss Rovedino, and Mr. ~Bach.~
Ledesma, ‘Tu mi dividi’
Concertante, Violin, Violoncello, Oboe, and Bassoon ~Haydn.~
Obligati, Messrs. Salomon, Lindley, Griesbach,
and Holmes
Finale, _Anacreon_ ~Cherubini.~
Leader, Mr. SALOMON.--Piano-forte, Mr. CRAMER.
FIFTH CONCERT, Monday, May 17th, 1813.
~Part I.~
Overture, _Demophoon_ ~Cherubini.~
Quartett, Mrs. Moralt, Messrs. C. Evans, Ledesma, ~Mozart.~
and C. Smith, ‘Benedictus’
Quartetto, Two Violins, Tenor, and Violoncello, ~Viotti.
Messrs. Viotti, Vaccari, Spagnoletti, and Crouch~
Overture, Double Orchestra ~Bach.~
~Part II.~
Symphony ~Haydn.~
Quartett, Mrs. Moralt, Messrs. Ledesma, C. Smith, ~Cherubini.~
and Naldi, ‘Cara da voi’
Quartetto, Two Violins, Tenor, and Violoncello, ~Beethoven.~
Messrs. Spagnoletti, Mori, Vaccari, and Neate
Finale, _Iphigenie in Aulide_ ~Gluck.~
Leader, Mr. VIOTTI.--Piano-forte, Mr. CLEMENTI.
SIXTH CONCERT, Monday, May 31st, 1813.
~Part I.~
Overture, _Lodoiska_ ~Cherubini.~
Quartetto, Two Violins, Tenor, and Violoncello, ~Mozart.~
Messrs. F. Cramer, Bridgtower, Moralt, and Lindley
Terzetto, Mrs. Ash, Messrs. Rosquellas, and C. Smith, ~Caruso~.
‘Parte vanne’
Full Piece, Piano-forte, Flute, Oboes, Clarinets, } ~Cramer~
Horns, and Bassoons Obligati, Messrs. Cramer, } and
Ashe, F. Griesbach, M. Sharp, Mahon, Oliver, } ~Mozart.~
Petrides, Holmes, and Tully }
Symphony ~A. Romberg.~
~Part II.~
Symphony ~Woelfl.~
Quartetto, Mrs. Vaughan, Messrs. Evans, Vaughan, ~Crotch.~
and Kellner, ‘Lo! Star-led Chiefs’
Quartett, Messrs. Yaniewicz, Watts, Spagnoletti, and ~Haydn.~
Lindley
Finale, _Men of Prometheus_ ~Beethoven.~
Leader, Mr. F. CRAMER.--Piano-forte, Mr. CRAMER.
SEVENTH CONCERT, Monday, June 14th, 1813.
~Part I.~
Overture, _Creation_ }
} ~Haydn.~
Introduction and Chorus, ‘The heavens are telling’ }
Quartetto, Piano-forte, Violin, Tenor, and ~Beethoven.~
Violoncello, Messrs. Berger, Yaniewicz, Watts,
and Neate
Symphony ~Clementi.~
~Part II.~
Symphony (No. 10) ~Haydn.~
Terzetto, Mad. Storace, Mrs. Ashe, and Mr. Braham, ~Cimarosa.~
‘O dolce e caro istante’
Quartetto, Two Violins, Tenor, and Violoncello, ~Beethoven.~
Messrs. Yaniewicz, Gattie, Moralt, and Lindley
Finale, _L’Hôtellerie Portugaise_ ~Cherubini.~
Leader, Mr. YANIEWICZ--Piano-forte, Mr. CLEMENTI.
EIGHTH CONCERT, Monday, June 21st, 1813.
~Part I.~
Overture, La Chasse, _Jeune Henri_ ~Mehul.~
Quartetto, Mrs. Bianchi Lacy, Miss Hughes, Mrs. ~Mozart.~
Moralt, and Mr. Ledesma, ‘Andrò Ramingo’
Quartetto, Two Violins, Tenor, and Violoncello, ~Romberg.~
Messrs. Vaccari, Watts, Moralt, and Lindley
Symphony ~Beethoven.~
~Part II.~
Symphony ~Mozart.~
Terzetto, Mrs. Moralt, Mrs. Bianchi Lacy, and Mr. ~Mozart.~
Ledesma, ‘Pria di partir’
Quartetto, Two Violins, Tenor, and Violoncello, ~Haydn.~
Messrs. Salomon, Watts, W. Griesbach, and Lindley
Finale, _Elvira_ ~Cherubini.~
Leader, Mr. VACCARI.--Piano-forte, Mr. CRAMER.
We shall continue the history of this society to the period when our
own reports of it commenced, in 1823.
A THEORETICAL WORK BY BEETHOVEN.
The Leipzig Musical Gazette of a few weeks back, contains the annexed
account of a publication which cannot but excite a strong interest in
the whole musical world, and most likely will prove highly instructive.
We are in daily expectation of a copy, and shall certainly lay
portions of its contents before our readers. The title, as given in
the German journal, is--_Ludwig van Beethoven’s Studies in Thorough
Bass, Counterpoint, and the Theory of Composition, collected from his
Autograph MSS. and edited by the Chevalier Ignaz von Seyfried_. Vienna.
T. Haslinger. Price 2 th. 16 gr.
The anxiety, says the writer of the article, which prevailed among the
numerous admirers of the great composer for the publication of this
important work, is sufficiently apparent from the list of subscribers
to it, the great number of whom enabled the publisher to adhere to the
price originally fixed, although the book contained about ten sheets
more than the first estimate allowed for it. The studies alone occupy
352 pages. We are then presented with a fac-simile of Beethoven’s
writing, representing, in almost enigmatical characters, the first
draft of the composition of his fine cantata _Adelaide_. After this
are given prints of two medals in honour of him, the one struck at
Vienna, the other at Paris. The appendix contains biographical notices,
anecdotes, a transcript of the will, letters, an account of the
obsequies, with the music, orations, poems, a drawing of his tombstone,
and a systematic catalogue of all the original compositions of the
great master. A very striking likeness of Beethoven precedes the whole.
This slight sketch of the contents will at least have the effect of
attracting to the work the attention of all those friends of the art
who may, up to the present time, have remained in ignorance of its
appearance. Who would not be anxious to observe for himself the manner
in which our Beethoven formed his mind and cultivated his genius? It is
not for us to say one word in recommendation of a work whose importance
speaks for itself in the most forcible manner.
Much less occasion have we to criticise; for, in the present case,
the question is not regarding the mode, but the substance, as it is
presented to us, and the manner in which every one ought to avail
himself of such a publication, and apply the conclusions which he may
draw from it. We do not expect that, in our notice of the work, we can
offer, except in a very few instances, any new views. However, it is
to be supposed that a great number of those who would take an interest
in the work are not yet in possession of it. For the benefit of such
we here give the concise and appropriate preface of the editor, which
adverts to most of what is necessary to be impressed on the mind in
relation to the work itself:--
‘These studies of the great genius are to the whole musical world a
valuable legacy, far too inestimable for any one to dare to risk the
slightest alteration in them. I have, therefore, endeavoured with the
utmost care to give every thing exact, and in the very order in which
I found it. I have even, on most occasions, preserved the author’s
own words and expressions. In those cases alone, however, where our
persevering and indefatigable student had given numerous examples in
illustration of one and the same rule, I considered myself at liberty
to make an omission or abridgment, in order that the work might not be
swelled out to an unnecessary bulk. [The information as to how many
examples have been omitted, and in what part of the work, would have
been acceptable to many.] What is here offered to the public cannot, by
any means, serve as a systematic book of instruction, but is rather to
be viewed as the course of study pursued by the great artist himself;
and it affords incontrovertible proof, to those who have hitherto
entertained doubts on the subject, that Beethoven dedicated the two
last years of his musical education, with unwearying assiduity, to
theoretical study, under the guidance of Albrechtsberger, his beloved
mentor, and further, that he was master of the substance of all the
rules, although in process of time his sublime genius cast off the
slavish fetters; and his master-mind, soaring far beyond the standard
of times past or present, disregarded so many which antiquity and
invariable usage alone had hitherto entitled to religious observance as
settled laws.’
It is certainly a very different thing when one man, who knows well
what he is doing, advisedly, or with innate tact, occasionally
transgresses a rule,--and when another, who has learned nothing, and
is unwilling to learn anything, evinces his pretended originality in
no other way than in the contempt of that of which he is actually
ignorant. Were ignorance and presumption the only characteristics of
genius, we should have no lack of it.
At the conclusion of the thorough-bass rules, page 74, is the following
remark in a fac-simile of Beethoven’s hand-writing:--‘Dear friends,
I took all these pains merely to be enabled to figure thorough-bass
correctly, and hereafter to point out to others any faults they might
commit: for myself, I hardly had occasion to learn this at any time;
I had from my childhood so nice a feeling, that I observed all the
established rules without knowing that what I did should be so or could
well be otherwise.’
So important are these studies, and so attractive are the numerous but
too few notices from his life, to which fact it is scarcely necessary
for us to bear witness, that an adequate idea of its full value cannot
be formed but from the work itself entire.
THE NEW GERMAN OPERA OF _FORTUNATUS_.
The Musical Gazette of Leipzig contains the following detailed account
of a new opera lately produced in that city, which, if its merit be at
all commensurate with the encomiums bestowed on it, cannot but be a
work of uncommon ability. Granting that the writer had listened to this
with very favouring ears--that he may have been biassed by partiality
of some kind, yet if he is in any degree to be relied on--and we have
no reason to doubt his general fidelity--the opera he thus praises in
so almost unqualified a manner must possess many pieces of no ordinary
excellence, and is worth being further inquired into by the managers
of our theatres. The critique has the German defect of verbosity; we
therefore have considerably abridged it. The writer accompanies his
remarks with two airs as specimens of the melodies; the first of which
will be found in the musical portion of our present number.
* * * * *
_Fortunat mit dem Säckel und Wunschhutlein_, (Fortunatus with the Purse
and Wishing-cap,) an Opera composed by ~Schnyder~, of Wartensee; the
Drama by ~Georg Doring~. Performed, for the first time, at Frankfort on
the Maine.
M. Schnyder, of Wartensee, well known to the public by many valuable
musical works, has here attempted dramatic composition with particular
success, and charmed us by an abundance of very excellent music.
He is a man rich in musical ideas; his productions are frequently
original, always clear and melodious, and, at the same time, of a
rare correctness. His airs are pleasing, and often very delicate; his
choruses powerful and full of dramatic effect. Above all, the opera
bears the stamp of considerable thought, (particularly as regards
harmony,) and of cultivated taste and great judgment. It presents plan,
unity, good keeping in the different characters, and displays poetic
elevation of no ordinary description. His harmony, frequently peculiar
to himself, is not to be termed mere accompaniment to the melody; it
may be considered as exhibiting a manner particularly his own of
enlarging the means of musical expression, or of employing the rich
store of musical colouring.
In his instrumental pieces, the progressions unfold many entirely new
ideas; he modulates with caution, but at the same time naturally, and a
rude transition is nowhere to be met with. It is true that we sometimes
encounter laboured, lengthy passages, and obsolete forms of melody;
the latter, however, considered with reference to situation, probably
not unintentionally introduced. An analytical review of the opera is
subjoined, that it may be more justly estimated.
The overture begins with a characteristic subject, which is afterwards
introduced whenever the Wishing-Cap is at work. To this succeeds a
soft piece, in the choral style, for the wind instruments, (motivo
of the chorus of the Genii attendant upon _Fortuna_,) in which the
first subject is gradually interwoven into the parts assigned to the
stringed instruments. After a novel progression of harmony--where the
chord of the dominant seventh of E♭ major, breathed, as it were,
pianissimo by the clarionets and bassoons alone, succeeds the chord of
the dominant of C minor given fortissimo by the whole orchestra--the
Allegro commences. A graceful, light theme, in contrast with the
significant romantic introduction, gives notice that we are to expect
a comic opera, in which the marvellous and fantastic spirit of a
fairy-tale is blended with the humorous. A profusion of unlooked-for
imitations, an attractive motivo, the interesting and striking
management of the inner parts, together with an excellent employment
of the brass instruments, distinguish this piece, and the introduction
of three trombones towards the end imparts great force and life to the
conclusion.
No. 1. Duet (as introduction) between the two lovers, _Fortunatus_ and
_Alide_, daughter of _Claudio_, king of Cyprus. The melody, tender and
affectionate; the accompaniment corresponding. In this, the passage
where _Fortunatus_, accompanying himself on the guitar, sings the
words[4], ‘Im Haine klagt’s,’ deserves particular mention--an excellent
air, tender in melody, and of most beautiful effect. While Fortunatus
is declaring his passion to Alide, they are surprised by the king, his
cousin Agrippina, and her brother Pedro. The king threatens Fortunatus
with death, and sends him to prison in the custody of Carlino, a
courtier. The duet merges into a concerted piece of considerable
importance, in which the characteristics of the different persons and
their respective feelings are depicted with great dramatic effect.
The lovers are doomed to separate, and the introduction appropriately
closes with the lovely bars of the opening of the duet, expressing
their hopes of seeing each other again.
No. 2. A Duet between the King and Pedro. The latter conceitedly
enumerates his good qualities, which the king listens to with
satisfaction. The boastings of Pedro are humorously expressed by some
original trumpet passages, while the insignificance and frivolity of
his majesty are happily marked by triplets.
A great contrast to this is shown in the Aria No. 4, which Fortunatus
sings, under the impression that he is to languish his days in prison.
This scene, together with the subsequent appearance of Fortuna, we
consider the gem of the Opera. A solo for the violoncello is introduced
here; the few bars of which, if entrusted to an able player, are
calculated to express the bitterest anguish and the deepest despair.
The sweet melody which follows is highly favourable for the display
of the singers’ talent. Fortunatus expresses the grief of separation,
but Hope whispers that he will be liberated by a superior power. The
Sombre F minor gives way to the tranquil A♭ major, and the
melancholy sounds of the violoncello are succeeded by the cheering
tones of the violin, which now steps in with a solo. A gentle sleep,
produced by magic, then steals on Fortunatus, and the chord of E major,
softly breathed by the wind instruments, hints already the approach
of Fortuna, who shortly afterwards appears with her genii, singing
tender choruses; bestows on Fortunatus her gifts--the wishing-cap and
ever-full purse--then disappears. As Fortunatus awakes, the key of E
major suddenly changes again into A, and the transition gives to the
whole situation a dream-like character. Fortunatus is now free, and
the orchestra bursts out fortissimo, with all its brass instruments
and drums, and seems to revel with the happy youth, who can scarcely
calculate the extent of his good fortune. He now wishes himself in
Famagusta’s rich market-place; the scene changes, and the dealers of
all kinds sing a popular air, No. 5, extolling their wares. Carlino
appears, banished from the court on the suspicion of being the cause of
Fortunatus’s escape, and sings a song, No. 6[5].
No. 7. Finale is comic throughout. King Claudio appears with the two
ladies, Pedro, and attendants. Fortunatus, recognized by Alide alone,
attracts the attention of the king by the splendour of his dress.
Pedro makes inquiries respecting him of Carlino, who has entered the
service of Fortunatus. When the king is told that the stranger is Count
Minian of Flanders, and that he is worth ten millions, his joy knows
no bounds, and he invites him immediately to the palace. The music of
the Finale is lively, dramatic, and well put together; the chorus at
the conclusion, however, borders on the trivial. The scene in which
Fortunatus is presented to the king by Pedro (tempo di minuetto) is
highly diverting, the melody is in the antique stiff style, and at
the end, four bars universal rest can scarcely fail to draw from the
audience a burst of laughter.
Second Act.--Fortunatus has been victorious in the tournament. The
king greets the rich Count of Flanders, in the presence of the whole
court, as his intended son-in-law. Pedro, too, for his valour in the
tournament, receives from the king a scarf. This forms the subject
of the chorus No. 8, of which it may be said, that it is powerful
and effectively written, and the solo parts are in true character.
Fortunatus acquaints Alide with the properties of the magic gifts, and
is overheard by Agrippina.
No. 9. A very beautiful duet between Fortunatus and Alide commences.
The motivo is uncommonly sweet, and the whole piece is calculated for
the display of vocal talent.
No. 10. Aria of Agrippina, almost in the bravura style. Agrippina
has revealed everything to her brother, and they resolve to despoil
Fortunatus of his magic gifts.
No. 11. Terzet between Agrippina, Pedro, and Fortunatus. This and
the following aria of Alide are the weakest pieces in the opera; the
colouring and inspiration, more or less conspicuous in the other
pieces, are wanting here. It should, however, be remarked that the
action of the drama begins to drag in the second act, and that no
situation predominates that is deserving of distinguished musical
treatment, except the finale, No. 13. Fortunatus, deprived of his
talismans, and wandering about in a rocky glen, deplores his fate.
He relates how Agrippina and Pedro bereft him of his magic gifts. To
quench his thirst he plucks an apple from a tree, on the tasting of
which he becomes as black as a negro. His good genius, however, directs
him to pluck an apple from the opposite tree, the taste of which
dissolves the spell. Upon this, he forms a plan for avenging himself,
and recovering his lost treasures. The finale begins with an aria in
C minor, in which Fortunatus expresses his eagerness for revenge. He
plucks the apples which turn black such as taste them; but on gathering
those which restore the original colour, and the effect of which is,
therefore, just the reverse, the orchestra plays the same musical
phrase reversed. The choruses of male and female gardeners are of a
pastoral character. The awful passage of the horn solo when Fortunatus
appears under the guise of a magic spirit, and which is introduced
with great effect as a second melody, simultaneously with the peculiar
subject which accompanies the plucking of the apples, forms a striking
contrast to the chorus of the courtiers, who assent to the king’s
remarks, and laugh at every stupid joke he utters. Agrippina and Pedro,
tasting the apples, become black. General consternation ensues. The
king curses the place, and the scene closes with a chorus.
No. 14. The commencement of the third act re-introduces the opening
chorus of the first act. Fortunatus then appears as a Quack Doctor, and
takes Carlino into his service as Punch. Pedro, understanding that the
Doctor possesses unfailing remedies for diseases of the skin, is in
hopes, through his means, to retrieve his lost colour.
Now begins No. 15, a terzet between Fortunatus, Carlino, and Pedro,
during which the latter, by eating the healing apples, (the same
musical phrase being played at the time which expressed the plucking of
them,) recovers his complexion. The whole scene of the disenchantment
is very original and dramatically written. Pedro hastens to his sister
with Fortunatus to effect her cure also.
No. 16. Aria of Alide, who attempts to console her cousin Agrippina;
full of melody, and concertante for the oboe, and of exquisite effect.
No. 17. Duet between Agrippina and Fortunatus. The latter being
introduced by Pedro to his sister in order to accomplish her cure,
obtains possession of the Wishing-Cap and Purse, and, grasping
Agrippina, wishes himself and her in a convent on the coast of Sicily,
where he compels her to pass the remainder of her days. This duet,
with the chorus belonging to it, forms one of the most original and
effective situations in the opera. Behind the scenes the nuns chaunt
an old choral hymn, a piece of sacred harmony still sung in convents;
to which, with the accompaniment of the orchestra, the above two sing
the duet, wherein the violent and wicked character of Agrippina reaches
its climax. The chorus is treated as _canto fermo_, and the dramatic
air proceeds with it, free and unshackled; it is a composition worthy
the highest praise. Agrippina takes the veil, and the invisible chorus
finishes with an ~Amen~.
No. 18. Aria with concerted parts. Alide is to be united to Pedro. The
King announces this in a pompous aria to the people, who express their
joy. Here is introduced a very fine march. Fortunatus appears, unmasks
the villain Pedro, and marries Alide. The opera closes with a concerted
movement.
The representation of this work in Frankfort was admirable. M.
Schmetzer, as Fortunatus, had ample opportunity to display his
magnificent _voce di petto_. Demlle. Lampmann also proved very
successful in the character of Alide. The getting up was worthy the
theatre, and the applause unqualified.
M. MOSCHELES AT LEIPZIG.
(From the _Musicalische Zeitung_.)
M. Moscheles, whose talents as a pianist are held in such high
estimation by every country where the musical art is appreciated,
gave us an unrivalled treat on the 22nd instant (October), and again
proved to us how much the character of a composition, and the feelings
intended to be excited, depend on the taste, judgment, and animation
with which it is performed. Our celebrated guest was welcomed in a
manner correspondent to his high merits by an audience that completely
thronged the Gewandhaus; and we trust that all who were present not
only came to hear and to enjoy, but to _learn_. M. M. played his new
concerto in C, and his fantasia, ‘Recollections of Denmark.’ It would
be presumptuous to offer a judgment on works of art after but once
hearing them, and more particularly so in the present instance, where
the performance was so bewitching, that the critic’s attention was
unavoidably drawn from the composition to the composer. It would be
mere commonplace to call M. M. the true representative of the true
school of piano-forte playing, or to say that a perfect gradation of
power, brilliancy of touch, precision of time, and all the charms of
rhythm are united in his performance. A detailed description of the
merits of a master conveys no adequate idea of the qualities and powers
peculiar to a man of genius. M. M. has all the difficulties of his
instrument in such complete subjection, that as they increase, so does
his command over them; while to the minutest particulars he has the
happy art of giving a value and communicating an interest, so that the
attention of his hearer never relaxes, and is always gratified.
In the midst of his energy he has a self-control which gives it
dignity. Light and shade, power and sweetness are so admirably
contrasted, or beautifully interwoven, that in the midst of his
admiration the hearer is instructed. All M. M.’s peculiar merits were
united in his extemporaneous fantasia, for which he had four themes
of Mozart given to him by the audience. The most striking modulations
blended with the most brilliant traits, that happy union and reunion
of his subjects, in which Hummel also excels, the imposing dignity of
his style, and an expression of lyrical feeling peculiar to himself,
completed a combination of excellence that called forth the warmest
marks of admiration from the delighted audience.
REVIEW OF NEW MUSIC.
SACRED MUSIC.
1. ~Musæ Lyricæ~, _original melodies composed for_ four voices, _by
the_ ~Rev. Charles Day~, LL.B., _Vicar of Rushmere_, 1832. (Mori
and Lavenu.)
2. ~Christian Vespers~, _written and composed by_ ~C. Hucheson~,
Esq., 1832. (_Glasgow_, R. and J. Finlay.)
Of all the accomplishments which shed a grace over the clerical
character, music is the most becoming. There is ‘nothing more strong
and potent unto good than music,’ says Hooker; and Martin Luther ranks
it next to theology. It is a social art, which draws persons together
to enjoy a pleasure which can excite no bad passion, and who separate
without any cause to regret an aching head, or a lightened purse, and,
probably, a loss of temper. It very much assists in confining what are
called the pleasures of the table within reasonable limits. It softens,
though it never enervates the mind; and even if indulged in to excess,
to the exclusion of more important pursuits, leaves at least the bodily
health unimpaired. But, viewed as part of our church service--an
essential part, indeed, the great length of the liturgy being
considered--it is incumbent on the ministers of religion to acquire a
competent knowledge of that which ought to be calculated to act very
influentially, though calmly, on their congregations. In cathedrals it
is absolutely necessary that the officiating clergy be well acquainted
with music, for the greater part of the service in those establishments
is set to musical notes. Hence we think it will be admitted, that a
divine does not leave his calling when he dedicates some portion of his
studies to an art so closely connected with his profession; and Mr.
Day, while writing his present work, may truly be said to have been
labouring in his vocation. Much more so, past all dispute, than if,
following the example of so many of his brethren, he had devoted the
same time to the performance of magisterial duties. We say nothing of
hunting, and such unintellectual, savage amusements, presuming that
very few of our clergy now engage in pursuits so utterly incompatible
with the sacred character.
The volume before us contains twenty-two short pieces of vocal harmony,
much, in fact, in the style of the psalm-tune, but more modern in all
respects. The melodies are pleasing, some of them original; and in
harmonizing these the composer has been quite successful, except in
the few instances hereafter to be mentioned. Indeed a superior taste,
and a knowledge of the best schools, distinguish most of Mr. Day’s
pages. The words--which we must observe seem to partake strongly of
what is called Evangelical feeling--are selected from Bishop Heber,
Watts, Cowper, Wesley, Toplady, &c., the expression and accentuation
whereof are irreproachable, except in one or two trifling instances not
worthy of remark. But pleasing and good as the harmony generally is, we
discover a few errors in it, which, in a work displaying so much talent
and skill, rather surprise us. At page 14, third bar from the end, are
three octaves. At page 26, the latter four bars exhibit more of such
errors--that is, if it be intended that the base should take the lower
notes. If otherwise, however, the unisons are very meagre. But severe
critics will exclaim loudly at two consecutive fifths between the
second and third bars of page 46, which, notwithstanding the enormity
of the offence, we confess are less painful to our ears than the
eighths we have just pointed out, though they will meet with no mercy
from musical rigorists, and undoubtedly ought to have been detected by
the composer, and corrected.
The manner in which this volume is brought out is an undeniable proof
of the elegant taste of either the proprietor or his publisher; and the
charitable purpose to which the profits arising from the sale of it are
to be applied, is no less indicative of the benevolent feeling of the
reverend author.
* * * * *
Mr. Hucheson’s work consists of sixteen original airs, harmonized for
three and four voices. But to these are prefixed nine full quarto pages
of what the writer denominates an ‘Introductory Sketch,’ to which,
being by far the best and most interesting part of the volume, we first
give our attention. It is a brief account of the origin and progress of
musical psalmody, which he shows, from ecclesiastical historians, to
have been introduced into England by Gregory the Great, at about the
close of the sixth century. ‘In the seventh century a person not only
taught the Monks sacred music, in the neighbourhood of Wearmouth, but
also opened schools for musical instruction in the northern shires of
England. Afterwards a similar school was established in Canterbury, and
other places were provided with teachers from that country. The reign
of Alfred adorned the close of the ninth century, and by him music
was liberally patronised. St. Dunstan, in the tenth century, excelled
in sacred music, as well as in the arts of painting and sculpture.’
In succeeding centuries much of the ample revenues of the church were
expended in the encouragement of music. ‘Indeed, so much was it then
studied, that the priests of almost every European nation travelled to
Rome to learn chanting.’
Mr. Hucheson is a strenuous advocate for congregational psalm-singing.
His arguments are incontrovertible, if those who would sing, could, and
if those who could sing, would; but, unhappily, the want of ability
in some, and either the shyness or the pride (we fear the latter) of
others, presents an insurmountable obstacle to so desirable a practice.
The author is of opinion that _congregations_ should be instructed
in psalmody, and that ‘a choir, consisting of their own members,
ought to occupy a situation in the church near the conductor of the
music.’ ... ‘The music of the church would immediately become a theme
of conversation at home, and of remark abroad; and the subject being
frequently discussed, would lead to just views of its importance, and
originate plans for its improvement, by the influence of judicious
criticism.’
As we have said above, if the great length of our morning service
is to continue unabridged, music must remain an essential part of
it: without the intervention of this, attention could hardly for
so long a time, and amidst so many repetitions, be kept alive; and
if introduced, it ought to be good. At all events, whatever in any
degree tends to excite ridiculous ideas should be most scrupulously
avoided; and what can be more ludicrous than the squalling of a bevy of
charity-children--the vocal musicians of most parish churches? But will
congregations be induced to join heart and voice in the psalm, or any
other kind of music? We fear not; for though, owing to the increased
diffusion of musical knowledge, numbers are qualified, and would soon
qualify others, yet absurd aristocratic feeling is so prevalent in this
our country, that where humility should be most felt--in places of
worship,--each class, from the highest to almost the lowest, considers
it a degradation to unite with those beneath it, and pride, the
denounced of religion and bane of society, is as little suppressed in
the church as at Almack’s.
Of the music in this work we cannot say much that will prove gratifying
to the composer. His melodies are not censurable, we admit, except
as being common; but his knowledge of harmony, as evinced in his
accompaniments, is of a very imperfect kind, and he seems not to have
taken the precaution to avail himself of that assistance which we
presume was easily to have been obtained.
PIANO FORTE.
~Fifth Concerto~, (_in_ ~C~ _major_) _with or without_ Orchestral
Accompaniments, _composed by_ I. ~Moscheles~. Op. 87. (Cramer and
Co. and Mori.)
This Concerto was produced, for the first time, if we mistake not, at
Mr. Moscheles’ concert in June last; and the impression it made on
us was so strong, that the piano-forte part alone now brings to our
recollection most of the effects produced by an efficient orchestra.
This might almost be considered as a symphony, so full and active
are the instrumental parts; but the present publication, without the
accompaniments, includes all that belongs to the instrument for which
it is principally written, and is so far complete in itself; though, of
course, much of the grandeur of the composition, as well as many highly
important effects, must be lost, if unaccompanied. The very opening of
the concerto leads us to expect a work of great originality, and we are
not disappointed in its progress. The following are the first dozen
bars:--
[Illustration]
The solo part enters thus unceremoniously,--
[Illustration]
The progress of the principal and subordinate subjects is through
nearly all the keys and every variety of passage, and the ingenuity
with which this is managed is, in most instances, rewarded by the
effect produced. Though it must be granted that there are, in this
movement, certain difficulties which can have no other object than
to show the dexterity of the performer. And as to the _sestine_ of
semiquavers, (page 20,) against four of the same notes, we must say
that, even when executed with mathematical precision, which is nearly
impossible, (would it were quite so!) the result is confusion between
the two parts, and, consequently, the effect on the ear painful.
The second movement is beautiful throughout; the commencement, in
which the violoncello takes the melody, is so lovely a piece of simple
harmony, that we cannot forbear extracting it:--
[Illustration]
But the most popular part of the present work,--and amongst much
originality we may also mention it as the most original,--is the
finale, or last movement. When performed, on the occasion before
alluded to, the very opening excited a murmur of applause, and
increasing satisfaction was marked on the countenances of the
audience as it proceeded. An examination of this does not lessen our
admiration of it; the invention, consistency, and spirit of the whole,
are manifest from the first to the last bars. We shall add to our
quotations the commencement of this, by which the reader will see that
the movement is not cast in a common mould.
[Illustration]
The three bars, or second subject, from the word _dolce_, are
afterwards taken, but in the relative minor, as the point of a
_fugato_, which morsel of science _à l’ancienne_, coming in so
unexpectedly, and not continuing long enough to puzzle and weary the
unlearned, must be counted among the happiest thoughts in the work.
This concerto, having been written for Mr. Moscheles’ own performance,
therefore for effect of all kinds, including a display of his powers of
execution, is, as will be supposed, abundantly difficult--we therefore
only recommend it to very superior players; to such it cannot but prove
highly valuable.
* * * * *
1. ~Rondo Brillant~ (_à la Russe_) _with an_ Introduction,
_composed by_ J. B. ~Cramer~. (Cramer and Co.)
2. La Narcisse ~Polonaise~, _composée par_ ~Charles Czerny~, _avec_
Introduction, _par_ ~Jerome Payer~, Op. 175. (Wessel and Co.)
The opera, 8 of Cramer, long ago taught us to associate agreeably
his name and airs _à la Russe_; we therefore anticipated much of
the pleasure which the above publication has afforded us, and feel
confident that it will find an admirer in every lover of true
piano-forte music. The _Rondo Brillant_ is in ~A~, 2/4 time, allegretto
scherzando; the subject simple, melodious, and treated in a fanciful,
sprightly manner;--with great taste, it is superfluous to add, for
whoever knew this quality wanting in any of Cramer’s productions? It
is also practicable by all tolerable performers, and comprehensible
to every one with a musical ear, a praise unmerited by many composers
of great name in the present day. We were much struck by a very bold
enharmonic change from ~E~ to ~E~♭ and back again (page 3); it will
always rouse the attention of the hearer, however drowsy he may happen
to be. The introduction, adagio, is expressive, energetic, and just the
right length. At page 6, bar 15, is a ~C~♯, which ought to be ~D~♯.
As the same error is repeated two bars beyond, it might mislead the
performer, if not pointed out as a misprint.
* * * * *
No. 2 is a Polonaise, which, if played in the time indicated by the
composer,--that is, not quick, for so we are to understand the term
_grazioso_,--will produce very considerable effect. The subject is
exciting, and well supported, the modulations good, the passages mostly
lie well for the hand, and the whole being included in nine pages, the
interest never flags. But as if M. Payer were resolved that no one
composition by M. Czerny should appear without some drawback, he has
written an introduction to this, in which is a passage of semitones
more ingeniously tormenting to the ear than any we ever had the
ill-fortune to meet with. The whole of this part is full of pretence,
and wretchedly unmeaning. We advise the performer (who ought to be a
skilful one to execute the Polonaise) to substitute a few chords for M.
Payer’s senseless page, begrimmed as it is with half demi-semiquavers,
for so sure as his hideous notes are played, the auditors will
simultaneously take to flight; while the canine species, if any are
within hearing, will proclaim their sufferings in corresponding sounds.
* * * * *
1. ~Air de Ballet~, _tiré de l’opera_ La Tentation, _et arrangé en_
Rondeau, _par_ J. ~Herz~, Op. 23. No. 1. (Mori and Lavenu.)
2. ~L’Orgie, Rondo~ _sur des thêmes de_ La Tentation, _arrangée
par_ ~Adolphe Adam~. (Chappell.)
No. 1, from an opera now having a great run in Paris, composed by
Halevy, is an excellent rondo, the air graceful and pleasing, and the
amplification of it exhibiting delicacy of taste and a full knowledge
of the character and capabilities of the instrument. Here we find no
notes sixty-four to a bar,--no leaps of 17ths and 19ths,--no howling
runs of semitones,--all is rational, and worthy of a clever, spirited
writer. Let it, however, be observed, that the author of this is not
_Henri_ Herz, but his brother, who appears to have a soul for music;
while his relative only shows that he has fingers and thumbs for the
art. This air is named _La Romeca_ in the opera; it is by comparison
short, and though it looks easy, requires an experienced player, and
one with a wide hand, the base passages continually embracing ten notes.
* * * * *
No. 2 is clearly a dance-tune: its rhythm of three and two bars shows
that the measure is made to yield to stage action. The air is rather
pretty--somewhat national in character, and the composer’s chief aim
seems to have been, to make the rondo as easy to the performer as was
possible, short of being rendered fit for a learner of three months’
standing.
* * * * *
1. ‘Nel cor piu,’ _arranged, with variations after the style of_
~Paganini~, &c. &c. &c. _by_ ~John Purkis~. (Purday.)
2. ~Rondoletto~, _from the_ Barcarole _of_ Marie, _by_ ~Henry
Karr~. (Welsh.)
The least meritorious part of No. 1 is the title-page, which we have
cut short; not, however, from any disrespect to her Majesty, our queen,
whose name, ‘by special permission,’ appears on it, but because it
contains much nonsense. The five variations on Paisiello’s air, ‘Nel
cor piu non mi sento,’ are rather clever in contrivance, and pleasing,
but let us hope that not above half of these were ever played on the
organ, for _semidemisemiquavers_ on that instrument would be as much
out of character as a bravura from the pulpit. Indeed, we must say
that, however well suited to the piano-forte, there is hardly a single
page of this calculated for that noble piece of mechanism, the organ.
If, nevertheless, the whole were ever performed on the Apollonicon, and
met with the ‘unbounded applause’ which the composer--reviving a vain,
childish, absurd phrase, which we hoped had been exploded--boasts of,
such applause only proves what a modicum of discrimination his auditors
must have brought with them into the room.
* * * * *
No. 2 has much to recommend it to general notice;--the barcarolle,
by Herold, is a beautiful melody; it is exceedingly well worked into
a rondo, by Mr. Karr; the piece is not long, shews much taste, and is
well adapted to the instrument.
1. ~Six Variations~ _on_ The Blue Bells of Scotland, _composed by_
~J. T. Surenne~. (Monro and May.)
2. Air, ‘The stilly night,’ _with_ variations, _composed by_ ~J. F.
Leeson~. (_Dublin_, Power.)
The variations on the Blue-bells are very much like numberless other
things of the kind; the _composer_ does not seem to have even made
an effort to strike out of the highway; he has followed the beaten
path, and committed no offence. The only attempt at novelty is to
be found in the title-page--(your title-pages are great tests of
understanding)--where, in dedicating his variations to a friend, in
English, he tells us, in French, that the _dedicatee_ is an ‘élève de
Bochsa!’--as if the words were untranslatable; and also as if the world
cared one straw about such a piece of information.
* * * * *
The delicious air, ‘Oft in the stilly night,’ would, we should have
thought, have spoken for itself, and pointed out an elegant calmness
as the proper character of any variations written on it; but the
composer either has not heard, or has not listened to, the ‘still small
voice’ of reason; he has given us, first, a page of demisemiquavers,
‘_brillante_’, 2/4 time; next a crowd of skipping triplets; then
poured on us another flood of three-tailed notes, ‘_Con Fuoco_;’ and
afterwards as many more of the same kind, ‘presto!’--to say nothing
of a coda in a similar style. There is not a single new idea to be
found in the whole piece. If such things as this confer the title
of ‘composer,’ we then can only say that it is a title very easily
obtained.
ROBERT LE DIABLE.
1. _The_ ~Overture~ _and_ ~Introduction~ _to the opera of_ Robert
le Diable, _with_ flute or violin _accompaniment_, ad lib.,
_composed by_ ~G. Meyerbeer~ (Chappell.)
2. _The_ Pas de la Bouquetière, _danced by_ Madlle. Taglioni, _in
the same, composed and arranged by_ ~Meyerbeer~. (Chappell.)
3. ~Bacchanalian Chorus~ _in the opening scene of the same,
arranged as a_ ~Brilliant Rondo~, _by_ ~J. Herz~. (Chappell.)
4. The Pilgrim’s Ballad, ‘Jadis regnait en Normandie,’ _from the
same, arranged with Variations, by_ ~Charles Czerny~. (Chappell.)
5. ~Sicilienne~, ‘L’or est une chimère,’ _in the same, arranged by_
~T. Valentine~. (Chappell.)
The Overture to _Robert_ is in two movements; the first an _andante
maestoso_ in C minor, meant as a prologue to the _diablerie_ of the
drama--a very much laboured composition, which does not make a return
equal to the trouble bestowed on it. The second is an anticipation of
the admirable and really popular air, ‘Jadis regnait en Normandie.’ The
introduction wants the voices and stage action to give due effect to
it, but there are some fine musical points in it, which the pianoforte
is quite sufficient to bring forth. The whole of this is most
judiciously arranged.
* * * * *
We never discovered the great merit of the _Dance of the Flower-Girl_,
No. 2, and suspect that the grace (not, let us hope, the distortions)
of Mademoiselle Taglioni produced more effect than the music. The coda
to this, however, is melodious and enlivening; and the whole piece is
adapted in a manner to have been expected from so sensible a man as M.
Meyerbeer.
* * * * *
No. 3, the Chorus in the introduction, we have spoken of above. This
is also remarkably well arranged by M. Jules (such Christian name we
believe he bears) Herz. Much of this is pleasing, and the whole showy,
without annoying the player and hearer with any sleight-of-hand tricks.
* * * * *
In No. 4, M. Czerny appears not only in a rational, but almost in an
amiable shape. It would have been unpardonable to slay so good an
air as this under its parent’s eye. The first variation is a little
skittish, but afterwards the composer becomes sober, though very
animated, brilliant, and agreeable. The Introduction is the best thing
of the kind we ever saw from the pen of M. Czerny. The whole makes a
very delightful, and not very difficult, divertimento.
* * * * *
Mr. Valentine, in No. 5, has given us a simple, unaffected, good
arrangement of one of the most original airs in the opera. This is
short, perfectly easy, and is adapted to those whose progress, or
practical skill, may deter them from undertaking any of the foregoing
pieces.
* * * * *
1. ~Grand Waltz~, _with_ ~Variations~ _and_ ~Polonaise~, _composed
by_ ~James M’Calla~; _Op. 10_. (Goulding and D’Almaine.)
2. ~Les Brillantes~, ~Waltzer~, _composée par_ ~James T. May~.
(Same)
3. _A set of_ ~Quadrilles~, _composed and published as the
preceding_.
4. A second set, ditto, ditto.
No. 1 is a pleasing, short waltz, but the _grandeur_ of it, predicated
in the title-page, has not been revealed to us, though, doubtless,
very apparent to the author. The variations are few, moderate in
length, spirited, and though not very novel, are agreeable. The finale,
a Polacca, is exhilarating, well put together, and can never lack
admirers.
* * * * *
No. 2 comprises five well-written waltzes, which will not fail to
please. But of what country is the composer? His title would incline
us to suppose him a Frenchman, but that the grammar is false. The
word _waltzer_, neither English nor French, tempts us to ask if he
is a native of Germany. Perhaps it is not a matter of very singular
importance, but we abhor remaining in doubt, and like everything to be
in good keeping.
* * * * *
No. 3 and 4 possess a sufficiency of agreeable melody, but not of that
sort which surprises by its novelty. The quadrilles are all strictly
correct, and call for no greater exertion on the part of the performer,
than they seem to have cost the composer.
* * * * *
~Instructions for the Piano-Forte~, &c., _including a variety of
Fingered Exercises, favourite Airs, &c. &c., by_ ~R. W. Keith~.
(Keith, Prowse, and Co.)
This, it appears, is the fifth edition of the work, though the first
that ever fell under our notice. But the word ‘edition’ is not always
construed in the same manner by music publishers as by publishers of
literature. By the former, a second, &c. impression, of perhaps a
hundred copies from the same plates, is sometimes called an edition,
though, in point of fact, two thousand copies are always taken from
one set of plates, if there is a demand for so many. Correctly
speaking, then, an edition of a musical work, printed from pewter
plates, and that has a large sale, is never under two thousand; and
if, in announcing the present as the ‘fifth edition’ is meant that
eight thousand copies have already been sold, we can only express
our surprise at never having met with the work till now. Comparing
it with many other publications of the same nature, it certainly is
entitled to commendation, though far from being perfect; indeed, as we
have more than once hinted, a good elementary work: a work which, in
method, perspicuity, and accuracy of definition, may rival the didactic
publications of the present day in other arts and sciences, is still a
desideratum.
Mr. Keith is correct in his principles: his examples, though not always
judiciously selected, are well fingered, and his annotations are, for
the most part, accurate and useful; but his language is frequently not
sufficiently precise, his punctuation often involves him in obscurity,
and his definitions are sometimes erroneous. For instance, he tells
us (page 16), that a bar ‘determines the place on which the accent
is laid.’ Now, a bar has nothing whatever to do with _determining_
the accent, it only assists in pointing out the note which is to be
accented. Again, in the same page, it is said, that ‘a crescendo is
effected on the piano-forte, by pressing down the key immediately
after it is struck.’ But the truth is, that loudness, or softness,
wholly depends on the force with which the key is struck; pressure
_after_ the key is down is useful in the legato style, but cannot, by
any possibility, increase or diminish the degree of sound. At page 19,
and in many other parts of the book, we read of a ‘grave angle!’ The
only representative, in our mind, of a grave angle, is the corner of a
tomb-stone. There is but one angle used as a sign in music, and that is
an acute angle.
We protest most strongly against Mr. Keith’s mode of accompanying the
scale, both major and minor: his seventh, on the rising sub-mediant
of the former; his minor third, on the dominant of the latter, and
his change from the perfect chord to that of 4/2 on the octave, are
opposed to the best authorities, differ from universal practice, are at
variance with theory, and, in our opinion, hostile to good taste.
In his dictionary of Italian words we likewise find objectionable
points. The orthography of several words stands in need of amendment,
and the explanation of some is incorrect. Here, also, is a want of
that strict definition, which is of so much importance in education.
A child, while even learning music, might, if instructed by a
well-informed, sensible master, incidentally have her mind opened on
many other subjects.
We call the author’s attention to these defects, considering them
remediable. If amended, his book will, we repeat, be found equal to
most of the kind, and superior to many.
* * * * *
VOCAL.--DRAMATIC.
1. ~Air~, ‘La trompette guerrière,’ _dans l’opera_ Robert le Diable
_de_ ~Meyerbeer~. (Chappell.)
2. ~Air~, ‘Hark! the trumpet,’ ditto ditto ditto.
3. ~Air~, ‘Dès qu’une amie,’ _in_ La Bayadère, _composed by_
~Auber~. (Chappell.)
4. ~Ballad~, ‘I never can forget thee,’ _from the Operetta of_ The
Fancy Ball; _the Poetry by_ ~Edward Morton~, Esq.; _composed by_
~Alex. Lee~. (Dean.)
5. ~Ballad~, ‘O! where are the joys?’ Ditto ditto ditto.
6. ~Ballad~, ‘Of love beware.’ Ditto ditto ditto.
The first and second of the above are one and the same air: it is in
three movements; the two last of the bravura kind, and all requiring a
voice of great compass and flexibility. The opening reminds the hearer
of the most famous of all the Tyrolian airs; and there are passages in
the air which at once father it on the composer of _Il Crociato_. The
whole is energetic, and full of dramatic effect.
* * * * *
No. 3 was much sung here last season, by Madame Cinti, who can render
almost anything agreeable. It would be thought long in the hands
of singers of the second class, though there is a great deal of
originality in the first movement, and considerable merit in the whole.
But the latter part is certainly too much spun out, the first stanza
being repeated over and over again till it becomes somewhat fatiguing.
The effect of this considerably depends on action; it is therefore
better suited to the stage than to concert or drawing-rooms.
* * * * *
The three ballads by Mr. Lee all possess a certain degree of insipid
prettiness, which enables them to pass uncensured, for they exhibit no
fault in composition, or in the setting of the words; while it would be
very difficult, if not impossible, to discover a single original trait
in any one of them. Hence they are easily understood by an audience,
and give not the slightest trouble to either singer or accompanist in
private.
* * * * *
1. ~Glee~, The New-Year’s Welcome, _for three voices, the words
by_ ~Edward Morton~, Esq.; composed by ~T. Cooke~. (Morton, _late_
Dean.)
2. ~Ballad~, ‘I’ll ne’er forget that happy hour,’ _composed by_
Mrs. ~P. Millard~. (Chappell.)
3. ‘The little bark goes slowly on,’ _the poetry by_ ~L. O.
Cumming~, A.M.; _the music by_ Mrs. ~George Bubb~. (Duff.)
4. ~Song~, ‘From thy shores, my loved Scotland,’ _composed by_ ~H.
R. Bishop~. (Chappell.)
5. ~Ballad~, ‘Waken, O waken! my bonnie dove,’ _composed by_ ~Fred.
W. Horncastle~. (Hawes.)
6. ~Ode~ to the memory of Sir ~Walter Scott~, ‘The Minstrel
sleeps,’ _written by_ ~Robert Gilfillan~; _composed by_ ~Finlay
Dun~. (Edinburgh, Paterson and Ray.)
7. ~Song~, ‘Come sing to me,’ _the words by_ Miss ~E. Acton~, _the
music by_ ~Finlay Dun~. (Paterson and Co.)
8. ~Ballad~, ‘My own,’ _the poetry by_ ~Charles Swain~, Esq.,
_composed by_ ~Edwin J. Nielson~. (Purday.)
9. ~Scotch Song~, ‘What care I for gowd and gear,’ _written by_
~William Paul~, _the music by_ ~James P. Clarke~. (Glasgow, Brown.)
10. ~Song~, ‘As gentle rains refresh the earth,’ _written by_ ~C.
V. Incledon~, _composed by_ ~T. H. Severn~. (Hawes.)
11. ~Song~, ‘You ask me for a pledge, love,’ _composed by_ ~J. F.
Leeson~. (Goulding and Co.)
12. ~Ballad~, ‘O saftly sleep, my bonnie bairn,’ _poetry by_
~Leitch Ritchie~, Esq., _composed by_ ~R. A. Rowe~. (Dean.)
No. 1 is as easy to sing as it was to write. The composer certainly
did not rack his brains in search of novelty when he put this glee on
paper; neither, we are equally sure, did he bestow much thought of any
kind on any one line of it.
* * * * *
No. 2 is well set, as regards accentuation, and the melody, though made
up of not any uncommon phrases and cadences, is far from inelegant, and
the whole is quite easy.
* * * * *
No. 3, meant to be descriptive of a calm followed by a storm, is not
very successful. The first part may perhaps pass, but it was a great
mistake to relate the fatal catastrophe in notes which described
stillness and security--in a kind of _da capo_.
* * * * *
No. 4 is, we presume, one of those things which the composer has penned
down after dinner, to avert a fit of somnolency; which, however, will
be transferred to all who listen to this song.
* * * * *
No. 5 is a brisk _Aubade_, or morning-song, which may prove useful in
ordinary cases, but has not sufficient potency to rouse the nymph who
is cast into a very deep slumber. In the opening symphony, the last
bar, the fifth, should be omitted; and in the first bar of page 2, the
~F~ must, of course, be sharp. Being natural a second time, in
the following verse, may raise a doubt as to the author’s meaning.
* * * * *
To No. 6 no fault can be imputed. But though the music is good, and
the verses set with great propriety, yet we expected more from so
intellectual a composer, the exciting nature of the occasion being
considered.
* * * * *
No. 7 is indebted to Haydn’s _Mermaid’s Song_ for the commencement. The
whole is airy, and quietly but well accompanied; and there is a good
deal of variety in the song, just indeed such as the words required. We
should be better satisfied with the symphony were the seventh and tenth
bars discarded, and a pause given to the last rest in the ninth. The
rhythm, in fact, requires this, or some such change, for the last bar
here counts for nothing in musical prosody.
* * * * *
No. 8 is not equal to some of Mr. Nielson’s songs; there is nothing in
it to fix attention, either in melody or accompaniment. The disjunction
of the words, bars two and three, page 3, just where they ought to have
been joined, is injudicious; and the error is not less in making the
last syllable long in ‘companionship,’ and the first so drawlingly slow
in ‘apathy.’
* * * * *
No. 9 is just such a cheerful melody as we can imagine a frank,
independent, right-thinking Scottish lassie would sing to such words.
The song has only the merit of what the schoolmen call congruity.
* * * * *
The composer of No. 10 has produced much better things: he has failed
in this.
* * * * *
No. 11 shows some fancy, much enterprise, but a want of study and
experience.
* * * * *
No. 12 has the appearance of being an imitation of Charles Smith’s
popular song, but exhibits errors not to be found in the model. Between
the sixth and seventh bars of page 2 are fifths which few ears will
tolerate; these occurring again in the second verse. And in order to
have got out of an embarrassment in which the composer evidently found
himself while writing bars eight and nine, same page, he should have
struck out the ~E~♮ and the first ~D~♭ in the treble staff. There are,
nevertheless, symptoms of taste and feeling in parts of this ballad.
FLUTE AND PIANO-FORTE.
1. First ~Grand Trio~ Concertante, _composed by_ ~Fred. Kuhlau~
(_of Copenhagen_). Op. 119. (Wessel and Co.)
2. ~Introduction~ _and_ ~Variations~, _with a_ ~Polacca~, _on an
air in_ ~Semiramide~, _composed by_ ~T. Bucher~. (Op. 38.) (Gerock.)
Music for the flute is seldom written in a learned and laborious
manner. With this fact in view, we may venture to say that Kuhlau’s
trio for two flutes and piano-forte is a clever composition; it abounds
in air, not of a common kind, and the harmony is rich, particularly in
the adagio, a short movement in ~E~♭, full of expression. The first
and last movements are in ~G~; the former melodious and elegant;
the latter, a gay, brilliant rondo. This is not very difficult for
the instruments, though it requires practised performers; and will,
we cannot doubt, be exceedingly well received in any small party of
connoisseurs.
* * * * *
No. 2 is the charming chorus and cavatina, ‘Bel raggio lusinghiere,’
which M. Bucher, according to the practice of too many flutists, has
twisted into all kinds of unnatural shapes, by means of variations, in
which execution is the only aim of the composer. That much cleverness,
in one sense of the word, is evinced in these, we do not deny; but
cannot allow that what ought to be the chief object--good and pleasing
music, in which the art, not the performer, is most prominent--has been
sufficiently, if at all, taken into consideration.
* * * * *
1. ~Rondo Favorit~ _de_ ~Mayseder~, _arrangé par_ ~Eugene
Walckers~. Op. 5. (Wessel and Co.)
2. ~Select Italian Airs~, _arranged by_ ~J. Sedlatzek~ _and_ ~A.
Diabelli~. No. 1. (Wessel and Co.)
3. Ditto, No. 2.
4. Ditto, No. 3.
No. 1 is the eternal air in ~A~--
[Illustration]
certainly very pleasantly and well arranged, moderate in length, and
calling for only reasonable powers in the flutist. The accompaniment
quite easy.
* * * * *
Nos. 2, 3, and 4 form a highly useful work, at least to those who
admire modern opera airs. These numbers contain ‘Ah, come rapida!’ from
Meyerbeer’s _Crociato_; ‘Soave e bel contento,’ from Pacini’s _Niobe_;
and ‘Deh! Calma, o ciel!’ from Rossini’s _Otello_. The flute part is
difficult; the accompaniment otherwise. Both are printed together, but
the former is also in a detached sheet.
* * * * *
FLUTE.
1. Old Friends with new Faces, _a collection of the most popular_
National Airs, _&c. &c., arranged by_ ~T. Lindsay~. _Books 2 and
3._ (Cramer and Co.)
2. ~The Flutonicon~, _or Flute-player’s Monthly Companion_. No. IX.
(Sherwood and Co.)
The ‘old friends’ are Scottish and Irish melodies, the best that could
be chosen, with variations to each; some in character with the airs,
and suited to the instrument; others yielding to fashion, therefore not
remarkable for appropriateness. This little work has an apposite motto,
‘Should auld acquaintance be forgot?’ and those who say ‘nay,’ will do
well to purchase the work.
* * * * *
No. 2 is the first number we have received of this periodical. It
consists of twelve octavo pages, containing short airs, also duets
for two flutes, arranged from popular compositions. We find here the
six airs performed by Paganini; a waltz; a prelude and adagio, by
Gabrielsky, and three other pieces. The work is neatly printed on good
paper.
EXTRACTS FROM THE DIARY OF A DILETTANTE.
[Resumed from page 284 of last Volume.]
_December 1st._--Nothing is talked about, or thought of, except the
siege of Antwerp and the general election. Sounds are heard on the
Kent and Essex coasts, which turn out to be only the thundering of
artillery, and the hopes of a dilettante are cast down long before the
walls of the citadel begin to tremble. Bands of music are collecting
in all quarters, but they eschew symphonies, overtures, and even
serenades; their sole purpose is to drown, not accompany, the voices of
rival candidates for parliamentary seats, who, by the way, are commonly
gainers thereby, in having speeches reported which they could not have
made. The autumn has passed away without a concert in the provinces
worth mentioning, and the foreign journals are as barren of musical
matter as our own newspapers. The doer of small Monday’s articles in
the _Chronicle_, who used at this season to tell his hebdomadal tales
of what great things were to be expected at the opening of the Italian
opera--of _Signori_ and _Signore_, surpassing all that had before been
heard--of musical dramas, of which ‘green-room report’ invariably spoke
‘in the highest terms,’--of some wonderful wonder of wonders, whose
fiddle was to reduce that of Calliope’s son to a mere kit, or to whose
voice Stentor’s was but a gentle whisper,--even this urbane propagator
of pleasing exaggerations is mute! However, a Polish Paganini, it is
said, is on his way hither; but let us hope that he will leave his name
behind him, for, if we have it correctly spelt, every syllable would
cost a tooth in pronouncing. Also the celebrated concerto-drummer, and
the famous guimbardist, with the young lady renowned for her grindery
on the _Vielle_, are expected shortly; and rumour states, though I do
not believe it, that the King’s theatre is to be the scene of their
astonishing exploits; the whole pit to be converted into stalls at a
guinea each, and the boxes, at ten, to be reserved exclusively for the
Almackites. Query, is this the grand secret which we have been told
Christmas is to divulge?
* * * * *
The Sphinx has now no riddle; but a neighbouring statue has long
puzzled the learned of all nations by its supposed hymn to the rising
sun. A very intelligent traveller, however, who lately visited Egyptian
Thebes, and has published an interesting account of its antiquities,
therein communicates the grand secret of the vocal stone, which he
had from a gentleman who has long lived in its immediate vicinity. It
fairly belongs to musical history, for the instrument employed by the
cunning priestly performers was, it would appear, decidedly a musical
instrument. The following is the statement:--
‘The famous musical statue of ~Memnon~ is still seated on its throne,
dignified and serene as the plain of Thebes. It is a colossus, fifty
feet in height, and the base of the figure is covered with inscriptions
of the Greek and Roman travellers, vouching that they had listened to
the wild sunrise melody. The learned and ingenious Mr. Wilkinson, who
has resided at Thebes upwards of ten years, studying the monuments
of Egypt, appears to me to have solved the mystery of this music. He
informed me that having ascended the statue, he discovered that some
metallic substance had been inserted in its breast, which, when struck,
emitted a very melodious sound. From the attitude of the statue a
priest might easily have ascended in the night, and remained completely
concealed behind the mighty arms, while he struck the breast: or, which
is not improbable, there was some secret way to ascend, now blocked up,
for this statue, with its companion, although now isolated, were once
part of an enormous temple, the plan of which may now be traced.
‘Thanks to the Phonetic system, we now know that this musical statue
is one of ~Amunoph~ the ~Second~, who lived many centuries before the
Trojan war. The truth is, that the Greeks, who have exercised almost as
fatal an influence over modern knowledge as they have a beneficial one
over modern taste, had no conception of anything more ancient than the
Trojan war, except chaos. Chaos is a poetic legend, and the Trojan war
was the squabble of a few marauding clans.’
* * * * *
_3rd._ A Manchester paper of a few days ago, relates the following
‘~Singular effect of Music~.’ At the Cheetham-hill Glee-club, on Monday
evening, during the performance of “Non nobis, Domine,” which was sung
by about forty voices, a tumbler glass which stood upon a table in the
room, broke into a thousand pieces, as if shattered by an explosion of
gunpowder. When Dragonetti heard this paragraph read, he exclaimed, in
his patois,--‘_it vas no maraviglia du tout dat de canon made great
noise, and cassée de glass_[6].’
But a Lady’s Magazine for last November relates something much more
marvellous than the foregoing: it tells us that one single man, by only
breathing into a glass, shivered it to pieces! Even this is as nothing
compared to the power ascribed to Lablache in the same article. The
whole is a choice specimen of literary composition, of appropriate
words, and of scientific knowledge.--
‘The voice of Lablache,’ says the writer, ‘has lost the usual extent of
base voices--from _sol_ to _mi_. With the exception of the two extreme
notes, his voice sounds equally on all points. It rings like a bell by
the force of its vibrations, and not by the action or contraction of
the gullet. The sound escapes as freely from his breast as from the
pipe of an organ of eight feet. Some of our readers may have heard of
the fine voice of Cheron. After Cheron had been singing, he would,
after refreshing himself with sugared water, breathe in the empty
glass, and the fragile crystal flew in a thousand fragments; but if
the Italian Hercules chose to send forth his _re_ in a salon, with the
strength of volume he can give, all the glass in the room would fly in
shivers.’
Let us express a fervent wish that Signor Lablache may never exhibit
his full powers in the Hanover Square Rooms, where there are valuable
mirrors and chandeliers. But it is still more earnestly to be hoped
that nothing may tempt him to utter his _re_ in Hancock’s, or in
Collins’s warehouse: his single note there would do more damage than
one of the new French bombs:--the pranks of a mad bull in a china-shop
would be harmlessness itself compared to the desolation which the
Italian’s ~D~ would produce in the splendid show-rooms of either of
those great manufacturers.
* * * * *
_5th._ I have often laughed at Paganini’s single-string feats, and
regretted the waste of his talent on witches’ dances, the clucking of
hens, &c., but I quite agree with him that there is a _philosophy of
the violin_, though many people, judging too hastily, will smile at
the expression. I am led to this remark by the _Court Journal_ of the
1st of this month, where a writer, who has published _Recollections
of Paganini_, states, under the date of July 2, 1831, that he had
read to the violinist some remarks on his playing which appeared in
the _Harmonicon_. ‘I explained to him,’ it is said, ‘how eloquently
they (the _we_ of the Harmonicon) had spoken of the truth of his
intonation,’ &c. &c. ‘And’--interposed Paganini, with a triumphant
smile, as if to anticipate what they ought to have been most eloquent
upon--‘_della filosofia del violino_.’
Perhaps the authority of Paganini may lead some musicians, who are his
admirers, to think that there actually is a philosophy in their art.
As this philosophy is what many of them do not very well understand,
the vainest and most obtuse among the number have pretended to ridicule
it, and, like the fox in the fable, affected to despise what they could
not attain. But _the schoolmaster is abroad_, and musical men, who do
not advance with the rest of the world, will soon sink to their proper
level. They must begin to reason as well as play, or contempt will be
their lot. Much good would ensue from philosophising a little on music,
for its principles--I mean the principles which practical men ought to
understand--are founded on a purely philosophical basis. But how few,
even of the best composers, to say nothing of mere performers, have
devoted the least attention to this subject! Is the Royal Academy in
Tenterden-Street beginning at last to think of it?--I fear not.
The writer of the article alluded to in the following, will, no
doubt, be glad to see his error corrected. A few days after the above
conversation, the author of the _Recollections_ tells us, ‘When I
called on the Signor, he requested me to translate him an article in
the Harmonicon, relative to his talent. He paid great attention to it
as I proceeded. To the assertion about his using his thumb, to make
some of the _stops_ on his instrument, he gave a direct contradiction,
but said, “Let them believe it: as I have so many notes, they think
I have plenty to do for _ten fingers_.” He was greatly diverted with
the joke of his performing on strings supposed to have been extracted
from the intestinal system of a certain illustrious prelate, and thus
rendering his notes _infallible_.’
* * * * *
_16th._--It has been said, that empire began in the east and will end
in the west. Bishop Berkeley’s prophecy is--
Westward the course of empire takes its way.
The four first acts already past,
A fifth shall close the drama with the day;
Time’s noblest offspring is the last.
I have great faith in this; and if for _empire_ we read _opera_, the
prediction will, probably, in the course of half a century, be also
verified. The _New-York American_ says, ‘It is settled that we are
to have a permanent opera-house. The ground has been bought, the
subscription opened, 60,000 dollars out of 100,000 were at once taken,
ten trustees appointed, and an application will be made next Session of
the legislature to incorporate the “Italian Opera Association,” with a
capital stock of 100,000 dollars.’ The Italian Opera, therefore, is now
naturalized in a country which was only discovered about the time that
the lyric drama had its origin in Europe!
* * * * *
_23rd._--In the history of the march of intellect, the swan, it seems,
will make a figure. In spite of what has been said of her ‘silent
throat,’ and of her singing ‘her first and last’ when at the point of
death, it now appears that she is become accomplished, to a certain
degree at least, in the vocal art. A Sunday paper (Bell’s) of this
day, states, that a periodical work published at Stralsund contains a
paper on the song of the swan, by an eminent naturalist in Pomerania,
which he closes by observing that, ‘in a state of nature, the swan, as
evening approaches, joins with its companions in a species of choral
melody, which falls upon the ear, in the distance, with the sweetness
almost of an Æolian harp. But when a person is near, it more resembles
the quick sharp clang of a carriage traversing frozen snow on a
sledge.’ According to the author’s account, the chorus is not unlike
the Russian horn-band, ‘for each bird emits but a single note, and
a response is given by each of his clan. The fishermen consider the
swan’s song as prognosticating a storm.’
FOREIGN MUSICAL REPORT.
VIENNA.
_Josephstadt Theater._--Donizetti’s opera _Der Verwiesene aus Rom_ (L’
Esule di Roma) has been brought out here with tolerable success, though
it is not likely to become a permanent favourite. _Die Stumme von
Portici_ has also been produced, and was well received.
On the 22nd September a concert was given by Mr. Fried. Wilh. Pixis,
the violin player, and Madlle. Elise Barth, the pianiste, both of the
Conservatoire at Prague, and Mad. Podhorsky, prima donna at Prague.
The three artists distinguished themselves by a rich display of their
respective talents, and were warmly applauded.
M. Girolamo Salieri, a clarionet player from Venice, gave a concert
here on the 7th October: this virtuoso, who has attained the most
perfect mastery over his instrument, afforded a rich treat to his
audience, which was unfortunately, however, not very numerous.
Madlle. Heinefetter is at present here, and is engaged for a few nights
at the Court Theatre.
BERLIN.
On the 22nd October was performed _Die Hochzeit des Figaro_, with M.
and Mad. Reichel as _Figaro_ and the _Countess_: the former sang with
much spirit, and Mad. R. displayed all the qualities of an excellent
singer, though not perfectly matured.
The first winter concert, given by Mad. Milder, took place on the
25th, on which occasion were performed several pieces of Neukomm’s,
which, though compositions of great merit, were not very remarkable in
point of invention. M. Felix Mendelssohn played Mozart’s Concerto in
~D~ minor. This young artist, it is stated, is about to get up
three charitable concerts during the winter, in which he will bring
forward some pieces of his own, not yet performed here, besides other
compositions of sterling worth, among them a symphony in D major, by
Ludwig Berger. In short it is intended that these concerts shall be
equally interesting and attractive to the cultivated musician and to
the amateur.
The Singing Academy proposes to give four Oratorios, _Salomon_, and
_Joshua_ of Handel, _St. John the Evangelist_, by Seb. Bach, and
the fourth will probably be one of Haydn’s, but which it is not yet
determined.
The four brothers Müller, the quartet-players, are expected to return
in a short time from Brunswick.
The musical soirées of M. M. D. Möser commenced on the 31st October,
when Mozart’s and Beethoven’s Symphonies in C major and the overture to
_Euryanthe_ were played.
LEIPZIG.
At the winter concerts, which commenced at Michaelmas, have already
been played Beethoven’s Pastoral Symphony, Kalliwoda’s Symphony, No
3, Onslow’s first Symphony, and a second of Beethoven’s, and the
overtures to _Ulysses and Circe_ by B. Romberg, and _Euryanthe_. Also
a new overture by M. J. B. Gross, a young virtuoso on the violoncello,
which, though its difficult rhythmical proportions and harmonic
progressions are little in accordance with the present fashion, had the
good fortune to be well received. Madlle. Henriette Graban is again
the principal singer, and Madlle. Livia Gerhardt is engaged as second
singer: she has a very sweet voice, particularly in the upper notes,
great purity of intonation and considerable flexibility. M. Otto, the
tenor, and M. Pögner, the bass, formerly of the _Königliche Theater_,
have also sung at these concerts; and choruses have been given from
_Euryanthe_, _I Capuletti e Montechi_, and _Zemire und Azor_. The solo
players have been Madlle. Clara Wieck, and M. D. Schlesinger on the
piano-forte; on the violin, M. Ullrich and M. Kalliwoda, kapellmeister
in Donaueschingen, who played his last violin concertino to the delight
of all present; and on the violoncello, M. Gross, who has great powers
of execution, and his tone is remarkably sweet.
On the 15th October, a concert was given by M. Kalliwoda, and the
selection consisted chiefly of new compositions of that highly gifted
master; two new overtures, powerfully instrumentalized, remarkable for
their light flowing melodies, a rondo, a pot-pourri, and a concertante
for two violins, were among the number; the second violin, in the
latter, was played by M. Eichler. The principal singers were Madlle.
Livia Gerhardt and MM. Eichberger and Hauser. M. K. is about to leave
Leipzig, on a tour to Magdeburg, Berlin, Hamburg, Hanover, Bremen, &c.
The next concert was that which M. Moscheles gave on the 22nd
October, at which he performed his new concerto in ~C~ major, and his
_Recollections of Denmark_, Op. 83. Mad. Beranek sang the scena _Ocean
du Ungeheur_ (Ocean, thou mighty monster), from _Oberon_, with energy
and much feeling.
A. M. Ferd. Vogel, from Berlin, has given two organ concerts at the
church of St. Paul. Fugues by Seb. Bach and others, choruses of men,
symphonies with trumpet accompaniment, sonatas (Mozart’s) arranged for
the organ, elegiac romances, and other pieces chiefly compositions of
the young organist himself, rendered the whole, by their judicious
selection and order of succession, very attractive.
M. Stegmeier, late of the _Königstadt Theater_ at Berlin, is appointed
music director at the theatre here.
KÖNIGSBERG.
M. Friedrich Wilhelm Eichler, the excellent violinist of Leipzig, a
young man twenty-five years of age, zealous in his profession and of
great promise, is engaged as leader here, and is shortly expected; he
is a pupil of Spohr’s.
WARSAW.
A Polish journal (Dziennik powszechny), speaks in the highest terms
of the violin-playing of a Mad. Filipowicz, a pupil of Spohr.
Her _cantilena_ is superb, and she overcomes the must formidable
difficulties with apparent ease; her performance of Rode’s Variations
in ~E~, produced the greatest effect. She has given three concerts in
Warsaw, and has on every occasion inspired her audience with enthusiasm.
BRESLAU.
At the church of St. Bernhardin a sacred concert was given on the 19th
October, for the benefit of the poor, at which, besides several pieces
for the organ, in which MM. Köhler and Hesse particularly distinguished
themselves, was performed the first part of the oratorio _Tobias_,
composed by the latter.
On the 25th, a grand concert was given by Madlle. Elise Barth, and M.
Fried. W. Pixis, who richly merited the applause which was lavished
upon them.
The winter concerts have already commenced.
LEGHORN.
Ferdinand Ries is at present here. At Milan, in fact at all places in
his way where the celebrated composer visited his brother artists, he
met with the warmest welcome, and the most cordial treatment.
PARIS.
_Théatre Royal Italien._ Bellini’s opera, _La Straniera_, (_the
Stranger_) was produced here, lately, with success. In this Madlle.
Judith Grisi made her début, in the character of _Alaide_. She much
resembles her sister, Madlle. Giulietta Grisi, and the voices have a
family likeness; that of the débutante extends to two octaves, from
_si_ to _si_ (_i.e._ from ~B~ below the lines to ~B~ above), is of a
brilliant quality, though not flexible, but there is much energy in
her style; she distinctly marks whatever she performs, and sustained
her part with talent, both as singer and actress. She was supported
by Rubini and Tamburini. The former was allowed to introduce a song,
by Pacini, of very inferior merit, a practice which, whatever may
be the value of the composition, ought to be discouraged, if not by
directors--who too frequently are themselves directed--the public
should take the matter into their own hands, and prevent such absurd
and injurious intrusions.
THE DRAMA.
~Drury-Lane Theatre.~
Whatever former general elections may have done, the present certainly
has not operated favourably for the two winter theatres. The labours
of canvassing, and the meetings of committees, sub-committees, branch
committees, &c. in each parish, have engaged a great number of heads
of families, while the anxiety which has pervaded all ranks, has been
excitement enough for numberless persons who would otherwise have
sought it in the theatre.
The musical novelties at both houses have been singularly unsuccessful
this season, so far as it has gone. The public are becoming better
and better acquainted with the art; are fast growing into critics,
therefore more nice than formerly. Besides which, much talent for
musical composition has not lately been shown at our theatres, for the
encouragement is insufficient to produce effectual competition. Several
who can write have not inducement enough to exert their abilities,
knowing how much time they must bestow, how many vexations they will
have to encounter, how precarious is success, and the certainty, even
if successful, of being very inadequately rewarded for their efforts
and labours.
Old pieces revived have proved the most fortunate; among which
_Masaniello_ has drawn many to this theatre, to see Mr. ~Braham~ in the
character of the ambitious Fisherman, which he performed admirably.
On Tuesday, the 18th ult., Mrs. ~Centlivre’s~ _Bold Stroke for a
Wife_, with the newly-given title of _Win her and Wear her_, and
converted into a musical piece, was performed for the first time,
~Braham~ undertaking the part of _Colonel Feignwell_. There is so
much absurdity in the plot of this, and the language betrays so many
symptoms of poverty, that had it not been for the variety in every act,
and the constant bustle kept up, it would, long ago, have been banished
the stage. The coarseness of the allusions, as they appeared in the
original drama, at one time recommended it, but it has been much
chastened since, and now has little in it to offend the most fastidious
ears. We really thought that the proposed alterations in this, by Mr.
~Beaseley~, and the addition of music, promised well, but the attempt
has not succeeded; and after having been performed twice, was not
announced for a third representation; at least up to the writing of
these remarks.
In the most arduous part of this play--indeed the only part requiring
much talent or exertion--~Braham~ succeeded beyond expectation. Such
an effort in acting he had never made before, and most are agreed
that his Dutchman was excellent; his Quaker very characteristic, and
entertaining to those who have no objection to see this sect ridiculed;
and his old steward a really fine piece of acting.
Of the music, by Mr. ~Barnett~, there is some that all will agree in
commending. As a whole it wants the charm of novelty: we cannot mention
any one piece that bears the true stamp of originality; though we do
not mean to say that the composer has, either by design or accident,
availed himself of the thoughts of others. There may be a general
resemblance to many things, without a plagiarism from any one. Certain
phrases and cadences are common property, and he who uses them is not
chargeable with the act of borrowing, though he may be denied the
merit of invention. However, most of the compositions will, in all
likelihood, come before us in another department, when we shall have a
fairer and better opportunity of analysing and judging them.
_Don Giovanni_ is getting up here, cast in a manner that has never been
equalled on the English stage.
* * * * *
~Covent-Garden Theatre.~
On the first of last month, a débutant, Mr. ~Lennox~, appeared as
_Artabanes_. This gentleman is the same, we believe, who has sung in
some few London concerts, during the last two or three seasons, and
was a pupil of Sig. De Begnis. He enjoys the advantage of a powerful
base voice of considerable compass, and sings in time and tune; but
either as singer or actor we cannot venture to say more, judging him
from this, his first appearance on the stage, when it is possible that
the newness of the situation operated as some check on his powers.
Miss ~Shirreff~, in _Mandane_, displayed unequivocal signs of general
improvement; and Miss ~H. Cawse’s~ _Artaxerxes_ was, as it always is,
without affectation, correct and pleasing.
The ballet of _Masaniello_ has been produced here, with French dancers,
and drew some better houses than have been seen lately.
THE MUSIC OF THE PRESENT NUMBER.
The Overture to _Tigrane_, a serious opera performed at Berlin in 1799,
is, we feel assured, totally unknown in this country. If its orchestral
effect is at all equal to what the piano-forte arrangement leads us
to expect, it cannot much longer remain a stranger to our concerts
and theatres. Clearness and unity of design, and sweetness of melody,
are its chief attributes; whether skilful contrivance of the parts
and grandeur of effect are to be added to these, we cannot say, not
having seen the score, or heard the composition performed by a band.
Concerning the author we refer to the memoir in the present Number.
* * * * *
The Terzetto, by Sarti, is, in the original, set to the second verse
of the 51st Psalm, ‘Amplius lava me,’--and to these Latin words is
published by the Rev. C. J. Latrobe, in his excellent but voluminous
and expensive collection of sacred music by foreign composers. Our
arrangement is made from the score printed in Shield’s Harmony, a work
become very scarce, where it appears to the verses now given; but this
is the first time it has been published conjointly with English words
and a piano-forte arrangement. The many beauties in this composition do
not require to be pointed out.
* * * * *
The _Arietta_ (as the author himself denominates it) by Beethoven is
one of the very finest of his vocal productions. In the expression of
deep passion it has never been excelled; and now rarely equalled! But
it must be sung with the feeling that inspired the composer when he
wrote it: coldness or tameness would prove fatal to so highly finished
a piece of musical colouring.
This extraordinary composition is yet very little known in this
country, and--still stranger to say--not much anywhere.
* * * * *
Palestrina’s name is known to all; his works to very few. Greatly
and deservedly as they were esteemed in his day, and for ages after,
most of them now seem dry, and, no doubt, are occasionally crude and
uninteresting. The present specimen, however, we trust, will not be
liable to either charge, except, perhaps, in the case of one or two
notes, which, though somewhat harsh, we have not ventured to alter. The
present terzetto--the air and harmony of which more resemble the music
of recent date than any we ever met with of the same composer--is from
a mass printed in two staves in an old German work in our possession.
We have expanded it into what is called a vocal score.
* * * * *
Handel’s _Suites de Pièces_ are in few hands. The Chaconne[7], now
given--the elegant melody of which, if only heard, can never want
admirers--is followed by no less than sixty-two variations in the
original work! We have selected a few of those we considered the best,
and put the mark _8va alta_ over two, conceiving that the author might
thus have written them, had the instruments in his day furnished the
notes.
* * * * *
The Romance and Duet from _Fortunatus_ require no further remark than
what appears in our account of that new German Opera. Not having had
time to obtain a _good_ and _adaptable_ translation of the original
words, we have set others to them, which certainly suit the music.
[Sidenote: ~February, 1833.~]
MEMOIRS OF GARCIA AND RUBINI.
~Manuel del Populo Vincente Garcia~ was born at Seville the 21st of
January, 1775. At six years old he was received into the choir of the
cathedral, and commenced his musical studies under the instruction
of Don Antonio Ripa and Juan Almarcha. At this time there was no
theatre in Seville, and sacred music was in high estimation; the
vocal corps belonging to the cathedral was not only strong in number,
but contained, also, some distinguished performers, particularly a
tenor and a male soprano. Garcia, having a very agreeable voice and
extraordinary talents for music, was soon distinguished amongst his
compeers, and by the time he was seventeen, his fame not only as a
singer, but also as a composer and _chef d’orchestre_, had spread far
beyond the limits of his native city. The manager of the Cadiz Theatre
engaged him, and brought him forward in a _toccadilla_, in which
the young debutant sang several pieces of his own composition. Here
he obtained considerable reputation as a singer. His voice--a fine
tenor--very flexible, and very extensive, particularly in the upper
part, was much admired; but his action was so embarrassed and cold,
that the most discerning spectator could never have detected in the
awkward youth before him even the germ of that dramatic talent which
afterwards classed him so high among acting singers. From Cadiz, Garcia
proceeded to Madrid, where, arriving during Lent, he appeared in an
oratorio, the only species of music allowed to be performed during that
season in Spain. His residence in Madrid was of considerable duration;
and he there composed several _toccadillas_.
When Garcia at length quitted Madrid, he proceeded to Malaga, in which
city he composed his first opera, entitled _El Preso_, the libretto of
which was borrowed from a French piece called ‘The Prisoner, or the
Likeness.’ While he was at Malaga an epidemic fever raged there with
such virulence as nearly to depopulate whole districts, but Garcia was
fortunate enough to escape its ravages and get back safe to Madrid.
On his return to the capital, he brought into fashion a species of
operettas, in one or two acts, similar to those which were then in
vogue in France; the plots, indeed, were chiefly taken from French
pieces. These operas made the round of the Spanish theatres, and were
almost all received with great applause. Garcia is one of the few
Spanish composers who have written in the style of the national music
of the country, which, as is well known, possesses a character entirely
distinct from that of either Italy, Germany, or France. Several of his
airs became highly popular; one in particular called _Lo Cavallo_, sung
by him in the character of a smuggler, is as well known throughout
Spain as _Charmante Gabrielle_ in France, or _God save the King_ in
England. Some persons have denied Garcia’s claim to be considered as
the composer of this most original melody; it is true the names of
those who write popular airs are quickly forgotten, but in this case
the fact is of easy proof, for there are many amateurs still living
in Madrid who well remember the effect made by the air _Yo che soy
contrabandista_, when Garcia sang it for the first time not thirty
years ago.
On the 11th February, 1808, Garcia made his appearance in Paris,
selecting for his début the _Griselda_ of Paer, being the first
time he had ever performed in an Italian opera. A journalist, whose
criticisms carried much weight with them at that time, says of
him--‘Don Garcia is a young artist of distinguished talent; his
countenance is agreeable and expressive--his delivery correct--his
action natural and animated; his voice is sweet-toned, graceful, of
very extensive compass and extreme flexibility. It is evident that
he is a man of great ability and experience in his art; his singing
is rich in ornament, but frequently too much embroidered.’ In point
of fact, however, Garcia owed all his talents as a singer to himself
alone: he had never really studied it as an art, but had merely
listened, imitated, and practised. On the 15th March, 1809, he gave for
his benefit a Spanish monologue operetta, called _El Poeta Calculista_,
(the first and only Spanish opera that has ever been performed in
Paris,) with such decided success, that it was repeated several times
running, until the excessive fatigue of supporting alone a piece in
which four compositions out of the seven it comprised, were constantly
encored, obliged him to suspend the representations.
Garcia continued in Paris till the commencement of 1811, when he went
to Italy, and appeared successively on the theatres of Turin, Naples,
and Rome. He was elected an academician of the Philharmonic Society
at Bologna, and appointed by Murat principal tenor of his chamber and
chapel. It was at this period that he became acquainted with Anzani,
one of the most celebrated tenors in Italy, from whose instructions and
example he acquired those secrets in the art of singing which were long
monopolized by the old Italian masters for their own profit, or that of
a few privileged scholars. In 1812 he brought out with great success
at the St. Carlo an opera in two acts, imitated from the French, _Il
Califo di Bagdad_. In 1816 Rossini wrote for him the parts of Almaviva
in the _Barber of Seville_ and of _Otello_. The air with variations,
now sung as a finale to the Cenerentola, was composed originally for
Garcia in _Almaviva_, and placed at the end of the second act of _Il
Barbiere_, but only sung by him at Rome. In the autumn of the same
year he returned to Paris, being engaged by Madame Catalani, at that
time directress of the Théâtre Italien, and made his debut on the 17th
October in _Il Matrimonio Secreto_. He afterwards performed in his own
opera, _Il Califo di Bagdad_, in _Griselda_, _Cosi fan tutte_, _Le
Nozze di Figaro_, Portogallo’s _Semiramide_, and several others, with
equal distinction as an actor and a singer. By selecting Mad. Cinti to
represent the principal female character in the Califf he gave that
charming singer, who had hitherto been confined to secondary parts,
the first opportunity of displaying her talents in a favourable light.
The piece, the actor, and the actress enjoyed a moment of popularity,
when all at once Garcia and his Califf disappeared. It was whispered
that his chief offence was having called down as much applause in
_Semiramide_, as the Queen of Babylon herself, and so reducing that
august princess to the necessity of playing, for several days, the
character of _La finta Ammalata_ (the pretended patient). However
this may be, Garcia, tired and ashamed of being eternally haggling
for sixpences, left Paris and went to London, where he made his début
on the 10th March, 1818, in his favourite part of _Almaviva_, and
remained until the end of the ensuing season, 1819, when he returned to
Paris.
It is to Garcia that the Parisian audiences owe their first
acquaintance with the music of Rossini; and if the public knew all
green-room intrigues that were resorted to, and all the obstacles
Garcia had to encounter before he succeeded in having that great
composer’s operas performed, its sense of obligation for the eminent
services he at length succeeded in rendering them would not be small.
In 1817 he had played Lindoro in the _Italiana in Algeri_, the first
opera of Rossini’s ever performed in Paris; but when he wished to bring
out the _Barber of Seville_ for his own benefit, the opera was judged
unworthy of the capital of France, and the singer forced to select
another piece. Better instructed this time, he made the bringing out
of _Il Barbiere_ the _sine quâ non_ of his engagement, and thus to his
perseverance Paris owes the hearing this masterpiece of the comic opera
within three years of its being composed.
The period between the autumn of 1819 and the beginning of 1824, which
Garcia spent in Paris, formed the most brilliant portion of his musical
career. As an actor and singer he enjoyed the highest popularity,
especially in the parts of Almaviva, Otello, and Don Juan. As a
composer, he wrote _La Mort du Tasse_ and _Florestan_ for the French
opera; _Il Fazzoletto_ for the Théâtre Italien and for the Gymnasium
_La Meunière_; finally, as a professor of singing, he numbered amongst
his pupils Adolphe Nourrit, the Countess Merlin, Mad. Favelli, and Mad.
Méric Lalande. About this time he was also appointed first tenor of
the chamber and chapel to the king. In 1824, Garcia was again engaged
for the London opera, and returned to England. It was in London that
Garcia completed the education of his gifted daughter, the present
Mad. Malibran. In London he also opened an academy for singing. In the
autumn of 1825, the Garcias left London; made a tour of the midland and
northern parts of England; sang at some concerts and music-meetings at
Manchester, Derby, and York; and finally embarked at Liverpool, on an
excursion to the western continent.
To recount the whole of Garcia’s adventures in the New World; to lay
before the reader the state of music in New York and Mexico at the
moment he arrived in those cities; to paint all the difficulties he
had to surmount, or speculate on the effect his residence amongst
them had upon a population to whom the arts were quite new, would
require too much space: a few of the principal events in his active
and brilliant career is all we can afford room for. The company with
which he crossed the Atlantic consisted of himself and the younger
Crivelli, _tenors_; his son Manuel Garcia, and Angrisani, _bassi
cantanti_; Rosich, _buffo caricato_; with Mad. Barbiere, Mad. Garcia,
and her daughter Marietta, _soprani_. _Il Barbiere_, the opera which
they chose as their introduction to an American audience, was almost
entirely performed by the family party; Garcia playing Almaviva, his
daughter Rosina, his son Figaro, and his wife Berta. In the course of
the season they successively brought forward _Otello_, _Romeo_, _Il
Turco in Italia_, _Don Giovanni_, _Tancredi_, _La Cenerentola_, and two
operas of Garcia’s composition, _L’Amante Astuto_, and _La Figlia dell’
Aria_,--the latter written expressly for his daughter and Angrisani.
The air of New York did not agree with an Andalusian constitution,
and Garcia removed, in search of a more congenial climate, from the
United States to Mexico. Instead of finding in the capital of New
Spain the repose which he had promised himself, he was soon compelled
to sing and compose more than ever. Three Italian operas had been
got up with the original words; but the Mexicans, though they had
taste enough to relish the music, were not satisfied with performances
of which they did not understand a single syllable. Garcia had no
resource but to compose Spanish operas, or adapt Spanish words to the
Italian: he did both. Amongst the operas written by him for the Mexican
theatre, _Semiramide_ and _Abufarez _may be particularly mentioned;
and he adapted Spanish words to his own _Amante Astuto_, which was
performed several nights running. The Mexican company, half native and
half foreign, was nothing remarkable before Garcia arrived amongst
them; he soon found that the duties of composer, director, chief of
the orchestra, singing-master, chorus leader, and even machinist and
decorator, must all centre in himself. His indefatigable activity was
rewarded with such success, that he often said, ‘I would exhibit my
Mexican performers now before a Parisian audience, and they would not
be unworthy the honour.’
Notwithstanding the favourable reception he had met with in Mexico,
Garcia could not avoid being uneasy at the daily increasing symptoms of
animosity between the natives and the Spaniards. Foreseeing a speedy
rupture between them, he resolved to return to Europe: he had great
difficulty in obtaining passports, but at length succeeded, and set
off for Vera Cruz, provided with a guard of soldiers, which, however,
proved too weak, or too faithless, to protect him and his goods. At
a place called Tepeyagualco, his convoy was attacked by brigands,
and himself obliged to lie flat on his face, while his baggage was
plundered of 1000 ounces of gold--the savings of his industry and
economy. He came off with his life, however, and succeeded in getting
once more to Paris, where he determined to dedicate the rest of his
days to teaching. He appeared again at the Théâtre Italien, but
declined very advantageous offers of an engagement at the Scala, and
applied himself with new ardour to the instruction of his pupils[8].
The last, whose education he completed, were Madame Raimbeaux,
Mademoiselle Edwige, and Madame Ruiz Garcia. Garcia died on the 9th of
June, 1832, after a short illness, which was not at first considered at
all dangerous.
To the last moment of his life Garcia was incessantly occupied with
the art to which the whole of that life had been dedicated, enjoying a
wonderful facility and an activity of mind not less astonishing. He has
left behind him an immense number of manuscripts. Besides the operas
already mentioned in the course of this narrative, he was the author
of numerous others, most of which have not been brought out. The list
of such of them as are known to us follows:--_Il Lupo d’Ostende_, two
acts; _Acendi_ (Spanish), two acts; _Astuzia e Prudenza_, one act,
performed in London at the Argyle Rooms; _I Banditi_, two acts; _La
Buona Famiglia_ (words as well as music), by Garcia, one act; _Don
Chisciotte_ (Spanish), two acts; _La Gioventù d’Enrico Quarto_, two
acts; _El Jetano por Amore_ and _Los Maridos Solteros_ (Spanish),
two acts each; _Sophonès_ (French), the words by M. de Jouy; _Le Tre
Sultane_, two acts; _Un Ora di Matrimonio_, one act, with both Spanish
and Italian words, played in Mexico; _Xaira_ and _El Zapatero de
Bagdad_ (Spanish), two acts each; _Zemira ed Azor_, two acts. The last
works of Garcia were five operettas for the chamber, with piano-forte
accompaniment, _L’Isola Disabitata_, _Li Cinesi_, _Un Avertimento
ai Gelosi_, _I Tre Gobbi_, and _Il Finto Sordo_. Garcia was also the
author of a number of less extensive works, both for the voice and for
instruments.
* * * * *
For the substance of the foregoing Memoir we are indebted to the _Revue
Musicale_, the editor of which, or the writer of the article in that
work, has apparently been somewhat biassed by feelings of personal
friendship. He has viewed Garcia both as an actor and as a composer,
with partial eyes. In the former capacity he was anything but refined;
and in the latter, except a few trifles of a purely Spanish kind,
whatever he may have produced is now utterly forgotten, and has not
the slightest chance of ever being rescued from oblivion. He was to a
certain extent a good musician, and had he not been so much addicted to
what are, by abuse of language, called ornaments, would have deserved
all the praise bestowed on him as a singer, for he possessed great
energy, a full knowledge of the _score_, and at one time a rich,
beautiful voice, of very considerable compass.
RUBINI.
~Gian Battista Rubini~ was born at Romano, a small town in the province
of Bergamo, on the 7th of April, 1795. He is the youngest of three
brothers, all tenor singers of considerable celebrity; the eldest,
Jeremiah, has quitted the stage from inability to continue the fatigues
of a theatrical life: the second, Giacomo is first tenor in the chapel
of the king of Saxony, and is besides a stage singer of great talent.
Their father was a small music-master, played the horn in the theatre,
and to his other occupations added that of being a getter-up of fêtes
and musical performances in the neighbouring churches and chapels.
He had a complete corps of singers and players, with a collection
of masses, vespers, motets, and litanies, all at the service of any
chapter or convent that chose to hire them. Rubini, the father, was
entrepreneur, and blew the horn--his three sons, as they grew up,
were enlisted in his vocal corps; but as their voices were not always
required, and he neither chose nor could afford to let them be idle,
Jeremiah was taught to play the organ, and Giacomo and Gian Battista
the violin, by which means his whole family quartet was in constant
requisition.
At eight years of age the little Rubini had already enchanted divers
convents of nuns by his performance of the _Salve Regina_, perched
up on a high stool, which was necessary to elevate his head to the
level of the violins. At ten, his father, diffident of his own powers
as a singing-master, placed the child under one Don Santo, priest
and organist of Adro, a town in the province of Brescia, who, at the
expiration of a year, sent him back to his parents with the consoling
assurance, that nothing would ever make him a singer, so they had
better look about for some other trade or profession to bring him up
to. The father, who thought he knew better the boy’s capacity, took
him again under his own care, and succeeded so well, that he not long
after invited the same Don Santo to hear a mass, in which his rejected
scholar sang the _Qui tollis_ in such a style, that the parent enjoyed
at once the pleasure and revenge of forcing the old organist to admit
that he was mistaken in the judgment he had so hastily pronounced.
In his twelfth year, Gian Battista made his début on the boards of the
Romano Theatre, in a female character, and for his own benefit: his
receipts, both in applause and money, were gratifying, and he soon
after went to Bergamo, where he was engaged to play the violin between
the acts of the comedy, and to sing in the chorus during the opera
season. While here, a _petite comédie_ was put in rehearsal, in one
scene of which was a cavatina--but, alas! no one in the troop could
sing: somebody suggested Rubini, and at length the manager offered him
an extra five-franc piece to study and sing this troublesome air. The
terms were accepted, and young Gian Battista’s performance created a
complete _furore_ in Bergamo. The song was composed by Lamberti; and
Rubini is still fond of singing it occasionally, to remind him of his
first success.
For some time after this, however, Rubini appears to have led the
precarious and miserable life of a stroller; but at length, being in
Milan in the year 1814, he met with a Marquis Belcredi, one of those
numerous Italian counts, marquesses, &c., who follow sometimes the
honourable occupation of engagement-brokers for the theatres, and not
unfrequently even less reputable means of making money. By Belcredi he
was offered an engagement, for the autumn season, of four months at
Pavia, at the liberal salary of eleven crowns, or about 1_l._ 18_s._ a
month. Rubini’s necessities would not allow him to refuse this offer:
he went to Pavia, and distinguished himself so much that his success
made a sensation even at Milan. Belcredi engaged him immediately for
the carnival of 1815 at 1000 francs the season; and sent him to perform
at Brescia, whence he transferred him for the spring season to the
theatre of St. Moire, at Venice, at a salary of 2000 francs. Here he
had an opportunity of singing with the bass Zamboni, and the contralto
Mad. Marcolini, for whom Rossini wrote his _Italiana in Algeri_. Rubini
next entered into an engagement with Barbaja, director of the theatres
of Naples for six months, at eighty-four ducats (about 16_l._) per
month, with a clause providing that, at the end of the first three
months, the engagement should be renewable for a year at the increased
salary of 100 ducats a month. He sang at the _Teatro dei Fiorentini_
with Pellegrini, and was rising in public favour, when Barbaja, instead
of renewing his engagement at the higher salary, proposed to dismiss
him entirely, and only consented to retain him on condition of his
terms being lowered to seventy ducats. Rubini had many cogent reasons
which made him anxious to remain at Naples: he naturally desired to
improve the hold which he had already upon the public favour there;
he found himself in the society of the celebrated tenor, Nozzari, a
countryman of his own, from whom he received most valuable hints and
lessons; and whose example, as Rubini carefully watched and imitated
him, both as an actor and singer, was nearly, if not quite, as valuable
as his instructions. He therefore accepted Barbaja’s terms,--saying,
however, at the same time, with the consciousness of talent, ‘You take
advantage of my present situation, but will have to pay for it before
long.’
The getting up of _La Gazza Ladra_, in the carnival of 1819, is still
remembered among the _fasti_ of Roman theatricals. The duet between
Giannetto and Ninetta, in the prison scene, ‘_forse un di conoscerai_,’
was constantly encored; and the Roman ladies, during the whole
carnival, carried about with them to the balls puppets dressed in the
costume of their favourite actor and actress.
From Rome, Rubini, still under engagements to Barbaja, returned to
Naples, and thence crossed over to Palermo, where he sang with Donzelli
and Lablache. His début in Sicily was in an opera of Mosca, which would
never have survived the first night’s performance, but for a _ruse_
of the singer. From the very beginning the poor maestro was hissed:
piece after piece shared the same fate, until the principal tenor began
his cavatina; the adagio, although it escaped hisses, made little
impression on the audience; but the allegretto movement which followed
called forth rounds of enthusiastic applause, which Mosca was only
too happy to acknowledge and appropriate by repeated bows. The fact
was, that Rubini, finding Mosca’s adagio passable, but his allegretto
worse than bad, had insisted on substituting the similar movement from
the air of Orestes, in Rossini’s Ermione, ‘_Ah come mai nascondere_.’
For ten days the deception remained undiscovered; and the Palermitans
could hardly bestow praises enough on the author of so heavenly an
allegretto. But, alas! on the eleventh a printed copy of the air
arrived from Naples, and stripped poor Mosca of his borrowed plumes.
While at Palermo, Rubini was the hero, and narrowly escaped being
the victim of an adventure as romantic, but fortunately for him not
so fatal, as that of Stradella. On his arrival in Sicily he waited
on a certain princess, to whom he had letters of recommendation, and
was received with the kindness which talents and even his personal
appearance seemed to deserve. In the evening, on coming before the
audience, Rubini made a respectful inclination towards his fair
patroness, and appeared to address towards her box his most touching
passages and most brilliant roulades. In Sicily jealousy is as
instantaneous as lightning, and vengeance follows it as rapidly as
thunder the flash. The prince, who did not understand the musical
homage paid to his wife, forthwith employed two bravoes to poignard
the presumptuous _primo tenore_, and dispose of his body as usual in
such cases--that is, by throwing it into the sea. Accordingly, on
quitting the theatre, he was suddenly sprung upon by two men, who
seized his arms, muffled his head in a cloak, and began to drag him
towards the sea-shore. He had no power to call out, and if he had
had, nobody attends to such calls in Sicily: in fact he had already
made up his mind that his last cavatina in this world was sung, when,
luckily for him, one of the bravi recognized his victim. He was an
_amateur_, to whom Rubini had often given orders for the opera. So
soon as he was aware who it was that he had engaged to exercise his
profession upon, his heart failed him; and, instead of using his
stiletto, he acquainted Rubini with the offence he had committed, set
him at liberty, and recommended him to escape from Sicily without loss
of time. On his return to Naples, Rubini heard, for the first time,
Madlle. Chaumel, who was passing through that city in her way to fulfil
an engagement at Palermo, and was so charmed with her voice and style,
that he recommended Barbaja to retain her at Naples. Barbaja took
the advice--Mad. Chaumel shone during two or three seasons a bright
star at the _St. Carlo_ and the _Fondo_; and the lady and Rubini so
often enacted the lover and mistress, that at length they realised the
illusion of the theatre, and became man and wife.
In 1824 Barbaja was removed from the management of the Neapolitan
theatres; whereupon he migrated to Vienna, taking with him the whole
corps of singers who were under engagements to him,--and amongst them
Rubini and his wife. The company assembled in the Austrian capital,
on this occasion, was perhaps the most numerous and splendid that was
ever united at one time in one city. The _prime donne_ amounted to
nine, most of whom had already established a high reputation, and of
whom the remainder nearly all have now attained the first rank in their
profession; Sontag, Fodor, Mombelli, Rubini, Eckerlin, Ungher, Giudetta
Grisi, Dardanelli, and Grimbaum. The tenors were David, Rubini,
Donzelli, and Cicimira; and the basses, Lablache, Ambrogi, Botticelli,
and Bassi. At the end of this brilliant season Rubini returned to
Naples; and, in the autumn of 1825, made his first appearance at Paris,
where his reception was perhaps more enthusiastic than in any other
city he had visited. His performance in the _Cenerentola_, _La Donna
del Lago_, _Otello_, and _La Gazza Ladra_, established him at once,
in the judgment of the Parisian dilettanti, at the very summit of his
profession, and gained him the appellation of _Roi des tenors_.
From Paris Rubini returned to Naples, and thence went to Milan, where
the then new composer, Bellini, wrote the fine part of Gualtero in _Il
Pirata_, especially for him. In the following year, 1827, he appeared
in two new operas, Donizetti’s _Anna Bolena_, and the _Sonnambula_
of Bellini. Both these composers, in writing for Rubini, adopted a
style which had been so long neglected that it appeared new. Instead
of florid compositions, loaded with roulades and divisions, they
limited themselves, in the airs and duets intended for him, to simple,
graceful, and pathetic melodies, calculated to display to the greatest
advantage his elocutionary and impassioned style[9].
In the summer of 1831, Rubini, together with his wife, appeared at the
London Opera: he has since that withdrawn Mad. Rubini entirely from the
stage, finding his own earnings, since he has been out of Barbaja’s
clutches, quite sufficient for their joint support. For fifteen years
he was at the command of this leviathan of the opera, who disposed
of his voice and talents, and sent him to this capital or the other,
according as it suited his own interest or combinations, and receiving
for his exertions enormous sums, of which by far the greater part went
to enrich the entrepreneur, not the singer. Before he was emancipated
from Barbaja, the salary of himself and his wife was only (!) 60,000
francs (2500_l._); the first year of his emancipation, his earnings
amounted to 125,000 francs, upwards of 5200_l._ (!!)
In the autumn of 1831, Rubini again visited Paris, where he was
received with renewed enthusiasm, and in which city he is still
performing with undiminished popularity.
CHARACTERISTIC TRAITS AND ANECDOTES OF BEETHOVEN.
[In our last number (page 6), we inserted an account, from the Leipzig
Musical Gazette, of _Beethoven’s Studien in Generalbasse_, &c.--a work
recently published in Vienna,--and have since received the volume,
which comprises the studies, with numerous and most valuable remarks by
Beethoven, and many of his _fragments_, or unconnected observations, on
musical subjects, chiefly on recitative, in 352 octavo pages. These are
followed by thirteen pages of biography,--in which nothing is added to
what has already appeared in our work,--and the following anecdotes,
together with other matter, of which we shall avail ourselves in the
two or three succeeding numbers. In our next will appear his chapter
on Canon, a species of composition which he seems to have estimated
according to its real value, therefore has dwelt most on the canon in
unison,--the only rational kind,--of which he gives short, simple, and
very pleasing examples, the most interesting whereof we shall reprint.]
* * * * *
Beethoven should by no means be offered as a model for directors
of orchestras. The performers under him were obliged cautiously to
avoid being led astray by their conductor, who thought only of his
composition, and constantly laboured to depict the exact expression
required, by the most varied gesticulations. Thus, when the passage was
loud he often beat time downwards, when his hand should have been up.
A diminuendo he was in the habit of marking by contracting his person,
making himself smaller and smaller; and when a pianissimo occurred,
he seemed to slink, if the word is allowable, beneath the conductor’s
desk. As the sounds increased in loudness, so did he gradually rise
up, as if out of an abyss; and when the full force of the united
instruments broke upon the ear, raising himself on tiptoe, he looked of
gigantic stature, and, with both his arms floating about in undulating
motion, seemed as if he would soar to the clouds. He was all motion,
no part of him remained inactive, and the entire man could only be
compared to a _perpetuum mobile_.
When his deafness increased, it was productive of frequent mischief,
for the Maestro’s hand went up when it ought to have descended. He
contrived to set himself right again most easily in the piano passages,
but of the most powerful fortes he could make nothing. In many cases,
however, his eye afforded him assistance, for he watched the movements
of the bows, and thus discovering what was going on, soon corrected
himself.
* * * * *
Among his favourite dishes was a bread soup, made in the manner of
pap, in which he indulged every Thursday. To compose this, ten eggs
were set before him, which he tried before mixing them with the other
ingredients, and if it unfortunately happened that any of them were
musty, a grand scene ensued; the offending cook was summoned to the
presence by a tremendous ejaculation. She, however, well knowing what
might occur, took care cautiously to stand on the threshold of the
door, prepared to make a precipitate retreat; but the moment she made
her appearance the attack commenced, and the broken eggs, like bombs
from well-directed batteries, flew about her ears, their yellow and
white contents covering her with viscous streams.
He never walked in the streets without a note-book, in which he
entered whatever occurred to him at the moment. If the conversation
accidentally turned upon this habit, he parodied the words of Joan
of Arc,--“Without my colours I must not come,” and with undeviating
firmness observed the self-imposed law. But his regularity was confined
to this; the most exquisite confusion reigned in his house:--Books and
music were scattered in all directions; here the residue of a cold
luncheon--there some full, some half-emptied, bottles. On the desk
the hasty sketch of a new quartett; in another corner the remains
of breakfast. On the piano-forte, the scribbled hints for a noble
symphony, yet little more than in embryo--hard by, a proof-sheet,
waiting to be returned. Letters from friends, and on business, spread
all over the floor. Between the windows a goodly Stracchino cheese:
on one side of it ample vestiges of a genuine Verona Salami; and,
notwithstanding all this confusion, he constantly eulogised, with
Ciceronian eloquence, his own neatness and love of order! When,
however, for whole hours, days, and often weeks, something mislaid
was looked for, and all search had proved fruitless, then he changed
his tone, and bitterly complained that everything was done to annoy
him. But the servants knew the natural goodness of their master; they
suffered him to rave, and in a few minutes all was forgotten,--till a
similar occasion renewed the scene.
* * * * *
He himself often joked about his almost illegible characters, and used
to add, by way of excuse, ‘Life is too short to paint letters or notes,
and fairer notes would hardly rescue me from poverty,’ (punning upon
the words _noten_ and _nöthen_.)
The whole of the morning, from the earliest dawn till dinner time, was
employed in the mechanical work of writing: the rest of the day was
devoted to thought, and the arrangement of his ideas. Scarcely had the
last morsel been swallowed, than, if he had no more distant excursion
in view, he took his usual walk; that is to say, he ran in double
quick time, as if hunted by bailiffs, twice round the town. Whether
it rained, or snowed, or hailed, or the thermometer stood an inch or
two below freezing point--whether Boreas blew a chilling blast from
the Bohemian mountains,--or whether the thunder roared, and forked
lightnings played,--what signified it to the enthusiastic lover of his
art, in whose genial mind, perhaps, were budding, at the very moment
when the elements were in fiercest conflict, the harmonious feelings of
a balmy spring?
* * * * *
Beethoven permitted himself but rarely, even among his intimate
friends, to express his opinions of contemporary artists. His own
words, however, will attest what he thought of the four following
masters:--
‘Cherubini is, in my opinion, of all the living composers, the most
admirable. Moreover, as regards his conception of the requiem, my ideas
are in perfect accordance with his, and some time or other, if I can
but once set about it, I mean to profit by the hints to be found in
that work.’
‘C. M. Weber began to learn too late: the art had not time to develope
itself, and his only and very perceptible effort was, to attain the
reputation of geniality.’
‘Mozart’s _Zauberflöte_ will ever remain his greatest work; for in this
he first showed himself the true German composer. In _Don Giovanni_ he
still retained the complete Italian cut and style, and moreover the
sacred art should never suffer itself to be degraded to the foolery of
so scandalous a subject.’[10]
‘Handel is the unequalled master of all masters! Go, turn to him, and
learn, with few means, how to produce such effects[11]!’
* * * * *
During his last illness it was found necessary to draw off his water,
and during the operation, he observed--‘Rather water from my body than
from my pen.’
* * * * *
He received a flattering invitation from a musical society to compose
a cantata, the request being accompanied by a portion of the sum to
be paid for the work. Beethoven accepted it. For a very long time,
however, nothing more was heard of him. Then came, couched in the most
delicate terms, a letter to remind him of his engagement, signed,
in consequence of the absence of the president of the society, by
his _locum tenens_ (_Stellvertreter_). The reply was,--‘I have not
forgotten; such things must not be precipitated; I shall keep my
word.--Beethoven, ~M.P.~[12] (Selbstvertreter), se ipsum tenens.’
Alas! he _could not_ keep his word.
* * * * *
If he happened not to be in the humour, it required pressing and
reiterated entreaties to get him to the piano-forte. Before he began
in earnest, he used sportively to strike the keys with the palm of his
hand, draw his finger along the key-board, from one end to the other,
and play all manner of gambols, at which he laughed heartily.
* * * * *
During his summer residence at the seat of a Mecænas, he was on one
occasion so rudely pressed to exhibit before the stranger guests, that
he became quite enraged, and obstinately refused a compliance which
he considered would be an act of servility. A threat that he should
be confined a prisoner to the house,--uttered, no doubt, without the
slightest idea of its being carried into execution,--so provoked
Beethoven, that, night time as it was, he ran off, upwards of three
miles, to the next town, and thence, travelling post, hurried to
Vienna. As some satisfaction for the indignity offered him, the bust
of his patron became an expiatory sacrifice. It fell, shattered into
fragments, from the bookcase to the floor.
* * * * *
After he had become deaf, Beethoven spoke little, but wrote his
observations on his tablet. ‘What is Rossini?’ he was once asked. He
wrote, in answer, ‘A good scene-painter.’
SONG OF THE SWAN.
_To the_ ~Editor~ _of the_ ~Harmonicon~.
~Sir~,
The passage in last month’s ‘Diary of a Dilettante,’ relative to the
assertion of an eminent Swedish naturalist, that the swan, instead
of being a silent bird, has a peculiar and musical note of its own,
recalls to mind a discussion on which critics and commentators, as well
as naturalists, have spent much time and ink without effect. The late
Mr. Joddrell, in his elaborate illustrations of Euripides, dedicated
thirty-four octavo pages to the collecting, classing, and balancing
all the authorities pro and con, but concludes without arriving a whit
nearer certainty than when he began. The modern evidence he thus sums
up:
‘If we recapitulate in a summary manner the modern evidence, we
shall find that Leland and Olaus Magnus believed it. Aldrovraudus
has added to his own knowledge the testimony of Fred. Pendasius,
George Bracus, Albertus, and Antonius Musa Brasavelus, who declared
it on the evidence of their own senses. Olaus Wormius, besides
the assertion of several of his scholars who were natives of
Iceland, mentions the attestation of John Rostorph, upon oath.
Bartholinus, to his own observation on the vernal song of the swan,
has annexed the personal experience of Geo. Wilkelius and Paulus
Melisius Schedius Francus: and Ernestus has cited the testimony
of an Asiatic, and of Paulus Vidalinus. There are the authors and
witnesses of more modern times, who acknowledge and support the
ancient idea of the harmony of the swan; and it is remarkable that
the expression of “swan-song” is used to this day as proverbial in
Sweden, to express any great eclat of a person when taking his last
farewell. On the other hand, in opposition to these authorities,
Erasmus, Scaliger, Bodin, Dr. Brown, Willoughby, Morin, Pennant,
and Bryant, consider this supposed song a visionary notion, without
any natural foundation to support it.’
I quote the above from a letter in the _Gentleman’s Magazine_ for Sept.
1782, written by a correspondent who advocates decidedly the negative
side of the question, appeals to the ancients for further support, and
finally proposes that the celebrated John Hunter should set the point
at rest, by dissecting a swan, and ascertaining whether its throat
contained organs competent to the formation of musical sound or no.
This letter produced an answer in the following November, which will
serve to shew that Sweden and Iceland are, at all events, not the
only countries frequented by the swan in a state of nature, in which
the inhabitants firmly believe in its musical powers. After a short
introductory paragraph, the writer says,--
‘In the Hebrides, of one of which I am a native, the swan is
not uncommon. There is in Argyleshire a loch, or lake, called
_Lochanell_, or the Lake of the Swans, which gives title to a
considerable family of the Campbells. Swans frequent this and
other lakes in that country; and it is the current opinion (by no
means a matter of question or debate) amongst all ranks of the
people, that they utter certain plaintive, yet melodious notes.
_The voice of the swan upon the floods_ is frequently introduced
in their little songs to express the complaints and grief of a
fair one, on the loss or absence of a lover. Amongst a people not
highly polished, poetical similes are generally from _nature_: in
_nature_, therefore, I should think there is some foundation for
this so frequent a comparison. I do not remember that the author of
Fingal made use of this simile.
‘In the month of October, 1769, upon their return to the inlets of
the sea (for I was told they disappear in summer), I myself heard,
at different times, one simple but plaintive note, the birds being
at a distance on the water. I do not recollect to have been told
anything concerning the swans’ _vernal_ song in particular, but I
remember it was said, that at other times their notes were various.
But that the following tune--_Gath nah cala_, or the _Song_, or
_Note of the Swan_--has been familiar to me from my infancy, and
to every one else in the country who has an ear for music, I am
as certain of as of any other fact I can mention. It is the first
tune, on account of its simplicity, that musical scholars begin
with, in the same manner as the King’s Anthem is first taught in
England.’
[Illustration]
Here the correspondence ended without reply or rejoinder. For my own
part, it would be errant presumption to venture an opinion on a point
already discussed by so many learned men, particularly as I have no
fact within my own knowledge to found even an argument upon; but I
cannot, nevertheless, help thinking that the _evidence_ is in favour of
the affirmative. Perhaps in its wide circulation your miscellany may
fall into the hands of some person competent, from his own knowledge,
to confirm or contradict the statement above quoted; though it is
far from improbable, that within the last fifty years the march of
civilization may have driven the wild birds from their haunts[13], and
that tradition of their vocal powers alone remains, unless, indeed,
they were to be followed to the distant Iona.--The air is not to be
found among Dr. Crotch’s specimens of Scottish music.
I am, Sir, &c. S. D.
ON THE STATE OF OUR THEATRES, CHIEFLY AS RELATES TO THE OPERA
DEPARTMENT.
That we are on the eve of great changes in our patent winter theatres
is a fact now too obvious to admit of doubt. That their size must be
diminished if it be intended any longer to represent what is called
‘the legitimate drama,’ and that the prices of admission must be
reduced if the lessees do not mean to be ruined, are equally clear. It
is also past dispute that very considerable alterations must be made
in the nature of the performances, as well as in the general system of
management; and that not only in those vast establishments, but in all
other theatres, the rights and emoluments of authors and composers must
be so secured and augmented as to induce men of superior intellect and
attainments to devote their labours to the service of the public.
In a work like ours, it would be exceeding the prescribed bounds
to enter on the subject of the drama generally, otherwise we would
endeavour to show that the taste for tragedy, except of the splendid
historic kind, is rapidly declining; that though the public will
occasionally crowd to hear the fresh production of some celebrated
writer, or to see a new and talented or much-extolled performer, yet,
as they are beginning to discover that real scenes of misery, enough
for all the possible purposes of excitement, are to be witnessed
in great abundance, they will not much longer seek those that are
fictitious. The salutary truth is now opening to their view, that
relief from painful or laborious thought,--or, in a word, amusement,
is, in most instances, the only rational object of a visit to the
theatre, and that this cannot be extracted from a Jane Shore dying in
the streets from inanition, or a Beverley expiring in the arms of his
wife from the effects of poison.
Comedy amuses while it instructs; but this admits of very little
increase of the voice beyond its ordinary speaking powers; and who can
make himself heard in our vast theatres without exerting his lungs in a
manner quite destructive of the ease so indispensably necessary to the
finished performance of genteel comedy?--Opera, melodrama, and dancing
remain, to which Covent Garden seems already driven; and Drury Lane is
on the point of following the example of the rival patent temple of
_legitimate drama_!
Opera will most likely take the lead decidedly, and when we shall have
selected everything good from foreign repertories, which are almost
exhausted, what will be our resource? Are we always to look abroad for
fresh supplies, or to trust for assistance to our native composers? Let
us hope that a country which has given birth to a Lock, a Purcell, an
Arne, a Linley, a Shield, an Arnold, and a Storace, will yet produce
successors to them, who may become their rivals in melody, and,
profiting by the improvements for which we are indebted to the German
school, surpass them in harmony and in richness of accompaniment. In
concerted music they could hardly fail to excel their predecessors, at
least those of the last century, who rarely turned their thoughts to
it, the stage during their time affording no means of executing such
compositions in a manner at all likely to do them justice.
Let it not be supposed that we are overlooking, or intentionally
passing by unregarded, the merits of Mr. Bishop. He has supplied our
theatres, principally Covent Garden, with much that will transmit his
name to posterity; and had he continued to write in the style which he
at first adopted--an improved English style--he might have established
a school, the foundation of which was well laid by Arne, nearly a
hundred years ago; but, allured by the applause bestowed on Mozart,
Rossini, and Weber, he became an imitator, since when his success has
not been equal to that which attended his former efforts; and latterly
almost everything he has produced for the stage has failed; owing
in part, no doubt, to his music having been united to dramas which
possessed little, if any, claim to public favour. But he has plenty
of time before him, and as we have been among the number of his warm
admirers, so we shall be the first to hail his return to a path which
led to fame and to profit.
Formerly the copyright of a successful opera would sell for three,
four, or five hundred guineas; nay, a thousand, and even twelve
hundred, has been the price demanded and paid. But now no publisher
will buy an entire work; for a popular song or two out of it, or
perhaps a duet, he will offer a sum, not enough, however, to remunerate
the composer for the labour of a single week, and the theatres pay him
nothing, be his success what it may. The managers find that they are
conferring a favour by _accepting_ the music of an opera, and plenty
of composers, or pseudo-composers, press forward to be obliged. The
consequence of this is so apparent to all, that we may be spared the
ungracious and disagreeable task of pointing it out.
To what, then, is the present inferiority of most of our dramatic
composers to be imputed?--Is the want of encouragement a cause or an
effect?--Certain it is, that what is called the fashionable world
will hardly listen to the music of an English composer, while almost
any trash of a foreigner, especially if an Italian, (for even Germans
are not in very good odour with them,) is received with favour. But
the people of fashion do not now carry their influence into the
English theatres: some other reason, therefore, must be assigned
for the preference given to music by continental composers, and we
fear that its superiority is the real cause. Hence springs another
question,--from what does this superiority arise? Our belief is, that
it is chiefly owing to difference in education. The English composer is
commonly not so well instructed, either professionally or otherwise,
as the German or French one; he is neither so well grounded in his
own art, nor is his mind equally enlarged by the acquisition of other
knowledge: he too frequently knows nothing but music, and that often
rather imperfectly, because he has not been enabled to study it
systematically, and because no one art can be thoroughly understood
without the aid of that collateral knowledge which education supplies,
but which he has not had any opportunity of acquiring. Another cause
is, the necessity he is under of giving lessons,--of travelling from
school to school, from house to house, teaching, in three cases out
of four, music of the most trivial kind, not from choice, but because
such is suited to the taste of the great majority of learners. Hence
his own mind is occupied with what must weaken it, and even his taste
in the art is in danger of becoming depraved by the examples of what is
feeble, if not actually bad, that are hourly before him.
There are, no doubt, exceptions to this rule, and what we have advanced
on the subject is to be understood as applying generally, and not
pointed at any individual whatever, living or dead. That education,
by which we mean the expansion of mind which results from it, is as
essential to the composer as to the professor of any other liberal art
or science, will not be disputed by those who give the matter anything
like serious consideration: that in most cases the English composer has
not the advantages which are to be derived from it, few will be hardy
enough to deny. A still smaller number, we believe, will venture to
question the fact, that the daily occupation of teaching children to
play, must deaden the imaginative faculty, and consequently very much
tend to disqualify for all the higher branches of composition.
We shall close this article by an authorised account of the ‘Receipts
of Covent Garden Theatre, in each season, from 1809-10, to 1831-32,’
as given in the Appendix to the Parliamentary Report on Dramatic
Literature.
£. s. d.
1809-10 77,575 6 4
1810-11 98,110 4 8
1811-12 88,703 19 4
1812-13 69,929 7 6
1813-14 83,765 15 6
1814-15 89,972 17 6
1815-16 80,091 14 5
1816-17 70,529 3 3
1817-18 72,968 7 1
1818-19 72,115 12 5
1819-20 53,591 1 10
1820-21 68,168 13 4
1821-22 58,171 17 2
1822-23 52,318 19 6
1823-24 60,496 17 5
1824-25 72,160 5 1
1825-26 51,017 1 2
1826-27 53,032 2 8
1827-28 55,212 16 9
1828-29 41,029 2 1
1829-30 57,431 12 10
1830-31 49,248 14 4
1831-32 43,318 19 11
The following are the ‘Comparative Dimensions of various Theatres,
furnished by Samuel Beazley, architect,’ also printed in the Appendix
above-mentioned.
Feet. In.
Drury Lane 1799 From curtain to front box 70 0
Across the pit 56 0
---- 1812 From curtain to front box 66 0
Across the pit 56 0
---- 1832 From curtain to front box 61 0
Across the pit 50 0
Covent Garden From curtain to boxes 63 0
Across the pit 50 0
Haymarket From curtain to boxes 47 0
Across the pit 35 0
Late English Opera House From curtain to boxes 52 0
Across the pit 35 0
Pantheon 1791 From curtain to front box 55 0
Across the pit 60 0
Italian Opera From curtain to box 90 0
Width of pit 62 0
Olympic From curtain to box 34 0
Width 32 0
Garrick’s Theatre,
Goodman’s Fields From curtain to front box 25 0
Width 35 0
Dublin 1829 From curtain to front box 52 6
Across the pit 45 0
Tottenham-street Theatre Curtain to front boxes 38 0
Across the pit 22 4
ON SOME COMPOSITIONS OF HANDEL.
_To the_ ~Editor~ _of the_ ~Harmonicon~.
~Sir~, _January 18, 1833_.
I read the communication of your correspondent, Honorius, in your
number for December, 1832, with considerable interest, as it referred
to a subject which I had long desired to see touched upon--the
faults of the great Handel. There are, however, one or two points
in his letter upon which I beg leave to offer a few observations.
Your correspondent treats as a fallacy the first of Dr. Brown’s
objections, which imputes to Handel ‘too much musical division upon
single syllables, to the neglect of the true sense and meaning of
the song.’ I must say, that I think there are not a few instances in
Handel which directly corroborate this charge. In the song in _Saul_,
‘O Lord, whose mercies numberless,’ we have the word ‘_fail_’ in the
first verse, and ‘_soul_’ in the second, most unnaturally tortured:
the singer has, positively, two or three _rests_ placed in the midst
of his laborious enunciation of these words, in order to allow him to
take breath between; in consequence whereof, the _continuity_ of the
air is broken, and the close of the song materially injured in effect.
How can it possibly be said that such divisions ‘increase the meaning
of the words on which they are employed?’ In the duet, ‘Worship the
Lord in the beauty of holiness,’ there are again instances of words
most unpleasingly drawled out into long uninteresting passages; one
part imitating the other, almost to the entire exclusion of meaning and
expression.
Upon the second charge I have nothing to say; but surely the instance
in the third movement of the _Dettingen Te Deum_ is almost ludicrously
gross.
The _latter part_ of the third charge I admit, as exposing what I have
always considered as the most glaring defect of Handel’s style. Almost
every air has, first, its allotted number of bars in the major key,
then its _quantum_ in the minor, and then returns to the major with the
most undeviating and uncompromising regularity. Take, for instance, the
well-known song, ‘Let the bright Seraphim.’ Why should ‘the cherubic
host’ be forced to ‘strike their immortal harps’ in the minor key,
whilst their brethren, the seraphim, are allowed ‘to blow their
trumpets’ in the major? Why should there be any minor at all, unless
interwoven naturally in the principal movement of the song? Surely
those who arrogate to Handel the praise of having deviated from the
bad customs of his age, and formed a new style of his own, must allow,
that in this most important particular he was as faulty as any of his
predecessors. And this, I rejoice to see, your correspondent concedes
without a word of defence. Let any unprejudiced person compare those
songs where the minor movement and _Da Capo_ are introduced, with those
in which they are omitted, and he will at once perceive the superiority
of the latter. But, ‘O, what art can teach,’ ‘Pious orgies,’ and ‘But
thou didst not leave,’ in the _Messiah_, are as chaste and beautiful
compositions as have ever existed; and it is upon such songs as these,
and upon his magnificent chorusses that, in my opinion, the true glory
of Handel rests.
There is also, I think, another general defect in Handel’s writings,
not adverted to in your correspondent’s letter; which is, a constant
sacrifice of harmony to melody. Allow him the praise of melody; but
surely his harmony is deficient in richness, depth, and grandeur.
Where do we find anything in Handel at all equal to ‘The Heavens are
telling,’ in Haydn’s _Creation_? Examples might also be adduced from
Handel, where the harmony and melody are almost equally neglected--as
the duet, ‘Joys in gentle train;’ the air of which, if we can call
it an air, is as tame and meagre as we can well conceive possible.
With many apologies for this long letter, which you will oblige me by
inserting in the _Harmonicon_,
I remain your obedient servant,
and constant reader,
W. H. P.
P.S. I hope to see this subject resumed, ere long, in your valuable
pages.
GRESHAM PRIZE MEDAL FOR 1832.
The gold medal, for the best original composition in sacred vocal
music, has been adjudged to Mr. Kellow John Pye, of Exeter[14]. Dr.
Crotch, Professor of Music in the University of Oxford, R. J. S.
Stevens, Esq., Professor of Music in Gresham College, and L. Horsley,
Esq., Mus. Bac., were the umpires by whom the prize was awarded.
Mr. Pye was a pupil in the Royal Academy of Music.
The composition, an anthem for five voices, in the true cathedral
style, will be performed at the commemoration of Sir Thomas Gresham in
the ensuing spring.
THE MANCHESTER GENTLEMEN’S GLEE CLUB.
~Prize Glees~ for 1832.
This club, in furtherance of the purpose for which it was
established--the cultivation of the glee--gives annually prizes for the
best serious and the best cheerful glee. The prizes offered last year
to be decided this, were ten pounds each, and have just been awarded.
There were forty-six candidate compositions--twenty-five serious,
and twenty-one cheerful--written by twenty-nine different composers,
including many of the most distinguished composers of this kind of
music in the kingdom. Twenty-four of the glees were sent in by authors
residing in London, all of whom, with an exception or two, are eminent
in the profession. Seven came from Manchester gentlemen; the remainder
from Liverpool, Edinburgh, Glasgow, York, Bristol, Hull, and Plymouth.
The productions which this competition--unparalleled, we believe, for
the extent and variety of the compositions--furnished, were many of
them of a high order: the serious glees were particularly excellent, a
large proportion of them being, in style and merit, beyond the average
of such as are considered established works. The whole collection
exhibited a gratifying proof that this peculiarly English branch of
musical science is extensively and successfully cultivated.
All the glees were, by means of frequent rehearsals, well executed by
the singers. They were sung before the committee appointed to award the
prizes at five successive meetings, especially held for the purpose;
the last of which took place on Monday, the 21st of January, when,
on opening the sealed packets containing the names and mottos of the
respective authors, it appeared that the prize for the serious glee had
been adjudged to Mr. Henry R. Bishop, for a four-voice glee, beginning
‘Where shall we make her grave?’ and that for the cheerful glee, by
Mr. Vincent Novello, a glee also for four voices, to original words,
commencing “Old May morning.”
OBITUARY.
The French school of music, and indeed the lovers of the art
everywhere, have just sustained a great loss by the death of ~M.
Herold~. He fell a victim to a pulmonary complaint with which he had
been for some time afflicted, and which has carried him off before he
had completed his fortieth year. His death is an almost irreparable
loss to the French school of music, as he almost alone, among the
operatic composers of the present day, had shown a genius worthy to
compete with those great German masters whom he had made the idols of
his adoration. He was a pupil of the Conservatoire, where he obtained
the grand prize of composition, and was sent to complete his studies
at Rome at the expense of Government. His opera _Marie_ first made
his name popular, and shortly afterwards _Zampa_, particularly the
_finale_ of the first act, secured to him a more solid and imperishable
renown. His last work, _Pré aux clercs_, is now in the zenith of its
popularity. It is said that the agitation which he felt in consequence
of the suspension of the performances of that opera after its first
representation, in consequence of the refusal of Madame Casimir to
sing, tended to hasten his end. The managers of the _Opera Comique_, as
soon as they learnt the fatal event, announced that the theatre would
be shut for one night.
* * * * *
~Signor Nozzari~, the celebrated tenor singer, died at Naples, the
beginning of last month. He was born in 1775, and studied under the
famous David, who was in England some forty years ago. Nozzari first
appeared at Milan, and in 1802 and 1807 sang at the _Opera Buffa_ in
Paris. He afterwards went to Naples, where at the theatre _San Carlos_,
he continued to perform till bad health much weakened his vocal powers,
and finally compelled him to quit public life. He has left a fortune of
above 100,000 dollars.
* * * * *
Early in last month, ~Signor Giuseppe Deville~, who for many years
had been a useful performer at the King’s Theatre, was found dead
in his chamber, owing, it appeared upon examination, to apoplexy.
He first arrived in this country in 1816; afterwards was engaged at
the _Théâtre Italien_ in Paris; then went to St. Petersburg, where
he sang during three or four seasons at the Italian Opera in that
city, and subsequently returned and settled in London. Though never
much distinguished as a singer, Signor Deville was highly valued for
the regularity and zeal with which he performed his professional
duties; while his high sense of honour, his generous nature, and
the benevolence of his disposition, made him respected by all to
whom he was known, and loved by the few with whom he lived on terms
of intimacy. The newspapers have represented that he died in the
possession of a large sum of money, but erroneously: though not
expensive in himself, he was too liberal-minded, too kind to such of
his countrymen as needed assistance, to be able to save much of his
income. In fact when his funeral and other expenses are defrayed, very
little will be left to transmit to his nearest of kin, who are residing
in Italy.
REVIEW OF NEW MUSIC.
~Eight Songs~, _by_ ~Barry Cornwall~ _and the_ ~Chevalier Neukomm~.
(Cramer, Addison, and Beale.)
Our pages during the last two years will attest how often and how
successfully the poet who writes under the above name, and the musician
who composes in his own, have combined their talents: ‘The Sea,’
and ‘David’s Lament for Absalom,’ are sufficient, had those authors
produced nothing else in union, to float them together down the stream
of time, and will assist in proving that the age which certainly
brought forth a good deal of trash,--as all ages have done, and will
continue to do,--also gave birth to what is, without other evidence,
quite sufficient to rescue it from a sweeping charge of false taste and
inability. Those canzonets, difficult as they are to ordinary amateurs,
are now in almost every house where a musical instrument is to be
found, and are sung, especially the first, by all who are blessed with
a voice, and by some who possess scarcely any at all.
Barry Cornwall, the _pseudonyme_ adopted by one of the most
distinguished of the really good lyric poets of the day, last year
published a delightful little volume of ‘English Songs, and other small
Poems,’ a fact so well known in the world of literature and taste, that
we should not have repeated it here, but for the purpose of showing
the connexion of that work with the present. The Chevalier Neukomm had
set some of the songs before they appeared in print; and the eight now
before us are among the hundred and seventy, or thereabouts, contained
in the volume mentioned.
Great success naturally leads to further efforts, and the applause
which attended the two songs above-named, has tempted the composer to
write perhaps rather too fast. The most fertile fancy, like the richest
soil, must be allowed time to recruit: the mind that creates needs
fallows as much as the earth which produces. A want of a little of this
restorative appears in the songs now under notice. There is no absence
of exertion,--certainly no want of whatever science or labour can
yield; but we do not meet with those evidences of the inventive faculty
that are so strong in the compositions to which we have alluded. We
know full well that he who always expects works of equal value from the
same pen must infallibly be disappointed, and slightly touch upon a
comparison only in order to make our opinion more accurately understood
by our readers.
The first of the set, ‘The happy hours,’ is in two movements; the last
partly in three-eight time, and partly in six-eight, is rather common.
At page 3, however, is a redeeming modulation from ~C~ to ~A~♭.
The second, ‘Hide me, O twilight air!’ is a clever composition, the
concluding page exceedingly effective, and the poet’s general meaning
is well expressed; but in the setting of particular words, the
foreigner, the stranger to the niceties of our accent, is very visible.
The style of the early part of the seventeenth century is here so ably
imitated by the poet, that we must beg leave to lay his verses before
our readers:--
SONG FOR TWILIGHT.
Hide me, O twilight air!
Hide me from thought, from care,
From all things, foul or fair,
Until to-morrow!
To-night I strive no more;
No more my soul shall soar;
Come, Sleep, and shut the door
’Gainst Pain and Sorrow!
If I must see through dreams,
Be mine Elysian gleams,
Be mine by morning streams
To watch and wander!
So may my spirit cast
(Serpent-like) off the past,
And my free soul at last
Have leave to ponder!
And should’st thou ’scape controul,
Ponder on love, sweet soul,
On joy,--the end--the goal
Of all endeavour!
But if earth’s pains will rise
(As damps will seek the skies)
Then, Night, seal thou mine eyes
In sleep for ever!
The ‘Serenade’ is too long and laboured for an evensong in the open
air; and the sameness of the accompaniment, running on in one unvarying
stream through three verses, becomes at last rather fatiguing.
The fourth, ‘The Night,’ opens with a sweet and gentle melody; the
changes of time, however, are too frequent for a song, though, as well
as the declamatory parts, they would be proper enough in a cantata.
The whole of this appears the result of study. In truth the words are
difficult to set.
No. 5, ‘The Evening Star,’ presents no feature at all remarkable. The
accentuation of this is free from all reproach.
The sixth, ‘My Sword,’ is a fine, spirited, martial air, the
accompaniments in excellent keeping, and the whole characteristic and
exciting.
‘The Exile,’ in ~C~ minor, the seventh of the set, is deeply pathetic:
a well-imagined andantino in ~F~ comes in beautifully, expressing a
gleam of future hope; but this is checked again by reflection; and the
last part, ‘Farewell to old England’ is affectingly uttered in the
mournful tones of the minor key.
The eighth, ‘Oh, pleasant is the fisher’s life,’ does not conclude
the volume in a very brilliant manner; the phrases and cadences offer
nothing new, and no part of the song is likely to make any impression
on the hearer, whether he belong to the learned or unlearned class of
auditors.
This volume is much increased in value by portraits of the poet and
composer, drawn by Wivell and engraved by Holt. They are admirable
likenesses, and executed in a superior manner. How far preferable
are such additions to a work, to those fancy things miscalled
embellishments, which we rejoice to find are now pretty generally
discarded in musical publications. Portraits, if at all faithful
resemblances, are always interesting, and gratify a very natural
curiosity; while imaginary scenes and emblematical designs are most
commonly destitute of any charm, being too often mean in conception and
faulty in execution.
* * * * *
PIANO-FORTE.
~Grand Exercice~ ~d’Octaves~ _dans tous les tons, majeur et mineur
composée par_ ~Charles Czerny~, Op. 152. (Wessel and Co.)
Were an inhabitant of another sphere--of one of those worlds which many
folks think made only for our amusement, for us to spy at through a
telescope--to be shown this _grand exercise_, he would straightway and
naturally conclude that all those belonging to the planet Earth, who
‘handle’ the piano-forte, must be under the immediate influence of
their own satellite:--‘For who,’ he would ask, ‘but moon-struck people
would submit to a piece sixteen pages long, consisting of nought else,
from beginning to end, but semiquavers running in octaves without
the slightest break or intermission, without air, or rhythm, or any
reasonable object, till one solitary chord ends the mad ramble?’ And
this is no exaggerated account of the ‘grand’ composition on our desk,
strange and almost incredible as it may appear.
It is to be presumed that a nondescript of the present kind would not
have been published unless there had been a chance, amounting almost to
a certainty, of finding purchasers for it; and we can only say, that
if there are many to waste their money, and what is worse their time,
upon such a matchless piece of absurdity, good taste in music, and the
common sense of its votaries, are in a more declining state than even
the former productions of this composer, and others of the same school,
have led us to suppose.
* * * * *
1. ~Rondeau~, _de l’Opéra de_ ~Boieldieu~, la Dame Blanche,
_composé par_ ~Fred. Kuhlau.~ (Wessel and Co.)
2. Ditto, do. do.
3. ~Preciosa Lied~, _from_ ~Weber’s Preciosa~, _varied by_ ~Fred.
Kuhlau.~ (Wessel and Co.)
Kuhlau should ‘have died hereafter.’ Suddenly his sun set before its
expected time. Nearly the same packet that brought us the first proofs
we ever saw of his talents, bore the news of his death; and since then,
every production of his that has reached us has furnished an additional
proof of the loss music sustained by his premature decease. Two out of
the three pieces conjoined is this article are further evidences of his
ability, the subjects of which have been treated by many, by few so
well, and by none better.
The first is on the airs ‘Chantez, joyeux Ménestrel,’ and ‘Robin
Adair,’ the latter, since Boieldieu introduced it in his opera, having
become as popular on the continent as it was here some years ago. The
second is on ‘Pauvre Dame Marguerite;’ and the third is the ballad, or
_Lied_, ‘Einsam bin ich nicht alleine,’ with variations.
In Nos. 1 and 2, the melodies, though fully accompanied, are distinctly
heard; the harmony, abundant as it is, does not obscure the subject,
and the arpeggioed passages, in all shapes, are in due relation to it.
Both are well calculated for the instrument, and the manner in which
they are written would alone be sufficient to prove the composer a real
master of the piano-forte. They are not difficult for good players,
but far from easy for the generality, and will excite more pleasure
than astonishment. We must, however, express our regret that a wish to
comply with custom--for M. K.’s own taste surely must have revolted
against it--should have betrayed him into the commission of semitonic
passages of the worst kind. His introduction to No. 1, in which are
some fine effects, is spoiled at the end by an up-and-down run of half
notes which seems to have no end, and almost prejudices the ear against
the melody that immediately succeeds.
The ten variations, including the finale, on the German air, No. 3,
possess all the vivacity which, arises from the active motion of the
hand on the instrument, sweeping in arpeggios from low to high and back
again, but this is the whole amount of the praise due to them, except
that they are not carried on to any immoderate length.
* * * * *
1. La Noce, _second_ ~Rondo~ _sur des Thêmes de la_ Tentation
(_musique de_ ~Halevy~) _arrangée par_ ~Adolphe Adam~. (Chappell).
2. Les Dons à Céline, _Trois Pièces agréables, en forme de_
Sonatines, _composées par_ ~Aloys Schmidt~, _de Francfort_. (Wessel
and Co.)
The airs incorporated in No. 1 are pretty, and free from that kind
of commonness, which is almost another word for vulgarity, but the
same paucity of new ideas is visible here, as in too many of the
publications of the day. It is evident that we must go back to old
favourites, most of which are forgotten, and would be novelties to the
present generation.
* * * * *
No. 2 are easy enough, certainly, as the word _Sonatine_ announces,
but are trite and childish as well as easy, with old-fashioned bases,
cantering either in triplets of quavers, or moving à l’Alberti, in
chords broken into semiquavers. We certainly should have expected from
a man of M. Aloys Schmidt’s talent, trifles of a less _trifling_ kind.
Both the above publications are calculated for very juvenile learners
only.
* * * * *
1. ~Divertimento~, _from_ ~Rossini’s~ Barbiere di Siviglia,
_arranged by_ ~W. Etherington~. (Metzler and Sons.)
2. ~The Alpine March~, _arranged as an easy_ ~Rondo~, _by_ ~Thomas
Valentine~. (Chappell.)
Mr. Etherington’s Divertimento is compounded of ‘Una voce poco fà’
with its second movement: ‘Zitti! Zitti!’ and ‘Largo al Factotum,’
all of which, it is true, have been so often arranged, and are so
perfectly known by heart by every one with a musical ear--nay, they are
actually played about the streets of Constantinople; the very Moslems
hum them--that we should have thought the present arranger too late
for the market; but of this he is the fittest judge; we have only to
speak of the manner of working up the airs into their present form,
which is very creditable to Mr. Etherington’s taste. Indeed he has done
little more than arrange from the score, his additions are just enough
to blend the three, and these are modestly and judiciously made. He
has retained the key ~E~, kept within very moderate bounds as
regards length, and consulted both the character of the instrument and
convenience of the performer.
* * * * *
No. 2 is a very brief and easy version of this popular march, in two
pages and a half. It is suited to very youthful practitioners, whom it
will please, without in any degree vitiating their taste.
* * * * *
DUETS, PIANO-FORTE.
1. _Souvenirs of_ ~Meyerbeer’s~ _Opera_, Robert le Diable,
_consisting of the favourite Airs arranged by_ ~W. Watts~. _Book
1._ (Chappell.)
2. Ditto. Book 2. Ditto.
_Robert_ has already taken many shapes, and now assumes that of duets,
Mr. Watts, the chief agent in the business, having so willed it, and a
better qualified person for the purpose could not have been found. It
is sufficient now, since we so often have had to speak of the various
parts of this opera, to mention what pieces are here chosen; our
opinion of their respective merits has already been given. The first
book contains the introduction, with the chorus ‘Aux seuls Plaisirs;’
the popular air, ‘Jadis régnait en Normandie,’ of course; and the
chorus, ‘Non! il faut qu’il soit punit.’ The second is almost wholly
occupied with ‘O Fortune! à ton caprice.’ and the remainder of the
scene, preceded by the chorus, ‘Nous sommes tous flattés.’
There is nothing in any of these which could have been rendered
difficult when distributed among four hands, and the present is too
wary an adapter to throw impediments in the way of performers of the
purchasing class.
* * * * *
~Overture~ _to Spohr’s Grand Romantic Opera_ Jessonda, _arranged
by_ ~L. Zerbini~. (Wessel and Co.)
Piano-forte performers are now so abundant that overtures, and full
orchestral compositions, when arranged, generally take the shape of
duets. We are become so accustomed to them in this form, that very few
players will singly attempt them, knowing how comparatively meagre
they sound when committed to two hands. This is a faithful and good
adaptation of the score, and renders that easy and effective for two
performers which is quite the reverse for one.
How long will Mr. L. Zerbini continue to announce himself in his
title-pages as a ‘pupil’?--The public, he ought to know, are inclined
to think more favourably of publications by masters than by scholars.
* * * * *
1. ~Variations~ _on_ ~Caraffa’s~ _air_, ‘O cara Memoria,’ _arranged
by_ ~A. Diabelli~. (Aldridge.)
2. ‘Una Voce poco fà;’ ~Rossini’s~ _aria in_ Il Barbiere, _arranged
by_ ~George Perry~. (Luff.)
3. ‘Papuccie! chi vuol Papuccie?’ ~Pacini’s~ _air in_ La Schiava di
Bagdad, _arranged by_ Signor Maestro ~G. P. Cittadini~. (Purday.)
No. 1 consists of five clever and very pleasant variations on an air
which appears to much greater advantage instrumentally than vocally.
This is short enough to admit an encore, and if played with neatness
and some degree of brilliancy, will very often induce the hearers to
ask for it a second time.
* * * * *
In No. 2, Mr. Perry has given us the air, with its second movement, ‘Io
sono docile,’ exactly according to the score. We do not perceive that
he has added or taken away a single note; but he has transposed the
whole from ~E~ to ~F~, and this we cannot consider an improvement. In
days long gone by, the key of ~E~ with four sharps looked formidably;
the _march of music_ has robbed it of its terrors; and every one who
has the slightest faith in the character of keys, will protest against
so violent a change.
* * * * *
No. 3 is the air made so amusing by Signor Lablache; though many
laughed while he was crying ‘Slippers! who wants slippers?’ without
very well knowing what they laughed at. Signor (_Maestro_) Cittadini
might have chosen something better adapted to the purpose than an air,
the merit of which depends so much on the words and the humour in
singing them. Spread, as this is, over nineteen pages, and exhibiting
so little variety, we must say that, should it sell, it will prove more
useful to the stationer and publisher than the purchaser. We do not,
however, mean to cast any slur on the arrangement itself, which is
faultless, but in the selection made by the Maestro.
* * * * *
VOCAL.
~The Art~ of ~Singing~, _a Method, in Three Parts, on an entirely
new plan of vocalization_, &c., by ~J. P. Le Camus~. (_Published by
the Author._)
This is a ponderous tome indeed! Two hundred and twelve large folio
pages! But considering what it is to achieve--or rather, what the
author most courageously asserts it will effect--such vastness of
extent is by no means unnecessary. But let the author himself be heard.
‘The Method,’ he says, ‘I now publish has more novelty, and (I may
say) more importance than the public usually attribute to works of
this nature. It is the fruit of a singular but fertile idea, developed
with conscientious care, and with the intention of superseding all the
treatises on singing that have hitherto appeared.’--(_Preface._)
There is no bashfulness in this, but much candour. Whenever a work
is published the author wishes it to be thought the best that ever
appeared, and hopes that it may cast into utter oblivion all others of
the kind; but he seldom has honesty enough to declare this. M. Le Camus
has no disguise.
‘Do we,’ he continues, ‘look for a proof of the insufficiency of all
these treatises? Let us examine the actual state of the _art_. Vocal
music was never so generally cultivated, and yet nothing is more
uncommon than to meet with a singer whose principles are invariable,
and whose execution is _always perfect_.’--(_Preface._)
Very true, indeed, M. Le Camus; and, let us add, we should think the
millennium actually arrived were we to meet with a singer, or any other
description of human being, ‘always perfect.’
The Method herein proposed and followed, is to accompany the voice
of the student, whether he be singing the diatonic or chromatic
scales, the different intervals, or melodies of any kind, with a
full harmony, in which as many ‘varied modulations are introduced
as possible, in order to familiarize his ear with every _harmonical
combination_, so that no _transition, however abrupt_, may take him by
surprise.’--(_Preface._)
There is no novelty in all this, we can assure the author; every good
master has pursued the same plan. We grant that the number of such
masters is not very great; we know that singing is taught,--aye in
most instances,--by persons who possess very little, if any, knowledge
of principles, or the power of communicating them to others, even if
themselves are acquainted with them. But does it follow that, because
there are many incapable teachers, a good system has never been
followed by those who have studied and know their art? M. Le Camus can
have inquired very little into the subject, can have consulted very few
works, if he supposes that he now promulgates a system entirely new.
We could at once show him three or four treatises in which the same
principles are much more fully developed.
In a work of such magnitude it was to be expected that nothing relating
to the vocal art would be left unsaid; but the author of this has
omitted the mention of much that is essential: he gives no directions
for the formation of the voice, touches very briefly on the management
of the breath, is wholly silent on the subject of pronunciation, and
equally reserved on a point of vital importance--expression[15]. In
short, though the author of the Method, which he seems to consider so
perfect of its kind, has done something in furtherance of his plan,
he has left much more undone; and if, instead of examples of his own
(which fill about nineteen-twentieths of the volume), he had chosen
fit compositions, in various styles, of the great masters, and treated
on the best manner of executing them, he would have rendered a much
greater service to the musical world, and made his book far more worth
the high price he has fixed on it.
* * * * *
1. ~Serious Glee~, ‘The parted Spirit,’ _for four voices, which
gained the prize at the Gentlemen’s Glee Club, Manchester, in 1831;
the words by_ ~John Malcolm~, Esq.; _the music by_ ~Finlay Dun~, of
Edinburgh. (Mori and Lavenu.)
2. ~Serenade~, ‘Lady of Beauty,’ _for three voices, by_ ~H.
Giffin~. (Brown.)
~Mr. Finlay Dun~’s glee is rather a successful study than work
of genius;--it exhibits more signs of persevering labour than of
flights of imagination. And such is the character of some of the best
compositions of this kind to which the last quarter of a century has
given birth. Many, indeed, brought forth during the same period have
nothing to distinguish them but the smell of the lamp,--their only
merit consisting in the avoidance of grammatical errors. To write these
is exceedingly easy; but it requires talent to compose an effective
glee,--genius to produce such as is great or beautiful.
This fortunate work opens with a Largo in ~F~ minor, common time,
which changes into an andante, and ends with a movement in the major
key, three-four time. The poet’s sentiments are, upon the whole, well
expressed, though the accentuation is frequently incorrect. At the
seventh bar a crescendo on the word ‘blast’ is, indeed, an abortive
attempt to make the sound an echo to the sense; and after ‘I call upon
the heavens to show,’ there ought to be a rest, or pause of some kind.
There is melody in this, but the harmony is most deserving of praise.
The gracefulness, though not of a very original kind, of the last
movement, most probably carried the votes of the judges; but we speak
on this subject with reserve, not knowing the quality of the rivals
with which the work had to contend.
The piano-forte accompaniment we cannot approve: with it the
composition is no longer a glee. Moreover, by often running in octaves
with the alto and other parts, the worst possible effect is produced.
If uncertain singers require aid, the only allowable accompaniment to a
glee is confined to the very notes given to the voices.
* * * * *
The second of these must surely claim as its parent either a very
youthful or an extremely inexperienced composer.
* * * * *
1. The Maid of Abbotsford, _written and composed by_ ~Mrs. J. F.
Turner~. (Collard and Collard.)
2. ~Ballad~, ‘Mary, meet me there,’ _composed by_ ~Miss Mounsey~.
(Collard and Co.)
3. ~Romance~, The Bridal Death, _written and composed by_ ~J.
Augustine Wade~, Esq. (Chappell.)
4. ~Ballad~, ‘Here do we meet again,’ Ditto ditto ditto.
5. ~Ballad~, ‘I saw her at the Fancy Fair,’ _the poetry by_
~Edm. Smith~, Esq., _composed by_ ~John Barnett~. (Goulding and
D’Almaine.)
6. ~Ballad~. ‘That lovely girl,’ _the poetry by_ ~E. Smith~, Esq.,
_composed by_ ~J. A. Barnett~. (Goulding and Co.)
7. ~Song~, ‘’Tis the season of friendship,’ _the words by_ ~W. F.
Collard~, _the music by_ ~C. M. Sola~. (Collard and Collard.)
8. ~Swiss Air~, ‘The Emmethaler Shepherd’, _written by_ ~J. A.
Wade~, Esq., _and arranged by_ ~F. Stockhausen~. (Chappell.)
9. ~Canzonet~, ‘Sweet pensive woodland nightingale,’ _the poetry
by_ ~Lily Godwin~, _composed by_ ~Thomas Graham~. (Chappell.)
10. ~Cavatina~, ‘The Flowers’, _the poetry by_ ~Mrs. Charles
Greville~, _the music composed by_ ~Bianchi Taylor~. (Collard and
Collard.)
Though we may be charged with a want of gallantry, yet we cannot say
much in commendation of either Nos. 1 or 2.
* * * * *
The music of No. 3 is far better than the verses, which are very
inferior to most of Mr. Wade’s lyrical productions.
* * * * *
No. 4 has appeared in a musical annual reviewed by us long ago.
* * * * *
If the success of No. 5 is as great as many very bold advertisements
might lead us to believe, popularity is not invariably a test of merit
in a song. The air is rather pleasing, but such an utter disregard of
poetical accent we have rarely ever witnessed, _e. g._
Heav’n was in her diamond eye,
And roses crimson’d o’er her cheek.
Then we have--
[Illustration: As grace-ful-ly the tres-ses play’d o’er, &c.]
* * * * *
No. 6 is a worthy companion to the preceding. The poet and musician
rival each other in good sense: _Par nobile fratrum_.--The one sings,--
That lovely girl enchants me still,
Through each changing scene of pleasure;
Her brilliant charms with rapture _fill
My soul for such a treasure_--
which the other sets thus:--
Her brilliant charms with rapture fill,
With rapture fill--
My soul for such a treasure.
At the second page things get worse--but we have shown up enough.
* * * * *
No. 7 is a good Christmas song, with chorus for soprano and base. The
words and music are both exhilarating, and the whole is easy.
* * * * *
No. 8 is one of the numerous class of Swiss airs which so much resemble
each other. The few bars, however, of opening, slow and in the minor
key, give some variety and character to this, and rather distinguish it
from the many. We cannot say much in favour of the words, which savour
of nonsense verses.
* * * * *
No. 9 is well designed, but in the execution the composer seems to have
been at a loss; there are in this many proofs of inexperience as a
writer,--not exactly errors, but want of habit. We, however, recommend
him to persevere, practice will remedy defects of the kind to which we
allude.
* * * * *
No. 10 evinces talent that we hope will be often called forth. The
melody is exceedingly pleasing, and far from common; some of the
phrases remind us of the classical schools, and are as unexpected as
charming, particularly that in the second page, beginning at the fifth
bar. The accompaniment, too, is not less to be approved.
VOCAL SOCIETY.
We have great pleasure in announcing the first meeting of a Society,
under the above designation, comprising a body of musical talent,
calculated, as we think, to render most essential service to the cause
of music generally, but more especially so to the exhibition of vocal
excellence, unfettered by the caprice or tyranny of that non-descript,
but all-powerful, influence which is known under the familiar
term--Fashion. It is, perhaps, the fairest way that the Society should
speak for itself; and we therefore insert a considerable portion of the
prospectus put forth by its members, which is sufficiently explanatory
of what it purposes to accomplish:--‘It has often been a subject of
regret among the lovers of English vocal music, that the opportunities
of hearing it effectively performed are becoming more rare. The
compositions of native musicians are nearly banished from the concerts
of the metropolis; the glees of Webbe, Calcott, Cooke, and Battishill,
as well as those of their living successors, being superseded by the
productions of foreign composers. Were excellence alone made the test
of admission, the English musician would have no right to complain;
but it may be questioned whether such a principle of exclusion is
called for by public opinion or the progress of musical science; or
whether the compositions of modern Italy are better calculated to
improve the taste of the professor, and to increase the gratification
of the amateur, than those of our own country. The regulations of
the several societies formed for the encouragement of glee writing,
and the practice of glee singing, preclude the presence of ladies,
while they are attended with considerable expense wholly unconnected
with their musical objects. The intention of the Vocal Society is to
present, as its principal feature, the vocal music of the English
school, both ancient and modern, including that of the church, the
chamber, and the theatre; with the addition of foreign compositions
of excellence, songs, duets, concerted pieces, and chorusses, several
of which (hitherto almost unknown in this country) are preparing for
performance. To this object, its members respectfully invite the
co-operation of those who cherish a love for that species of music in
which the most celebrated English composers have been proved to excel,
and to unite with them in a strenuous effort to vindicate its claim to
public attention and patronage.’
To this rational and ingenuous address thirty names are appended, both
male and female, including most of the vocal performers of acknowledged
merit in the metropolis. We now proceed to give the program of the
first concert, to which we shall add such observations as occurred to
us during the performance:--
FIRST CONCERT OF THE VOCAL SOCIETY, King’s Concert Room, Hanover
Square, Monday, January 7th, 1833.
Leader, Mr. T. COOKE.--Organ and Piano-forte, Messrs. TURLE, GOSS, and
HORNCASTLE.
~Part I.~
God Save the King,--Verse and Chorus.
1. Sestetto and Chorus, Ode to St. Cecilia. (Miss ~Webbe.~
C. Novello, Master Howe, Messrs. Terrail,
Bennett, Turle, and Sale)
2. Duet, ‘In this glad Season.’ (_The Seasons._) ~Haydn.~
Mrs. G. Wood and Mrs. Hobbs
3. Trio, ‘Sicut locutus est.’ (Miss C. Novello, ~Fenoglio.~
Hawkins, and Bellamy)
4. Air, ‘Lascia Amor.’ (_Orlando._) Mr. Phillips ~Handel.~
5. Madrigal, ‘All creatures now.’ (1601.) ~J. Benet.~
6. Offertorium, ‘Alma Virgo!’ (Mrs. Bishop and ~Hummel.~
Chorus)
7. Glee, ‘In this fair vale.’ (Masters Howe and ~Attwood.~
Hopkins, Messrs. Bennett, Parry, and Chapman)
8. Quintet, Piano-forte, Oboe, Clarinet, Bassoon, ~Beethoven.~
and Horn. (Mrs. Anderson, G. Cooke, Willman,
Mackintosh, and Platt)
~Part II.~
9. Chorus, ‘Hark! hark!’ (_The Seasons._) ~Haydn.~
10. Selection from a Mass (No. 1) ~Mozart.~
11. Cantata, ‘Mad Tom.’ (Mr. Braham) ~Purcell.~
12. Glee, ‘Deh! Dove.’ (Miss George, Terrail, ~Dr. Cooke.~
Hobbs, and Sale)
13. Song, ‘My ain fire-side.’ (Mr. Broadhurst).
14. Serenade, ‘Sleep, gentle Lady!’ (Hawkins, ~Bishop.~
Hobbs, Fitzwilliam, and Chapman)
15. Terzetto, ‘Tremate, empi tremate.’ (Miss Novello, ~Beethoven.~
Braham, and Philips)
16. Catch, ‘Would you know.’ (Horncastle, C. ~Webbe.~
Taylor, Fitzwilliam, and Bellamy)
17. Chorus, ‘To Rome’s immortal hero.’ (_Tito_.) ~Mozart.~
We have here presented to our view a wide range of musical compositions
embracing a period of upwards of two centuries, and comprising names
which will live till ‘music shall untune the sky.’ The performers
exerted themselves to the utmost, and the most fastidious critic could
have found but little to disapprove. We earnestly hope that the same
spirit of emulation will continue to be shown throughout the remaining
concerts; and, if such be the case, we cannot entertain a doubt of the
liberal patronage of the musical public. Much will depend upon the
judgment and taste of those with whom the choice of the selections will
rest; and it will involve a point of some delicacy, as well as require
a certain firmness, in deciding upon the introduction of the works
of living composers, who will naturally be desirous of having their
music brought forward under such favourable circumstances. It is in
this point of view that we are glad to observe among the names of the
members a great preponderance of vocalists, and but few distinguished
by their writings; this will render the society more independent, by
offering a wider and more extensive field in which to roam, collecting
sweets wherever they are to be found; and while not insensible to
living merit, yet free to draw largely from the stores of excellence,
both ancient and modern, which will amply repay the task of bringing
forward, and present the fairest prospect of success and permanence to
the ~Vocal Society~.
SECOND CONCERT OF THE VOCAL SOCIETY, Monday, January 21, 1833.
Leader, Mr. T. COOKE.--Organ and Piano-forte, Messrs. TURLE,
GOSS, BLACKBOURNE, and HORNCASTLE.
~Part I.~
1. Anthem, ‘Behold how good and joyful’ ~Battishill.~
2. Glee, ‘Mine be a cot.’ (Hawkins, Hobbs, Bennett, ~Horsley.~
and Bellamy)
3. Cantata, ‘The Ghost of Carril.’ (Braham) ~Percy.~
4. Glee, ‘Oh! how I long my careless limbs.’ Sir ~J. L.
(Mrs. G. Wood, Master Howe, Turle, Hobbs, Rogers.~
Bellamy, and Sale)
5. Madrigal, ‘Sweet honey-sucking bees!’ (1609) ~Wilbye.~
6. Scena, from the Opera of _Faust_. (Horncastle.) ~Spohr.~
7. {Quintet, ‘Domine Deus’ } ~Clari.~
{Chorus, ‘Cum Sancto Spiritus’ }
8. Glee, ‘There is beauty on the mountain.’ ~Goss.~
(Miss C. Novello, Messrs. King, Horncastle,
and Parry)
10. Concertante, Flute, Oboe, Clarinet, Bassoon, ~Chev.
Horn, Trumpet, and Double-Bass Neukomm.~
~Part II.~
11. Glee, (accomp.) ‘Fill, fill me, boy.’ (Hawkins,
Horncastle, and Phillips) ~T. Cooke.~
12. Song, (with accompaniments) ‘Peaceful night.’ ~Bishop.~
(Mr. Parry)
13. Glee, ‘Wanton gales’ (Hawkins, Hobbs, ~Webbe.~
Horncastle, and Sale)
14. Duetto, ‘Dolce dell’ anima.’ (Braham and ~Paer.~
Phillips)
15. Madrigal, ‘Lo! where with flowery head.’ ~Morley.~
(1610)
16. Quintetto, ‘Perchè mentir.’ _Die Zauberflöte._ ~Mozart.~
(Mrs. Bishop, Mrs. G. Wood, Miss C. Novello,
Braham, and Taylor)
17. Song, ‘Non preventur.’ (Miss George.) _Die ~Mozart.~
Zauberflöte_
18. Catch, ‘Ah! how Sophia.’ (Hobbs, C. Taylor, ~Dr.
and Fitzwilliam) Calcott.~
19. Chorus, ‘The tiger couches.’ _The Maniac_ ~Bishop.~
This Selection contains some very good music, and is upon the whole,
quite equal in merit to its precursor. It commences most appropriately
with the fine anthem by Jonathan Battishill (No. 1), of which the three
first movements were given; the verse for equal voices, was extremely
well sung by Messrs. Hawkins, Hobbs, and Atkins, and the whole went
off with much effect. _Apropos_, in regard to Battishill,--this
admirable composer published two volumes of ‘_Songs for three and four
Voices_,’ the greater part of which are models in glee-writing; and
we strongly recommend them to the notice of this society, as being
worthy of occasional introduction. Two charming Madrigals, one in
each act (Nos. 5 and 15) gave general satisfaction, and were called
for _par acclamation_. Several members of the Madrigal Society were
present, and judging from “outward and visible signs” were highly
gratified with the performance. Mr. Braham sang a long cantata (No.
3), and did all that could be done for it; we should have been glad to
have seen his powers exerted to more effect; this gentleman is himself
a host, and can perform wonders; but in the present instance had no
scope for display. A MS. glee of Sir John Rogers, for six voices (No.
4) was sung with taste and expression; the worthy Baronet, though an
amateur, may fearlessly enter the lists with most of the professors of
the present day, none of whom but might be justly proud of producing
such a specimen of melody and harmony combined. A glee of Mr. Goss was
chastely and beautifully performed: it is an elegant piece of writing,
and was encored with high plaudits, which it fully merited.
However excellent the plan and arrangements of these Concerts, we
confess a considerable difference of opinion with the managers upon
one point, and that, a not unimportant one--we allude to what, at
the Philharmonic Concerts, is called the conductor’s department.
_There_, it is allotted to one individual throughout the evening; and
although we have always considered the conductorship at that Concert
a most useless office, yet we would prefer seeing it confined to one,
rather than shared by different persons during the same evening. At
the first of these Concerts, it was announced, that the organ and
piano-forte would be taken by Messrs. Turle, Goss, and Horncastle; and
Mr. Blackbourne’s name is added to the list in the present concert.
The reputation of these gentlemen is too well-established, to render
it necessary to have recourse to this _puffing_ mode; for which there
is no occasion, and out of which much inconvenience may arise. We
would take the liberty of suggesting as the more preferable course,
that the same individual retain his situation for the evening,--upon
whom, in that case, would devolve the responsibility of conducting
that department of the business of the night; and to this conductor
we would in all humility offer our decided opinion, that the less he
was heard, except in instances where an accompaniment was _obligato_,
the more perfect would be the effect produced. Genuine glee-singing is
essentially injured by the jingling of the piano-forte, especially when
singers know their own powers, and can sustain their voices without
such artificial aid.
EXTRACTS FROM THE DIARY OF A DILETTANTE.
[Resumed from page 16.]
_January 2nd._ ~Native Turkish Music!~--Mr. Slade, in his _Travels in
Turkey, Greece, &c._, just published, gives us a curious account of the
knowledge of the Turkish Capitan Pacha, or high admiral, in musical
matters. This officer had been a shoemaker, and knew as much of naval
affairs as of the fine arts. Mr. Slade visited him on board his ship,
and, among other amusements got up for the English traveller, was a
concert, which he thus describes:--
‘In the middle of the day he (the Capitan Pacha) crept into the kennel
abaft the mizen-mast, and reposed for some hours, his example being
duly followed by the officers, stretched out on the quarter-deck,
and covered by flags to keep off the sun. On awaking, coffee and
chibouques were served. Water was then brought, with a complete change
of garments! and in the same narrow box, six feet by three, by two
high, he washed and dressed; then came out and enjoyed the cool of the
evening on his quarter-deck couch; always doing me the honour to place
me beside him with a chibouque, and no doubt it was a droll sight to
the crew, who all gathered round to see the pacha and me thus cheek
by jowl. His band, consisting of as many drums and cymbals as could
be collected, with two clarionets and one fife, made a noise for our
benefit. It played the hunter’s chorus in _Freischütz_, _Zitti, zitti_,
and _Malbrook_, over and over, till I fairly wished it at the bottom of
the sea. I not only could not stop my ears, but was obliged to applaud
liberally. Thinking that its style was more adapted to Turkish music,
at the same time intending a compliment, I asked the pacha whether
it could perform any Turkish airs? “Turkish airs!” he repeated with
astonishment; “_Mashallah!_ have you not been listening to them these
two hours?” I bowed, and took refuge in ignorance.’
* * * * *
_7th._ The first ~Vocal Concert~.--The unanimous and decided applause
with which Bennet’s fine Madrigal was received, proves not only that a
love yet remains in this country for such music, but we think indicates
that it is on the increase. The truth is, that the concert-going public
are completely nauseated with the modern Italian opera songs. The
reception, too, of ‘Mad Tom,’ so inimitably sung by Braham, is another
indication of a return to a healthy state of taste. By-the-by, only
part of this is Purcell’s; the omission, however, of some of D’Urfey’s
words, and the addition of two movements, by whomsoever made, are
undeniable improvements[16].
The Hanover-square Rooms, where these concerts are held, have undergone
a complete repair, are newly decorated, and the alteration in the
orchestra must be attended by the most beneficial effect, as relates to
sound.
* * * * *
_10th._ The late John Taylor, Esq. an oculist by profession, but all
his life chiefly engaged in literary pursuits, a man of considerable
talent, and much respected by a most numerous acquaintance, among which
were many distinguished political characters, together with nearly all
the best writers, artists, musicians, and players of the last sixty
years--left in the hands of his executors a work entitled ‘Records of
my own Life,’ which has lately been published in two octavo volumes. It
consists almost wholly of anecdotes, town news, green-room history, and
conversations of authors and professional persons of all kinds, and is
a very amusing work, from which I extract some anecdotes that concern
and will interest the musical world, and begin with two relating to the
greatest of composers:--
‘Handel, when he first visited Ireland, in consequence of his disgust
at the preference given to Bononcini in London, carried a letter
of recommendation to Dean Swift. When the Dean heard that he was a
musician and a _German_, he declined receiving him; but when his man
added that the bearer of the letter was a great _genius_,--“A genius
and a German!” said Swift,--“Oh, then, show him up immediately.”’ (i.
334.)
Dr. Morell--who furnished Handel with the poetry of many of his
oratorios--related to Mr. Taylor, that ‘one fine summer morning, he
(Dr. M.) was roused out of bed at five o’clock, by Handel, who came
in his carriage a short distance from London. The doctor went to the
window and spoke to Handel, who would not leave his carriage. Handel
was at that time composing an oratorio. When the doctor asked him what
he wanted, he said,--“What de devil means de vord billow?” which was in
the oratorio the doctor had written for him. The doctor, after laughing
at so ludicrous a reason for disturbing him, told him that billow
meant a wave, a wave of the sea. “Oh, de vave,” said Handel; and bade
his coachman return, without addressing another word to the doctor.’
(i. 355.)
* * * * *
Mr. T. does justice to his friend, the late Dr. Arnold, who, he says,
with great truth, ‘was long an ornament of the musical world, and by
the general estimation of his professional merits, was a man of great
genius, as well as profound in musical science. In private life he
was humorous, intelligent, and convivial. He was well acquainted with
the world, and always took an active, spirited, and agreeable part in
conversation.’
* * * * *
Mr. Taylor was intimately acquainted with two of the finest female
singers that the history of music can boast; the following anecdotes
and characters he gives of them may, therefore, be received as
authentic beyond all doubt.
‘When Madame Mara first appeared as a singer at Berlin, Frederick the
Great refused to witness her powers alleging that she was a German,
and, therefore, could not, possibly be a good singer. At length,
however, he was persuaded to hear her, and when the concert was over,
he approached her, and asked if she could sing at sight. She answered
in the affirmative, on which he took a piece of manuscript music from
his pocket, and asked her if she could sing that. She told him that
it was the most difficult piece she had ever met with; but looking it
over for a few minutes, she told him that she could. “Do, then,” said
the king. She complied, and from that moment his prejudice was at an
end, and she became a favourite. Becoming, however, tired of Berlin,
she asked permission to visit Italy on account of her health. The king,
however, would not suffer her to depart.’
‘She had a very favourite harpsichord, or piano-forte, and the king,
who had set a watch over her, believed that while that remained in
Berlin he was secure of her. She was therefore obliged to resort to
artifice to effect her escape. She sent the instrument to be repaired,
but ordered that, instead of being returned to her abode, as soon as
the work was done, it should be sent to Vienna. When she had reason to
believe that it was secure from capture, she and her husband secretly
followed it with all expedition. The wary Frederick was soon apprized
of their escape, and despatched a messenger immediately to Joseph
II., then Emperor of Germany, desiring that he would arrest them. The
emperor, with great kindness, condescended to let them know that there
was no resisting the desire of the King of Prussia, and therefore
advised them to hurry away as fast as possible, that he might inform
the king that his messenger had arrived too late.’
‘Madame Mara possessed a masculine understanding, and had been so
much used to male society, which she preferred, that she was little
qualified for intercourse with the female world. She was animated in
company, and uttered humorous and shrewd remarks.’
* * * * *
Mrs. Billington.--‘I knew this admirable singer when she was very
young, and was present when she first appeared in public, and performed
a concerto on the piano-forte, at seven years old. Her brother, on the
same night, performed a concerto on the violin, when he was nearly
the same age. They both displayed extraordinary powers, even without
considering the early period at which they had acquired so much skill.
She was born at Baugh, in 1765. Her father was of a noble family in
Germany, but, by the decline of his fortune, was obliged to cultivate
his musical talents as a profession. He was a harsh and severe man, and
partly on account of his temper, his wife was induced to quit him, and
support herself as a principal vocal performer at Vauxhall-Gardens,
retaining the name of Weichsel, though separated from her husband.’
‘That Mrs. Billington possessed a kind disposition, I, who knew her
early and long, can confidently affirm. Her great talents rendered her
an object of envious rivalry, and interested scribblers defamed her
character. The man who, by his influence over her mother, obtained
all the property of the latter by a real or pretended will in his
favour, took possession of that property, and had the revolting
indecency to remove it from her lodgings on the very day of her
death; and, notwithstanding his affected friendship for the mother,
almost immediately after her death published a scurrilous life of
the daughter, recording actions and events which existed only in the
invention of disappointed malice and venality.’
‘On her death, her [second] husband [M. Fellisson] returned to this
country, and demanded her property from her trustee, Mr. Savory [of
Bond street], her firm and zealous friend; and as there was no opposing
claim, I understood from Mr. Savory, that he paid him to the amount of
40,000_l._’
I can add to the above, that more than one of her friends, on taking
leave of her previously to this journey, felt, all circumstances
considered, that they should never see her again, either in England or
elsewhere. She fell a sacrifice to a very much mistaken sense of duty;
but the immediate cause of her death has never yet been stated.
* * * * *
He tells us that Mr. James Hook, (the most voluminous composer of songs
that ever existed) had for his first wife a lady of very respectable
talents as an artist. She had also literary talents, and wrote two
or three dramatic pieces, which were well received by the public,
and to which her husband’s music was adapted. She wrote the words of
several of his songs. She died some years before her husband, and
a considerable time elapsed before Mr. Hook married again.... ‘His
two sons, James and Theodore, both displayed extraordinary abilities
at a very early age, and their parents gave them every advantage of
education. James was placed very early at Westminster school, where he
soon distinguished himself by his classical attainments and literary
powers. He also, at a very early period, displayed considerable skill
and taste as an artist. He wrote an opera, _Jack of Newbury_, to which
his father contributed the music, which was successfully performed at
Drury-Lane Theatre. Mr. (afterwards Dr.) Hook enjoyed several valuable
preferments, and finally became Dean of Worcester. He inherited the
musical taste of his father. Theodore, his younger brother, also
distinguished his talents at Westminster school. He is the author
of several dramatic pieces, which have been represented with great
success;--(ii. 392.)
* * * * *
Mr. Taylor thus mentions the late Mr. Shield:--‘Perhaps there never
was an individual more respected, esteemed, and admired than this late
eminent composer. With a shrewd, intelligent, and reflecting mind, and
a manly spirit, there was a simplicity in his manners that obviously
indicated the benevolence of his disposition. Of his musical merits
it is unnecessary to speak, as his compositions were universally
admired for their science, as well as for their fancy, taste, and
sensibility.’--(ii. 220.)
Of Jackson, the composer, or ‘Jackson of Exeter,’ as he is commonly
called, Mr. T. speaks thus:--‘Mr. Jackson possessed an excellent
understanding, and literary talents of no ordinary description. His
“Thirty Letters on various Subjects” is a work highly creditable to his
talents and knowledge of human nature. He was a tall, good-looking man,
with an expressive face, and a reserved, grave demeanour. He appeared
to me to be well acquainted with history, and with the opinions of
the ancient philosophers. According to the report of Mr. Opie and Dr.
Wolcot, he was an admirable judge of painting.... He was one of the
very few men whom Dr. Wolcot, a shrewd judge of mankind, regarded with
particular respect for his intellectual powers.’--(ii. 347.)
* * * * *
_16th._ A discovery, it is said, has been made, which, were it to
turn out as represented, would create an extraordinary sensation in
the musical world. In examining a great quantity of manuscripts of
all kinds, left by the late Mr. Harris, chief proprietor and long
manager of Covent-Garden Theatre, and which had been accumulating
during the last forty or fifty years, an opera in score, by Mozart,
in his own hand-writing, with his signature in every page, has been
found, and which, it is stated, has never been performed. This is all
that has been heard on the subject; though some persons of a sanguine
turn, and a lively imagination, have already persuaded themselves
that it was actually composed for Mr. Harris, but at first neglected,
and afterwards forgotten by him. The improbability, if not the
impossibility, of this will at once be obvious, when it is considered
that Mozart kept a most accurate list of all his compositions, from the
commencement of the year 1784, before which time he had produced only
one of his great works;--that in that _Catalogue Thématique_[17] he
carefully recorded when, where, and for what purpose his various works
were produced; and that therein no notice is taken of any opera written
for Mr. Harris, or of any other whatever that has not since been
performed. The chances are, then, that if this is not an authenticated
copy of some of the well-known operas, it is a transcript of one of
those composed by him in his boyhood, whereof there are several extant,
all of which have been examined repeatedly, by different persons,
and found wholly unworthy of being brought forward in any shape.
This is supposed to be the grand secret divulged some weeks ago to a
committee of performers at Covent-garden Theatre. At first the story
had a suspicious aspect,--it seemed to be a clumsy imitation of the
Shakspeare forgeries; but upon inquiry it appears pretty certain, that
if there is any deception in the business, the gentlemen in whose
hands the Manuscript is placed are not answerable for it. There is
not, however the slightest ground for believing that the expectations
excited by this circumstance will be, in any manner or degree, realized.
* * * * *
_18th._ The Royal Society of Musicians have presented Mr. John Parry,
the well-known secretary of the Association for the encouragement
of Welsh Poetry and Music, with an elegant piece of plate, as an
acknowledgment of his zealous and disinterested services, which, it was
stated by the chairman of a dinner given on the occasion, had been the
means of adding, for the last twelve years, upwards of 60_l_. per annum
to the funds of that benevolent and useful society. Such instances of
active liberality are worthy of being recorded.
* * * * *
_18th._ I lately rejoiced, but it seems very prematurely, on hearing
that the former excellent president of the Madrigal Society, Sir John
Rogers, Bart., had met with so fit and proper a successor as his
friend, William Linley, Esq. I now learn that Mr. Linley was elected;
but, finding that there had been some informality in the proceeding,
he requested to have the ceremony repeated at the next meeting: when,
lo! it was proposed and carried, that the president in future should
be ephemeral,--that he should be inaugurated at five and abdicate at
nine--so that each day should bring with it a new ruler, and that each
member should sway the sceptre in turn, whether qualified or not for
the duties of the office; a measure which, I humbly conjecture, will
sometimes place the symbol of power in hands not very well prepared to
hold it. Some of the oldest and best members of the society thought
that so able a composer as Mr. Linley,--the son of the author of ‘Let
me careless,’--a gentleman in education, station, and fortune--would be
a likely person to give efficiency to the chair: the majority _at one
meeting_ thought otherwise; and I fear that this ancient, this useful,
and agreeable association will suffer by what I cannot but think a
hasty, injudicious decision.
* * * * *
_26th._ A noble master in chancery, who has proposed a mode of
reforming the church establishment, is for leaving the incomes of the
bishops much as they are, bettering them in some cases, but proposes
to abolish at once the cathedral service, and, consequently, to send
adrift vicars-choral, lay-clerks, organists, and all appertaining to
the musical establishment of our ancient seats of episcopacy. This
has produced the following letter to the Times of to-day, and the
accompanying copy of verses:--
~Sir~,
Having heard some rumours respecting the strange and awful
visitation under which Lord H-nl-y has for some time past been
suffering, in consequence of his declared hostility to anthems,
solos, duets, &c., I took the liberty of making inquiries at his
lordship’s house this morning, and lose no time in transmitting
to you such particulars as I could collect. It is said that the
screams of his lordship, under the operation of this nightly
concert (which is, we doubt, some trick of the radicals), may be
heard all over the neighbourhood. The female who personates St.
Cecilia is supposed to be the same that, last year, appeared in the
character of Isis, at the Rotunda. How the cherubs are managed I
have not yet ascertained.
Yours, &c.
P. P.
LORD H-NL-Y AND ST. CECILIA.
---- in Metii descendat judicis aures.--Horat.
As snug in his bed Lord H-nl-y lay,
Revolving much his own renown,
And hoping to add thereto a ray,
By putting duets and anthems down,
Sudden a strain of choral sounds
Mellifluous o’er his senses stole;
Whereat the reformer mutter’d, ‘Zounds!’
For he loath’d sweet music with all his soul.
Then, starting up, he saw a sight
That well might shock so learned a snorer,--
Saint Cecilia, robed in light,
With a portable organ slung before her.
And round were cherubs, on rainbow wings,
Who, his lordship fear’d, might tire of flitting,
So begg’d they’d sit,--but, ah! poor things,
They had none of them got the means of sitting[18].
‘Having heard,’ said the saint, ‘you’re fond of hymns,
And, indeed, that musical snore betray’d you,
Myself, and my choir of cherubims,
Are come, for a while, to serenade you.’
In vain did the horrified H-nl-y say,
‘’Twas all a mistake’--‘she was misdirected;’
And point to a concert, over the way,
Where fiddlers and angels were expected.
In vain.--The Saint could see in his looks
(She civilly said) much tuneful lore;
So, at once, all opened their music-books,
And herself and her Cherubs set off at _score_.
All night duets, terzets, quartets,
Nay, long quintets, most dire to hear;
Ay, and old motets, and canzonets,
And glees, in sets, kept boring his ear.
He tried to sleep,--but it wouldn’t do;
So loud they squall’d, he _must_ attend to ’em;
Though Cherub’s songs, to his cost he knew,
Were like themselves, and had no end to ’em.
Oh! judgment dire on judges bold,
Who meddle with music’s sacred strains!
Judge Midas tried the same of old,
And was punish’d, like H-nl-y, for his pains.
But worse on the modern judge, alas!
Is the sentence launch’d from Apollo’s throne;
For Midas was given the ears of an ass,
While H-nl-y is doom’d to keep his own!
FOREIGN MUSICAL REPORT.
VIENNA.
On the occasion of the consecration of the new cross which has been
mounted on the steeple of the Wieden parish church, M. Glöggle,
the director of the choruses, showed that he could combine musical
devotion with patriotic feeling. After the celebration of high mass,
during which Haydn’s _Nelson’s Mass_ and Cherubini’s _Graduale_ were
performed, the consecration commenced. There were eight trumpeters
(together with kettle-drummers) who, after flourishing for some
time, played ‘God save the Emperor,’ from the steeple. After which,
Haydn’s _Te Deum_ was given in the church; and the choir, with the
accompaniment of the organ and the trumpets, repeated the national
anthem.
M. Lachner, kapellmeister to the court, lately gave a concert here, for
the purpose of producing some of his most recent compositions; at which
a symphony was performed, which may rank with the best productions of
living composers. The brilliant instrumentation of the first movement,
the charming andante, the scherzo fugato, constantly increasing in
interest, as well as the grand finale, sufficiently manifested that the
clever composer knew how to employ the rich store of his ideas and to
follow the best models. The introduction to the oratorio, _Moses_, is
conceived in the noblest style, and is a composition of real genius;
its principal feature is a chorus of exquisite effect, which was
admirably sung. If M. Lachner brings the oratorio to a conclusion with
the genius and skill which characterize the introduction, he will have
accomplished a work which alone will entitle him to a place among the
most celebrated German composers.
We are in anticipation of a rich treat at a concert to be given by a
musical family, lately arrived here from Russia, and who have already
acquired considerable fame by their distinguished abilities. Their
name is Koutsky, and the members are Eugenia, a singer; Anton and
Stanislaus, pianists (the former a pupil of Field’s); and Carl and
Apollino, violinists.
BERLIN.
An operetta by C. Blum, entitled _Baldrian und Rosa_, and founded
upon a fairy-tale, was lately produced here: it is altogether an
insignificant trifle, containing, however, an occasional pretty little
song, in the waltz form.
On the 18th of November, Gretry’s _Richard Löwenherz_ (Richard Cœur de
Lion) was reproduced, after a lapse of many years; but the manner in
which it was got up was anything but satisfactory; it was, in fact, a
disgrace to the management. _Irene_, too, has been given again, with
improved success; and on the 5th of December, Spontini’s _Nurmahal_
was once more brought forward for the début of a Mlle. Stephan, as
_Namuna_. Beyond a very fine voice, this young lady has at present but
few recommendations; she is as yet but a hot-house plant; had she only
been kept back half a year, and received proper instruction, she might
have been listened to with pleasure: as it was, her début was premature.
On the 7th of December, M. Blume appeared, for the first time since
his return to Berlin, in the character of _Don Juan_, with his wonted
success.
It is understood that Kapellmeister Marschner, from Hamburgh, will soon
be here to bring out his opera, _Hans Heiling_. Mlle. Schneider, the
daughter of our kapellmeister, has lately arrived, and Mad. Schroeder
Devrient is shortly expected.
The concerts which have been given in aid of the fund for the widows of
the members of the orchestra, have been very attractive. At the first,
M. Mendelssohn conducted a symphony of his own composition, which was
well received. On the 28th of November a concert was given at the
garrison church, by M. Bach, music-director. The selection consisted
chiefly of his own compositions; there were, however, two sacred songs
by Bernhard Klein, sterling compositions, and finely sung by Mad.
Turrschmied. The concert was unfortunately less productive than would
probably have been the case had the weather been less severe.
The King of Prussia has appointed Meyerbeer Maestro di Capella to
the court. Till now no such office existed here, but the place has
been created expressly for M. Meyerbeer, in testimony of the king’s
admiration of his _Robert le Diable_.
DRESDEN.
A musical entertainment was given here a few weeks since by M.
Fürstenau, the flute-player; in addition to whose performances, a solo
was played upon the flute by his son, eight years of age. The vocal
pieces were given by Mad. Schroeder Devrient, and MM. Babnigg, Vestri,
and Zegi.
On the 18th of November, M. Molique, music-director to the Court at
Stuttgart, played at the theatre some variations for the violin, of his
own composition, upon Themas from _Die Stumme_, and upon Swiss airs.
He is stated to combine in his playing, the best points of the German
schools; his style is quiet, delicate, and tasteful, and he has, at the
same time, uncommon mechanical dexterity; his tone is rich and full,
and his octaves and tenths exquisitely pure; his staccato is perfect,
and his adagio grand and full of expression.
MUNICH.
At the last concert of the musical academy here, the overture
to _Samori_, by Vogler, and Weber’s Jubilee overture, were very
excellently performed. Mlle. Schechner and M. Pellegrini distinguished
themselves in the vocal pieces; Mlle. Violanda Dülken, from the
Conservatoire at Paris, sang variations of Pacini; M. Menter played a
solo on the violoncello; and Mad. Bohrer on the piano-forte.
STUTTGART.
The grand musical society which gave the _Messiah_ so effectively
last year, has considerably improved, not only in number, but also
in excellence; and their recent performance of _Judas Maccabeus_ was
certainly one of the most perfect the work has ever undergone.
PESTH.
A young virtuoso on the piano-forte, Joseph Rigg, has been playing
at the theatre here with very great success. He performed the first
movement of a concerto of Hummel, and some variations of Czerny, with
precision, sweetness, and great execution.
MILAN.
At the _Teatro alla Scala_, a new opera by Mercadante, called _Ismalia
Ossia Morte ed Amore_, the Libretto by Romanelli, made a _fiasco_;
nothing in the whole opera, save the choruses, gave satisfaction; his
_Donna Caritea_, however, was well received, and Mlle. Vial, from
Munich, who sustained the principal character, was much applauded. The
principal singers here are, prime donne, Antonia Vial, Teresa Melas,
Isabella Fabrica (contralto in male characters); tenore, Giuseppe
Binaghi; bassi, Gio. Giordani and Filippo Spada. All of them good
singers, say the Milanese, with the addition, ‘di secondo ordine.’ Thus
it is when people are accustomed to hear always such singers as Pasta,
Rubini, Donzelli, Lablache, Tamburini, &c.
At the _Cannobiano_, Generali’s somewhat old but still beautiful
operetta, _Adelina_, has been reproduced, with Emma Albertazzi, an
English lady, as _Adelina_; her voice is agreeable, and her style
of singing not bad; her pronunciation and acting, however, are but
indifferent.
The company which is to perform at _La Scala_ during the carnival,
includes the names of Tosi and Pallazesi, principal soprani; Terese
Cecconi, first contralto; Reina and Pedrazzi, principal tenors;
and Zuchelli and Giordani, first basses. The season will open with
Donizetti’s _Fausta_, which has hitherto been heard only at the St.
Carlo, Naples; to that will succeed a new opera, written expressly for
the carnival by the young Maestro, Ricci, and called _Fernando Cortez_;
the third is to be _Caterina di Guisa_, which Coccia is now employed in
composing; and Mercadante is engaged to bring out a fourth, of which
the name is not yet known.
Amongst the company at the Carcano are Balfe[19] and his wife, Mad.
Albertini, Madlle. Michel; the tenor, Bonfigli, and the buffo,
Cambiagio. This theatre will open on the 26th of December, with the
_Capuletti e Montecchi_ of Bellini.
ROME.
_Teatro Valle._--The new opera buffa, _Il Disertore Svizzero_, by the
Neapolitan maestro, Lauro Rossi, was given here with great success.
The young maestro--for he is only twenty-two years of age, composed
his first opera four years ago, for the _Teatro Nuovo_ at Naples, and
this is already his fourth; it is a lively and pleasing production.
The prima donna, Anna del Serre, and MM. Giorgio Ranconi, Salvi, and
Lauretti, contributed their utmost towards its favourable reception.
BOLOGNA.
From recent accounts, the principal singers here were Mesds. Malibran,
Schoberlechner, Bonetti, Rafaella, and Venier, all prime donne; M.
Pedrazzi, tenore; and Marcolino and Porto, bassi. On the 3rd of
October, Donizetti’s _Anna Bolena_ was given, and on the 13th and 16th,
_La Gazza Ladra_, on which occasion the delightful Malibran enchanted
her audience by the exquisite manner in which she sustained the part of
_Ninetta_.
TURIN.
The contralto, Carolina Vietti, a native of this place, and pupil of
the Academia Filarmonica, lately made her début at this theatre as
_Zadig_, in Vaccaj’s _Zadig ed Astarte_; she gave fair promise, and
received much encouragement.
NAPLES.
Madame Malibran’s performance in this city has been one continued and
splendid triumph: at first, the cognoscenti of Naples were inclined to
question the justice of the unbounded praises that have been lavished
on this astonishing songstress, and to receive her with _sang froid_,
and weigh her pretensions with all the coolness of determined critics;
but she had no sooner opened her mouth than all this was instantly
converted into an enthusiasm of applause and admiration, to which the
oldest frequenters of the Opera remember no parallel. For seventeen
nights the theatre was crowded at double prices, notwithstanding the
subscribers’ privileges were on most of these occasions suspended,
and although _Otello_, _La Cenerentola_, _La Gazza Ladra_, and pieces
of that description, were the only ones offered to a public, long
since tired even of the beauties of Rossini, and proverbial for its
love of novelty. But her grand triumph of all, was on the night when
she took her leave of the Neapolitan audience in the character of
Ninetta: nothing can be imagined superior to the spectacle afforded
by the immense theatre of St. Carlo, crowded to the very ceiling, and
ringing with acclamations and applause. Six times, after the fall
of the curtain, Madame Malibran was called forward to receive the
reiterated applauses and adieux of an audience, which seemed unable to
bear the idea of a final separation from its new idol, who had only
strength and spirits left to kiss her hand to the assembled multitude,
and indicate, by graceful and expressive gestures, the degree to which
she was overpowered by fatigue and emotion. The scene did not even
end within the walls of the theatre; a crowd of the most enthusiastic
rushed from all parts of the house to the stage-door, and as soon as
Madame Malibran’s sedan came out, escorted it with loud acclamations
to the Palazzo Barbaja, and renewed their salutations as the charming
songstress ascended the steps. Nothing can prove more decidedly how
strong an impression Malibran made upon the Neapolitans, than the fact,
that the next opera which was performed was received with the most
mortifying coolness, though the opera itself, Donizetti’s _Esule di
Roma_, is a standard favourite in Naples, and its various revivals,
for ten years past, have been till now successful, although Lablache
made his first appearance in it on his return to his native city, and
Ronzi de Begnis, whose voice, action, and style, have all improved
considerably during her long retreat from the stage, performed the
principal female character.
CONSTANTINOPLE.
The reform which the emperor has been so industriously and zealously
promoting in the manners and customs of the Turks, will soon be as
complete in musical as it already is in military affairs. The Turkish,
or rather Arabic music, has given way to that of Europe, and scarcely
anything of melody or harmony is now heard in Constantinople that has
not been imported from Italy. At four o’clock in the afternoon, at
the moment of Yindy, the time when the public functionaries among the
Ottomans retire from business, a band of wind instruments is daily
heard traversing the interval between the courts of the new palace.
This band is called the ‘Band of the Agas of the Seraglio,’ and
consists entirely of young Turks who have become able performers, under
the instruction of M. Donizetti, brother of the composer. At first, the
combinations of European harmony, and the overtures of Rossini, were
torture to the ears of all good Mussulmen, but they begin, at length,
to be somewhat reconciled by use, and their holy horror at whatever
proceeds from the Giaours of the West is not proof against the charms
of ‘Di Tanti Palpiti,’ and numerous other melodies of Rossini, &c.
NOVARA.
The Maestro Pietro Generali, a composer of some popularity in his
time, died lately in this city, of which he had been, for six years
past, Maestro di Capella. Most accounts of this master have been in
error, both as to his real name, and in stating him to have been a
native of Rome. His name was Pietro Mercandetti, and he was born at
Masserano, near Vercelli, in Piedmont; but he went to Rome with his
father when very young, and studied music in that city, under an
old singer belonging to the Sistine chapel. He had a happy turn for
music, made a very rapid progress, and for a short time enjoyed a
brilliant reputation. His success would have been greater if he had
given himself less up to the dominion of his passions, and led a more
regular life. During the latter years of his dramatic career many of
his compositions were ill received by the public; this disgusted him
with the theatre. His pecuniary means were very precarious, and feeling
the necessity of making some provision for approaching age, he returned
to his native country, and succeeded in attaining, as mentioned above,
the situation of Maestro di Capella, at Novara. One opera of his,
_Adelina_, has been performed both in London and Paris; and it has
been said, that if Generali’s works had been more long-lived, many of
Rossini’s melodies would lose their claim to originality.
DOUAY.
A society has been established here for some months, under the
title of ‘Societé d’Emulation;’ the object of which is, to give the
amateurs of this city and its environs an opportunity of hearing
their compositions--which would otherwise probably have been doomed
to remain for ever in the privacy of portfolios--performed in full
orchestra. A band was quickly raised among the amateurs and professors,
to the no small satisfaction of the young composers, and it may be
hoped not without a fair chance of benefit to the art itself. The
success of the inauguration concert surpassed the expectation of
those most interested. Mr. E. de C., already favourably known as the
author of a collection of romances, produced an overture, an aria for
a contralto voice, a waltz without accompaniments, and a romance or
two, all distinguished by a happy flow of melody, and an easy style of
instrumentation, and all much and deservedly applauded. An overture and
chorus by Mr. A. T., and an air with variations, for the horn, by Mr.
C. C., formed part of the selection. Institutions of this nature cannot
be too much encouraged.
BERGAMO.
It is a curious fact, but no less true, that by far the greater part of
the celebrated tenor singers of the present and the last age, have been
natives of this province. The three brothers Bianchi, David, father
and son, Viganoni, Nozzari, Donzelli, Bordogni, Marchetti, Trezzini,
Bonetti, Pasini Bolognesi, (a great singer, but a still greater
drinker, who, when he had ruined his voice with brandy, blew out his
brains because he could sing no longer,) and last, certainly not least,
Rubini and his brothers, were all born in the State of Bergamo. It
would be useless to seek here for basses; still more so for sopranos,
for, indeed, the Bergamese are sometimes compared to birds, of whom the
males only sing.
PARIS.
Mr. Field, the celebrated pianist, and most distinguished pupil of
Clementi, is in this city, and proposes to give a public concert on
the 25th of December. His success cannot be for an instant doubtful;
for, besides ranking deservedly high as a composer, he is, perhaps,
the sweetest and most beautiful performer on the pianoforte now in
existence. There is in his style that inexpressible charm with which
we used formerly to be so delighted when hearing Clementi, Dussek, and
some other distinguished members of a school which now can hardly be
said to exist but in the recollection of a few. Mr. Field represents
that school in all its glory. To look at his hands, which scarcely
seem to move; to contemplate the calmness of his countenance while
playing, one would be tempted to suppose he was performing nothing but
the easiest music in the world; while the fact is, that the greatest,
the most complicated difficulties, are really no difficulties at all
to him. Under Mr. Field’s fingers the piano is no longer a mere piece
of mechanism; it sings, and seems as competent to produce sustained
tones, as though it were played with a bow. Touched by this exquisite
performer, it is a real musical instrument, and no longer a mere
theatre for the exhibition of _tours de force_, the use to which the
kind of talent possessed by a majority of what are called the greatest
artists of the present day nearly confines it.
_Théâtre Italien._--Although the performance of _La Straniera_
satisfied the Parisian critics, as it had already those of London,[20]
how little claim Bellini has to the rank as a composer which his
Italian flatterers have assigned him! The beauty of the scenery
and decorations, added to the singing of Grisi, Rubini, and more
especially Tamburini, gave it a popularity which lasted through several
repetitions. It was followed by _Il Pirata_, this by Donizetti’s
_Anna Bolena_, and the latter by _Mosè in Egitto_. _Otello_ and _Don
Giovanni_ are announced, in the latter of which the three female
characters are to be performed by the two sisters Grisi and Mad.
Tadolini, and the part of Don Juan by Tamburini. But for the singing
and acting of Rubini, the _Pirata_ would have been a complete failure.
Mdlle. Doulx, a young lady who has obtained some reputation at the
Conservatoire for the purity of her voice and the facility of her
execution, selected the part of Imogene for her début: the choice
was a bad one, because the qualifications necessary to make a good
representative of Imogene are exactly the reverse of those which Mdlle.
Doulx is said to possess: Imogene requires energy rather than grace;
tone and volume of voice rather than agility in running divisions. It
was impossible, however, to judge what the young lady might have done
under other circumstances, for she was in a state of such dreadful
alarm, especially during the first act, that not a note could be heard
from her lips, and it appeared at times as if she could not support
herself on the stage.
In _Anna Bolena_, Giudetta Grisi was no substitute for Mad. Pasta;
little was attended to, and nothing applauded but Rubini’s Percy. His
aria in the second act, notwithstanding its length and the fatigue of
the singer, was vociferously encored. The revival of _Mosè in Egitto_
has been very successful, but owes its success chiefly to the singing
of Tamburini and Rubini, whose duet, ‘_Parlar, spiegar,_’ is one of the
most finished exhibitions of the vocal art ever witnessed. Boccabadati
was so ill on the first night, that her part, _Elcia_, has been since
taken by Giudetta Grisi.
* * * * *
We had occasion recently to be present at a practice of the pupils
educated in the Conservatoire of Classical Music, under the direction
of M. Choron, and observed several circumstances, both in the system
pursued by that professor, and its practical results, that appeared
to us remarkable. The first thing that struck us was the extreme
difficulty which must have attended the attempt to make a whole mass
of people sing as an individual. At the first blush one would suppose
the thing impracticable, but the patience first of the professor,
and subsequently of his scholars themselves, has achieved a victory
over obstacles that might have been pronounced, until the contrary
was proved by the fact, insurmountable. The success of M. Choron’s
system of teaching ought to attract the attention of Government the
more strongly because he has had for pupils only children taken
promiscuously from a population at once poor, and, unfortunately,
ill-disposed towards music and the arts in general. From this
circumstance some judgment may be formed of what his success would have
been had his system been applied to scholars of a more select kind.
One of the most remarkable sights in Mr. Choron’s school are some
children, the eldest only five years old, whom the professor obliges
to listen constantly to music, with the intention of accustoming
their ears to harmonic sensations. He watches with extreme care the
development of their infant faculties, and observes every day a
progress so sensible, as to encourage the hope that the result will be
an organization entirely musical. It is to be hoped that Government
will comprehend that so much devotion and intelligence deserves to be
encouraged, and that it will enable the establishment directed by M.
Choron to extend its efforts as widely as it formerly did, by restoring
to it that assistance of which it ought never to have been deprived.
THE DRAMA.
The supply for this department of our work continues as scanty
as during the last two or three months. Much is promised and in
preparation at the three principal theatres, but nothing yet actually
produced.
* * * * *
The circular, or prospectus, from the ~King’s Theatre~ is not yet out,
though it used to be issued in the month of November, and never later
than the middle of December. The _Chronicle_, according, to its annual
custom, announces a ‘brilliant season;’ we, however, suspect that the
small paragraphist does not view the prospect with the same eyes as
the _entrepreneur_. It is evident that everything must be dull at the
Italian opera till after Easter, that is to say, till the beginning
of May, when those who do take boxes will engage them for only half a
season. But considering the fall in the value of everything--except
indeed the precious metals--will people give at the same rate for boxes
now that they did when rents were high, were regularly paid without
deduction, and when economy was not the order of the day in Parliament,
and in his Majesty’s Councils? Will Madame Boccabadati bring five
shillings to the house?--Will _Matilde di Shabran_ draw a single
person?--Will the weakest of Bellini’s feeble operas, his _Montecchi e
Capuletti_, a wretched version of _Romeo and Juliet_, the music worse
than even the contemptible drama--will this tempt one subscriber to
place his name on the box-list, or avert the mischief which seems to
threaten the King’s Theatre?
* * * * *
At ~Drury Lane~ _Don Giovanni_ is actively preparing, and will be
produced on the 4th instant. If it does not succeed it will not be
for want of liberality on the part of the manager. Mr. ~Wood~ has, it
is said, refused the part of _Don Ottavio_. Why? we would fain ask.
In consequence of this, M. Begrez, who often has had the character
assigned to him at the King’s Theatre, is engaged to fill it. The fact
is, that it requires en excellent musician to sing this music. So
anxious is Captain Polhill to bring out this _chef-d’œuvre_ of ~Mozart~
in as perfect a manner as possible, that he has offered an engagement
to ~Dragonetti~, who assisted at its first performance in this country,
as principal double-base, in which capacity his services would be of
more importance than those of half the persons on the stage.
* * * * *
At ~Covent Garden~ a new opera by Auber is in forwardness, but
we have heard no particulars concerning it. This theatre has filled
well during the last month, owing to the success of the pantomime, and
also to _Nell Gwynne_, which, though possessing little claim to notice,
has drawn very much.
* * * * *
The ~English Opera House~, the building of which is begun, will be
ready to open in July next. The extended licence granted to this, and
the unlimited privileges which, we have no doubt, it will soon enjoy,
(as well, indeed, as the Haymarket) will enable it to meet the winter
theatres on fair grounds. A theatrical revolution is at hand; smaller
theatres are starting up in all quarters, and the overgrown ones must
either shrink into a moderate size, or abandon every kind of dramatic
representation except opera and spectacle.
In December Drury Lane filled while Covent Garden was empty. During the
last month the case was reversed. Thus it has been for a long time, and
thus it will continue, till some great change of system is prudently
adopted.
THE MUSIC OF THE PRESENT NUMBER.
The maxim of the French milliner, _Nothing so new as that which is
forgotten_, continually recurs in looking over long-laid-by music.
The early works of ~Clementi~ are as unknown to the present
generation, his Octave Lesson excepted, as the sonatas of Scarlatti,
or the concertos of Emmanuel Bach, yet a single page of almost any
one of them contains as much as is to be found in half a dozen of
the generality of modern compositions. The sonata we have here
republished--raised, we may say, from the tomb--is, considered in every
point of view, a master-piece, of surpassing beauty. What a sweet,
intelligible melody flows through the whole of the first movement, and
how admirably set off by the harmony! The slow movement is a model
of deep expression, of grandeur, and of the sublime in music[21];
and the rondo is no less remarkable for air, for gaiety, than for
ingenuity--for that kind of treatment which none but a musician of
the highest order knows how to bestow on a subject. The Opera VII. of
Clementi was first published in Vienna, upwards of fifty years ago.
We have carried a few of the passages into the octave above; and in
thus slightly altering the original, have, we are persuaded, only
done what the author would have approved. When he composed the Three
Sonatas of this set, the additional keys had never been dreamt of: the
harpsichord, for which they were written, only reached ~F~, an
octave below the present highest note.
* * * * *
The Andante of ~Paradies~ is from an edition of his XII _Sonata
di Gravicembalo_, published about seventy years since in London,--a
work which charmed our grandsires, but now still less known than the
early sonatas of Clementi. The notation of this composer is sometimes
perplexed, and difficult of comprehension to the mere modern musician;
we have, therefore, reconciled it to the present improved manner of
writing, but without altering a single note, except in appearance. This
movement, selected from sonata IX. needs no eulogy; the melody _sings_
from first to last bar, and the accompaniment is that of an able
contrapuntist.
Pier Dominico Paradies was a Neapolitan, a pupil of Porpora, and lived
many years in London, where he arrived in 1742, and composed some
operas for the King’s Theatre when under the management of the Earl
of Middlesex. He was in high repute as a master, and obtained more
reputation for his harpsichord lessons than his vocal works.
* * * * *
The recitative, from the opera of _Giuglio Cesare_, is one of the
finest pieces of musical eloquence that the art ever produced. Dr.
Burney says of it[22], that when sung by Senesino, it produced an
effect never before equalled; and at the Ancient Concert, some fifty
years ago, Pacchierotti used to draw tears from his auditors by his
pathetic manner of declaiming it. Were it newly accompanied, with the
addition of those instruments which Handel had not at command, we feel
quite sure that it would be still as effective as ever; nay, more so,
in the hands of a Braham, who surely could express such sentiments with
more force than a soprano ever had the power to give them. The poetry
is by Haym, who wrote or compiled the drama for Handel, in 1724, the
year in which it was first produced at the King’s Theatre.
Dr. Burney[23] gives the following free translation of this
recitative:--
These are thy ashes, Pompey, this the mound,
Thy soul, invisible, is hovering round!
Thy splendid trophies, and thy honours fade,
Thy grandeur, like thyself, is now a shade:
Thus fare the hopes in which we most confide,
And thus the efforts end of human pride.
What yesterday could hold the world in chains,
To-day, transform’d to dust, an urn contains:
Such is the fate of all, from cot to throne;
Our origin is earth, our end a stone!
Ah! wretched life! how frail and short thy joys!
A breath creates thee, and a breath destroys.
It now appears for the first time with a piano-forte accompaniment.
The story of this opera is from the third and fourth books of Cæsar’s
Commentaries, Dion. Cassius, book xiii., and Plutarch’s Lives.
* * * * *
The gentle and sweet aria, ‘Piangero,’ though from the same opera, is
not connected with the recitative, but was generally sung after it
in the concerts. There is a second movement to this, which, however
suited to the character to whom it is given in the drama, is not in
unison with the music of the first part, nor does it follow well such a
recitative, therefore was seldom performed, except on the stage; and we
have omitted it altogether.
* * * * *
The arietta of ~Keiser~ is from a German opera, (which, however, has
also an Italian title, _La forza della Virtù_,) published at Hamburg
in 1701. This work, now lying before us, is uncommonly rare; we never
saw or heard of another copy, in England at least. A treble and base
only are printed, the latter sometimes figured, the former in the
soprano clef, and being in the old German type, is not very easily
decyphered. The merit of this air hardly admits of dispute, and, like
all that is really good in art, has suffered nothing from the lapse
of time. A remarkable circumstance connected with it is, that Handel,
past all doubt, either intentionally or inadvertently,--most likely the
former,--imitated it in his minuet in the overture to _Samson_. Whoever
compares the two must see that the resemblance could not have arisen
from one of those coincidences which are sometimes accidental.
Keiser, born at Weissenfels, in Saxony, about the year 1673, was
the most distinguished composer of opera of his day; but how few,
even of musicians, have ever heard his name pronounced! Burney says
of him[24], ‘His compositions are more voluminous than those of old
Scarlatti (Alessandro), and his melodies, though more than fifty years
old, [_i.e._ in 1772] are such as would now be thought modern and
graceful.’ Hasse assured Dr. Burney that Keiser was, ‘according to his
conceptions, one of the greatest musicians the world ever saw[25].’
The words we have adapted to this air are from Ellis’s _Specimens of
the early English Poets_. The accompaniment is given as faithfully
as two bare lines of treble and base would allow, the latter being
furnished by two figures (sixths) only.
* * * * *
The lovely song by Dr. Arne was composed in 1769, for Shakspeare’s
Jubilee at Stratford-on-Avon. Garrick wrote the words, which, it must
be confessed, are not so perfect as the music set to them. Lovely as
is this air, we suspect that but few in the present day know of its
existence. It has never before, we believe, appeared with a distinct
accompaniment; and our copy of the song carries signs of having been
published more than half a century ago.
* * * * *
Of Mr. Horncastle’s glee, composed purposely for this work, we will
only say, that we have deemed it worthy of being associated with the
music of this Number; and that if it had not been set in a light and
simple manner, the composer would not have expressed the words in their
true spirit.
[Sidenote: ~March~, 1833.]
MEMOIR OF C. F. ZELTER.
The name of the subject of the present memoir, though celebrated in
Germany, particularly in Prussia and the Northern States, is almost
wholly unknown in this country. It was first heard of in England, in
consequence of the visits of M. Mendelssohn Bartholdy, whose brilliant
genius and rapidly rising fame, naturally led to an inquiry respecting
the school in which he was brought up; when it appeared that he owed
his musical knowledge to M. Zelter. The renown of the disciple was
reflected on the master, and we became anxious to obtain a sight of
some of his compositions; when, after a long and diligent search, we
were fortunate enough to meet with a MS. (unpublished) scena by him,
which at once announced the great ability of the author, the aria
whereof, adapted from the original score, will be found in our present
number.
Gerber, in his biographical lexicon, gives a lengthened memoir of M.
Zelter, to which we are indebted for the following account; though
we have discarded much which, if not savouring of prolixity, would
at least prove uninteresting to English readers. M. Zelter was what
here is frequently denominated an architect, though he modestly called
himself a master-builder. He was during the greater part of his life
a dilettante; but when he accepted an office, he certainly became a
professor.
* * * * *
~Carl Friedrich Zelter~ was born at Berlin, in 1758. His father, a
Saxon, had him instructed during his childhood and youth in various
elegant, as well as useful, acquirements. Engaged in the cultivation of
his mind, for which purpose he attended the Joachimsthal College, he
had already attained his seventeenth year, when he was articled to his
father’s business, that of a builder. Hitherto he had not shown much
inclination for music, and had manifested but little attention to the
instruction he received on the piano-forte and organ, from a Berlin
organist.
After a tedious and painful illness by which he was attacked in his
eighteenth year, an extraordinary passion for music all at once sprung
up in him. But as at this period nearly the whole of his time was
devoted to his professional pursuits, the evening alone was left to him
to satisfy his thirst for harmony. Thus whole nights were frequently
spent in copying music, and in practising the violin and piano-forte.
This enjoyment, however, was but of short duration, for his instructor
in the latter instrument could no longer attend him; and, fearing
that such constant and unwearied application might injure his health,
his father endeavoured to check his voluntary studies. But this did
not stop his progress, for as he was now deprived of his instruments,
he began to compose, for which purpose only pen, ink and paper were
necessary. He had no rules, and being governed only by his fancy, his
deficiency in the knowledge of composition was constantly manifesting
itself, and having no acquaintance with scientific musicians, he had no
means of gaining information through the medium of conversation; he,
therefore, procured some scores of Emanuel Bach and Hasse, the study
of which showed him the importance of order and unity in composition,
and taught him how to preserve a constant flow of melody in the middle
parts.
Now, however, his health actually began to sink under his exertions,
and the many privations to which his earnest application subjected
him. His thoughts were exclusively devoted to the art by which he was
enamoured, and all else was neglected. His business was neglected for
it, and his health ruined. His father again remonstrated, and the young
enthusiast renewed his promises of obedience; he for some days took
more sleep, and paid more attention to his affairs; but in less than
a month relapsed into his former habits, though he did also attend to
his drawing, his geometry, and other business; but at the same time
prosecuted his musical studies with all the ardour which his little
remaining strength would permit.
In the year, 1783, having completed his probationary architectural
drawing, he was admitted among the number of master builders. And now,
for the first time, he received lessons, in counterpoint, from M.
Fasch. ‘I have,’ he himself states, ‘made as much use of this excellent
instruction as I possibly could, in the midst of my other occupations.
To this worthy M. Fasch I am entirely indebted for whatever merit many
of my compositions may possess.’
After alluding to three themas with variations of his composition,
published at Berlin, and many songs, scattered in various publications,
he adds, ‘I have besides composed several pieces of music for
particular occasions. The best among these are a cantata upon the death
of the emperor Friedrich II. in the year 1787, and another cantata upon
the birthday of a beloved mother, in the year 1793. A variety of single
arias and scenas, many of which I scarcely even can recollect, are not
to be taken into account. The concerto for the tenor which I composed,
in the year 1780, if it has merit, has on the other hand many faults,
and is not theoretically correct. All the rest of my musical works
are studies, consisting of fugued choral pieces and fugues, which I
have never considered worthy of preservation. If I should hereafter be
enabled to devote more time to my beloved art, I hope to indemnify the
Friends of my Muse, if any such there be, for those works which from
precipitance, or without any blame attaching to me, have already been
brought before the public.’
Thus far only, M. Gerber states, ‘extend the particulars which M.
Zelter had the kindness to furnish me with in 1793. But it is necessary
to add a few explanatory observations. For the benefit of such of my
readers as have no other idea of a master-builder, than that he must be
begirt with a leathern apron, and armed with a trowel, I must remind
them, in the first place, that M. Zelter’s tools consisted solely in
a case of drawing instruments and a pen; and that no one can have
any conception of his great, his important occupations, who has not
had an opportunity of witnessing the solid taste, the grandeur and
splendour, of the architecture of Berlin.’ How many an artist might,
with a feeling of shame, look upon this pattern of activity, who, day
after day, superintended the building of various great edifices; yet,
nevertheless, ever bore in mind, with reference to music, the words
of Horace, _nulla dies sine linea_. In order also to be as useful
as possible when his fatiguing professional duties of the day were
completed, he in his hours of relaxation, joined the singing academy of
M. Fasch, and became one of its most active members; indeed, it may be
said that he was M. Fasch’s right hand.
And when, in the year 1797, M. Gerber revisited Berlin M. Zelter
singly, at the piano-forte, directed the whole, while M. Fasch, then
become aged and infirm, was most commonly a silent listener in one
corner of the room. And this school, or society, performed before MM.
Naumann, Himmel, and other distinguished composers, one of Naumann’s
learned compositions written for them, (a Latin psalm,) and a part of
Fasch’s masterpiece for four choirs. In the same year, too, M. Zelter
conducted Graun’s _Tod Jesu_ at the Opera House, in which the choruses
were sung by the united members of Fasch’s society; the orchestra
having consisted of the members of the Royal Chapel, and the best
amateurs in Berlin.
The following are the titles of M. Zelter’s detached papers and
compositions. On the representation of Gluck’s opera, _Alceste_, at
the Berlin Opera House, from the letters of an artist, published in
the fifth Number of the Journal, entitled _Deutschland_. Berlin, 1796.
After many interesting observations upon the dramatic treatment of the
story by Calsabigi, he remarks, ‘the conductor of the opera should
always have the right to wield the helm of the vessel, because he is
more likely to enter into the beauties of an excellent poem, than
a poet is to understand anything of music, even what is meant by a
dissonance.’ Analysis of a scene from Benda’s _Romeo und Julie_, in the
first volume of the Lyceum of the Fine Arts. Berlin, 1797-8. Dance and
aria from the opera _Axur_, with variations for the piano-forte.--_La
Malade, pièce caracteristique pour le Clavecin._--_Schiller’s Ode
an die Freude_, (Ode to joy,) for the piano-forte. _Seize chorales
composées par_ M. M. Reichardt, Gürrlich, Zelter, &c. _Trinklied_
(Drinking Song) of K. Müchler. Twelve songs with piano-forte
accompaniment. The following greater vocal productions also are
quoted in Rellstab’s catalogue. _Aria di Bravura: Grato Flauto, &c.,
p. Soprano con Flauto concertato._ _Rondo a 6; Dove sei, mia bella
nice, &c., p. Soprano con Flauto concertato._ Fragment from Wieland’s
_Serafine_ in score; all of which were already written about the year
1790; and another of the same description from his celebrated cantata,
already alluded to, on the death of the emperor Friedrich II.
The following works of his also have appeared in print:--Memoir of Carl
Friedrich Christian Fasch, by C. F. Zelter, with a portrait; Berlin,
1801. Another set of twelve songs with piano-forte accompaniment. _Der
Taucher_, (the Diver,) by Schiller, for the piano-forte. Collection
of ballads and songs; books 1, 2, 3, 4. _Johanna Sebus_, for several
voices, with piano-forte. He subsequently collected his gems of songs
and arias of every description, and published them in numbers. There is
also a _Te Deum_ of his composition.
In 1809, Zelter was appointed, by the King, professor of music at the
Berlin academy of arts and sciences; and as a proof that it was not a
mere empty title conferred upon him, the King called him the very same
year to Königsberg, to attempt the revival of a taste for church music,
which had sunk to a very low ebb; a task for which he was eminently
qualified. At the commencement of this year, too, a new society had
been formed at Berlin, consisting of about twenty-four male members
of the singing academy, under the name of _The Liedertafel_, (the
Vocal Club,) of which Zelter was president. The members were divided
into two bodies of tenors, and two of bases; they assembled once a
month, and sang their songs, the poetry and music being of their own
production, their president making his remarks on them. In fact, it
was a revival, in a much improved form, of the guild of the old German
‘meister-sänger,’ and did no little credit to the state of cultivation,
and the attainments of the dilettanti of Berlin.
M. Zelter died, at a rather advanced age, in 1832.
* * * * *
ON BEETHOVEN’S OPINION OF CONTEMPORARY COMPOSERS.
_To the_ ~Editor~ _of the_ ~Harmonicon~.
~Sir~,
Your last number contains some anecdotes of Beethoven, which must
be interesting to every true lover of music. The opinions, however,
of artists in regard to the works of others, are, from one cause or
another, but too often tinctured by prejudice, and ought, therefore,
to be received cautiously.--And I am induced to trouble you with these
remarks in consequence of having read the opinions said to have been
passed by that great master on the genius of Rossini and Weber. He is
stated to have pronounced that ‘Rossini is a good scene painter, and
nothing more.’ If the art of moving the mind by dramatic effect, either
in music or poetry, rank no higher than that of a dauber of scenes,
then is the observation applicable to Rossini, and equally so to
Shakspeare.
To every unprejudiced person the motive of Beethoven’s comparison
will be sufficiently obvious, and be easily pardoned on the score of
disappointed feelings, and the comparative indifference to which it
is to be feared he was unjustly doomed. But it is not to such that I
would direct my observations. There is a numerous body of soi-disant
amateurs and professional composers, who will receive as Gospel the
casual remark of a mind enfeebled and irritated by misfortune and
infirmity. The silly cry, once (in this country) so prevalent against
Rossini, is not, among the ignorant and bigoted, yet wholly silent. And
it is surely a grateful duty on the part of all admirers of his almost
unparalleled genius to vindicate him against the cur-like assaults
of his detractors. Let us not forget that in advocating the cause of
Rossini, we are maintaining that of every young composer of talent--for
the _same spirit_ which prompts the pack to raise their ‘most sweet
voices’ against him, would doubtless actuate them to cry down Beethoven
himself, were he now beginning his career, and its blighting effects
may, but too often, be noticed in the case of our native composers.
It may be asked, how Beethoven and Spohr escape? The answer is obvious.
Beethoven is dead, and his reputation is securely established; while
Spohr has much learning and a moderate portion of genius, and is
not likely, therefore, to _interfere_ with the solemn stupidity of
our musical magnificos. I can remember, a few years back, hearing
Beethoven’s symphony in C minor pronounced ‘an absurd piece of
nonsense’ by one of the ignoramuses who now exalt it to the skies.[26]
~Justus.~
ON CANON, BY L. VAN BEETHOVEN[27].
In Canon, when written in the unison,--namely for like voices, or
in the octave--the strictest imitation must be observed, from the
first note to the last. But it may also be composed in all the other
intervals, the second, third, fourth, fifth, sixth, seventh, and
ninth, in which, however, exceptions and deviations necessarily occur
sometimes. Here is the true arena for the tricks of art, and for
plodding subtilty.
The different kinds of Canon are--
1. The terminating (or finite) canon, when the melody closes with a
perfect cadence.
2. The endless canon, (or infinite) which always begins over again, and
in which the parts leave off arbitrarily, at a half or a whole cæsure.
3. The Canon by augmentation.
4. The Canon by diminution.
5. The Close Canon, when the coming in of the parts is only marked by
signs, and the whole movement is written on in one staff, without rests.
6. The Open Canon, in which the parts are written one above the other,
with the necessary rests before the appearance of each, therefore in
the manner of a score.
7. The Retrogade Canon, or Canon _Cancrizans_.
8. The Double Canon, in four parts; the thrice-double, in six; and the
four-times double, in eight.
9. The Canon Climax, (_Polymorphus_) the Circular Canon, the
construction of which is explained by the name.
10. The Numerical and Enigmatic Canons, which, like everything that
partakes of the nature of a riddle, are more easy to invent than to
solve, and seldom yield the smallest compensation for the time and
trouble bestowed on them. In former times people took a pride in
racking their brains with such contrivances; the world is however grown
wiser![28]
The Canon in the unison, for similar voices, is, properly speaking,
nothing else than a complete duet, trio, quartet, &c., in which the
parts come in one after the other, each commencing when the preceding
one has finished the melody. The voice, or part, beginning second,
is usually that which forms the base, and, conjoined with one or two
parts, completes the whole. Example. [To which we have applied a stanza
from Otway’s Enchantment.]
_Plan of a terminating Canon in unison, for Three Treble Voices._
[Illustration:
I did but look and love a-while,
’Twas but for one half hour;
Then to re-sist I had no will,
And now I have no pow’r.
]
In the following manner it becomes a Close Canon, and the third part is
written next after the first.
[Illustration [29][30]]
In such alternation of the voices, the whole may be repeated as often
as the singers please, or till the hearers are tired. As each must
sing the whole quite through, the compass of the notes is to be well
considered, so that no one lies too high or too low. As an Open Canon,
this composition presents itself in the following form.
[Illustration]
From the double bars, where the voices are united, they proceed in
continued alternation.
_Canon for Three Male Voices._
[To which, the composer having set no words to it, we have added a
Grace, once in much use.]
[Illustration:
For these and all his mer-cies, God’s ho-ly name be blessed and
praised.
]
N.B. It is better and more pleasing if the voices do not commence all
at the same time. [This remark was unnecessary, as the voices in such
canons never begin together.]
[The Author then gives the same Canon as a close and open one, but as
these are similar in form to the first, it is not necessary to insert
them.]
The same mode of treatment is adopted in writing canons of four or more
parts, in unison.
[The Author has followed this observation by an example, but as it is
not of an interesting kind, and exactly resembles in rule and order the
preceding, we omit it.]
Canons in other intervals are more difficult of invention. In these
it is usual to place the clefs of the several parts before the mark
of time, in the order of their gradual succession; or to point out
such order by means of figures, denoting the distance of the interval,
placed above or below the note where it is intended that each part
should commence[31]. See, for instance, the following four-part Canon,
constructed on the lower fifth and lower octave.
[Illustration]
[The Author gives this in score: we have reduced it to two staves to
save space, and for the convenience of many who are not accustomed to
music in parts. Beethoven leaves it without any termination: by means
of the repeat the effect intended is produced, and thus a close is
obtained. This will be found in score, with a _Hallelujah_, _Amen_,
adapted to it, among the music of the present number.]
This, in the first way mentioned, would be written as a close Canon in
the following manner--
[Illustration]
By which those who understand the matter, will discover that the
soprano commences; that at the second bar the alto follows in the
lower fifth; at the fourth bar the tenor begins in the lower octave of
the soprano; and finally that, at the fifth bar, the base comes in as
lower fifth of the preceding part, or as lower octave of the alto. In
the second way spoken of above, the same composition would have the
following appearance--
[Illustration]
The figures underneath indicate--5, the commencement of the alto in the
lower fifth; 8, that of the tenor in the lower octave; and 12, that of
the base voice in the _Duodecima gravi_.
_The Chromatic Canon._
[Illustration]
[We have also reduced the above to two staves, for the reasons before
assigned.]
More mystical still appears the Enigmatic Canon. In such, generally,
are found neither signs, figures, nor letters, and frequently even no
clef. The problem is a matter of mere keen guess work, and pondering
and poring over it, till, with the subtilty of an Œdipus, one
arrives at the truth, and the correct solution presents itself in
harmonic purity. In such cases it is necessary to try the subject by
transposing it into every higher and lower interval; by inverting
it and casting it into contrary motion; by interpolating longer or
shorter rests; by trying it backwards; by augmenting or diminishing
the value of the notes; and even by applying the obsolete clefs, the
mezzo-soprano, and baritone or tenor-base, in order to undo the Gordian
knot; a task, however, which is, unfortunately, not to be accomplished
in the easy manner resorted to by the son of the Macedonian Philip.
And what good can result from all this? _Multum clamoris, parum lanæ!_
Possibly I may try my hand at it one of these days, when I have nothing
of a more reasonable nature to occupy my time. At present, thank
Heaven! I am not in that predicament, and it will be a tolerably long
while, I suspect, before I am.
* * * * *
THE ECCLESIASTICAL CHOIRS OF GREAT BRITAIN AND IRELAND.
No. VI.--ARMAGH, IRELAND.
The city of Armagh is the ecclesiastical metropolis of Ireland, and
owes its origin and pre-eminence to St. Patrick, the acknowledged
apostle of Ireland, who built its cathedral and other religious
edifices in the year 445. St. Patrick constituted Armagh the mistress
and metropolis of Ireland, fixing there the Primatial See, of which
he is generally supposed to have been the first bishop. But further
information on the subject may be found in Stuart’s _Historical Memoirs
of Armagh_.
The cathedral establishment of Armagh was incorporated in the tenth
year of Charles I. by a charter drawn up by Archbishop Laud, granting
certain lands (called Ballyboes) and impropriations for the continual
performance of divine service. The most curious, or rather flagitious,
part of this charter is, the power it gives to the Primate of Armagh
to act as his own visitor; or, in other words, to be judge in all
cases whenever the inferior members of the church may appeal against
his authority, however unjustly exercised by himself, his agent, or
commissioner; and he has the power to suspend, or even expel, any
member of the choir at his pleasure,--the injured individual having no
legal means whatever of seeking redress! After searching the records
of many other establishments of this kind, nowhere do we find such an
instance of clerical assumption; but it is worthy of Laud, and of the
reign in which he was allowed to exercise other tyrannies of the most
insulting, and grossest kind.
The establishment consists of a Dean and four Prebendaries, four Rural
Deans, seven Vicars-Choral, an Organist, and eight Choristers, who
perform divine service twice on Sundays, and once on Wednesdays and
Fridays. In the cathedral are two organs; one by Father Smith, seldom
used,--the other, a very superior instrument, by Snetzler. Formerly the
organist and vicars-choral managed their own revenue, which, arising
from town lands adjacent to the city, and from the renewal of leases,
is often considerable; but latterly this, their own business, has been
taken out of their hands. A commissioner, appointed by the primate,
together with the agent, who is also an officer of the archbishop,
manage this between them, irresponsible to the vicars-choral, and under
no control but that of their diocesan, who has the power of suspending
or expelling any complainant by his own authority; and, let it be
recollected, without the unfortunate sufferer having the power of
appeal!
The salary of the organist and master of the boys is 160_l._, to which
are added a large house and garden. The salary of the vicars is 90_l._
a year, with house and garden. This sum cannot increase, but may
diminish. And now, when any vicar dies, it is the scandalous practice
to appoint a deputy, or assistant, in his stead, who receives about
half the salary: it is, therefore, unnecessary to say that the duty
is performed in a manner correspondent to the abridged emoluments of
the office. The choristers are boarded and educated in the house of
the organist; and, when their voices change, they are apprenticed out
to some trade, or retained as assistants, if capable. Some attempt to
obtain a livelihood by teaching singing, &c.
Not the least remarkable feature in this establishment is the set of
orders and statutes drawn up for the government of the vicars-choral.
The two following will show the spirit in which they are conceived:--
_14th._--All the vicars shall be liable to the archbishop’s visitation,
and shall appear in the chapter-room before the archbishop, or his
visitor, when they are thereunto called, upon all occasions; and if
the archbishop or his visitor, in some special causes that concern the
good of the church, urge any vicar to declare his knowledge, and the
said vicar refuse to declare the same, he shall be urged thereto by
all lawful means, and if he shall then refuse, he shall, after three
admonitions, be expelled.
‘It is further ordered and enacted, that the vicars-choral shall not
at any time presume to grant away, alien, demise, let, or dispose of
any parcel of the lands, tenements, or hereditaments, which they do
now possess and enjoy, in right of their being vicars-choral of the
cathedral church of St. Patrick, Armagh, to any person or persons,
bodies politic or corporate, for any greater or longer estate or
term than the term of one year, without the consent, allowance, and
direction of the archbishop, under pain of immediate expulsion and
deprivation for the same, to every such of the aforesaid vicars who
shall transgress therein.’
The foregoing proves beyond contradiction the justice and policy of
abolishing such an ecclesiastical tyranny as that of Armagh; and,
doubtless, the bill proposed by Lord Grey will get rid of other
nuisances as great, though not so notorious, as those which are so
glaring in the church of the primate of Ireland.
CANTERBURY.
The Choral School of Canterbury cathedral is coeval with the
establishment of the national church, St. Augustine having introduced
the chanted service still retained in our cathedrals. The science of
music was universally cultivated by the clergy, and so completely
identified with religious offices, that, in the language of our
ancestors, to sing and to pray were used as synonymous terms.
At the reformation Henry VIII. new-modelled and regulated the
cathedral, and gave to the church a code of statutes, which were
afterwards modified by Archbishop Laud, and confirmed by Charles I.
The fifth chapter of this code determines the number of persons to
be maintained out of the revenues granted to the cathedral for this
purpose;--they are,
1 Dean.
12 Canons or Prebendaries.
1 Lecturer in Theology.
6 Preachers.
24 Minor Canons, Clerical and Lay.
1 Master of the Choristers.
10 Choristers, &c. &c.
The choristers are to be appointed by the dean (or, in his absence, the
sub-dean and chapter); they are to be ‘of tender age, with clear voices
and musical talent.’
‘To instruct these boys,’ says the statute, ‘and especially to train
them in decorum of manners, and to teach them the art of singing, and
to play skilfully upon musical instruments, one clerk shall be chosen,
of good conduct and character, and a proficient in music, who shall
carefully employ his time in the performance of divine service, and in
playing upon the organ, and who shall also be occupied in the care and
education of the choristers.
‘And because it may happen that one of the minor-canons or clerks may
be better qualified than the organist to instruct the choristers, the
dean, &c. shall have the power to elect either the organist or such of
the minor clerks as may appear most worthy to perform this duty; which
if he neglect, let him, after a third admonition, be deposed from his
office, by the authority of those by whom he was elected.’
It also appears that the children of the Chapel Royal, when their
voices had changed, were frequently sent to the Grammar School
belonging to the cathedral to complete their education; for Laud had
been dean of the King’s Chapel, and as such had the superintendence
of the choristers belonging to the royal household, and retained an
interest in their welfare when no longer officially connected with
them. The statute runs thus:--
‘And so often as the dean of our Chapel Royal shall signify to the
Dean and Chapter of our church of Canterbury that he will send from
our chapel a chorister, who has served there till the breaking of
his voice, to study grammar in our church, we will that the Dean and
Chapter elect and admit, without fraud or collusion [the king or the
archbishop could have had no very favourable opinion of the integrity
of the dignitaries of his church], the chorister so nominated.’
The musical establishment of this cathedral at present consists of 6
minor-canons, at about 100_l._ per annum, with a good house, and a
living soon after their election; an organist at 100_l._ per annum,
with a house; 12 lay-vicars at from 40_l._ to 50_l._ per annum; and 10
choristers, or boys, at 6_l._ per annum.
The service is daily. The choristers are taught (or ought to be)
singing three times a week in the church, where there is a musical
school-room; and learn reading, writing, and arithmetic, at private
schools, at the expense of the church; the latter being a regulation
lately introduced by the Dean and Chapter, who, probably, having a
foresight of what seems now near at hand, thought it prudent to do
something out of their large revenues for the active and useful members
of the church. With this view they have also, we are told, augmented
the salaries of the lay-clerks, by the liberal addition of 10_l._ The
time, however, is fast approaching when the real labourers in the
service of religion will be paid according to their work; then will our
church be better served and more respected.
MEMOIRS OF DR. BURNEY,
_Arranged from his own Manuscripts, from Family Papers, and from
Personal Recollections._ By his Daughter, Madame ~D’Arblay~. Moxon,
Bond-street, 9 vols. 8vo.
Had we supposed, after so long a delay, that Madame D’Arblay really
meant to publish a life of her father, we certainly should have delayed
our memoir of Dr. Burney till enabled to profit by so authentic an
account as the present, which was written under advantages that only
one of his family could have possessed, and which give an interest to
it that could not have been imparted by any other pen.
In the year 1782, while yet in his prime, and possessing in full vigour
his intellectual faculties, Dr. Burney contemplated and even commenced
writing memoirs of his own life. An introduction which he began to draw
up for his intended work, says, ‘Perhaps few have been better enabled
to describe, from an actual survey, the manners and customs of the
age in which he lived, than myself; ascending from those of the most
humble cottagers, and lowest mechanics, to the first nobility, and most
elevated personages with whom circumstances, situation, and accident,
at different periods of my life, have rendered me familiar. Oppressed
and laborious husbandmen; insolent and illiberal yeomanry; overgrown
farmers; generous and hospitable merchants; men of business and men
of pleasure; men of letters; men of science; artists; sportsmen and
country squires; dissipated and extravagant voluptuaries; gamesters;
ambassadors; statesmen; and even sovereign princes, I have had
opportunities of examining in almost every point of view: all these
it is my intention to display in their respective situations; and to
delineate their virtues, vices, and apparent degrees of happiness and
misery.’
It must be acknowledged that this bill of fare is marked by
self-confidence, and that it would have required no common observation
and talent to fulfil the promises held out. Unfortunately we are left
in the dark how far Dr. Burney could have kept his word, for the plan
appears to have been abandoned as rapidly as it was conceived, and
never returned to till the year 1807, when the doctor was already an
octogenarian, and a paralytic attack had perhaps acted on his mind as
it certainly had on his body. From this time, however, he is said to
have composed many manuscript volumes of various sizes, containing
the history of his life, from his cradle nearly to his grave.--Whether
in these memoirs the doctor displayed the characters, and entered
into the concerns of the cottagers, mechanics, husbandmen, yeomanry,
farmers, or even artists (of the same profession) according to the
promises of his own prospectus, the present work affords us no means
of judging: it is essentially, and from title-page to colophon, a book
of the drawing-room and the boudoir; it is conversant alone with the
Corinthian order of society, the porcelain clay of humanity; not an
individual undistinguished either by rank, title, fashion, or literary
fame, is judged worthy the _honours of the sitting_, and although the
enumeration of dinner and evening parties, visitings and conversazioni,
is far from scanty, yet, for all that appears in these three volumes,
the historian of music may never have formed an acquaintance with,
or received at his table, a brother musician in the course of his
long life; except, indeed, some foreign singers, of whose private
performances at his house we shall presently have to extract an account.
A list of some dozen celebrated names is given, indeed, as always happy
to accept Dr. Burney’s invitations, and assist at his musical parties;
but of the private familiar intercourse which must have taken place
between him and his fellow-professors, we have not a trace. If this is
his own omission, we must say it is in bad taste; he may have wished
towards the close of his life to be considered rather as a literary man
and a wit than as a musician; but, if so, he forgot that it was the
union of the two characters which rendered his case remarkable, and
called so much of public attention to him.
The memoirs, however, form a very amusing book, full of anecdotes,
which if sometimes a little too long, and at others scarcely of
importance enough to have merited recording at this distance of time,
are always lively and well told, and are the more interesting, as
they introduce the reader to the familiar society of Dr. Johnson,
Garrick, Burke, Bruce the traveller, Sir Joshua Reynolds, and the whole
constellation of wits and literary characters both male and female,
which shone with such lustre from fifty to sixty years ago. The picture
of parental and family attachment, too, which these volumes display, is
in the highest degree charming in itself, and honorable to the parties
concerned, who must all have been highly amiable to have been thus,
without exception, beloved and loving.
Our readers are aware that Dr. Burney’s first introduction to London
was as an articled scholar to Dr. Arne, who appears to have given him
very little instruction, but to have, on the other hand, worked him
very hard in the monotonous drudgery of music copying; nevertheless,
the young apprentice, drawing upon his own resources, both of genius
and industry, contrived to compose anonymously a part of the music for
a revival of Thomson’s _Masque of Alfred_, and two other small pieces,
a burletta of _Robin Hood_, and a pantomime called _Queen Mab_. From
this unworthy servitude the doctor was at length rescued before the
expiration of his articles, by an event so odd in itself, so creditable
to the good sense and manly feeling of two, at least, of the parties
concerned in it, and so well told by the authoress, that we extract her
account at length.
A Mr. Fulke Greville, a near relation of Lord Warwick, and a man of
large fortune and high fashion,--
One morning while trying a new instrument at the house of Kirkman,
the first harpsichord-maker of the times, expressed a wish to
receive musical instruction from some one who had mind and
cultivation, as well as finger and ear; lamenting, with strong
contempt, that, in the musical tribe, the two latter were generally
dislocated from the two former; and gravely asking Kirkman whether
he knew any young musician who was fit company for a gentleman.
Kirkman, with honest zeal to stand up for the credit of the
art by which he prospered, and which he held to be insulted by
this question, warmly answered that he knew many; but, very
particularly, one member of the harmonic corps, who had as much
music in his tongue as in his hands, and who was as fit company for
a prince as for an orchestra.
Mr. Greville, with much surprise, made sundry and formal inquiries
into the existence, situation, and character of what he called so
great a phenomenon; protesting there was nothing he so much desired
as the extraordinary circumstance of finding any union of sense
with sound.
The replies of the good German were so exciting, as well as
satisfactory, that Mr. Greville became eager to see the youth thus
extolled; but charged Mr. Kirkman not to betray a word of what had
passed, that the interview might be free from restraint, and seem
to be arranged merely for showing off the several instruments that
were ready for sale, to a gentleman who was disposed to purchase
one of the most costly.
To this injunction Mr. Kirkman agreed, and conscientiously adhered.
* * * * *
A day was appointed, and the meeting took place.
Young Burney, with no other idea than that of serving Kirkman,
immediately seated himself at an instrument, and played various
pieces of Geminiani, Corelli, and Tartini, whose compositions were
then most in fashion. But Mr. Greville, secretly suspicious of some
connivance, coldly and proudly walked about the room; took snuff
from a finely enamelled snuff box, and looked at some prints, as if
wholly without noticing the performance.
He had, however, too much penetration not to perceive his mistake,
when he remarked the incautious carelessness with which his
inattention was returned; for soon, conceiving himself to be
playing to very obtuse ears, young Burney left off all attempt
at soliciting their favour; and only sought his own amusement by
trying favourite passages, or practising difficult ones, with a
vivacity which showed that his passion for his art rewarded him in
itself for his exertions. But coming, at length, to keys of which
the touch, light and springing, invited his stay, he fired away in
a sonata of Scarlatti’s with an alternate excellence of execution
and expression, so perfectly in accord with the fanciful flights of
that wild but masterly composer, that Mr. Greville, satisfied no
scheme was at work to surprise or to win him; but, on the contrary,
that the energy of genius was let loose upon itself, and enjoying,
without premeditation, its own lively sports and vagaries, softly
drew a chair to the harpsichord, and listened, with unaffected
earnestness, to every note.
Nor were his ears alone curiously awakened; his eyes were
equally occupied to mark the peculiar performance of intricate
difficulties; for the young musician had invented a mode of adding
neatness to brilliancy, by curving the fingers, and rounding the
hand, in a manner that gave them a grace upon the keys quite new at
that time, and entirely of his own devising.
To be easily pleased, however, or to make acknowledgment of being
pleased at all, seems derogatory to strong self-importance; Mr.
Greville, therefore, merely said, “You are fond, Sir, it seems, of
Italian music?”
The reply to this was striking up, with all the varying undulations
of the crescendo, the diminuendo, the pealing swell, and the
“dying, dying fall” belonging to the powers of the pedal, that most
popular masterpiece of Handel’s, the Coronation Anthem.
This quickness of comprehension, in turning from Italian to German,
joined to the grandeur of the composition, and the talents of the
performer, now irresistibly vanquished Mr. Greville; who, convinced
of Kirkman’s truth with regard to the harmonic powers of this son
of Apollo, desired next to sift it with regard to the wit.
Casting off, therefore, his high reserve, with his jealous
surmises, he ceased to listen to the music, and started some theme
that was meant to lead to conversation.
But as this essay, from not knowing to what the youth might be
equal, consisted of such inquiries as, “Have you been in town long,
Sir?” or, “Does your taste call you back to the country, Sir?” &c.
&c., his young hearer, by no means preferring this inquisitorial
style, to the fancy of Scarlatti, or the skill and depth of Handel,
slightly answered, “Yes, Sir,” or “No, Sir;” and, perceiving an
instrument not yet tried, darted to it precipitately, and seated
himself to play a voluntary.
The charm of genuine simplicity is nowhere more powerful than with
the practised and hackneyed man of the world; for it induces what,
of all things, he most rarely experiences, a belief in sincerity.
Mr. Greville, therefore, though thwarted, was not displeased;
for in a votary of the art he was pursuing, he saw a character
full of talents, yet without guile; and conceived, from that
moment, an idea that it was one he might personally attach. He
remitted, therefore, to some other opportunity, a further internal
investigation.
Mr. Kirkman now came forward to announce, that in the following
week he should have a new harpsichord, with double keys, and a
deepened base, ready for examination.
They then parted, without any explanation on the side of Mr.
Greville; or any idea on that of the subject of these memoirs, that
he and his acquirements were objects of so peculiar a speculation.
At the second interview young Burney innocently and eagerly flew at
once to the harpsichord, and tried it with various recollections
from his favourite composers.
Mr. Greville listened complacently and approvingly; but, at the end
of every strain, made a speech that he intended should lead to some
discussion.
Young Burney, however, more alive to the graces of melody than
to the subtleties of argument, gave answers that always finished
with full-toned chords, which as constantly modulated into another
movement; till Mr. Greville, tired and impatient, suddenly proposed
changing places, and trying the instrument himself.
He could not have devised a more infallible expedient to provoke
conversation; for he thrummed his own chosen bits by memory with so
little skill or taste, yet with a pertinacity so wearisome, that
young Burney, who could neither hearken to such playing, nor turn
aside from such a player, caught with alacrity at every opening to
discourse, as an acquittal from the fatigue of mock attention.
This eagerness gave a piquancy to what he said, that stole from
him the diffidence that might otherwise have hung upon his
inexperience; and endued him with a courage for uttering his
opinions, that might else have faded away under the trammels of
distant respect.
This meeting concluded the investigation; music, singing her gay
triumph, took her stand at the helm; and a similar victory for
capacity and information awaited but a few intellectual skirmishes,
on poetry, politics, morals, and literature,--in the midst of which
Mr. Greville, suddenly and gracefully holding out his hand, fairly
acknowledged his scheme, proclaimed its success, and invited the
unconscious victor to accompany him to Wilbury House.
Of Mr. Greville, young Burney soon became a confidential companion; he
accompanied his patron into all companies; was introduced to all his
friends and associates; and, of course, made many connexions that were
highly valuable in after life. After Mr. Greville’s marriage, Burney
still continued to reside in the family, and was to have accompanied it
on a foreign tour, but love had by this time taken possession of his
heart, and instead of travelling on the continent, he, while still in
his minority, married his first wife, Miss Esther Sleepe, a lady, whose
personal charms and genuine worth are beautifully enshrined by the
eloquence and affection of her daughter.
The account given of Dr. Burney’s first settlement in London after his
marriage, and of his migration to Lynn, affords us no opportunity of
altering or adding, in any material point, to the biographical article
in our number for last October. His residence in Norfolk was fruitful
in new and valuable connexions, and contributed to the full restoration
of his health. It was while thus an exile from the capital and its
circles, however, that Mr. Burney laid the foundation of his intimacy
with Dr. Johnson; an intimacy which never suffered interruption or
diminution, and ended but with the life of the latter. Burney had
always been an enthusiastic admirer of Johnson’s writings, and when
his dictionary was announced, exerted himself so strenuously in its
favour throughout his Norfolk circuit, that he soon collected a little
list of subscribers, which afforded him an opportunity of expressing
his admiration to the object of it; and the following letter made the
opening to a connexion he always considered as one of the greatest
honours of his life.
~Mr. Burney to Mr. Johnson.~
Sir,--Though I have never had the happiness of a personal knowledge
of you, I cannot think myself wholly a stranger to a man with whose
sentiments I have so long been acquainted; for it seems to me as
if the writer, who was sincere, had effected the plan of that
philosopher who wished men had windows at their breasts, through
which the affections of their hearts might be viewed.
It is with great self-denial that I refrain from giving way
to panegyric in speaking of the pleasure and instruction I
have received from your admirable writings; but knowing that
transcendent merit shrinks more at praise, than either vice or
dulness at censure, I shall compress my encomiums into a short
compass, and only tell you that I revere your principles and
integrity, in not prostituting your genius, learning, and knowledge
of the human heart, in ornamenting vice or folly with those
beautiful flowers of language due only to wisdom and virtue. I
must add, that your periodical productions seem to me models of
true genius, useful learning, and elegant diction, employed in the
service of the purest precepts of religion, and the most inviting
morality.
I shall waive any further gratification of my wish to tell you,
Sir, how much I have been delighted by your productions, and
proceed to the _business_ of this letter; which is no other than
to beg the favour of you to inform me, by the way that will give
you the least trouble, when, and in what manner, your admirably
planned, and long wished-for Dictionary will be published? If it
should be by subscription, or you should have any books at your
own disposal, I shall beg of you to favour me with six copies for
myself and friends, for which I will send you a draft.
I ought to beg pardon of the public as well as yourself, Sir, for
detaining you thus long from your useful labours; but it is the
fate of men of eminence to be persecuted by insignificant friends
as well as enemies; and the simple cur who barks through fondness
and affection, is no less troublesome than if stimulated by anger
and aversion.
I hope, however, that your philosophy will incline you to forgive
the intemperance of my zeal and impatience in making these
inquiries; as well as my ambition to subscribe myself, with very
great regard,
Sir, your sincere admirer, and most humble servant,
~Charles Burney.~
_Lynn Regis, 16th Feb._, 1755.
In 1760, Mr. Burney returned to London, and fixed his residence in
Poland-street, soon collecting round him a circle of pupils, in the
highest degree encouraging to his prospects. The anxiety displayed in
this part of the Memoir to satisfy the reader that Poland-street was
not then the vulgar despised thoroughfare that it is now, but that even
dukes and right honourable ladies shared it with Dr. Burney and his
family, is rather amusing; but we are too speedily called to a much
more serious subject, the death of the first Mrs. Burney, who appears
to have been most tenderly loved, and most deeply regretted by her
husband. After a widowhood of six years’ duration, however, Mr. Burney
entered a second time into the pale of matrimony with a Mrs. Stephen
Allen, a lady who was at the head of society in Lynn, while the Burneys
resided there, and had been the intimate friend of the first Mrs.
Burney.
The next musical record of the doctor’s life, while it obliges us to
correct a passage in our own Memoir, awakens something like a painful
feeling. We have stated what has hitherto been the received account,
that the idea of the General History of Music suggested itself to Dr.
Burney, and that the foundation of his collections for that task were
laid, during his residence at Lynn. From these Memoirs it appears
that it was not till 1769 that Dr. Burney had any idea of undertaking
such a work. Now this revives, and seems to give some countenance to
the complaint of Sir John Hawkins’s friends, that it was undertaken
in direct rivalry to the learned knight’s work, which, though not
published till some years after, the literary world well knew that he
had long been employed on it. The immediate result of this plan was
the two Musical Tours to Italy and Germany. And here we must express
our regret and disappointment at not finding one word in the Memoirs
relative to these journies, except a story, in which we own we can
see no joke, that on his return from one of them the Doctor was so
exhausted with sea-sickness, that when the packet reached Dover,
instead of going ashore, he went to sleep, and awoke just in time to
find himself half way over to Calais again. The reason given for this
omission; viz. that the Doctor published detailed accounts of them
during his lifetime, we venture to submit, is no reason at all; to say
nothing of the books referred to being out of print, and consequently
out of the reach of a majority of readers, these tours form important
eras in his literary and professional life, and an abstract of them at
least should surely have found a place in his Memoirs, except the work
now before as is intended only as a contribution towards the labours of
some person who shall hereafter compile a complete life of Dr. Burney.
He had been so pleased with the Conservatorios or Musical Schools
of the Continent, that very soon after his return he made strenuous
efforts to establish a similar foundation in London. He proposed to
the directors of the Foundling Hospital to engraft his plan on their
institution and select the pupils from the objects of that charity; but
notwithstanding the friendly assistance of Sir Charles Whitworth, the
president, it was eventually negatived by the general body, and the
Doctor gave up the attempt.
The History of Music procured Dr. Burney also the acquaintance of
Bruce, the celebrated Abyssinian traveller, who had brought home with
him a drawing, made on the spot, of the Theban harp, as beautiful in
its execution as in its form, though copied from a model at least 3000
years old. This led to two or three interviews, first at the house
of a musical friend, then at the Doctor’s own residence. These are
described in letters from the authoress, then very young, to a Mr.
Crisp, her father’s oldest friend. The letters do infinite credit to
the young lady’s quick observation of manners, and her power of graphic
and lively description, and prove her command of her pen. They are,
however, too long for quotation; and the parts really relating to Mr.
Bruce are so interspersed with the complete details of long tea-table
and after-supper conversations, that it is no easy task to pick them
out. The following description, however, of the great traveller’s
personal appearance, will give our readers some idea of the powers of
the writer:--
~Meeting the first~
took place at the tea-table, of Mrs. Strange, to which my mother, by
appointment, had introduced her Lynn friends, Mr. and Mrs. Turner, who
were extremely curious to see Mr. Bruce. My dear father was to have
escorted us; but that provoking Marplot, commonly called Business,
came, as usual, in the way, and he could only join us afterwards.
The Man-Mountain, and Mr. and Mrs. Turner, were already arrived; and no
one else was invited, or, at least, permitted to enter.
Mr. Bruce, as we found, when he arose--which he was too stately to
do at once--was placed on the largest easy chair; but which his vast
person covered so completely, back and arms, as well as seat, that
he seemed to have been merely placed on a stool; and one was tempted
to wonder who had ventured to accommodate him so slightly. He is the
tallest man you ever saw in your life--at least, _gratis_. However,
he has a very good figure, and is rather handsome; so that there is
nothing alarming, or uncomely, or I was going to say, ungenial--but I
don’t think that is the word I mean--in his immense and authoritative
form.
My mother was introduced to him, and placed by his side; but, having
made her a cold though civilish bow, he took no further notice even
of her being in the room. I, as usual, glided out of the way, and got
next to Miss Strange, who is agreeable and sensible: and who, seeing
me, I suppose, very curious upon the subject, gave me a good deal of
information about Man-Mountain.
As he is warmly attached to Mrs. Strange and her family, he spends all
his disengaged evenings at their house, where, when they are alone, he
is not only chatty and easy, but full of comic and dry humour; though,
if any company enters, he sternly, or gloutingly, Miss Strange says,
shuts up his mouth, and utters not a word--except, perhaps, to her
parrot, which, I believe, is a present from himself. Certainly, he does
not appear more elevated above the common race in his size, than in his
ideas of his own consequence. Indeed, I strongly surmise, that he is
not always without some idea how easy it would be to him--and perhaps
how pleasant--in case any one should dare to offend him, to toss a
whole company of such pigmies as the rest of mankind must seem to him,
pell-mell down stairs,--if not out of the window.
There is some excuse, nevertheless, for this proud shyness, because
he is persuaded that nobody comes near him but either to stare at him
as a curiosity, or to pick his brains for their own purposes: for,
when he has deigned to behave to people as if he considered himself
as their fellow-creature, every word that has been drawn from him has
been printed in some newspaper or magazine, which, as he intends to
publish his travels himself, is abominably provoking, and seems to
have made him suspicious of some dark design, or some invidious trick,
when anybody says to him “How do you do, Sir?” or “Pray, Sir, what’s
o’clock?”
And, after all, if his nature in itself is as imperious as his person
and air are domineering, it is hardly fair to expect that having lived
so long among savages should have softened his manners.
There was, however, no conversation. Mr. Bruce’s grand air, gigantic
height, and forbidding brow, awed everybody into silence except Mrs.
Strange, who, with all her wit and powers, found it heavy work to talk
without reply.
[To be continued.]
VOCAL SOCIETY.
THIRD VOCAL CONCERT, Monday, February 4, 1833.
Leader, Mr. T. COOKE.--Organ and Piano-forte, Messrs. TURLE and GOSS.
~Part I.~
1. Chorus, ‘Kyrie Eleison! Christe Eleison!’ ~Leo.~
2. Glee, ‘O snatch me swift.’ (Miss Masson, ~Dr.
Terrail, Vaughan, Bellamy, and Atkins) Callcott.~
3. Quartett and Chorus, ‘Vergin’ Madre sconsolata.’ ~Haydn.~
(Miss C. Novello, Spencer, Vaughan,
and Bellamy)
4. Song, ‘Oppress’d with grief.’ (Mr Vaughan) ~Beethoven.~
5. Madrigal, ‘Die not, fond man.’ (1608) ~J. Ward.~
6. Solo and Quartett, ‘Mater amabilis!’ (Miss ~Mozart.~
C. Novello, King, Vaughan, and Atkins)
7. Song, ‘Despair.’ (Mr. E. Taylor.) MS. ~E. Taylor.~
8. Glee, ‘A blossom wreath.’ (Master Howe, ~Clifton.~
Terrail, Hobbs, and Chapman)
9. Chorus, the Vintagers’ chorus from _The Seasons_ ~Haydn.~
10. Concertante, Clarinet. (Mr. Willman) ~C. M. von
Weber.~
~Part II.~
11. Mass, No. 1, ‘Gloria in excelsis Deo!’ ~Hummel.~
12. Cantata, ‘Ch’io mi scordi.’ (Miss Masson) ~Mozart.~
13. Glee, ‘I wish to tune.’ (Messrs. Hawkins, ~Walmisley.~
Horncastle, Bennett, and Chapman)
14. Duetto, ‘Fra gli Amplessi.’ _Così fan Tutti_, ~Mozart.~
(Miss Masson and Mr. Bennett)
15. Quartett, ‘What phrase, sad and soft.’ _The ~Bishop.~
Noble Outlaw._ (Mrs. G. Wood, Miss George,
Broadhurst, and Hobbs)
16. Song, ‘The Sea Rover.’ (Mr. Bennett) ~Chev.
Neukomm.~
17. Madrigal, ‘In pride of May.’ (1608) ~Weelkes.~
18. Terzetto, ‘Lei faccio.’ _Il Matrimonio Segreto._ ~Cimarosa.~
(Misses Celia and Clara Novello, and Miss Masson)
19. Chorus, ‘Now tramp.’ _Knight of Snowdon._ ~Bishop.~
The general effect of this evening’s performance was not equal to the
last: in regard to variety no fault can be found, for in a concert of
_nineteen_ pieces, we find the compositions of _fifteen_ different
authors, indicating a strong desire to suit the inclinations, and meet
the wishes of the subscribers. The concerted pieces were by far the
most effective, and, generally speaking, much the best done. The noble
_Kyrie_ of _Leo_ is a magnificent specimen of that style of writing; it
was, perhaps, too long to repeat, but we are persuaded it would have
been done much better a second time; such music absolutely requires
well rehearsing in order to go _smooth_, which is the necessary
consequence of the performers being thoroughly conversant in what they
have to do. The Madrigals were admirably sung, and encored as before,
_par acclamation_. No. 5, by Ward, we consider as without an equal; it
is, indeed, a matchless production. We hope, another season, to see a
more convenient plan adopted in the mode of giving the time; it could
not possibly be intrusted to abler hands than Mr. Turle; but owing to
the position in which he stands, he can be seen only by a small part of
the orchestra, and is of necessity driven to make himself _heard_, by
those who cannot observe his motions. This materially interferes with
the pleasure of the audience. The _Maestro_ should be seen by every
performer, but not heard. We can with propriety extend this observation
to the instrumental part of the orchestra, beseeching both leader and
conductor to abstain from such merciless stamping of feet as occurred
during the performance of most of the full pieces. We notice in the
present, as well as in the preceding concert, _two_ compositions of
Mr. Bishop, during the evening: this, we think, more than falls to his
share; for however good his music may be, we cannot help recollecting
many great and mighty names of antiquity, whose productions the
musical public stand no chance of hearing, except at such concerts
as these--need we mention _Stradella_, _Steffani_, _Lotti_, _Luca
Marenzio_, _cum multis aliis_?
FOURTH VOCAL CONCERT, Monday, February 18th, 1833.
~Part I.~
1. Quartetto e Coro. ‘Quando o Rè.’ _Salmo 19_. ~Marcello.~
(Goulden, Vaughan, Blackbourn, and E. Taylor,)
with a Solo by Mrs. George Wood
2. Glee, ‘Come, bounteous May.’ (Messrs. Goulden, ~Spofforth.~
King, C. Taylor, Parry, jun., and Chapman)
3. Scena, ‘Lasciate!’ (Miss Masson.) _Teseo._ ~Handel.~
4. Madrigal, ‘Stay, Corydon.’ (1609.) ~Wilbye.~
5. Trio, ‘Speak, I command thee.’ _Katherine._ ~Ld.
(Miss Masson, Bennett, and Parry, jun.) Burghersh.~
6. Cantata, ‘Adelaida.’ (Mr. Horncastle) ~Beethoven.~
7. Trio, ‘Surgamus, eamus.’ (Hawkins, Horncastle, ~Carissimi.~
and E. Taylor)
8. Glee, ‘When winds breathe soft.’ (Master ~Webbe.~
Howe, Hawkins, Vaughan, Hobbs and Sale)
9. Ottetto for Wind Instruments. ~Mozart.~
~Part II.~
10. Chorus, ‘Glory to God.’ ~Beethoven.~.
11. Glee from _Oberon_. (Miss C. Novello, Spencer, ~Stevens.~.
Hobbs, and Atkins)
12. Aria, ‘Parto, ma tu ben mio.’ (Miss C. Novello) ~Mozart.~
13. Madrigal, ‘Lady, when I behold.’ (1598) ~Wilbye.~
14. Song, ‘Forget me not.’ (Mr. Hobbs) ~Mozart.~
15. Glee, ‘Where the bee sucks.’ (Masters ~Arne &
Howe and Hopkins, Vaughan, and Sale) Jackson.~
16. Quartetto from _Il Matrimonio Segreto_. ~Cimarosa.~
(Misses C. Novello and George; Miss Masson and E.
Taylor)
17. Scena from _The Seasons_. (Mr. Horncastle, ~Haydn.~
Mrs. G. Wood, and Chorus)
18. Glee, ‘A cup of wine.’ (Goulden, Bennett, ~Bishop.~
C. Taylor, Parry, jun., and Chorus.)
We learn from the papers distributed to the subscribers in the room
this evening, a fact of which we were before ignorant; that the affairs
of the society are managed by a committee of members, consisting of
the following gentlemen:--Mr. Bellamy, Mr. T. Cooke, Mr. Horncastle,
Mr. Hawkins, Mr. C. Taylor, Mr. E. Taylor, and Mr. Turle. We presume
these gentlemen have the selection of the music brought forward for the
evening’s performance; and they have executed their task, hitherto,
with great and deserved credit to themselves. Called upon, however,
in our critical capacity, to record our sentiments with impartiality
and even-handed justice, we are bound to observe, that, unless the
members cordially co-operate to give effect to the exertions of the
committee, much injury may arise to the reputation of the society. The
opening piece of the evening will explain our meaning; it is a fine
specimen of Marcello’s very peculiar style of writing, for producing
which the committee merit our thanks; but it was very imperfectly done,
impressing us with a belief that many of the singers had never been
present at a rehearsal of it; without which, and repeated rehearsals
too, such music will never go well. We confess for ourselves, that
we should have preferred Dr. Garth’s adaptation to Mrs. Ord’s words,
“May the Lord Jehovah hear thee,” &c.; the performers would have
better understood what they were about, and the general effect would
have been improved. The glee-singing this evening was all that could
be wished; not a note of the piano-forte jarred upon our ear, and we
have great pleasure in stating that the glees Nos. 2, 8, 11, and 15,
were as admirably performed as the nicest ear could possibly desire.
No. 8 was encored, and most deservedly so. The madrigals Nos. 4 and
13 were both by the same composer: this we think scarcely judicious;
for though both are first rate-productions, yet with such ample stores
from which to select, it ought to have been avoided; it is partly
owing to this circumstance, doubtless, that No. 13 was suffered to
pass without an encore, which the first (No. 4.) received. Neither on
the present nor last evening did we observe Mr. Braham or Mr. Phillips
in the orchestra; owing probably to their theatrical engagements;
their absence was certainly a great loss. We hope to hear more of
Henry Purcell’s music at these concerts. There is a divine trio or
rather dialogue between Saul, the Witch of Endor, and Samuel, which,
if _properly rehearsed_, would indeed be a rich treat to those who
understand that admirable composer’s writings.
LORD HENLEY AND THE CATHEDRAL SERVICE.
_To the_ ~Editor~ _of the_ ~Harmonicon~.
_February 20th, 1833._
~Sir~,
Since the days of the good bishop of Lichfield, who adopted as his
motto the truly Christian sentiment, ‘Serve God, and be cheerful,’ it
may be questioned whether the musical parts of our church service,
‘chanting and all anthems,’ have ever had a more effectual supporter
than the noble Master in Chancery, whose report on the subject called
forth the pleasant _jeu d’esprit_, which was copied into your last
number from the Times of the 26th ult. A few years ago, the deans and
dignitaries, the canons and prebendaries, the fellows and chaplains,
of our cathedral and collegiate churches, were among the first to set
the example of depreciating the service in which they were engaged.
Lord Henley, and those who echo his opinion, have happily aroused the
spirit of the church-dormant; these duties, lately so unimportant,
are suddenly invested with an awful and hallowed character, and a few
extracts from some of the numerous pamphlets which have lately appeared
in defence of these venerable establishments may be interesting to
such of your readers as are friends to church discipline, church
architecture, and church music[32].
Upon the question, as to the right of abolishing Cathedral
institutions, (observes Mr. Pusey, p. 102,) as far as this is a
question of law, I would wish to speak with especial diffidence, since
the laws do not belong to my profession; except thus far, that it is
the concern of all ministers of Christ to urge, that the immutable laws
of justice should be observed.... About the origin of the property
of Cathedral bodies there is no question; nor, indeed, can there be.
One need only turn to any authentic accounts of the institution of
Cathedrals, to see (what is, indeed, true of all Church property)
that it was uniformly given, not by public, but by private piety....
The question becomes not a legal, but an historical one: the legal
principle is granted, that the property can only be disposed of in
accordance with the ‘clear will of the donor.’[33] It only remains
to inquire what that will was. This, unquestionably, was not the
direct religious instruction of the people, but the formation of
establishments wherein ministers might be trained to their duties,
and Christian studies encouraged. These foundations were originally
given for the promotion of pious learning, schools being on this
account, in every case, annexed to these establishments.... It would
appear then, that neither at the original institution, nor at time of
the Reformation, was it intended that the Cathedral clergy should be
what they have now mostly become, a parochial, or as this class has
been over-narrowly called, the ‘working clergy;’ as if the labours of
a literary clergy were less continuous or less exhausting, or as if
the annals of our Church did not present as many cases of those who
had fallen martyrs to her service in this way, as in her more direct
ministrations. The reform, in truth, which is needed to restore these
institutions, ‘according to the will of the donor,’ is exactly the
contrary to what is now on different sides proposed. The members of
our chapters have too little of the leisure which it was intended they
should have. They have mostly important, some very extensive, and ill
endowed cures. They have no more repose than is allowed to every civil
officer; they have none for such works as our ancestors produced. In
truth the clergy are already too exclusively of one class: we have
not sufficient labourers for a field, which becomes day by day more
important, and whose importance they well know, who are so anxious
to destroy these institutions. _Fas est et ab hoste doceri._ When
those who have no religion in themselves are so eager, under pretence
of furthering religion, to destroy those bulwarks, it may to us, if
we will not blind ourselves, be an evidence of their value. This,
however, is certain, that estates or the tithes which were bestowed
upon these bodies, were not given for the purposes of providing a
parochial ministry, otherwise they would have been given to the places
themselves, not to these corporations. Under whatever plea then it may
be attempted to apply the property of any ecclesiastical corporation
to this purpose, and divert it from those to which its donors destined
it, it must be on some other ground than that of the ‘clear will of the
donor.’
‘Remarks on the prospective and past Benefits of Cathedral
Institutions[34],’ p. 102-113. This excellent pamphlet, and one by the
Rev. George Townsend, prebendary of Durham, on lay impropriations, will
be read with much pleasure by all the loyal and true-hearted members
of the Church of England as by law established. Mr. Perceval thus
concludes his ‘~Letter to Lord Henley~:’
I will not attempt to follow the maze of happy thoughts which have
crowded upon your lordship’s brain, and been committed to paper,
apparently as rapidly as they occurred to you, the thought of one
moment overturning that which went before; but I cannot forbear saying
one word of defence on a subject which, like many others, has met
your merciless condemnation: I mean our Cathedral music. At page 35,
you speak of the ‘_coldness_ and formality of Cathedral service,’ and
in a note, style ‘chanting and all anthems, solos, duets, &c., relics
of popery. Have a care, my Lord, or you will establish the truth of a
claim put forth by the church of Rome, which sounds most grating and
offensive in the ears of the English Christians, to be considered the
mother, and, therefore, mistress of all other churches. For these modes
of singing the praises of our great Creator, which move your pious
indignation, are, indeed, relics; but, if I mistake not, relics of
‘Jerusalem which is above,’ and which we have the warrant of the Holy
Ghost for styling the mother of us all[35].
The Mosaic church was, as your lordship knows, founded upon the model
of the heavenly one; ‘for see,’ said he, ‘that thou make all things
according to the pattern showed thee on the Mount.’[36] In this church
we find solos, duets, and choruses, introduced into the service of
the Almighty, of which the solo of Miriam[37], and the chorus of the
women whom she answered, and the duet of Deborah and Barak[38], are
sufficient instances; while the whole frame and composition of the
Psalms, in their parallelisms and alternations, leave no doubt of
the correctness of the conclusions to which Lowth and Cleaver, and
Horsley and Jebb, and others, have been led, that they were composed
for alternate recitations, like our cathedral chanting; but we may go
somewhat higher. It has pleased Almighty God occasionally to encourage
his servants in this life by partially withdrawing the clouds which
conceal the inhabitants of heaven from our view, and permitting us to
catch a glimpse of their employment. We find the Holy Seraphim engaged
in an occupation, the feeble imitation of which, by mortal man upon
earth, has called forth your severe reprobation. Yes, my lord, they are
actually described as ‘chanting’ the praises of Jehovah by alternate
movements. So Isaiah teaches us: ‘I saw the Lord sitting upon his
throne, high and lifted up. Above it stood the Seraphim; and one cried
unto another and said, Holy, holy, holy, is the Lord of Hosts! the
whole earth is full of his glory.’
But our cathedral service is so _cold_!
Oh! my Lord! if your own heart does not glow at the hearing of those
heavenly melodies, do not envy those, who are formed of happier
temperament, the enjoyment and benefit which they draw from them. Many
a weary soul, I doubt not, has been refreshed and awakened by them,
which else might have remained drowsy and indolent. Many a chord,
by means of them, has been struck in a sinner’s breast, which will
vibrate to all eternity with the praises of the Lamb. The great and
good departed have recorded their sense of the value of them. It is
related of the pious George Herbert, that he went usually twice every
week to the cathedral church in Salisbury; and at his return would say,
that his time spent in prayer and cathedral music elevated his soul,
and was his heaven upon earth. But, alas! all these things, which have
cheered and solaced God’s servants in their weary pilgrimage, are about
to be removed. That fatal and deadly storm, which sour puritanism and
envious schism combined to raise against the fairest portion of God’s
heritage, is about once more to spread its desolating force on our
land; the church of England once more to be overthrown and trampled
upon by those whom she admitted into her fold and nourished with her
fruits; our pleasant places to be laid waste, ‘the carved work thereof
to be broken down with axes and hammers.’ Already are the traitors
within and the foes without, arranging their watchwords, and the
self-same notes resounded, which were echoed at the former onslaught.
Again is our cathedral service, which we copy from the Seraphim, cried
down as a relic of popery; and the book of Common Prayer, whose almost
every petition has been used by Christian Saints for upwards of twelve
hundred years, denounced as an abomination. These are signs of the
times which there is no mistaking. There is one ground of comfort,
my lord, in all this, which you will rejoice to hear. The desolation
cannot last for ever. When the whirlwind has swept by, and they who
thought to ride upon it are blown into oblivion, then shall we again
lift up our own heads. Either we shall witness the restoration and hear
the voice of joy and gladness once more in our dwellings, see the waste
places rebuilt, again hear the pealing organ swell its note of praise,
and the merry bells ring out their jocund sound, or our pilgrimage will
be over, and we shall have exchanged, through the Redeemer’s blood,
our earthly choirs for celestial. For your lordship’s sake, I trust
that, ere that time arrives, a sounder judgment will possess you in
these matters, lest, haply, when the heavenly portals are flung open to
receive you, and the sound of the celestial concert strikes your ear,
‘the harpers harping with their harps’, the clang of the archangel’s
trumpet, some clear-voiced angel leading the hymns, the Seraphim
responding to each other with the Trisagion, and the full chorus of the
‘hundred and forty-four thousand’[39] pouring forth that song, which
none but they can learn; your heart be _chilled_ within you; and you
show the superior soundness and purity of your piety by turning away in
disgust from such ‘papal’ abominations. There is a sentence of the son
of Sirach,--‘Blame not before thou hast examined the truth; understand
first, and then rebuke.’ Perhaps, if that sentence had been present to
your lordship’s recollection, your ill-considered publication would
never have seen the light.--p. 26-31.
Having shown you, _ex cathedrâ_, the prospective and past benefits of
these institutions, originally designed ‘for the promotion of pious
learning,’ I am tempted to add a few words on their actual state, and
to inquire how far the intentions of the founders have been carried
into effect. I will, for the present, confine myself to a single
foundation.
The C---- church of----, like most of our great ecclesiastical
corporations, is of Anglo-Saxon origin; but the latest statutes were
given by Queen Elizabeth towards the close of her reign. They are,
consequently, free from any mixture of superstitious ceremonies,
and every member of the chapter, on his election, takes an oath to
obey them. These statutes, after setting forth among the principal
objects of the foundation, the instruction of youth, and the relief
of the poor, ‘juventutis in veritate, in virtute, ac bonis literis
institutionem, et pauperum perpetuam sustentationem,’ provide for the
maintenance and liberal education of six choristers ‘ad minus.’ And
the royal legislator does not appoint a _fixed_ annual payment for
this purpose, which, in so many instances, from the diminished value
of money, has brought ruin upon similar establishments; but, with
a prescient regard to the possibility of such a deterioration, it
is expressly ordained, that a proper allowance shall be made to the
master[40]. Their maintenance has been discontinued.
The music school, within living memory, was a large and lofty room,
adjoining the church, and in a corresponding style of architecture. The
chapter, in a recent alteration, having determined to fit up a handsome
library, took possession, without scruple, of the school-room belonging
to the choristers, and the boys have lately received their singing
lessons in the church, the chapter giving themselves no concern about
any other instructions.
The statutes require that the choristers shall be supplied with a
consistent dress. This is no longer provided; and the gentlemen
forming the chapter would think themselves disgraced by such a set
of raggamuffins about their stables or their dog-kennels, as they
allow to officiate in the church; while their very rags are held to
be a sufficient reason for excluding them from their own well-endowed
grammar school.
Several valuable scholarships and fellowships, in the university
of----, are tenable by such persons only as have served as
choristers in the C---- church at----. Of this endowment the _bona
fide_ choristers are deprived. The members of the chapter, and the
neighbouring gentlemen, enter their sons as choristers; they appear
for a few Sundays in surplices, and are thus enabled to claim the
exhibition.
The cemetery is disfigured with posts and lines, and serves as a
drying-ground for the inhabitants of the claustral precincts; while
the nave of the church is the favourite resort of their children and
nursery-maids, who are permitted to disturb the congregation, should
there be one, by their noisy sports.
The patronage of the chapter is very extensive; the tithes of the whole
district, for many miles in circuit, belong almost exclusively to them;
they unite in their own persons the fullest legislative, executive,
and visitatorial powers; and the impoverished churches, and vicars,
and parishes, within their jurisdiction, afford the same indisputable
evidence of apathy and neglect.
I am prepared to fill up the outline by instances of individual
meanness. But I forbear. The parties more immediately concerned cannot
fail to recognize the picture; for I hope and trust there is no second
example in England, where the wills and charters and statutes of
founders and benefactors are so utterly disregarded.
A. T.
THE SONG OF ‘MAD TOM OF BEDLAM.’
_To the_ ~Editor~ _of the_ ~Harmonicon~.
~Sir~,
In the extracts from the ‘Diary of a Dilettante’ in your _Harmonicon_
for February, the song of ‘Mad Tom,’ sung by Braham, is mentioned, both
there and in the bills of the Vocal Concert, as the composition of
Purcell, but I think I shall make it appear that he has no claim to be
considered the author of that composition.
In a manuscript collection of Airs for the Virginals, once in my
possession, which bears the date of 1638, there is one called ‘The Man
in the Moon,’ a copy of which I have subjoined; and in a work entitled
‘Choice Ayres, Songs, and Dialogues to the Theorbo Lute and Base Viol,
1675,’ it is to be found ascribed to Henry Lawes, and I have no doubt,
correctly. The latter part of it as now sung, from the words ‘In my
triumphant chariot’ to the end, is the composition of Thomas Hayden,
composer of the well known duet, ‘As I saw fair Clora.’ The words, we
learn from Walton’s _Angler_, are by Mr. William Basse, one that made
the choice songs of ‘~The Hunter in his career~,’ and ‘~Tom of Bedlam~.’
I am, Sir,
Yours, &c.
An old ~Member~ of the Pump-room Band, Bath.
We give admission with pleasure to our correspondent’s letter, because
it may lead to further inquiry, and ultimately enable us to assign
the song of ‘Tom of Bedlam’ to the right owner. If his memory does
not deceive him--for it will be observed that the writer speaks of a
collection formerly in his possession--the air he has sent us from the
Virginal Book must have been the foundation of the song in question;
indeed the two differ but little in melody: but the original is so
incorrect, or the copyist has transcribed it in so inaccurate a manner,
that we cannot venture to insert it, till it has been carefully
collated; a task which, perhaps, our correspondent may yet have the
means of performing.
The air, we must say, bears no marks whatever of being the composition
of Henry Lawes: his style is essentially different in every respect.
It has always been given to Purcell, and in a volume published
by Walsh more than a century ago, under the title of ~Mr. Henry
Purcell~’s _Favourite Songs, out of his most celebrated_ ~Orpheus
Britannicus~, _and the rest of his works_, this very air, called ‘Tom
a’ Bedlam,’ is included. We never before heard that the added part is
by Hayden,--whose name, by the way, was George, not Thomas--but very
probably our correspondent is right.
As to the words, there can be little doubt on the subject, though some
have, most erroneously, supposed them to be Tom D’Urfey’s. But honest
Izaak Walton is an authority, who makes ~Piscator~ (_i. e._ himself)
say, ‘I’ll promise you I’ll sing a song that was made at my request, by
_Mr. William Basse_, one that made the choice songs of the _Hunter in
his cariere_, and of _Tom of Bedlam_, and many others of note.’ (_5th
edit. 1676_) Dr. Percy, in his _Reliques of Ancient English Poetry_,
inserts the entire song, under the name of ~Old Tom of Bedlam~, and
thinks that it was written about the beginning of the 17th century. ‘It
is worth attention,’ he observes, ‘that the English have more songs
and ballads on the subject of madness, than any of their neighbours.
Whether it is that we are more liable to this calamity than other
nations, or whether our native gloominess hath peculiarly recommended
subjects of this cast to our writers, the fact is incontestable, as
any one may be satisfied, who will compare the printed collections of
French, Italian songs, &c., with those in our language.’ (ii. 348.)
Ritson likewise, in his collection, gives the whole song, and also the
melody, down to the line, ‘To bring me my senses again,’ and, without
naming the author of the words, ascribes the music to Purcell. (ii.
162, and iii. 290, 2nd Edit. 1813.)
We shall be very grateful for any additional information on this
subject.
REVIEW OF NEW MUSIC.
~Evenings in Greece~, _the Poetry by_ ~Thomas Moore~, Esq., _the
Music composed and selected by_ ~Henry R. Bishop~ _and_ Mr.
~Moore~. 2 vols. large 4to. (Power.)
The design of the present work is as praiseworthy as new: it is to
connect together, Mr. Moore tells us, ‘a series of songs by a thread
of poetical narrative,’ the object being ‘to combine recitation with
music, so as to enable a greater number of persons to take a share
in the performance, by enlisting, as readers, those who may not feel
themselves competent as singers.’
We have often reflected with some surprise on the little effort made to
vary the pleasures of domestic society. In a great, wealthy metropolis,
where so many thousands congregate daily, who have only to enjoy
themselves,--whose sole occupation is to devise means for passing time
agreeably,--it might be imagined that some ingenuity would be exerted
to so diversify the character of social amusement as to prevent that
_ennui_ which is less frequently complained of than felt. Music, no
doubt, is a great resource; but those not actually engaged in it,
who are not either singing or playing, who are mere listeners, feel
a long evening rather heavy when filled up by a constant succession
of song, or even an alternation of song and sonata, more especially
if such pieces are, as too commonly happens, of the fashionable kind.
Dancing is exclusively for the young; though really the quadrille,
solemnly as it is walked--the countenances of the promenaders denoting
the votaries of Melpomene rather than of Terpsichore--is quite as
well calculated to exercise the aged as to divert the youthful. Cards
almost universally shut out the young, females particularly, and are
inimical to conversation. What then remains? we shall be asked. Why,
among other things, that sort of mixture which is to be found in the
volumes under notice--reading and music, in which every one in a small
party may assist; and we are now only speaking of such parties, not of
what till lately were called ‘at homes’--not of crowded assemblies.
A couple of dozen persons might occasionally pass two or three hours
very agreeably,--nay, advantageously,--over a poem, partly read, partly
sung, every one present taking a share, a pause now and then being
afforded for a critical or explanatory remark, or some little sally of
wit or humour.
But possibly we shall be called visionaries; we therefore quit our
speculations for the improvement of society, and proceed to inquire how
far the work before us is likely to answer its proposed end. And first
we will briefly describe it.
~Zia~, where the scene of these evenings is laid, ‘was called by the
ancients ~Ceos~, and was the birth-place of Simonides, and other
eminent persons.’ The poem opens with the embarkation of the young men
of the island, who are proceeding to fight for the liberties of Greece.
They sing a farewell hymn to the Zian nymphs, who, after the departure
of their lovers, their relatives, and friends, resolve to meet every
evening--
‘And try if sound of lute and song,
If wandering mid the moonlight[41] flowers
In various talk, could charm along,
With lighter step, the lingering hours.
Till tidings of that bark should come,
Or victory waft their lovers home.’
They accordingly assemble; various modes of beguiling the time are
proposed and adopted,--all, of course, of a somewhat romantic kind, but
singing is predominant, thus affording a fit opportunity of blending
music with narrative. Hopes and fears are, as may be supposed, the
themes most employed, and a slight episode now and then varies the
subject. But what is yet published does not appear to proceed very
far with the plan, or enable the reader to form any conjecture of
the denouement: the story, in fact, admits of being protracted, and,
doubtless, is intended to be proportioned in length to the demand for
the volumes as they shall from time to time make their appearance.
_The Farewell_, beginning ‘The sky is bright,’ a trio for two trebles
and a base, by Mr. Bishop, is easy and simple, and flows on agreeably
in the key of ~F~, which never changes.
One of the nymphs, who ‘to Leucadia late had been,’ now relates some
of the griefs of the hapless Lesbian maid, in a song, also by Bishop,
entitled ‘Sappho at her loom,’ in ~E~ major, which is set with care
and ability. The air, which is gentle and sweet, reminds us of the
popular melody, ‘Home.’ But our limited space hints the necessity of
noticing these songs without stopping to show their connexion with the
poem, suffice it therefore to say, that they are part and parcel of it,
though each is complete, musically considered, in itself. And the words
of every song are also printed with the rest of the letter-press, so
that the poetry forms a perfect whole, even without any vocal aid.
‘Weeping for thee, my love;’ a slow air by Massamino, a name more new
to us than the music, is rather to be admired for its introductory
symphony than for its melody. The accentuation in this is sometimes
faulty--‘--no rest in darkness’--‘whose--dreary tread’--and
‘this--ruined heart,’ evidently are all contrary to the intention of
the poet. Immediately after the song we meet with a moral truth, which
many can verify, enunciated by Mr. Moore in the following very poetical
language:--
When thus the heart is in a vein
Of tender thought, the simplest strain
Can touch it with peculiar power;--
As when the air is warm, the scent
Of the most wild and rustic flower
Can fill the whole rich element;--
And, in such moods, the homeliest tune
That’s linked with feelings, once our own,--
With friends or joys gone by--will be
Worth choirs of loftiest harmony!
‘The Romaika,’ composed by Mr. Moore, is a lively air, supposed to be
sung to the accompaniment of the balalaika, a rude Russian instrument,
a kind of guitar with only two strings. This is pretty, and, if sung
characteristically, will be more generally effective than better music.
Now the Zian maids grow playful, and putting themselves in martial
array, sing ‘The War Dance,’ a trio by Mr. Bishop; though we are
not told where they found a Grecian lady with a base voice to take
the lowest part. This, however, does not matter: the composition is
animating, is good, and not difficult. But why does Mr. Bishop so
frequently treat the rules of prosody with such apparent contempt?--He
must be aware that making the last syllable in the word ‘victory’ long,
is not to be vindicated; yet he thus sets it:--
[Illustration: To war and vic-to-ry.]
now if he had only repeated a third time--(he has done so twice)--the
words ‘to war,’ the evil might have been avoided. _e. g._
[Illustration: To war, to war and vic-to-ry.]
‘Oh! memory,’ is the graceful well known air of Carafa, beginning:--
[Illustration]
But composers now and then are too proud
‘----meanly to borrow aid from sense,’
they too often agree with the goddess of the Stygian lake.
‘As on the shore,’ meant as a martial air, is common. No composer’s
name is given.
‘The two fountains,’ by Mr. Bishop, is a sweet, quiet melody in E,
six-eight time. The contrast expressed in the following notes is a
happy thought:--
[Illustration:
The one was mem’-ry’s lim-pid wave,
The o-ther, cold ob-liv-ion’s tide.
]
but in character certainly not suited to sentiments so far removed from
gaiety.
‘They are gone,’ said to be a Greek air, is expressive, though the
musical rhythm is of a kind that will distress an ear which only
delights in regular measure. Nevertheless there is something remarkably
touching in the conclusion of each stanza, and as a whole this song
will infallibly please.
‘Maidens of Zia,’ a trio for soprano, tenor, and base, by Mr. Moore,
sets up no pretensions as a composition, lays no claim to science, and
consists of nothing but the plainest counterpoint--but will operate as
a charm on nine out of every ten who listen to its simple strains.
* * * * *
We now commence the ~Second Evening~.
Rumours have reached the isle of Zea, that the youthful warriors are
on their return home, and every female bosom beats high with hope, not
unmixed with anxiety. The maidens sing a hymn to the Virgin,--to ‘Mary,
star of the sea[42],’ a trio, beginning, ‘When evening shades are
falling,’ the music by Mozart, but from which of his works we are not
able to say, or even to guess; we should certainly not have ascribed
it to him, had it been printed anonymously. The air is in a pleasing,
familiar style, and the parts run smoothly and agreeably together,
which is all the praise we can afford, notwithstanding the illustrious
name it bears.
‘Blest be Love!’ is a short, good, frequently repeated chorus for the
same voices, with an intervening solo for each, by Mr. Bishop.
‘The Caravan Song,’ is a Bohemian melody, and never yet was brought
about a more forced, a more unhappy union of poetry and music. The
verse plainly favoured some kind of common time, but is reluctantly
wedded to three-four, and, like all ill-matched couples, these are very
disagreeable when together, however pleasant when separated.
The nymphs then are joined by a band of mountaineers, one of whom, a
minstrel youth,
‘Tells of the loves, the joys, the ills,
Of these wild children of the hills,’
in a ‘German air,’ lively, long, and rather deficient in novelty.
But ‘sad minstrelsy’ now breaks on the ears of the lovely party. It
proceeds from a bark, bearing some who
‘----from an isle of mournful name,
From Missolonghi, last they came,’
and their dirge. ‘Thou art not dead,’ (the composer not named,) has at
least simplicity to recommend it. Such sad sounds awaken sympathy in a
‘pensive maid,’ who sings, ‘Calm, as beneath its mother’s eyes,’ to an
air possessing no little elegance, by Fiorillo, some phrases in which,
however, are decidedly à la Mozart. This is also harmonized for two
sopranos and base, and makes a terzetto that will invite attention to
it.
Sadness soon yields to mirth, and in fancy’s eye a vision appears of
two personages, who it is said are seldom found together. A song, ‘Love
and Wisdom,’ tells their story; and we shall beg leave to repeat it
in the poet’s own words, as a specimen of his verse and wit. The tale
itself, we need hardly say, is of ancient date.
I.
As Love, one summer eve, was straying,
Who should he see, at that soft hour,
But young Minerva, gravely playing
Her flute within an olive bower.
I need not say, ’tis Love’s opinion
That, grave or merry, good or ill,
The sex all bow to his dominion,
As woman will be woman still.
II.
Though seldom, yet the boy hath given
To learned dames his smiles or sighs;
So handsome Pallas look’d, that even
Love quite forgot the maid was wise.
Besides, a youth of his discerning
Knew well that, by a shady rill,
At sunset hour--whate’er her learning--
A woman will be woman still.
III.
Her flute he prais’d in terms extatic,
Wishing it dumb--nor car’d how soon--
For Wisdom’s notes, howe’er chromatic,
To Love seem always out of tune.
But long as he found face to flatter,
The nymph found breath to shake and thrill;
As, weak or wise--it doth not matter--
Woman, at heart, is woman still.
IV.
Love chang’d his plan, with warmth exclaiming,
‘How brilliant was her lips’ soft dye!’
And much that flute, the sly rogue, blaming,
For twisting lips so sweet awry.
The nymph look’d down--beheld her features
Reflected in the passing rill,
And started, shock’d--for, oh, ye creatures!
Ev’n when divine, you’re woman still.
V.
Quick from the lips it made so odious,
That graceless flute the goddess took,
And, while yet fill’d with breath melodious,
Flung it into the glassy brook;
Where, as its vocal life was fleeting
Adown the current, faint and thrill,
At distance long ’twas heard repeating,
‘Woman, alas, vain woman still!’
The music to this is ‘French.’ Why should not the composer have been
named? We have a mortal dislike to generalities in such cases; they
are unjust, and may create surmises. The next song, ‘Who comes so
gracefully,’ a waltz-like and very pretty melody, is described as a
‘foreign air.’ Now, what would the editor of these volumes say, if,
when enjoying his friend’s choice bottle, he were to ask the name of
the most precious juice, and to be answered, ‘’Tis foreign wine,’ would
he not suspect that some sinister motive lurked in such a reply?
But now uprises a
‘----nymph with anxious eye.
* * * * *
----joy is in her glance! the wing
Of a white bird is seen above.’
It is, in homely prose, a carrier-pigeon, who, of course, brings her
the wished-for billet; and this calls upon her for a song, ‘Welcome,
sweet bird,’ which does no little credit to Mr. E. Shulz, the composer,
who has here shown much taste and greet feeling, if not equal fertility
of invention.
The party grows gay, and some of the elders of the company sing a
Bacchanalian trio, ‘Up with the sparkling brimmer!’ which claims, it
appears, Bohemia as its country, though the parent is not much honoured
by this her progeny; any clime, or any pen, might have produced it.
A warrior now gives breath to a martial air, ‘March! nor heed those
arms that hold thee;’ another of ‘Bohemian’ origin, but spirited and
very well adapted to the words.
The assembly, however, having once tasted the ‘Zacynthian juice,’
loudly call for the cup again; then gratefully extol the source of
their pleasures, in a rapturous eulogium on the tree that bears the
wit-inspiring grape,--that is to say, in a trio, ‘’Tis the vine! ’tis
the vine!’ in which the ladies join; we fear, therefore, that they, for
want of something better, have pressed the sparkling chalice too often
to their ruby lips, they chaunt the encomiastic strain so like true
Bacchantes. This is by an anonymous composer, but the author need not
have concealed his name, if fear of criticism alone led him to withhold
it, for it is one of the best pieces in the volumes,--a pleasing air,
good harmony, marked rhythm, the words are very appropriately set, and
the accentuation perfect.
We have thus at very considerable length entered into this work, for
the standing and reputation of the poet and his coadjutor entitle
them to more than common notice. The poetical part, though a little
obscure in its unfinished state, exhibits all Mr. Moore’s glowing
fancy, but without the slightest approach to that warmth of language
so characteristic of some of his works; and abounds in richness of
imagery. The musical portion has had the benefit of Mr. Bishop’s talent
and experience, which are fully displayed in the accompaniments to the
songs, the taste and fitness of which admit of no question.
* * * * *
PIANO-FORTE.
1. ~Introduction, Grandes Variations~, _et_ ~Polonaise Brillante~,
_sur_ la Sentinelle, _composées par_ ~J. H. Worzischek~. Op. 6.
(Wessel and Co.)
2. ~Air de Ballet~, _tiré de l’opera_ La Tentation, _et arrangée
en_ Rondeau, _par_ ~J. Herz~. (Mori and Lavenu.)
The first of these is the tenth number of a work under the title of
_Album des Pianistes de première force_, a publication which has
often come under our notice, and is especially suited to amateurs who
have very vacant minds and many vacant hours; and most powerfully
co-operates with those who wish to render piano-forte music ridiculous
and repulsive. The whole of this,--introduction, variations, and
all,--consists of a collection of difficult, stupid passages, not one
of them having the slightest pretence to novelty, or exhibiting the
smallest trait of either taste or feeling. There is nothing here,
from the first note to the last, that a dull, plodding, industrious
key-thumper, armed with pen, ink and paper, might not have produced,
and it contains no one bar that a musician--who really understands his
art--who is a man of enlarged mind--would not blush to avow. We have
often warned professional men of the danger of encouraging such music,
whether by using it, or by applauding it when performed in public.
Their recommendation and affected approbation of it can only be placed
to the account of ignorance or quackery. Ignorance in those who have
not understanding enough to discriminate between good and bad in their
art;--quackery in such as wish their own agility of fingers to be
inferred from their admiration of it in others. But our warning has not
been taken: a fact which too many know, to their cost.
* * * * *
No. 2, which is called _La Galopade_, though it consists of an
introduction and allegretto, as well as the dance, is the companion to
_La Romeca_, noticed in our last; but while it is lively and exhibits
no absurdities, it is not altogether equal to the first, arranged by
the same. We must, however, admit that its vivacity will please many
who do not enter into merits of a more sterling kind.
* * * * *
1. ~Rondo Pastoral~, _composées par_ ~Frederic Kulau~. (Duff.)
2. ~Brilliant Rondo~, _from_ ~Bellini’s~ Straniera, _arranged by_
~Wilhelm Hunten~. Op. 30. (Mori and Lavenu.)
The Pastoral of Kulau is an elegant composition, and being neither too
slight in structure to be unworthy the notice of first-rate amateurs,
nor too elaborately formed for moderately good ones--a very numerous
class--is likely to have a considerable circulation. The key is C; the
time, we need hardly say, is six-eight; and the movement allegro non
_tanto_:--_troppo_, we presume, is meant.
* * * * *
The second is ill named, it has more of the pastoral character than the
brilliant: six-eight time, allegretto, and a predominance of quavers,
do not altogether authorize such an epithet. The subject is a barren
one, therefore it is not a wonder that M. Hünten has made little of it.
Luckily it is not long, and a rather moderate price is fixed on it.
* * * * *
1. ~Beauties~, _sung by_ ~Mad. Cinti Damoreau~, for the
Piano-forte, _selected from the Operas of_ ~Mozart~, ~Rossini~,
~Meyerbeer~, ~Auber~, &c., _with the_ Embellishments _of the above
vocalist, arranged as_ ~Fantasias~, _by_ ~Adolphe Adam~, Book 1.
(Mori and Lavenu.)
2. Do. Book 2.
This is certainly a comical title, however it be pointed or read;
but M. Adam, who we conclude knows as much of our language as of our
contingent remainders, is not responsible for its construction, we,
therefore, look only to his selection and arrangement, both of which
show that he has more judgment than his scribe. The compositions chosen
for the first fantasia are ‘Sento un interno voce,’ and ‘O Matutini
Albori,’ by Rossini; Mozart’s ‘Giovinette;’ and ‘Voici venir,’ with
‘Povera Signora,’ by Auber.
* * * * *
The second is composed of ‘Voyez que cette marche est belle,’ by Auber;
Mozart’s ‘Batti, batti;’ a Swiss song, by Meyerbeer; ‘Ah! se tolto,’
by Rossini; ‘a song composed by Mad. Cinti;’ and almost the only
praiseworthy air in _La Cenerentola_, ‘Non piu mesta.’ These are well
amplified and combined; and if they display no extraordinary talent or
vigour in the adapter, they at least prove him to be a rational being,
not one of the note-splitters, who, having no brains themselves, wish
to addle those of other people. These fantasias are far from difficult,
and though many will find them rather too long, will prove generally
acceptable.
* * * * *
1. ~Le Rossignol Waltz~, _with Introduction and Variations, by_ ~S.
Gödbe~. (Collard and Collard.)
2. ~Introduction~ _and_ ~Rondo~, _on the Song_, ‘I will not chide,’
_composed by_ ~E. Solis~. (Collard and Collard.)
3. Les Paysannes, _a first Set of_ ~Quadrilles~, _by a_ ~Lady~.
(Banff Lithographic Press.)
No. 1 is a pretty, easy trifle; but it is quite clear that the composer
either never heard the nightingale, or meant to ridicule imitations,
for such notes as he has given to the ‘love-sick bird’ never yet were
formed in its melancholy throat. But people will not be very scrupulous
on a matter of fact of this kind, and will find this a pleasing
bagatelle, of moderate length and price.
* * * * *
The title-page of No. 2 tells us that the song chosen is ‘an admired’
one. No doubt: every song published now-a-days is not only admired, but
‘enthusiastically applauded,’ wherever performed. But, be it known,
such songs are seldom heard anywhere but under the composer’s own roof,
and it would, indeed, be cruel if his guests did not extravagantly
praise his productions. For ourselves, we never before heard of ‘I will
not chide,’ and are not now particularly anxious to become acquainted
with it.
* * * * *
We have played over the first page of No. 3, and--(really it grieves
us to utter what may sound ungallant)--and earnestly recommend the
lady-composer not to publish again till she has gained a little more
knowledge of composition; and advise her, when she does again venture
into print, to direct the _writer on stone_ either to copy accurately,
or mend what he copies.
* * * * *
VOCAL.
1. ~Ballad~, ‘The kiss on the lips we love,’ _the Words by_ ~John
Imlah~, Esq., _the Melody composed by_ Mrs. ~P. Millard~, _the
Accompaniment by_ ~Alfred Pettet~. (Woodward, Norwich.)
2. ~Hymn~ of the Polish Exiles, _composed by the Author of_ Musical
Illustrations of the Waverley Novels; _the Words from_ The Charmed
Sea, _a Tale by_ ~Harriet Martineau~. (Novello, _and_ Charles Fox.)
3. ~Air~, ‘I’ll meet thee on the mountain,’ _written by_ Miss ~S.
Wollaston~, _composed by_ Miss ~Wollaston~ (Goulding and D’Almaine.)
4. The Red Rover’s Song, _the Words by_ ~Edward Smith~, Esq.,
_composed by the Chevalier_ ~Sigismund Neukomm~. (Goulding and Co.)
5. Love’s Review, _the Poetry by_ ~W. B. Bernard~, Esq., _composed
by_ ~John Barnett~. (Collard and Collard.)
6. ~Ballad~, ‘Lady Love,’ _the Poetry by_ ~W. F. Collard~, _the
Music by_ ~Alexander Lee~. (Collard and Collard.)
7. ~Ballad~, ‘My harp of happier days,’ _written by_ ~Charles
Jeffreys~, _composed by_ ~S. Nelson~. (Chappell.)
8. ~Ballad~, ‘My love he gave me roses,’ _written by the
Honourable_ ~Grantley Berkeley~, _the Music composed by_ ~Alexander
D. Roche~. (Aldridge)
9. ~Cavatina~, ‘The Flowers,’ _the Poetry by_ Mrs. ~Charles
Greville~; _composed by_ ~Bianchi Taylor~. (Collard and Collard.)
10. ~Serenade~, ‘Oh! come to the bower,’ _written by_ ~G.
Macfarren~, Esq.; _composed by_ ~G. A. Macfarren~. (Aldridge.)
No. 1 is an agreeable air, the marked rhythm of which makes it at once
understood. The sixth bar of the symphony would be better and more
correct if the 3rd, 4th, 5th, and 6th notes in the treble were altered
to ~G~, ~B~, ~A~, and ~F~.
* * * * *
No. 2 expresses in verse and song the deep sympathy of two highly
talented ladies for the brutally oppressed, expatriated Poles. This is
a short composition in ~C~ minor, air and chorus, which speaks
as strongly in favour of the good feeling as of the taste and knowledge
of the fair composer.
* * * * *
No. 3 is a series of examples of the most erroneous accentuation, and
as such may be recommended as beacons, to all students in composition.
* * * * *
When it is stated that No. 4 is an animated composition--we are sure
that the composer must always be correct--as much is said of it as
impartial criticism will permit. We do not trace in it any marks of
that genius which appear in so many of M. Neükomm’s works.
* * * * *
No. 5 is a lively air, _à la militaire_, but doubtless owes much of
the rapturous applause,--of which the title-page, vulgarly enough,
boasts,--to the exertion and popularity of Madame Vestris. The words,
however, are set with spirit, and correctly.
* * * * *
There is much gentleness and grace in No. 6, and the words are, in all
respects, appropriately and correctly set. The whole, too, is easy.
* * * * *
Nos. 7 and 8 are wholly exempt from censure, though not entitled to any
praise, except that of correctness.
* * * * *
No. 9 is a clever composition, full of melody and good passages,--one
more especially, beginning at the fifth bar of the second page, which
indicates the real musician. The composer also has read and understood
the poetry, both as regards its meaning and measure.
* * * * *
No. 10 displays no inconsiderable talent. The guitar-like accompaniment
is not only in good keeping--exactly what a serenade requires--but
shows a taste and command in harmony. This is altogether a pleasing,
easy vocal piece.
* * * * *
1. ~Arietta~, ‘Praticel di fiori adorno,’ _composta dal_ M^o.
~Michele Costa~. (Mori and Lavenu.)
2. ~Aria~, ‘Dolce Calma, oh! Dio!’ _introduced by_ Sig. Tamburini
_in_ ~Paer’s~ Agnese, _composed and published as the preceding_.
3. ~Arietta~, ‘Donzellette che presto volate,’ _composed and
published as the preceding_.
No. 1 is a very sweet air, and not devoid of original passages. It is
moderate in compass, and easy both to sing and accompany.
* * * * *
Nos. 2 and 3 are not equal to the preceding, but written in good taste.
* * * * *
HARP AND PIANO-FORTE.
1. ~Hummel’s Notturno~, op. 49, _arranged as a_ ~Duet~, _by_ ~N. C.
Bochsa~. (Chappell.)
2. ~Overture~ to Zelmira, _arranged by the same, with
accompaniments for_ Flute _and_ Violoncello. (Chappell.)
3. ‘Il soave e bel contento,’ Air, _arranged by the same_, for
two performers on the Piano-forte, _with_ Harp accompaniment.
(Chappell.)
~Hummel’s~ Notturno in ~F~ is well known to most
amateurs, and being one of his earlier productions, is lighter than
most of his later works--less the result of study. It makes a duet
exactly calculated for social circles, the difficulty not being great
for either instrument, and the air as well as variations being in a
familiar style.
* * * * *
The adaptor of No. 2 is not a very scrupulous person. There is
no overture at all to _Zelmira!_--but as M. Bochsa is publishing
arrangements of overtures, he at once changed the name of the
_Introduzione_ to this opera, and included it, under the new
appellation, in his collection. It is in ~D~ minor, and one of
Rossini’s best openings. The air and chorus which terminate the scene,
are in the major key, and end the whole brilliantly.
* * * * *
The air, No. 3, certainly a popular one among lovers of modern Italian
music, is converted into a trio, and makes an effective one. It is not
long or difficult, but requires three correct, neat performers.
* * * * *
HARP.
1. Air de Ballet, _as a_ ~brilliant Rondo~, _the subject
from_ ~Meyerbeer’s~ Robert le Diable, _arranged by_
~Theodore Labarre~. (Chappell.)
2. ~Four Airs~ _from_ ~Rossini’s~ Aureliano in
Palmira, _arranged by_ ~N. C. Bochsa~. (Chappell.)
3. ~Andante~ à la Suisse, _and_ Grande Valse in form of,
&c., Rondo, _from_ ~Hummel’s~ _op. 72 and 103, arranged and
published as the preceding_.
4. ~The Alpine March~, _arranged by_ ~G. Holst~.
(Chappell.)
No. 1 is the Bacchanale from the 3rd act of _Robert_, arranged in an
easy manner.
* * * * *
No. 2 is said to comprise the ‘favourite’ airs from _Aureliano_. We
never before knew that this opera could boast of a single air that any
person ever admired. We have here also a publication of the easy kind,
and comparatively short. Had any of the four airs been long, they would
have been intolerable.
* * * * *
No. 3 is an imitation of Swiss melody, followed by a rondo composed for
the _Harmonicon_, and still our property, having paid, and liberally
too, for it years ago! We, however, have applied for no injunction,
nor do we intend; it has answered our purpose as a piano-forte piece,
and we hope it will satisfy harp players as much as it did our own
subscribers.
* * * * *
No. 4 is an easy arrangement of the Alpine March, or
_Alpensänger-Marsch_, which is just now going the round of the
different instruments.
* * * * *
BIRMINGHAM MUSICAL FESTIVAL.
It has been generally supposed and expected, that the Musical Festival
at Birmingham would take place during the ensuing autumn, in the newly
erected Town Hall, and which (when finished) we are assured will be
one of the finest rooms in Europe. We are, however, authorized to
state that, in order to carry the various and necessary preparations
into effect, and that the arrangements in every department may be as
complete and as perfect as possible, the committee of management have,
under these considerations, come to a determination to postpone their
Grand Musical Festival (for the benefit of the General Hospital) until
the autumn of 1834, when we have every reason to believe it will take
place under the most favourable auspices, and be carried into effect
with a degree of splendour unequalled on any previous and similar
occasions, either in this or any other country.
* * * * *
EXTRACTS FROM THE DIARY OF A DILETTANTE.
[Resumed from page 36.]
_January 31st._ The magnificent band of the Philharmonic Society met
privately at the Hanover-square Rooms, to try some new compositions,
written with a view to their being performed at the concerts; among
which were symphonies by Mr. W. Griesbach, Mr. Cipriani Potter, (a
remarkably clever work,) and M. Rousselot; also an overture, by Mr. S.
B. Wesley.
In order to try the effect of the enlargement and alterations in the
orchestra, the business of the evening commenced with the overture
to the _Zauberflöte_; and all agreed that the effect of the band was
nearly doubled in consequence of the improvements. From being the
worst, it has become the best music-room in London.
_Feb. 5th._ Poor Herold, the French dramatic composer, has been
honoured by an apotheosis, or something like one, at Paris. After the
performance of his _Pré aux Clercs_ at the _Opéra Comique_, a fortnight
back, a funeral urn covered with black crape, and ornamented with a
wreath of _Everlastings_, was brought on the stage, surrounded by the
whole company in deep mourning; when Pouchard delivered a poetical
oration, in which the departed composer was decreed a seat in heaven,
between Weber and Cimarosa, the whole audience sanctioning the judgment.
_11th._ A meeting of Mr. T. Mason’s creditors took place this day, when
Signora Tosi again claimed the sum of 28,000 francs, which was resisted
on the ground of her having refused to perform in male attire. The
commissioner, waiting for further information as to the practice of
other Italian theatres, deferred judgment.
From the balance-sheet of the theatre, it appeared that the debts
due amount to 17,417_l._; to meet which, it was stated, that there
are debts recoverable, together with the properties at the theatre,
amounting to 6,154_l._ What the recoverable debts are I cannot exactly
state, though I believe they do not amount to 1500_l._; and as to the
‘properties,’ whoever values them at 200_l._, estimates liberally.
Mr. Mason’s receipts during the season were--
For Italian opera £38,583 18 6
French do. 3,522 10 0
German do. 10,555 12 0
Miscellaneous 2,227 19 4
--------------
Total 54,929 19 11
His expenses were--
For French and Italian opera 17,660 9 9
German do. 6,358 1 0
Ballet 8,269 19 3
Orchestra 6,448 0 2
Rent 16,050 0 0
Miscellaneous 11,470 0 4
--------------
Total 66,256 0 0
The loss, therefore, amounts to 11,317_l._ according to the
balance-sheet: but of the debts, &c., said to be recoverable, it
may fairly be assumed that not much will ever be received--4000_l._
therefore, at least, may be added to the loss, making a total of
15,317_l._
* * * * *
_14th._ An account of a ‘Recent Voyage to the South Seas,’ states the
following as the effect of European music on the natives:--‘In the
midst of the shouting (at Nuka-hiva, one of the Washington Islands) and
apparent importunity for us to land, Captain Finch ordered the music on
deck, and the moment its full and animated strains reached the shore,
the effect on them was evident; they instantly crouched to the ground
in perfect silence, as if under the influence of a charm. Nothing
of the kind, it is probable, ever broke upon their ears before, and
well might there have been a mingling of superstition in their minds
with the sudden swelling on the breeze of sounds new and seemingly
unearthly.’ It might have been said, that they--
--------wondering on their faces fell
To worship the celestial sound.
Less than a god they thought there could not dwell
Within the hollow of that shell,
That spoke so sweetly and so well.
We have only to imagine a guitar instead of flutes, violins, &c. and
Dryden’s lines would well apply to the scene.
* * * * *
_21st._ Madame Mara, once the idol of the British nation, died at
Revel on the 20th of January last, in the eighty-fourth year of her
age. She lost the whole of her property by the great conflagration at
Moscow during the invasion of Bonaparte, and has ever since depended
on the kindness of a friend who knew her when she was high in public
favour, and afterwards when she had retired to Russia, in prosperous
circumstances. An interesting memoir of her, from the German, is
contained in the _Harmonicon_ for the year 1828.
* * * * *
_24th._ Paganini has been created a Baron and Commander of Westphalia;
the title to be hereditary, descending to his male heirs. If, says
the _Nouvelliste_--whence I obtain this information--nobility will
not ensure talent, this elevation proves at least that talent will
sometimes ensure nobility. No doubt many will smile at such a creation;
but let such look at our house of Peers, and see how many have been
sent there with no recommendation whatever, except the possession of
wealth, and the will to misapply it.
FOREIGN MUSICAL REPORT.
MILAN.
The _Scala_ opened for the season on the 26th Dec. with a musical
drama by Donizetti, entitled _Fausta_, new to this city, but which had
been already brought out at Naples with but doubtful success. Its fate
here has not been much better; the story of the opera did not please
the _habitués_ of the Scala; and the music was considered inferior
to the later compositions of Donizetti, more particularly to his
_Anna Bolena_, of which many traces and reminiscences are continually
occurring in the _Fausta_. Nevertheless, Madame Tosi gave all the
support of her talents, both as a singer and an actress, to the piece.
The tenor Pedrazzi is also much praised; but the début of Zucchelli was
much less favourable; his voice was considered feeble, and his manner
wanting in energy and warmth. When he left Paris his voice was already
growing weak, and consequently not calculated for the Scala, the size
of which theatre demands power.
The _Teatro Carcano_ opened with Bellini’s _Capuletti e Montecchi_,
the part of Juliet by Madame Roser Balfe, Romeo by Mdlle. Michell, and
Tebaldo (the tenor) by Bonfigli. Though this opera is far from being a
novelty in Milan, it still retains a great share of popularity.
Mercadante has been very unfortunate this season; his _Gabriella di
Vergi_ met with but middling success, in spite of the talents of
Madame Ungher, and although the music is said not to be without merit,
particularly Madame Ungher’s cavatina, a trio between that lady,
Cartagenova, and Winger, and a duet in the second act. It appears,
therefore, that the subject of the libretto must have injured the
exertions of the composer. He met with another check at Genoa, where
his _Ipermnestra_ (an opera written by him at Lisbon, when he was
manager of the theatre there) was very coolly received, though well
performed by Madame Schutz, Mdlle. Cesari, and the tenor Binaghi.
ROME.
A new opera has been performed at the _Teatro Valle_, called _Il
Furioso all’ isola di S. Domingo_, the libretto by Ferretti, and the
music by Donizetti. The music secured the success of the piece. It
is said to be full of effect and novelty. From the introduction to
the final rondeau, every piece was listened to with enthusiasm and
applauded _con furore_. The execution was worthy of the composition.
Mdlle. Elisa Orlandi, and the tenor Ronconi, who performed _il
Furioso_, were particularly applauded. This is by far the most
successful performance that has been produced at any Italian theatre
for a long time.
BERGAMO.
Ricci’s _Clara Rosemberg_ has been produced here with the most
brilliant success. _Mdlle. Edwige_, the prima donna, does infinite
credit to the instructions of Garcia; her voice is fine, her execution
rapid, and she has good expression. She was applauded in all her
pieces, and several times called forward by the audience. _Belloli_ is
a good first musico; the tenor Domenico Furlani is rather weak, but
the first bass, _Baroilhet_, is excellent. The second opera will be
Mercadante’s _Normanni a Parigi_. Ricci’s _Clara Rosemberg_ has been
selected as the opening piece of the season in several other towns
besides this; amongst them, Brescia and Vicenza. At Verona the theatre
opened with the _Pirata_, in which the principal characters were
supported by Gennero and Madame Fischer.
CARLSRUHE.
A young composer, named Charles Augustus Weber, professor of music in
the Lyceum at Radstadt, near Baden, has elicited much attention by the
merit of his writings. At the third concert of the Museum an overture
of his, full of happy thoughts, was performed, displaying in the
instrumentation very many new and well-imagined effects. Four choruses
of his composition, for soprano, mezzo soprano, tenor, and bass,
produced considerable effect. M. Weber is a distinguished performer
on the violin; and already known as the author of several songs,
piano-forte pieces, and violist quartetts.
VENICE.
Notwithstanding all the efforts of Bellini’s friends, who are very
numerous in this city, his _Norma_ has not had better success at the
_Fenice_ than attended its production at the _Scala_. In fact, had not
the principal character been performed by Pasta, its failure would
have been inevitable and complete. This great actress has not sunk in
Venice below the exalted station to which her talents have elevated her
in every other part of Europe. The second opera of the season is to be
_Eufemio di Messina_, by Maestro Persiani; then will be brought out the
_Otello_ for Madame Pasta; and, lastly, a new opera of Bellini’s, of
which the title is to be _Beatrice Tenda_.
At the Theatre _S. Giovanni Crisostomo_, Pavesi’s opera, _Marcantonio_,
was very coolly received. The company of singers contains no
individuals of known talent; and, whatever the journals may say,
neither obtained nor deserved much success. Donizetti’s _Zingara_ is to
be the next piece, and to be followed by two new operas, one composed
by Domenico Barocci principal tenor of the company, and the other by a
Signor Bonaccini, who may be a very clever composer, but who has never
yet been even heard of.
In the course of the season there is to be a series of performances at
the Theatre _S. Samuel_; the principal singers, who are coming from
Padua, are to be the _Persioni_ prima donna, who has some talent;
_Zilioti_, tenor, _Ladetti_, basso cantante, and _Zambelli_, first
buffo. It is to be feared this company will not be worth much; but, at
all events, it cannot be denied there will be variety enough.
At Padua Maestro Pietro Bresciana has brought out a new opera, called
_I Promessi Sposi_; both the music and performance are very well spoken
of.
PARIS.
_Théâtre Italien._--After being postponed for some time, on account of
the illness of Rubini, Bellini’s _Capuletti e Montecchi_ was at length
brought out; the hero and heroine represented by the sisters Grisi,
and Tebaldo by Rubini. Few of Bellini’s operas have enjoyed so great
a share of popularity in Italy as this; which, however, was written
without premeditation, and begun and finished in fifteen days, at the
urgent request of the Venetian managers, to fill up a gap in their
performances occasioned by the complete condemnation of some other
pieces. Bellini, himself, appears to be partial to it, for he has
dedicated the printed copy to his fellow-citizens in Catania; but even
considered as a work of Bellini’s, it bears evident marks of the haste
in which it was got up. It was tolerably successful, however. The last
movement of the finale to the first act, in which Romeo and Julietta
sing an impassioned melody in unison, accompanied by the other voices
and chorus in arpeggioed staccato notes, was particularly applauded,
and in fact decided the fate of the opera.
Bellini’s opera was followed by the revival of Mozart’s Don Juan, which
was very nearly a failure. Nothing can render Mozart’s operas old;
their triumph over both time and fashion was sufficiently proved by
the crowds which the announcement of his chef d’œuvre drew to the
theatre: but the best music, to produce its effect, most be well and
spiritedly performed, and it is but too true that the great majority of
the Italian singers neither like, nor understand, nor can sing Mozart’s
music. It is too foreign to their habits, they find no hooks left in
it for them to hang their _fiorituri_ on,--and persuade themselves,
therefore, that it precludes them from all opportunity of showing off
their talents.
Tamburini looked Don Juan well, and was encored in the rondeau _Fin
ch’han dal vino_; but he spoiled the air by introducing into it a
long pause and holding note on the ~E~♭ towards the close, when the
whole spirit and effect of the composition consists in the rapid and
uninterrupted movement the author has given it. The women were all out
of their places, and felt so; Mlle. Grisi has too tall and commanding a
figure and too loud a voice for Zerlina. Mad. Tadolini is totally unfit
for Elvira, and Mlle. Karl, who performed Donna Anna, is unfortunately
no favourite with the public, which is too frequently as capricious in
its dislikes as in its favoritisms. Rubini alone seemed in his element;
his _Il mio tesoro_ was, as usual, a finished morceau.
A very successful _début_ has lately been made at the Opéra Comique,
by a M. Hebert, a young man with a very fine bass voice. He appeared
in _Jean de Paris_. It is said that he wished to select the _Maitre
de Chapelle_, but the composer objected; if so, and the same composer
heard M. Hebert, he must have felt some regret at his refusal.
The _débutant_ possesses superior taste; and a certain elegance
and facility in his delivery; to which he adds a good figure,
self-possession, and intelligence, qualities which practice, and the
habit of appearing before the public, will no doubt develope and
improve.
THE DRAMA.
~King’s Theatre.~
This theatre has passed, as we predicted, out of the hands of the
be-puffed Mr. Mason, into those of the be-praised M. Laporte, and
opened on Saturday the 16th of February, with nearly the weakest of
Rossini’s operas, therefore one of the greatest favourites with Italian
singers, _La Cenerentola_. In this appeared for the first time in
England, Madame ~Boccabadati~, who recently was presented to Parisian
audience, but with no very flattering result; she therefore was not
extremely reluctant to accept an engagement at our Italian Opera House,
where anything is tolerated, provided the manager is a Frenchman, and
the boxes are let at the moderate price of 300 guineas for about fifty
nights.
Madame Boccabadati possesses a soprano voice, of that kind which makes
its way into the house, though it sometimes forces people to make
their way out. This potent quality is a piercing thinness, and, as
commonly happens with a vocal organ of such description, is accompanied
by an apparently total absence of all feeling. As counterbalances,
however, her intonation is good, and she sings with that firmness,
that self-confidence, which leads one to suppose that she understands
music,--at least the modern opera music, for the chances are that this
lady never sang, never dreamt of, any other. In person Madame B. is
much shorter than her name, but what is wanting in height is made up in
breadth. As to age, a well-bred critic would guess her at half of that
allotted by the Psalmist to man: the less polite manager of an office
for insuring lives, would add seven or ten years to this, and be much
nearer the mark.
With the exception of ~Donzelli~ as _Ramiro_, and perhaps ~De Begnis~
as the _Magnifico_, the opera was got up in a manner highly gratifying
to those who wish to see this kind of amusement put down by force
of public opinion. If a Puritan by any unaccountable accident found
himself in the house, he most have chuckled exceedingly at the
performance. But what he would say to the theatre remaining open _till
nearly three o’clock on Sunday morning_, we can hardly guess.
What is the prelate of London about?--What the magistrates of
Middlesex, who, if they hear a fiddle or a fife in a public-house after
the eleventh hour, go crazy with the fear that law and religion are
rapidly approaching their final overthrow?
~Drury-lane Theatre.~
On Tuesday the 5th ult. Mozart’s _chef-d’œuvre_, under the English name
of _Don Juan_, was produced at this theatre, cast as follows:--
_Don Juan_ ~Mr. Braham.~
_Don Ottavio_ ~Mr. Templeton.~
_Don Pedro_ ~Mr. Bedford.~
_Leporello_ ~Mr. H. Phillips.~
_Masetto_ ~Mr. Seguin.~
_Donna Anna_ ~Mad. De Meric.~
_Donna Elvira_ ~Miss Betts.~
_Zerlina_ ~Mrs. Wood.~
Never was foreign music produced with more success on our national
stage than in the present instance, and the vast trouble and expense
bestowed in getting it up have been amply repaid by the most
unequivocal sign of public approbation--large receipts.
The dialogue seems to have been taken from the English version made
in 1817, and is adapted for the present purpose by Mr. Beazley. It
departs in no way from that translation, except in a few merely verbal
alterations. The music is said in the advertisements to include all
that was originally written by Mozart; but this is not exactly correct,
for the manager has, and very wisely, omitted the last scene, which,
splendid as is the concluding chorus, is injurious to the effect of
the opera as a whole. But the pieces published in the appendix to the
German editions of the music have now been all introduced, and embodied
in the opera, an alteration certainly well meant, but by no means to
be approved, for they add to the length of the drama, and diminish its
interest. It is worth while, in the case of so important a work--the
glory of the lyric stage--to have this matter properly understood.
In a catalogue of Mozart’s compositions, in his own hand-writing, in
the possession M. André of Offenbach, a copy of which is now before us,
is the following entry:--‘_28ten October, 1787; in Prag. Il Dissoluto
Punito, o, il Don Giovanni, Opera buffa, in 2 Atti. Pezzi di Musica,
24._’ Now, by looking at the list of pieces in the original edition of
the music, it will be seen that these are exactly 24, exclusive of the
few bars sung by the Statue in the cemetery, and that the airs, &c. in
the appendix are not included among these; they, in fact, never formed
any part of the opera as at first performed, but were added from time
to time, afterwards, to gratify particular performers, and to induce
them to accept characters, which, in their vanity, they thought not
good enough, not sufficiently important, without some augmentation.
Accordingly we find, in the very same catalogue, a memorandum made on
the 24th of April, 1788, in the following words:--‘_Aria zur Oper Don
Giovanni, in G dur, Mr. Morella, Dalla sua pace, etc._’ On the 28th of
the same month and year, the duet ‘Per queste tue Manine,’ is entered
as composed for Madame Mombelli and Mr. Benucci; and on the 30th is a
notice of the scena, ‘In quali Eccessi,’ and aria, ‘Mi tradi quell’
alma ingrata,’ introduced for Madlle. Cavallieri. There is no record
of ‘Hò capito,’ which, doubtless, the great composer either forgot, or
thought unworthy of notice, as it really is.
In 1817, when Don Giovanni was first made known to this country, ‘Dalla
sua pace’ was introduced, in order to strengthen the part of _Don
Ottavio_ for Signor Crivelli, the first Italian tenor then in Europe,
and so lovely an air was gladly received, and being short, very little
retarded the progress of the drama. The scena of _Donna Elvira_ is,
unquestionably, a very fine composition, but that the author himself
never meant it to form a permanent part of the opera is clear. Equally
obvious are his intentions respecting the duet, ‘Per queste tue Manine.’
Besides these, a scene is interpolated, (where _Leporello_ is
blind-folded,) which is all too much, and ought certainly never to have
been admitted.
Though Mrs. ~Wood~ insisted on singing the duet ‘La ci darem,’ (we
forget the English words,) and the air ‘Vedrai, Carino,’ rather too
slow, and dragged the time of both, yet she performed the character
very charmingly: in the concerted pieces her knowledge and power were
fully displayed. Mad. ~De Meric~ makes an excellent _Donna Anna_, and
with Mesdames ~Camporese~ and ~Ronzi de Begnis~ fresh in our memory,
we yet were perfectly satisfied with the new representative of the
character. Miss ~Betts~ did more justice to the part of _Donna Elvira_
than it has commonly received at the King’s Theatre. Great praise is
due to her for her share in the opera.
Mr. ~Braham’s~ _Don Juan_ much surpassed the expectations of those who
have been in the habit of viewing him as a singer, and nothing else,
on the stage, and fully realized the hopes of those who have recently
learnt that he can act as well as sing. The whole performance was
spirited, easy, and gentlemanlike: in his scenes with _Zerlina_ there
was exactly enough of that warmth, that _empressement_, which forms
the just medium. His serenade, ‘Deh, vieni alla Finestra,’ proved very
delightful; his share of the duet, ‘La ci darem,’ admirable. Mr. ~H.
Phillips~ sang all that is allotted to _Leporello_ in a most perfect
manner, particularly ‘Madamina,’ or the list of _Juan’s_ conquests;
but he wanted a little more of that comic humour, of that archness,
which the character requires. Mr. ~Seguin’s~ _Masetto_ did him great
credit, though it was evident that the intrusive air, ‘Hò capito,’ was
not introduced by his wish. Mr. ~Bedford~ made a very good _Don Pedro_.
As the statue, both equestrian and pedestrian, his voice, figure, and
firmness, told surprisingly well.
The orchestra, in order to do justice to such a work, was augmented
by the principal instruments of the King’s Theatre and Philharmonic
band, whose assistance was very sensibly felt, and contributed much to
the brilliant success which attended the whole performance. Mr. Bishop
acted as conductor, and Mr. T. Cooke led the band, who, we believe,
undertakes this duty only on extraordinary occasions. The scenery
throughout is good; that of the cemetery by moonlight, perfect; but the
last scene, borrowed from Martin’s Pandemonium, is most magnificent,
and was not lost on the spectators. Indeed the whole was received with
acclamations, continues to draws full houses, and promises to reimburse
the manager for the great expense he has incurred, and is incurring, in
the performance of such an opera.
Mr. ~H. Phillips’s~ engagement having terminated shortly after the
production of this piece, his part has been taken by a gentleman quite
new to the London stage, named ~Martin~, a pupil of Mr. ~T. Cooke~,
who, with a good base voice, correct intonation, and an unaffected
manner, promises to supply the want of such a performer, which has long
been felt at our theatres, Mr. Phillips not being gifted with ubiquity,
though evidently very locomotive.
~Covent-Garden Theatre.~
A project often talked of, but never before listened to by the Lord
Chamberlain, was, on the 15th of last month, the first Friday in Lent,
carried into execution by ~M. Laporte~, namely, the performance of
something like an oratorio in action, on the stage, with scenery,
dresses, &c. For this experiment Rossini’s sacred opera, _Mosè in
Egitto_, was chosen, which, with a chorus and a few scraps from Handel,
was announced as _The Israelites in Egypt, or the Passage of the Red
Sea_, the music ‘selected from the works of ~Handel~ and ~Rossini~,’ a
most extraordinary union, it must be confessed, had the mixture been
equal; but, luckily, the ‘Hailstone chorus’ was the only entire piece
of the former composer introduced, the rest having been neither more
nor less than the Italian opera with English words. The Jewish lawgiver
was represented by Mr. ~H. Phillips~, who had just stepped out of
the character of pimp to the Spanish grandee: and Mr. ~Seguin~, who,
the night before and the night after, was the _Masetto_, or bumpkin,
in _Don Giovanni_, personated the obstinate autocrat of Egypt. Mr.
~Wilson~ represented the brother of Moses, the chief priest named by
divine authority; and the character of the first of the ‘first-born
of Egypt,’ Pharaoh’s son, sustained by Mr. ~Wood~. Mrs. ~Wood~, Miss
~H. Cawse~, and Miss ~Sherriff~, were the ladies on the occasion; the
first, a Hebrew captive, the two last the wife of Egypt’s king, and the
sister of Aaron.
All, or nearly all, the music in _Mosè_ is preserved, the name of
Handel being a palpable deception. The grand chorus of ‘The Horse and
his Rider’ is cut down to a few bars, though ‘Sing ye to the Lord’
is retained in compliment, doubtless, to Mrs. Wood. The ‘Hailstone’
chorus is, we have before stated, performed entire. Some of the pieces
of the opera--for opera it is, however disguised the name--were well
executed; others as badly. Mrs. ~Wood~ and ~Phillips~ of course bore
the chief weight. The band, led by ~Mori~, was reinforced by some of
the best performers from the King’s Theatre, and this department was
extremely well filled. Mr. ~Rophino Lacy~, who has the merit of having
contrived this strange mixture, gives _Moses_ a snow-white beard, while
he bestows on the elder brother of the lawgiver a remarkably black
bushy one. There were a few other absurdities committed, but none worth
notice. The house was very thinly attended, and we doubt whether the
speculation will answer. Though we are persuaded that something of the
kind, well considered and managed, would succeed.
THE MUSIC OF THE PRESENT NUMBER.
Before Haydn composed his twelve grand symphonies for Salomon, he had
produced a vast number of others, of which but few are now in use, or
even known, for many are in fact trifling, and were not written with
any view to fame. But of those which are occasionally performed, some
possess every merit that this very superior kind of composition can
boast, and among them is his symphony in ~C~, for a full orchestra,
beginning
[Illustration]
of which we have given the finale, the movement that has taken the
title of _La Danse des Ours_, the subject having, it is said, been
suggested to the composer by the bag-pipe music of a bear-leader in the
streets of Vienna. The hilarity, the beauty, and the ingenuity of this,
have induced us to print Stegmann’s arrangement of it; more especially
as it is not published in a separate form in England or, we believe,
anywhere else.
* * * * *
The aria of Zelter is from a MS. scena in our possession, beginning
‘Oh Dio! se in questo istante,’ and entirely unknown in this country.
We may venture to any that there is no second copy of it in London.
The air now given is but a small portion of the whole, which would
have been too long for insertion; and indeed, without orchestral
accompaniments, much of its effect is lost. Concerning the author, we
refer to the memoir in the present number.
* * * * *
The two movements of Scarlatti were once the admiration of
_harpsichord_ players. The brilliancy of the first will still be
admitted, and if we do not deceive ourselves, will lead many to open
a work, of which very few, even of professional players, have the
least knowledge. We have slightly altered the notation of some bars,
but without making any change in the composer’s music. An account
of Domenico Scarlatti will be found in the fifth volume of the
_Harmonicon_.
* * * * *
‘The Mansion of Peace,’ written for and sung by Harrison, was, like
all that is excellent in music, repeated so often when in fashion,
that delight was soon followed by satiety. It was first produced at
least forty years ago, by one of the few whom we may call classical
glee-writers--by the composer of ‘When winds breathe soft;’ and we
feel convinced that it will be perfectly new to most of our readers.
It has never, to our knowledge, before been published with a separate
accompaniment.
* * * * *
Beethoven’s Canon is spoken of at large in the letter-press of the
present number. He gives it without any words: we have, to make it
vocal--and it will be found extremely pleasing in effect--adapted a
‘Hallelujah, amen’ to the notes.
* * * * *
The amanuensis of Handel, Christopher Smith, set the whole of the
_Tempest_, as altered by Dryden, to music, and there are some
compositions of much merit in his work, of which ‘Full fathom five’ is
decidedly the best. This was for many years performed at the Ancient
Concert, being preferred to that set by Purcell to the same words.
However, there is nothing else in Smith’s _Tempest_ to be compared
to the work of our great English composer. Of Smith very little is
recorded. He composed three or four oratorios, and some _Suites_ of
lessons, in imitation of Handel, none of which are now known.
* * * * *
For the quartet, ‘Now the Moonbeam’s lustre,’ we are indebted to the
_Spectator_ newspaper. Of the composer we have no information, and
we never met with his name before. The present may very properly be
denominated a glee, and as such will be more effective if sung by what
are called equal voices.--_i. e._ men’s voices.
[Sidenote: ~April~, 1833.]
MEMOIR OF M. HEROLD.
(From _La Revue Musicale_.)
Thirty years ago the French school was rich in composers of remarkable
merit; Mehul, Lesuer, Berton, Devienne, Della-Maria, Kreutzer, Catel,
Boïeldieu, Gaveaux, produced numerous compositions, and the reputation
of their success redounded to the honour of their country. Since then
death has cut off some of these artists in their youth, others in the
very vigour of their talents, while the muses of others again have sunk
into silence. It was a grievous loss when an individual of such a party
was consigned to the tomb; but there was consolation in contemplating
the survivors. What a difference now! How deep must be our regret when
we see one of the most celebrated musicians of the day ravished from
us by a premature death! Herold is gone--I look around and can only
indulge in the hope of something that futurity may bring forth; one,
and one only, of his compeers is left to us.
Louis James Ferdinand Herold was born in Paris, the 28th of November,
1791. His father, who was a pianist of some merit, and a respected
professor, notwithstanding the early and decided proofs of a musical
genius which the son evinced, had no intention of bringing him up to
the profession. At ten years old he was placed at one of the best
boarding-schools of the time, where he made a brilliant progress in
his general studies, which had afterwards no doubt its effect on his
career as an artist. The author of this notice, at that time a scholar
of the Conservatorio, resided in the some house as teacher of the
solfeggio. Herold, as well as his fellow pupils, attended the lessons,
but his progress was much more rapid than that of any of the other
scholars; nature had made him a musician; he learned, or rather seemed
intuitively to imbibe, the principles of the art as a matter almost of
play, without appearing to suspect his own strong determination towards
it.
The early death of his father made a sudden change in young
Herold’s destination in life and in his studies, music being by
that circumstance rendered his profession. Already a good musician,
he entered the Conservatoire in October, 1806, as a student of the
piano-forte in the class of M. Adam. His hands were well formed for
the instrument he had selected; the lessons of the able master who
directed his studies so made him a distinguished performer. Under the
instructions of Catel, he prosecuted with success the study of harmony,
and placed himself under Mehul to learn the art of expressing on paper
the musical ideas which already began to present themselves to his
imagination. The lessons of this great artist, and, perhaps, still
more his conversation, always piquant, and full of ingenious and acute
reasoning, had the most happy effect in developing the faculties of
young Herold: his progress was that of a man born to be an artist; one
year and a half’s study qualified him to enter into competition for,
and obtain also the grand prize for composition given by the institute
in August, 1812. The cantata which he composed for this occasion
(_Madame la Valliere_) does not perhaps quite indicate the exalted
talent he was destined one day to exhibit; but it cannot be denied that
it contained sufficient proofs of a very happy disposition for his art.
In November of the same year, Herold set off for Rome as a pensioned
student of the government. Most of the scholars who are fortunate
enough to obtain that great object of their ambition, the first prize
in composition, still look upon the time which the rules of the
institute oblige them to pass in Italy, and particularly at Rome,
as little better than a kind of exile. This was not the case with
Herold; he had long sighed after Italy, the country which seemed in his
imagination to teem with musical inspirations. Often has he declared
that the time he passed in the capital of the Christian world formed
the happiest epoch of his life. After three years of labour and study
he quitted this classic land of antiquity, and went to Naples: here
he appeared to live quite another life. The cloudless sky, the pure,
vivifying, and elastic air, the beauty of the views, the natural
enthusiasm of the natives, all conspired to work him up to that
feverish anxiety to compose which is no where else felt with a like
intensity. He was tormented with a wish to write for the theatre, and
it was not long before the opportunity of gratifying his wish occurred.
Soon after his arrival in Naples, he succeeded in bringing out an opera
in two acts, entitled ‘_La Groventù di Enrico quinto_.’ Herold has not
suffered the music of this piece to be seen by his own countrymen; all
that is known of it is, that the Neapolitans found it to their taste,
and that it was performed several nights with undisputed success. This
is the more remarkable, as at the time Herold thus brought out his
opera, the whole of Italy, and the Neapolitans in particular, had an
invincible prejudice against all musicians of the French school. A
composer born on the banks of the Seine writing an opera for the Teatro
Fondo, and the Neapolitans not only listening to, but applauding his
music, was a novelty of which there was no previous example.
M. Herold returned to France towards the end of 1815: he had not been
long in Paris before he had an opportunity of trying his force upon the
French stage. Boïeldieu, who had observed the germs of a fine composer
in the young artist, determined to assist him over this first step,
always so difficult to surmount, owing to the bad management of the
theatres. He associated him with himself in the composition of a little
opera _de circonstance_, called Charles of France, on which he was then
engaged. This opera, which was performed in 1816, introduced Herold
to the public in a favourable manner, and in consequence the libretto
of _Les Rosieres_ was intrusted to him. A three-act opera will always
afford the composer some good opportunities of displaying his powers;
Herold availed himself of his opportunities, and produced some morceaux
which proved he was no ordinary musician. The inexperience of a young
writer was to be traced in the work, but there were seen here and there
some flashes of fancy, which showed that the author had been doing
violence to himself, in order to bring his writing down to the level of
the style to which the frequenters of the Théâtre Feydeau were at that
time accustomed. Yet, notwithstanding this kind of wavering uncertainty
of manner, which is to be found in the score of _Les Rosieres_, there
are no doubt many points in it which deserved more admiration than they
received. At the end of 1816, this piece was performed at the Opéra
Comique with a success which had its effect on all the future life of
the author.
_La Clochette_, an opera in three acts, followed soon after _Les
Rosieres_. In this opera M. Herold displayed much more passion and
dramatic force than in his former production, and it was plainly
evident that he had made great progress in the art of writing for the
stage. The graceful and piquant little air, ‘_Me voilà, me voilà_,’ a
duet in the second act, and several charming phrases scattered through
other parts of the opera, proved that the author had the power of
inventing melodies; while the finale of the first act, and several
passages in the second and third, show the hand of a dramatic composer
of no low class. There were besides in the instrumentation many new
effects; but not a little of all this was understood by the audience.
The piece was successful indeed; but its success was much more owing to
the scenery and spectacle than to the merit of the music.
Nearly eighteen months elapsed before Herold obtained another opera
to compose. This interval he employed in writing fantasias, and other
pieces of that kind; a style in which he produced many pretty things
that hardly met with the degree of encouragement they deserved. His
taste led him determinately towards writing for the theatre, and he was
sometimes irritated at the injustice which rendered it so difficult for
him to get within the doors. Tired at last with waiting for the good
libretto he was so constantly wishing for, he consented to write music
to a three act comedy called ‘_Premier venu_.’ This piece was witty,
but cold, and the most unfit possible for being turned into an opera;
it had not even the merit of being new, on the contrary it had been a
long time a stock piece at the Théâtre Louvois, from whence Vial took
it to the Opéra Comique. Nothing could be more unfavourable to the
display of Herold’s warmth of manner than this comedy; he could infuse
no fire into it, and perhaps its coldness communicated itself to the
unfortunate composer; however, as a man of real talent cannot compose
three acts without giving some proofs of his genius, the _Premier venu_
contains an excellent trio between three men who pretend to be sleeping.
The desire of writing for the theatre tormented Herold incessantly,
but the means were as constantly wanting; authors appeared not to have
sufficient confidence in his talents to confide their poems to him.
This state of abandonment determined him at length to take up another
old comic opera in one act called _Les Troqueurs_, and write new music
to it. It was performed in 1819; the exertions and talents of the
actors supported it through a few nights; but the piece (which was the
first of the kind ever written in Paris) no longer suited the taste
of the times, and it fell to rise no more. A sort of fatality seemed
at this time to attend all the efforts of one whose first appearance
on the stage had given promise of so brilliant a career. An opera
in one act, called _L’Amour Platonique_, was given him in 1819 to
compose; the music was required with the utmost rapidity, and sent as
soon as written to the performers to study. At the general rehearsal
some charming passages were remarked; but the libretto turned out to
be feeble in the extreme, so much so that the author left the theatre
before it was concluded. In 1820, M. Planard intrusted him with a
pretty comedy of his called ‘_L’auteur mort et vivant_;’ unfortunately,
this piece again contained no situations in which a composer could have
an opportunity of doing justice to his own talents, and the very cold
reception it met with during a few representations, added nothing to M.
Herold’s reputation. This last disappointment appears for the time to
have completely discouraged him from making any more efforts in a line
which had proved so unfortunate; for during the next three years he
wrote nothing, but seemed to have entirely abandoned the theatre.
During this interval the part of accompanyist at the piano-forte in the
Italian Opera became vacant; Herold applied for and obtained it. From
this period the duties of his situation took up the greatest part of
his time; and he employed the rest in writing a great number of pieces
for the piano-forte. Thus did this artist, in the flower of his age and
full vigour of his talents, find himself in some degree repulsed and
driven from the theatre for which he had been born. Such phases of bad
fortune occur in the lives of most men of merit.
The silence of three years to which Herold had been condemned, gave
way to a renewed desire of writing for the theatre, of that ardent
character which is commonly a forerunner of success. His first
production after so long rest was _Le Muletier_, performed at the
Opéra Comique in 1823. The success of this was at first doubtful,
but at length it was established in the public favour, entirely on
account of the merits of the composer. The music of _Le Muletier_
is highly coloured, dramatic, and full of happy thoughts and new
effects. _Lasthenie_ followed, a composition of a graceful character,
and which had only one fault: viz. that the story was taken from
the Greek at a time when Greek stories happened to be entirely out
of fashion. Consequently, this production made little impression on
the public, though it ran through a certain number of nights, and,
at all events, the connoisseurs did justice to the talents of the
composer. The success of the French armies in Spain in 1823, gave
occasion to the writing an opera entitled _Vendome en Espagne_, in
the composition of which Herold was associated with Auber. The pieces
which he wrote off-hand for this score contained some happy thoughts,
which he afterwards worked up and employed with success in his future
productions.
In 1824, Herold was again charged by the managers of the Opéra Comique
with the composition of a little piece _de circonstance_, (which
however outlived the occasion for which it was written,) called ‘_Le
Roi René_.’ The following year he composed for the same theatre another
one act opera entitled _Le Lapin Blanc_, but nothing could be less fit
for music; in fact words and music were equally feeble.
In this part of the narrative it becomes necessary to state, that
during his three years of retreat, a great change had taken place in
Herold. A constant witness of the success of Rossini’s compositions,
which he had been accompanying almost without intermission at the
Théâtre Italien, he persuaded himself that the only means of obtaining
the public favour was by imitating more or less the musical forms that
were in vogue. Many others partook of his error, who did not partake
of his talent; for him it was a deplorable mistake, as it withheld him
some time from following the route his own genius, left to itself,
would have pointed out.
_Marie_, an opera in three acts played at the Opéra Comique in 1826,
marked the return of M. Herold to the style which suited him; it was at
once the best and the most successful piece he had till then produced;
in it he gave wider scope to his sensibility than he had been able
to do before, and all the pieces obtained a degree of popularity and
fashion which none of his former compositions had ever enjoyed. The
moment was favourable, and probably Herold would have at once taken
the rank among composers of which he was worthy, if his engagement
at the opera as conductor of the singers had not deprived him of the
leisure necessary to profit by the tardy justice the public seemed at
length disposed to do to his merits. Two years before he had quitted
his situation of accompanyist at the Italian Theatre for that of
conductor of the chorusses, and in 1827, he accepted the post above
mentioned. From that time fatigued with a thousand occupations totally
incompatible with the repose and freedom necessary for achieving
works of imagination, he found it out of his power to take advantage
of the favourable tide of circumstances, and at once put the seal on
his reputation. The little leisure he had was given up to writing the
music for a few ballets; in 1827 he wrote for the Opera the ballets
of _Astolphe et Joconde_, and _La Somnambule_, both in three acts;
in 1828, _Lydia_, a ballet in one act, and _Cendrillon_, a ballet in
three: about the same period he also produced the overture, chorusses,
&c. in the drama of _Missolonghi_, performed at the Odeon.
In 1829, three years after the production of his opera of _Marie_, he
brought out a one act operetta full of charming passages, entitled
_L’Illusion_. The music was of a melancholy and impassioned cast:
for the overture he adopted the one he had some years before written
for _L’Amour Platonique_. In the same year the king conferred the
decoration of the legion of honour upon him, a distinction to which
he was justly entitled. _Emmeline_, an opera in three acts, which he
brought out in 1830, was unsuccessful; but he took a splendid revenge
the next year, by producing his _Zampa_, a work worthy of the first
masters, and which ranked Herold at once amongst the most celebrated
composers of France. Abundance of fine subjects, characteristic
expression of the passions, dramatic power, a deep genius for harmony
and instrumentation, all are to be found in this work, the success of
which has been as brilliant in Germany as it was in France. A short
time after, M. Herold contributed with numerous other composers towards
the music of the _Marquise de Brinvilliers_.
Whether it was occasioned by the weight of his labours at the Opera,
or the fatigue occasioned by his recent return to the pen, or whatever
was the cause, about this time M. Herold found his health give way.
Still young he might have arrested the course of disease, if he would
have had recourse to entire repose and a change of climate; but nothing
could persuade him to quit the theatre of his success, or to cease
from his labours. In spite of all the remonstrances of his friends,
he continued to follow the line of life he had laid out for himself,
and it was not until the insidious malady had fatally undermined his
constitution, that he himself became conscious of alarm. The new
management of the Opéra Comique were in want of new operas, which it
was necessary also should be ready in a short time; Herold had in
his portfolio the score of the ‘_Pré aux Clercs_,’ but to furnish it
for bringing before the public required a degree of time, study, and
preparation, which the situation of the theatre would not allow. Herold
wrote off-hand an operetta in one act, which, though a trifle, shows
the hand of a master. This last production preceded a short time the
production of his _Pré aux Clercs_, a work of a softer character than
his _Zampa_, but not less happily conceived.
It was the song of the swan. The pulmonary complaint which had been
undermining his life, now made every day the most alarming progress.
The agitation attending the casting and bringing out of his opera
hastened the catastrophe, and in less than a month from his last
triumph, the artist was in his tomb, his friends, and all who knew
the man, were plunged in profound grief, and even those who had no
knowledge of him but from his works, sincerely and sorely regretted
that his career should have been so suddenly and prematurely closed.
STATE OF MUSIC IN THE PROVINCES.
The inhabitants of the Metropolis, we believe, are not aware of the
progress making by music in the provinces. In Lancashire, Yorkshire,
and Derbyshire, in particular, there is a diffusion of musical
knowledge that almost admits a comparison with that in Germany.
Manchester, Liverpool, York, Leeds, Sheffield, Derby, Halifax, contain
numbers of able amateurs, who cultivate the art with enthusiasm,
and have wealth and spirit for its encouragement. In those towns,
and many smaller ones, are choral societies, similar to such as are
found in every part of Germany; several of them of long standing, and
all judiciously conducted. They are liberally supported by annual
subscriptions; their orchestras are led by, and partly composed of, the
ablest professors of the place and neighbourhood, the complement being
made up by very efficient amateurs; not wholly _gentlemen_-amateurs,
for a number of them are young men and women belonging to what is now
called the operative class, who are encouraged by their employers to
cultivate an art which has so favourable an effect on their character
and habits. Out of this class are formed, not only the chorus-singers,
whose reputation has long since spread all over England, but the
solo-singers; and even the _habitués_ of the London concerts, with
whatever metropolitan disdain they might enter a meeting of one of
these societies, would, spite of their prepossessions, be delighted
with the knowledge, feeling, and even style, frequently exhibited by
these country singers. As to the choruses, they would be constrained to
admit that they seldom have the good fortune to hear anything like them
in London.
These observations have been suggested by a performance which took
place at the end of February, in the church of the little town of
Belper, in Derbyshire. The Chevalier Neukomm has been residing for
some time with his friend, Mr. John Strutt, of Belper, and occupied
in completing the great oratorio which he engaged to write for the
Birmingham Festival of this year. M. Neukomm, as is well known, is
always ready to exercise his talents in the cause of benevolence, and
the performance we now mention was got up under his direction, in aid
of the funds for erecting and establishing an infant school in the town
of Belper.
Great public interest was excited on this occasion, as it was
understood not only that some pieces fresh from the pen of that
highly-gifted composer would be executed, but that he himself would
perform on the _Expressive Organ_, an instrument hardly yet known in
England; and families were attracted from Yorkshire, Staffordshire, and
other distant places. The orchestra, vocal and instrumental, consisted
of a select portion of the Derby Choral Society, combined with the
choir of Mr. Strutt; and the talented young violin performer, Mr.
Mawkes, gave his assistance. The performance produced for the charity
the sum of 160_l._ ‘It is no easy task,’ says the _Derby Reporter_, ‘to
point out any parts of the vocal performances as being more eminently
entitled than others to our praise. We cannot avoid, however, noticing
some pieces with which we were more particularly delighted; among
which were the grand Epinicion, or Song of Triumph, from the oratorio
of _Saul_; the magnificent _Hallelujah_ of the immortal Handel; a
quartett of Haydn, “Lo, my Shepherd is divine;” the splendid “_Second
Advent_” of Neukomm; Mozart’s Motet, “O God, when thou appearest;”
and four truly sublime and devotional choruses, selected from one
of the Chevalier’s compositions, _The Hymn of the Night_, a work
hitherto unknown in this country. This composition was published at
Paris several years since in French and German, and has been publicly
performed at Copenhagen, in presence of the Royal Family of Denmark,
with universal approbation. This circumstance, we believe, has led
to the recent translation of the original words into English; and we
have no doubt, from the specimens which were yesterday heard of its
excellence, that it will eventually become a great favourite with the
British public.’ In this opinion of the Derby critic, we are enabled,
from an attentive examination of the score of the _Hymn of the Night_,
to express our entire concurrence. The writer concludes with a glowing
description of the Chevalier Neukomm’s extemporaneous playing, with
which many of our metropolitan readers are acquainted, and to which the
_Harmonicon_ has frequently endeavoured to do justice. The instrument
employed by him on this occasion (the _Expressive Organ_) was well
calculated for the display of his genius. In size it hardly exceeds
a cottage piano-forte; but it has much power as well as delicacy,
gives every gradation of _piano_ and _forte_ by a mere pressure of
the finger, and produces the effects of almost every species of wind
instrument. We are surprised that our _fabricans_ have not yet set
about making it.
Mr. Strutt, of Belper, encourages music from a much higher view than
that of ministering to his own gratification. He is one of the greatest
manufacturers in the kingdom, and his immense establishments give
employment and support to a numerous population, to whose comfort
and welfare he pays unwearied attention. It is in pursuit of this
philosopher-like object that he promotes the cultivation of music among
them. At a great sacrifice, both of time and money, he encourages its
practice among his male and female operatives, who show a disposition
for it; and engages a music-master from Derby, twice or thrice a week,
to give them lessons. Among these people he truly finds that music
‘_emollit mores, nec sinit esse feros_;’ and it is earnestly to be
wished that such an example were generally followed in establishments
where great numbers of people are employed. Wherever the working
classes are taught to prefer the pleasures of intellect, and even of
taste, to the gratification of sense, a great and favourable change
takes place in their character and manners. They are no longer driven
by mere vacuity of mind to the beer-shop; and a pastime which opens
their minds to the impressions produced by the strains of Handel and
Haydn, combined with the inspired poetry of the Scriptures, becomes
something infinitely better than the amusement of an idle hour.
Sentiments are awakened which make them love their families and their
homes; their wages are not squandered in intemperance, and they become
happier as well as better.
H.
LETTER FROM MRS. MILLARD.
_To the_ ~Editor~ _of the_ ~Harmonicon~.
~Sir~, _North Walsham, Norfolk, March 8th, 1833._
As I wish to avoid all communications with Mr. Z. T. Purday,
music-publisher; and any further with Mr. J. H. Cross, music-arranger,
(having written one letter to that gentleman, to which he has given no
reply,) I shall deem it a great favour if you will give this a place in
your _Harmonicon_.
About eighteen months since, in consequence of some unintentional
offence I gave Mr. Purday, (the particulars of which are not worth
relating,) that gentleman sent me word he could prove my melody of
‘Alice Gray’ to be borrowed from other compositions. This message,
with some accompanying impertinence, I had nearly forgotten, till, on
the cover of the _Harmonicon_ of January last, appeared the following
notice: ‘Just published, by Z. T. Purday, &c. &c., a French air, on
which is founded the popular ballad of Alice Gray, &c. &c.’
Through some mistake of my publisher, I did not receive a copy of this
French air till yesterday, otherwise I should have taken the liberty of
addressing you earlier on the subject.
A copy of the French air in question will accompany this, from which
you will see that the theme is truly ‘a French air,’ being no other
than that of Rode’s, modified in different passages, to render the
accidental resemblance between it and my melody the greater. You will
also perceive that the variations have not such an appellation for
nothing, as they have little to do with the theme; but are as clearly
and entirely formed on the melody of my ballad, as those of Mr.
Knapton’s or Mr. Valentine’s. These facts need no comment, as they must
speak for themselves much more than will be desirable, either to the
arranger or publisher. Before I conclude, I beg leave to say, that at
the time I composed my ballad, I had never (strange as it may appear)
heard Rode’s melody, nor was I at all aware of the existence of any
thing which bore any resemblance to mine.
I am, Sir,
Your obedient servant,
~Virtue Millard~.
CONCERTS AT OXFORD; AND ON THE STATE OF MUSIC AT BOTH UNIVERSITIES.
_To the_ ~Editor~ _of the_ ~Harmonicon~.
~Sir~, _Oxford, March 5th, 1833_.
In the pages of your agreeable and instructive miscellany, I invariably
find some information as to the state of music upon the Continent. You
inform me what new operas have been produced, which have succeeded, and
which failed: you tell me where all the great and first-rate singers
are at the time of your writing, and also state what new singers
have made their début, and with what success: in fact, you make me
perfectly acquainted with what is going on in the musical world at
Rome, Naples, Milan, Vienna, Berlin, &c.; and in addition to all this
you occasionally give an account of a concert at Birmingham, York,
Liverpool, Manchester, and many other of our own large towns. Now,
Sir, I have no doubt that very many of your constant readers will
agree with me in saying all this is very amusing, and very acceptable.
I have been, however, equally sorry and surprised at not having seen
in the _Harmonicon_ any article relating to music connected with our
universities, or any account of a concert having been given either
at Oxford or Cambridge for these three years past! This appeared
to me very odd; surely, thought I, the omission cannot be for want
of a correspondent, for at these places it may almost be said that
‘every man is a scribe by trade.’ To what cause then is this lack of
intelligence owing? Being a resident at Oxford, I know, of course,
what has been, and what is going on, concerning music, both in the
university and the city; but being ignorant of what has been doing at
Cambridge, I determined (for my own satisfaction, and being a great
lover of music) to inquire, and the result of my inquiry (though I
blush to record it) is, that there every thing connected with music has
been for some years past, and still is, as dull and showing as little
motion as the almost stagnate river that washes her college walls. It
is really mortifying to think that Music receives less patronage from
Granta’s learned and classical sons, than is bestowed on her by the
manufacturers and tradesmen of Sheffield and Leeds!
Now, Sir, without meaning to triumph over the students and residents
at the sister university, or to boast of our pleasant localities by
comparing the verdant and flowery banks of the ‘silver Isis’ with the
‘lazy Cam,’ I am happy to state that it is not quite so bad with us.
At Oxford, music, although not in a very flourishing state, yet is not
totally neglected, and among those who have ever been most forward
to promote its success and prosperity, I must not omit to notice the
stewards of the music-room, who have continued regularly to give two
concerts every term. It is true, indeed, that the success of the
undertaking has not always been adequate to their wishes, or such as
might reasonably have been expected from the acknowledged excellence
of the performances, and the first rate talent that has been engaged.
However, they are not discouraged, but cherishing a love for the art,
and a desire to see it prosper in the university, they zealously
persevere in the good old custom (established, I believe, by Dr. Hayes)
of providing, every term, for the heads of houses and their families,
the gownsmen, and the upper class of citizens, three hours of the
most innocent enjoyment that any rational being can indulge in; thus
gratifying their own passion for music, and at the same time promoting
the interests of its professors.
Having said so much, Mr. Editor, I will venture to add an account
of the two last concerts given by the before-mentioned stewards on
the evenings of Thursday and Friday, the 14th and 15th of February
last. The vocal performers _originally_ engaged were Miss Shirreff,
of Covent Garden Theatre, Miss C. Lyon, a promising young débutante,
and Signor Donzelli. I have said originally engaged, because ‘thereby
hangs a tale.’ Report says, and I have no doubt truly, that Signor
Donzelli was not only engaged a month previous to the concerts, but
that he himself, with the knowledge and consent of Mr. Laporte, fixed
on Thursday and Friday, the 14th and 15th of February, and his name
was, of course, placarded and announced throughout the county in every
possible manner. Now mark, Sir:--on the Tuesday preceding the concerts,
or, in other words, about eight-and-forty hours before he was to sing
his first song, Signor Donzelli sent a notice that the Opera was to
open on the Thursday, and that he could not go to Oxford! All who
have had any experience in the getting up of a concert, will easily
imagine what trouble and consternation this intelligence occasioned. It
appears it was impossible, for many reasons, to put off the concerts.
In this dilemma, Mr. T. Welsh (being the master or instructor both of
Miss Shirreff and Miss C. Lyon) was applied to, and at this very short
notice agreed to go. He did so, and attended a rehearsal with the
ladies, on the Thursday morning for the concert in the evening.
Now, Mr. Editor, if you have been surprised at what I have already
related, I think you will be still more so when I tell you, that
between four and five o’clock the same afternoon, Signor Donzelli (whom
the good people at Oxford had been informed by hand-bills a few hours
before was prevented from attending) came into the town by one of the
coaches, and, after all the bustle and confusion he had occasioned,
very coolly declared that the Opera would not open as expected, and
that he was come to fulfil his engagement! After this, let us talk
no more of the glorious uncertainty of the law, for it is nothing,
Sir, compared to the caprice of an Italian opera singer, and a French
manager.
The great reputation which Signor Donzelli has acquired in all
the principal towns in Italy, as well as Paris and London, must,
consequently, render his name attractive whenever and wherever it
appears in a provincial concert bill;--and, indeed, so it ought; for,
if I have been correctly informed, the sum he demanded for coming to
Oxford, clearly proves that if he knows how to sing, he knows equally
well how to charge. But the strangest part of this strange story is,
_that one-third_ of the sum he received is pocketed by M. Laporte. Can
this be true?
Having announced our hero’s unexpected arrival at Oxford, let me
now introduce you to him at the music-room. The songs, duets, &c.
selected for Signor Donzelli were, of course, Italian; those for our
fair countrywomen being in our own language; so that the lovers of
English music, and the patrons of native talent, as well as the more
fashionable admirers of the Italian school, were equally gratified. The
whole of the selection appeared to me to have been made with judgment,
and the English and Italian pieces were judiciously intermingled. In
the first concert we had two charming Italian duets, ‘Amor, possente
nome,’ (Rossini) and ‘Come ti piace imponi,’ (Mozart) both of which
were well sung by Miss Shirreff and Signor Donzelli. A pleasing ballad,
‘Light up the gay and festive Hall,’ (Hodson) was chastely given by
Miss C. Lyon. In the song ‘Bright flattering days,’ (being English
words adapted to the aria ‘Bel l’ Raggio,’ from Rossini’s _Semiramide_)
Miss Shirreff had a fair opportunity of exhibiting her powers, and very
much pleased our Oxford audience; and in a ballad, ‘The Arab Maid,’ she
displayed the versatility of her talent by accompanying herself on the
piano-forte.
This being Signor Donzelli’s first appearance at Oxford, I paid him,
whilst he was singing, all the attention that might be naturally
expected from an amateur, who was listening to so celebrated a singer
for the first time. He is, undoubtedly, a man of great talent, yet if
I were sure, Mr. Editor, that you would not censure my temerity, I
should say that he lacks judgment in the management of his splendid
voice, and that in the two arias ‘Pria che spunti,’ (Cimarosa) and
‘Ah! se forse,’ from Mozart’s _Clemenza di Tito_, he appeared to me
to have forgotten that he was singing in a small concert-room at
Oxford, and not on the stage at the King’s Theatre. I was still more
confirmed in my opinion when, on the second night, I heard him sing
with Miss Shirreff, the lovely duet ‘Ah! perdona,’ and I could not help
thinking that compositions like this, where tender elegance is the
leading feature, are not so well adapted to his manner, as music of a
boisterously impassioned character; and this, to my mind, was clearly
exemplified when I heard him later in the evening sing with the same
lady the magnificent duet ‘Fuggi! crudele, fuggi!’ from _Don Giovanni_.
In this I thought him great. The cavatina ‘Ah! si per voi già sento,’
(from Rossini’s ‘Otello,’ and which was never, I believe, heard at
Oxford before,) he also executed admirably; and sorry I am that I
cannot, conscientiously, bestow the same commendation on the aria (a
great favourite of mine) ‘Il mio tesoro,’ which I have heard sung with
much more feeling and expression than Signor Donzelli imparted to it,
though certainly not with so splendid a voice. And here, Sir, I must
take leave of the Signor, at least for the present.
Miss C. Lyon had the good sense to introduce Handel’s ‘Hush ye pretty
warbling Choir,’ which, I may say, (without meaning to play on the
word,) she ‘warbled prettily.’ Miss Shirreff’s ‘Trifler, forbear,’ by
Bishop, afforded another proof that we have among us English men who
can compose, and English women who can sing.
It would be unjust not to mention that, in the course of the second
concert, Mr. T. Welsh introduced Purcell’s ‘Mad Tom,’ which he sung
(accompanying himself on the piano-forte) with great effect. The
beauties of this composition were not lost upon the audience, and Mr.
Welsh’s performance was, very deservedly, much applauded.
I am, Mr. Editor,
Your very obedient servant,
~A Lover of Music~.
P.S.--If Signor Donzelli should receive an application to sing at
Oxford again, I would, for his own sake, strongly recommend that,
before he accepts it, he will not only finally make up his own mind on
the subject, and firmly abide by it, but also ascertain, whether, after
being promised leave of absence from the Opera, he may safely rely on
M. Laporte’s _honourably_ keeping his word; that is, in case it should
so chance that M. Laporte should be the manager of the Italian Opera
twelve months hence.
THE SONG OF ‘MAD TOM OF BEDLAM.’
_To the_ ~Editor~ _of the_ ~Harmonicon~.
~Sir~,
It would be difficult, perhaps, now to ascertain at what time, and
by whom the song of ‘Mad Tom’ was first ascribed to Purcell; but
that it was not always given to him is evident, from its having been
inserted in a collection of songs published during his life, and these
attributed to another composer, Henry Lawes; and though the claim of
the latter may be doubted, from the dissimilarity of its style from
that of his other compositions, yet having been published as his by
Playford, it is a strong presumptive proof in favour of Lawes, for
Playford was a musician of some eminence, and may be supposed to
have lived on terms of intimacy with the professors of his day, and
therefore well acquainted with their compositions.
With respect to the air which I sent you having been the basis on which
the song was made, it may, I think, be inferred from the title that the
song was the original, and that being popular, it was in consequence
adapted as an air for the Virginals, the title of it, ‘The Man in the
Moon,’ being the first line of one of the stanzas in the song: ‘The
man in the moon drinks claret.’ The inaccuracies in this air, whatever
they may be, must be imputed to the original transcriber, mine being
a faithful copy from his book, the date of which, being about twenty
years before the birth of Purcell, renders it impossible that he should
have been the composer of the song in question.
The latter part of the song, from ‘In my triumphant chariot,’ I have
seen printed as a single song, with Haydn’s name to it as the composer.
Can you furnish we with any information respecting the music to which
the various songs in the plays of Shakspeare were originally sung, the
whole now performed, except the fragments sung by Ophelia, being of
modern date?
I remain, &c.
~An old Member of the Pump-Room Band, Bath.~
MEMOIRS OF DR. BURNEY, BY HIS DAUGHTER MAD. D’ARBLAY.
[Continued from page 54.]
We resume our specimens of these volumes with an extract from a letter,
giving the authoress’s account of Agujari, who is, by the common
consent of contemporary musicians, allowed to have possessed the most
wonderful voice that any woman was ever gifted with, (reaching to ~B~♭
in altissimo); and to have been the most talented and splendid singer
of her day; but who, being excluded by lameness from the stage, and
confined entirely to the church or the concert-room, is less remembered
than many theatrical singers who were not possessed of half her merit.
“She came with the Signor Maestro Colla, very early, to tea.
“I cannot deign to mention our party,--but it was small and
good:--though by no means bright enough to be enumerated in the
same page with Agujari.
“She frightened us a little, at first, by complaining of the
cold. How we looked at one another! Mr. Burney was called upon
to begin; which he did with even more than his usual spirit; and
then--without waiting for a petition--which nobody, not even
my dear father, had yet gathered courage to make, Agujari, the
Bastardella, arose, voluntarily arose, to sing!
“We all rose too! we seemed all ear. There was no occasion for any
other part to our persons. Had a fan,--for I won’t again give you
a pin,--fallen, I suppose we should have taken it for at least a
thunder-clap. All was hushed and rapt attention.
“Signor Colla accompanied her. She began with what she called a
little minuet of his composition.
“Her cold was not affected, for her voice, at first, was not
quite clear! but she acquitted herself charmingly. And, little as
she called this minuet, it contained difficulties which I firmly
believe no other singer in the world could have executed.
“But her great talents, and our great astonishment, were reserved
for her second song, which was taken from Metastasio’s opera of
Didone, set by Colla, ‘_Non hai ragione, ingrato!_’
“As this was an _aria parlante_, she first, in a voice softly
melodious, read us the words, that we might comprehend what she had
to express.
“It is nobly set; nobly! ‘Bravo, il Signor Maestro!’ cried my
father, two or three times. She began with a fulness and power of
voice that amazed us beyond all our possible expectations. She then
lowered it to the most expressive softness--in short, my dear Mr.
Crisp, she was sublime! I can use no other word without degrading
her.
“This, and a second great song from the same opera, _Son Regina_,
and _Son Amante_, she sang in a style to which my ears have
hitherto been strangers. She unites, to her surprising and
incomparable powers of execution, and luxuriant facility and
compass of voice, an expression still more delicate--and, I had
almost said, equally feeling with that of my darling Millico, who
first opened my sensations to the melting and boundless delights of
vocal melody.[43] In fact, in Millico, it was his own sensibility
that excited that of his hearers; it was so genuine, so touching!
It seemed never to want any spur from admiration, but always to owe
its excellence to its own resistless pathos.
“Yet with all its vast compass, and these stupendous sonorous
sounds, the voice of Agujari has a mellowness, a sweetness, that
are quite vanquishing. One can hardly help falling at her feet
while one listens! Her shake, too, is no plump, so true, act open!
and, to display her various abilities to my father, she sang in
twenty styles--if twenty there may be; for nothing is beyond her
reach. In songs of execution, her divisions were so rapid, and so
brilliant, they almost made one dizzy from breathless admiration:
her cantabiles were so fine, so rich, so moving, that we could
hardly keep the tears from our eyes. Then she gave us some
accompanied recitative, with a nobleness of accent, that made every
one of us stand erect out of respect! Then, how fascinately she
condescended to indulge us with a rondeau! though she holds that
simplicity of melody beneath her; and therefore rose from it to
chant some church music, of the Pope’s Chapel, in a style so nobly
simple, so grandly unadorned, that it penetrated to the inmost
sense. She is just what she will: she has the highest taste, with
an expression the most pathetic; and she executes difficulties the
most wild, the most varied, the most incredible, with just as much
ease and facility as I can say--my dear Mr. Crisp!
“Now don’t you die to come and hear her? I hope you do. O, she is
indescribable!
“Assure yourself my father joins in all this, though perhaps, if he
had time to write for himself, he might do it more Lady Grace like,
‘soberly.’ I hope she will fill up at least half a volume of his
history. I wish he would call her The Heroine of Music!
“We could not help regretting that her engagement was at the
Pantheon, as her evidently fine ideas of acting are thrown away at
a mere concert.
“At this, she made faces of such scorn and derision against the
managers, for not putting her upon the stage, that they altered
her handsome countenance almost to ugliness; and, snatching up a
music book, and opening it, and holding it full broad in her hands,
she dropt a formal courtesy, to take herself off at the Pantheon,
and said; ‘_Oui! j’y suis là comme une statue! comme une petite
ecolière!_’ And afterwards she contemptuously added: ‘_Mais, on
n’aime guere ici que les rondeaux!--Moi--j’abhorre ces miseres là!_’
“One objection, however, and a rather serious one, against her
walking the stage, is that she limps.”
Two following letters of the authoress refer, first to disappointment
in going to the Opera, when Gabrielli was advertised but did not sing;
and secondly, to disappointment when she did sing. The next letter,
giving an account of a concert at Dr. Burney’s house, immediately
after the appearance of Gabrielli, we insert entire, as a fair medium
specimen of the authoress’s style and talent in that species of
writing. The concerts held at Dr. Burney’s appear to have been honoured
by the presence of some very high company, though the performances
appear to have been confined to the pianoforte, and a little singing,
and the performers limited to the Doctor’s family and a few amateurs of
rank. Not even a flute or violin is heard of, nor a single professional
musician (out of the family) once mentioned as present:--
“You reproach me, my dear Mr. Crisp, for not sending you an account
of our last two concerts. But the fact is, I have not anything new
to tell you. The music has always been the same: the matrimonial
duets are so much _à la mode_, that no other thing in our house is
now demanded.
“But if I can write you nothing new about music--you want, I well
know you will say, to hear some conversations.
“My dear Mr. Crisp, there is at this moment, no such thing as
conversation. There is only one question asked, meet whom you
may, namely; ‘How do you like Gabrielli?’ and only two modes,
contradictory to be sure, but very steady, of reply: either, ‘Of
all things upon earth!’ or, ‘Not the least bit in the whole world!’
“Well, now I will present you with a specimen, beginning with our
last concert but one, and arranging the persons of the drama in the
order of their actual appearance.
“But, imprimis, I should tell you, that the motive to this
concert was a particular request to my father from Dr. King, our
old friend, and the chaplain to the British--something--at St.
Petersburgh, that he would give a little music to a certain mighty
personage, who, somehow or other how, must needs take, transiently
at least, a front place in future history,--namely, the famed
favourite of the Empress Catherine of Russia, Prince Orloff.
“There, my dear Mr. Crisp! what say you to seeing such a doughty
personage as that in a private house, at a private party, of a
private individual, fresh imported from the Czarina of all the
Russias,--to sip a cup of tea in St. Martin’s street?
“I wonder whether future historians will happen to mention this
circumstance? I am thinking of sending it to all the keepers of
records.
“But I see your rising eyebrow at this name--your start--your
disgust--yet big curiosity.
“Well, suppose the family assembled, its honoured chief in the
midst--and Tat, tat, tat, tat, at the door.
_Enter_ ~Dr. Ogle, Dean of Winchester~.
“_Dr. Burney_, after the usual ceremonies.--‘Did you hear the
Gabrielli last night, Mr. Dean?’
“_The Dean._--‘No, Doctor, I made the attempt, but soon retreated;
for I hate a crowd,--as much as the ladies love it!--I beg pardon!’
bowing with a sort of civil sneer at the Fair Sex.
“My mother was entering upon a spirited defence, when--Tat, tat,
tat.
“_Enter_ ~Dr. King~.
“He brought the compliments of Prince Orloff, with his Highness’s
apologies for being so late, but he was obliged to dine at Lord
Buckingham’s, and thence, to show himself at Lady Harrington’s.
“As nobody thought of inquiring into Dr. King’s opinion of La
Gabrielli, conversation was at a stand, till--Tat, tat, tat, tat,
too, and
“_Enter_ ~Lady Edgcumbe~.
“We were all introduced to her, and she was very chatty, courteous,
and entertaining.
“_Dr. Burney._--‘Your Ladyship was certainly at the Opera last
night?’
“_Lady Edgcumbe._--‘O yes!--but I have not heard the Gabrielli! I
cannot allow that I have yet heard her.’
“_Dr. Burney._--‘Your Ladyship expected a more powerful voice?’
“_Lady Edgcumbe._--‘Why, n-o--not much. The shadow can tell what
the substance must be; but she cannot have acquired this great
reputation throughout Europe for nothing. I therefore repeat that
I have not yet heard her. She must have had a cold.--But for me--I
have heard Mingotti!--I have heard Montecelli!--I have heard
Mansuoli!--and I shall never hear them again!’
“_The Dean._--‘But, Lady Edgcumbe, may not Gabrielli have great
powers, and yet have too weak a voice for so large a theatre?’
“_Lady Edgcumbe._--‘Our theatre, Mr. Dean, is of no size to what
she had been accustomed to abroad. But,--Dr. Burney, I have also
heard the Agujari!’
“_Hettina_, _Fanny_, _Susanna_.--‘Oh! Agujari!’ (All three speaking
with clasped hands.)
“_Dr. Burney_ (laughing).--‘Your ladyship darts into all their
hearts by naming Agujari! However, I have hopes you _will_ hear her
again.’
“_Lady Edgcumbe._--‘O, Dr. Burney! bring her but to the Opera,--and
I shall grow crazy!’
“I assure you, my dear Mr. Crisp, we all longed to embrace her
ladyship. And she met our sympathy with a good humour full of
pleasure. My father added, that we all doated upon Agujari.
“_Lady Edgcumbe._--‘O! she is incomparable!--Mark but the
difference, Dr. Burney; by Gabrielli, Rauzzini seems to have a
greet voice;--by Agujari, he seemed to have that of a child.’--
“Tat, tat, tat, tat, too.
“_Enter_ The Hon. ~Mr.~ and ~Mrs. Brudenel~,
“Mr. Brudenel,[44] commonly called ‘His Honour,’ from high birth,
I suppose, without title, or from some quaint old cause that
nobody knows who has let me into its secret, is tall and stiff,
and strongly in the _ton_ of the present day; which is anything
rather than macaroniism; for it consists of unbounded freedom and
ease, with a short, abrupt, dry manner of speech; and in taking the
liberty to ask any question that occurs upon other peoples affairs
and opinions; even upon their incomes and expenses;--nay, even upon
their age!
“Did you ever hear of anything so shocking?
“I do not much mind it now; but, when I grow older, I intend
recommending to have this part of their code abolished.
“Mrs. Brudenel is very obliging and pleasing; and of as great fame
as a lady-singer, as Lady Edgcumbe is as a first rate lady-player.
“The usual question being asked of La Gabrielli;
“_Mrs. Brudenel._--‘O, Lady Edgcumbe and I are entirely of the same
opinion; we agree that we have not yet heard her.’
“_Lady Edgcumbe._--‘The ceremony of her quitting the theatre after
the Opera is over, is extremely curious. First goes a man in livery
to clear the way; then follows the sister; then the Gabrielli
herself. Then, a little foot-page, to bear her train; and, lastly,
another man, who carries her muff, in which is her lap-dog.’
“_Mr. Brudenel._--‘But where is Lord March all this time?’
“_Lady Edgcumbe_ (laughing).--‘Lord March? O,---- he, you know, is
first Lord of the Bedchamber!’--
“Tat, tat, tat, tat.
“_Enter_ M. le ~Baron de Demidoff~.
“He is a Russian nobleman, who travels with Prince Orloff; and
he preceded his Highness with fresh apologies, and a desire that
the concert might not wait, as he would only show himself at Lady
Harrington’s, and hasten hither.
“My father then attended Lady Edgcumbe to the Library, and Mr.
Burney took his place at the harpsichord.
“We all followed. He was extremely admired; but I have nothing new
to tell you upon that subject.
“Then enter Mr. Chamier. Then followed several others; and then
“_Enter_ ~Mr. Harris~, _of Salisbury_.
“Susan and I quite delighted in his sight, he is so amiable to talk
with, and so benevolent to look at. Lady Edgcumbe rose to meet him,
saying he was her particular old friend. He then placed himself
by Susan and me, and renewed acquaintance in the most pleasing
manner possible. I told him we were all afraid he would be tired to
death of so much of one thing, for we had nothing to offer him but
again the duet. ‘That is the very reason I solicited to come,’ he
answered; ‘I was so much charmed the last time, that I begged Dr.
Burney to give me a repetition of the same pleasure.’
“‘Then--of course, the Opera? The Gabrielli?’
“Mr. Harris declared himself her partisan.
“Lady Edgcumbe warmed up ardently for Agujari.
“_Mr. Dean._--‘But pray, Dr. Burney, why should not these two
melodious signoras sing together, that we might judge them fairly?’
“_Dr. Burney._--‘Oh! the rivalry would be too strong. It would
create a musical ear. It would be Cæsar and Pompey.’
“_Lady Edgcumbe._--‘Pompey the Little, then, I am sure would be la
Gabrielli!’
“_Enter_ ~Lord Bruce~.
“He is a younger brother not only of the Duke of Montagu, but
of his Honour Brudenel. How the titles came to be so awkwardly
arranged in this family is no affair of mine; so you will
excuse my sending you to the Herald’s Office, if you went that
information, my dear Mr. Crisp; though as you are one of the rare
personages who are skilled in everything yourself,--at least so
says my father;--and he is a Doctor, you know!--I dare say you will
genealogize the matter to me at once, when next I come to dear
Chesington.
“He is tall, thin, and plain, but remarkably sensible, agreeable,
and polite: as, I believe, are very generally all those
keen-looking Scotchmen; for Scotch, not from his accent, but his
name, I conclude him of course. Can Bruce be other than Scotch?
They are far more entertaining, I think, as well as informing,
taken in the common run, than we silentious English; who, taken _en
masse_, are tolerably dull.
“The Opera?--the Gabrielli?--were now again brought forward. Lady
Edgcumbe, who is delightfully music mad, was so animated, that she
was quite the life of the company.
“At length--Tat, tat, tat, tat, tat, tat, tat, tat, too!
“_Enter_ ~His Highness Prince Orloff~.
“Have you heard the dreadful story of the thumb, by which this
terrible Prince is said to have throttled the late emperor of
Russia, Peter, by suddenly pressing his windpipe while he was
drinking? I hope it is not true; and Dr. King, of whom, while he
resided in Russia, Prince Orloff was the patron, denies the charge.
Nevertheless, it is so currently reported, that neither Susan nor I
could keep it one moment from our thoughts; and we both shrunk from
him with secret horror, heartily wishing him in his own Black Sea.
“His sight, however, produced a strong sensation, both in those who
believed, and those who discredited this disgusting barbarity; for
another story, not perhaps, of less real, though less sanguinary
guilt, is not a tale of rumour, but a crime of certainty; namely,
that he is the first favourite of the cruel inhuman Empress--if it
be true that she connived at this horrible murder.
“His Highness was immediately preceded by another Russian nobleman,
whose name I have forgot; and followed by a noble Hessian, General
Bawr.
“Prince Orloff is of stupendous stature, something resembling Mr.
Bruce. He is handsome, tall, fat, upright, magnificent. His dress
was superb. Besides the blue garter, he had a star of diamonds
of prodigious brilliancy, a shoulder-knot of the same lustre and
value, and a picture of the Empress hung about his neck, set round
with diamonds of such brightness and magnitude, that, when near the
light, they were too dazzling for the eye. His jewels, Dr. King
says, are estimated at one hundred thousand pounds sterling.
“His air and address are showy, striking, and assiduously
courteous. He had a look that frequently seemed to say, ‘I hope you
observe that I come from a polished court?--I hope you take note
that I am no Cossack?’--Yet, with all this display of commanding
affability, he seems, from his native taste and humour, ‘agreeably
addicted to pleasantry.’ He speaks very little English, but knows
French perfectly.
“His introduction to my father, in which Dr. King pompously
figured, passed in the drawing-room. The library was so crowded,
that he could only show himself at the door, which was barely high
enough not to discompose his prodigious toupee.
“He bowed to Mr. Chamier, then my next neighbour, whom he had
somewhere met; but I was so impressed by the shocking rumours of
his horrible actions, that involuntarily I drew back even from a
bow of vicinity; murmuring to Mr. Chamier, ‘He looks so potent and
mighty. I do not like to be near him!’
“‘He has been less unfortunate,’ answered Mr. Chamier, archly,
‘elsewhere; such objection has not been made to him by all ladies!’
“Lord Bruce, who knew, immediately rose to make way for him, and
moved to another end of the room. The Prince instantly held out his
vast hand, in which, if he had also held a cambric handkerchief, it
must have looked like a white flag on the top of a mast,--so much
higher than the most tip-top height of every head in the room was
his spread-out arm, as he exclaimed, ‘_Ah! milord me fuit!_’
“His Honour, then, rising also, with a profound reverence, offered
his seat to his Highness; but he positively refused to accept it,
and declared that if Mr. Brudenel would not be seated, he would
himself retire; and seeing Mr. Brudenel demur, still begging
his Highness to take the chair, he cried with a laugh, but very
peremptorily, ‘_Non, non, Monsieur! Je ne le veux pas! Je suis
opiniatre, moi; un peu comme Messieurs les Anglais!_’
“Mr. Brudenel then reseated himself: and the corner of a form
appearing to be vacant, from the pains taken by poor Susan to
shrink away from Mr. Orloff, his Highness suddenly dropped down
upon it his immense weight, with a force--notwithstanding a
palpable and studied endeavour to avoid doing mischief--that
threatened his gigantic person with plumping upon the floor; and
terrified all on the opposite side of the form with the danger of
visiting the ceiling.
“Perceiving Susan strive, though vainly, from want of space, to
glide farther off from him, and struck, perhaps, by her sweet
countenance, ‘_Ah. ha!_’ he cried, ‘_Je tiens ici, je vois, une
petite Prisonnière!_’
“Charlotte, blooming like a budding little Hebe, actually stole
into a corner, from affright at the whispered history of his thumb
ferocity.
“Mr. Chamier, who now probably had developed what passed in my
mind, contrived, very comically, to disclose his similar sentiment;
for, making a quiet way to my ear, he said, in a low voice, ‘I
wish Dr. Burney had invited Omiah here tonight, instead of Prince
Orloff!’ Meaning, no doubt, of the two exotics, he should have
preferred the most innocent!
“The grand duet of Müthel was now called for, and played. But I can
tell you nothing extra of the admiration it excited. Your Hettina
looked remarkably pretty; and, added to the applause given to the
music, every body had something to observe upon the singularity
of the performers being husband and wife. Prince Orloff was witty
quite to facetiousness; sarcastically marking something beyond
what he said, by a certain ogling, half cynical, half amorous cast
of his eyes; and declaring he should take care to initiate all
the foreign academies of natural philosophy in the secret of the
harmony that might be produced by such nuptial concord.
“The Russian nobleman who accompanied Prince Orloff, and who knew
English, they told us, so well that he was the best interpreter
for his Highness in his visits, gave us now a specimen of his
proficiency; for, clapping his forefinger upon a superfine
snuff-box, he exclaimed, when the duet was finished, ‘Ma foi, dis
is so pretty as never I hear in my life!’
“General Bawr, also, to whom Mr. Harris directed my attention, was
greatly charmed. He is tall, and of stern and martial aspect. ‘He
is a man,’ said Mr. Harris, ‘_to be looked at_, from his courage,
conduct, and success during the last Russian war; when, though a
Hessian by birth, he was a Lieutenant General in the service of the
Empress of Russia; and obtained the two military stars, which you
now see him wear on each side, by his valour.’
“But the rapture of Lady Edgcumbe was more lively than that of any
other. ‘Oh, Dr. Burney,’ she cried, ‘you have set me a madding! I
would willingly practise night and day to be able to perform in
such a manner. I vow I would rather hear that extraordinary duet
played in that extraordinary manner, than twenty operas!’
“Her ladyship was now introduced to Prince Orloff, whom she had not
happened to meet with before; and they struck up a most violent
flirtation together. She invited him to her house, and begged leave
to send him her card. He accepted the invitation, but begged leave
to fetch the card in person. She should be most happy, she said,
to receive him, for though she had but a small house, she had a
great ambition. And so they went on, in gallant courtesie, till,
once again, the question was brought back of the Opera, and the
Gabrielli.
“The Prince declared that she had not by any means sung as well as
at St. Petersburgh; and General Bawr protested that, had he shut
his eyes, he should not again have known her.
“Then followed, to vary the entertainment, singing by Mrs. Brudenel.
“Prince Orloff inquired very particularly of Dr. King who we
four young female Burneys were; for we were all dressed alike on
account of our mourning; and when Dr. King answered, ‘Dr. Burney’s
daughters,’ he was quite astonished; for he had not thought our
dear father, he said, more than thirty years of age, if so much.
“Mr. Harris, in a whisper, told me he wished some of the ladies
would desire to see the miniature of the Empress a little nearer,
the monstrous height of the Prince putting it quite out of view to
his old eyes and short figure; and _being a man_, he could not, he
said, presume to ask such an indulgence as that of holding it in
his own hands.
“Delighted to do any thing for this excellent Mr. Harris, and quite
at my ease with poor prosing Dr. King, I told him the wish of Mr.
Harris.
“Dr. King whispered the desire to M. de Demidoff; M. de Demidoff
did the same to General de Bawr; and General de Bawr dauntlessly
made the petition to the Prince, in the name of _The Ladies_.
“The Prince laughed, rather sardonically; yet with ready good
humour complied; telling the General, pretty much _sans ceremonie_,
to untie the ribbon round his neck, and give the picture into the
possession of The Ladies.
“He was very gallant and _debonnaire_ upon the occasion, entreating
they would by no means hurry themselves; yet his smile, as his eye
sharply followed the progress, from hand to hand, of the miniature,
had a suspicious cast of investigating whether it would be worth
his while to ask any favour of them in return! and through all the
superb magnificence of his display of courtly manners, a little
bit of the Cossack, methought, broke out, when he desired to know
whether _The Ladies_ wished for any thing else? declaring, with a
smiling bow, and rolling, languishing, yet half contemptuous eyes,
that, if _The Ladies_ would issue their commands, they should strip
him entirely!
“You may suppose, after that, nobody asked for a closer view of
any more of his ornaments! The good, yet unaffectedly humorous
philosopher of Salisbury, could not help laughing, even while
actually blushing at it, that his own curiosity should have
involved _The Ladies_ in this supercilious sort of sarcastic homage.
“There was hardly any looking at the picture of the Empress for the
glare of the diamonds. One of them, I really believe, was as big as
a nutmeg: though I am somewhat ashamed to undignify my subject by
so culinary a comparison.
“When we were all satisfied, the miniature was restored by
General Bawr to the Prince, who took it with stately complacency;
condescendingly making a smiling bow to each fair female who had
had possession of it; and receiving from her in return a lowly
courtesy.
“Mr. Harris, who was the most curious to see the Empress, because
his son, Sir James[45], was, or is intended to be, minister at her
court, had slily looked over every shoulder that held her; but
would not venture, he archly whispered, to take the picture in his
own hands, lest he should be included, by the Prince, amongst _The
Ladies_, as an old woman!
“Have you had enough of this concert, my dear Mr. Crisp? I have
given it in detail, for the humour of letting you see how absorbing
of the public voice is La Gabrielli: and, also, for describing
to you Prince Orloff; a man who, when time lets out facts, and
drives in mysteries, must necessarily make a considerable figure,
good or bad--but certainly not indifferent,--in European History.
Besides, I want your opinion, whether there is not an odd and
striking resemblance in general manners, as well as in Herculean
strength and height, in this Siberian Prince and his Abyssinian
Majesty?”--vol. ii. p. 43-60.
The authoress’s account of the publication of the first volume of Dr.
Burney’s History of Music, and its presentation to the Queen, occupies
three pages, but contains no new information whatever, except that the
Doctor was so delighted by her Majesty’s condescension in receiving
the presentation copy, that he thenceforward never omitted to attend
the Court on the birth-days. The shortness of this musical article is,
however, immediately and fully made up for by an episode of full fifty
pages, about Streatham, the Thrales, Dr. Johnson, Piozzi, &c.; in which
all that relates to Dr. Burney might be comprised in almost as many
words. But the authoress must be forgiven; she evidently wrote these
memoirs under at least a double influence, and over her pen
‘_Divisum imperium cum Burney Johnson habet._’
The next episode which the authoress has introduced is one on which
we would willingly be silent, and which we heartily wish, for her own
sake, she had either omitted, or, at least, curtailed within one tenth
the limits to which it is extended. It is the history of the origin,
writing, printing, and anonymous publication of the authoress’s first
novel, which every patron and patroness of a circulating library still
knows is entitled ‘~Evelina~; or, a Young Lady’s Introduction
into Life;’ together with the further history of the effect this
anonymous novel made, first in the novel reading, and then in the
literary world; then the discovery of the authoress, which, curiously
enough, seems to have been first made by the Doctor himself; who,
by the way, was in the secret of his daughter’s being an authoress;
though ignorant whether her maiden production was a spelling book or
a homily; then the anonymous triumphs achieved by Evelina over Dr.
Johnson, Sir Joshua Reynolds, &c.; then the bashful, half-reluctant
consent that Mrs. Thrale, if pleased by reading it, might be admitted
into the secret; and, finally, the full meridian blaze of popularity
with Honourables and Right Honourables, Doctors, M.P.’s, statesmen,
Lords Chancellor, and _bas bleus_, sounding aloft its praises from one
end of the English Parnassus to the other. All this occupies fifty
goodly pages, closed by an extract from a memorandum book of the
Doctor’s, which gives the pith of the story in two,--but in which,
singularly enough, the Doctor, though penning a _private_ memorandum,
never hints at how or whence he came to the knowledge of the secret.
But this is not the worst; the game once started is never allowed to
rest,--throughout the remainder of the volume scarce a conversation is
reported which does not contain some well-turned compliment (always
from some leading character) to _Evelina_ and its _authoress_. At a
bas-bleu meeting Mr. Soame Jenyns stands up, and delivers a regular
eulogium on _Evelina_ and its _authoress_. Sir Joshua Reynolds gives a
dinner, to introduce to each other (we hardly know which to place in
the first rank of celebrity, so follow the rule of _Plâce aux Dames_)
the _Authoress_ of _Evelina_ and the Right Honourable Edmund Burke. At
this dinner the following remarks were made, and are detailed by the
authoress herself:--
“There has been,” Mr. Burke then, smilingly, resumed, “an age
for all excellence; we have had an age for statesmen; an age for
heroes; an age for poets; an age for artists;--but This,” bowing
down, with an air of obsequious gallantry, his head almost upon the
table cloth, “This is the age for women!”
“A very happy modern improvement!” cried Sir Joshua, laughing;
“don’t you think so, Miss Burney?--but that’s not a fair question
to put to you; so we won’t make a point of your answering it.
However,” continued the dear natural knight, “what Mr. Burke says
is very true, now. The women begin to make a figure in every thing.
Though I remember, when I first came into the world, it was thought
but a poor compliment to say a person did a thing like a lady!”
“Ay, Sir Joshua,” cried my father, “but like Moliere’s physician,
_nous avons changé tout cela!_”
“Very true, Dr. Burney,” replied the Knight; “but I remember the
time--and so, I dare say, do you--when it was thought a slight, if
not a sneer, to speak any thing of a lady’s performance: it was
only in mockery to talk of painting like a lady; singing like a
lady; playing like a lady--”
“But now,” interrupted Mr. Burke, warmly, “to talk of writing like
a lady, is the greatest compliment that need be wished for by a
man!”
Would you believe it, my daddy--every body now, himself and my father
excepted, turned about, Sir Joshua leading the way--to make a little
playful bow to--can you ever guess to whom?--vol. ii. pp. 236, 237.
We do not complain that this was originally confided to an old, a
fraternal friend, in all the warm glow of surprise, raised pride, and
gratified feelings; but we do think that a lapse of fifty years should
have somewhat tempered that glow, if it did not even suggest something
like a question whether all these hyperbolical compliments, bestowed at
last upon a production of no higher class than a novel, could be quite
sincere. But enough on this subject; we have been led further into it
than we at first intended, and abandon it with much more satisfaction
than we took it up.
[To be continued.]
ANCIENT CONCERTS.
Whatever hopes we might have been led to entertain, at the commencement
of the last season, from the change of circumstances which had
occurred, by which a nobleman of great musical reputation became
a director, and a gentlemen of no mean acquirements was appointed
conductor of these concerts; we must confess, that, as the season
advanced, these hopes, like the girdle of the Lady of Avenel,
gradually diminished, and at the termination of the series, we had
nearly abandoned the expectation of their further continuance. We are,
however, in this respect agreeably disappointed; we say agreeably,
because from early associations and long-confirmed habits, we are
disposed to cling to the wreck, whilst ‘a plank of the vessel’
remains. With all its faults, both of omission and commission, its
‘short-comings and mis-doings,’ the Ancient Concert is endeared to
us by a thousand interesting reminiscences: it was an assemblage of
the great and mighty of the land, and ‘king’s daughters were among
her honourable women.’ Even at this distant period, we cannot recall
to mind the exquisite strains of a Banti, a Mara, a Billington, a
Bartleman, &c., without sensations that thrill through our very frame.
FIRST CONCERT OF ANCIENT MUSIC,
_Under the Direction of his Royal Highness the Duke of Cumberland,
Wednesday, March 6, 1833._
~Act I.~
1. Quartet, ‘When the ears heard,’ (Mrs. Knyvett, ~Handel.~
Terrail, Vaughan and Sale.) Chorus, ‘She delivered
the poor.’ _Funeral Anthem._
2. Madrigal, ‘Lady, when I behold’ ~Wilbye.~
3. Song, ‘Lascia Amor,’ (Mr. Phillips.) _Orlando._ ~Handel.~
4. Chorus, ‘Righteous Heaven.’ _Susanna._ ~Handel.~
5. Song, ‘Lord! to thee,’ (Miss Masson.) _Theodore._ ~Handel.~
6. Concerto, (First Grand.) ~Handel.~
7. Glee, ‘Once upon my cheek,’ (Miss ~Callcott.~
Stephens, Mrs. Knyvett, Vaughan, and Sale.)
8. Song, ‘There the brisk sparkling,’ (Mrs. ~Handel.~
Knyvett.) _Choice of Hercules_
9. Coronation Anthem, ‘Zadok the priest’ ~Handel.~
~Act II.~
10. Overture, _Iphigenia_ ~Gluck.~
11. Recit, ‘To Heaven’s Almighty King,’ (Mr. Braham) ~Handel.~
Air, ‘O liberty.’ _Judas Maccabeus_
12. Chorus, ‘For this God.’ Quartet and Chorus, ‘And ~Marcello.~
he will be.’ (Mrs. Knyvett, Terrail, Vaughan, and
Phillips)
13. Recit. ‘Alas! I find,’ (Miss Stephens.) Song, ‘If ~Handel.~
guiltless blood.’ _Susanna_
14. Duet, ‘Alma mia!’ (Vaughan and Phillips) ~Handel.~
_Admetus_
15. Madrigal, ‘Sweet honey-sucking bees’ ~Wilbye.~
16. Recit, ‘He measured the waters,’ (Mr. Machin.) ~Handel.~
Air, ‘He layeth the beams.’ _Redemption_
17. Chorus, ‘O, praise the Lord’ ~Leo.~
This concert is so much beyond the average quality of the Royal Duke’s
ordinary selections, that we are inclined to believe that though his,
nominally, yet that the conductor may have had the chief hand in it.
‘The voice is Jacob’s voice; but the hands are the hands of Esau.’ Be
this, however, as it may, if we must listen to the same music over and
over again, we had rather endure the repetition of that which is good,
than of mere trash, none of which can be found in the present concert.
At the rehearsal on Monday, ‘Zadok the priest’ was the opening piece,
and the very fine chorus, ‘Let old Timotheus,’ concluded the first act;
but this last was omitted on Wednesday night, to make room for the
oft-repeated movement from the Funeral Anthem, a change considerably
for the worse. Miss Masson, whose first appearance we noticed in the
third concert of the season of 1831, sang the song allotted to her
(No. 5) very respectably; the same huskiness of voice which we then
observed is still perceptible; perhaps it is only the effect of a cold;
some of her tones are exceedingly good, and her expression not without
feeling. The novelty of the evening was the appearance of Mr. Machin,
who possesses a fine bass voice, and seems to understand what he is
about. He gave his recitative and song with great propriety; we shall
be glad to hear him again. We defer for the present our sentiments
respecting the Madrigals (No. 2 and 15), as our limits will not allow
taking up the subject here; we propose noticing them in our account
of the next concert. We cannot pass over the quartet and chorus from
_Marcello_, without recording our approbation. We believe the late
conductor, as well as the present, both arranged these movements from
the forty-eighth psalm; to which of the two the merit belongs of this
night’s performance, we cannot say; either might be justly proud of it,
and thus ‘divide the crown.’
SECOND CONCERT OF ANCIENT MUSIC,
_Under the direction of Lord Burghersh, for His Royal Highness, the
Duke of Cambridge, Wednesday, March 13, 1833._
~Act I.~
1. Overture. Chorus, ‘How excellent thy ~Handel.~
name.’ _Saul_
2. Song, ‘O Lord! have mercy,’ (Mr. Parry) ~Pergolesi.~
3. Madrigal, ‘Die not, fond man’ ~Ward.~
4. Song, ‘Non vi turbate.’ (Mrs. Bishop.) Chorus, ~Gluck.~
‘Dal lieto Soggiorno.’ _Alceste_
5. Recit. ‘Bless’d be the Lord,’ (Mrs. Knyvett.) ~Handel.~
Song, ‘What though I trace.’ _Solomon_
6. Chorus, ‘Credo in unum Deum.’ Quartet, ‘Et ~Mozart.~
incarnatus est,’ (Mrs. Bishop, Terrail, Sale, and
Donzelli.) Chorus, ‘Et resurrexit’
~Act II.~
7. Overture. Zauberflöte ~Mozart.~
8. Recit. ‘And God created man.’ _Creation._ Air, ~Haydn.~
‘In native worth,’ (Mr. Bennett)
9. Madrigal, ‘Stay, Corydon’ ~Wilbye.~
10. Recit. ‘Lasciate!’ (Miss Masson.) Aria, ‘Morirò! ~Handel.~
ma vendicata.’ _Teseo_
11. Chorus, ‘Regina cœli, lætare’ ~Mozart.~
12. Glee, ‘Blow, blow, thou winter wind,’ (Mrs. ~Stevens.~
Knyvett, Terrail, Horncastle, and Bellamy)
13. Duet, ‘The Lord is a man of war.’ _Israel in ~Handel.~
Egypt._ (Mr. Phillips and Mr. Machin)
14. Recit. ‘Ah perfida.’ Aria, ‘Và dal furor,’ ~Jomelli.~
(Signor Donzelli)
15. Chorus, ‘The Gods, who chosen.’ _Athalia_ ~Handel.~
For years past, the attempt to get up a _madrigal_ at the Ancient
Concerts was little more than a failure. Lord Fortescue was attached
to this species of composition, and while his health permitted him to
take an active share in the direction, madrigals were occasionally
introduced, but without effect. The causes which led to this arose out
of the defective system to which we have frequently alluded, and were
sufficiently evident to any one possessing some experience in this
style of music. In the preceding concert, two madrigals were performed,
and also two in the present (Nos. 3 and 9). The conductor has adopted
a new plan, which has succeeded well, thus far: there is yet ample
room for improvement, which we do not despair of witnessing, if he
persevere in his endeavours to accomplish. Instead of sitting before
the instrument and _thumping_ it, by way of marking the time, he quits
the chair, and standing in front of the orchestra, with _baton_ in
hand, gives the time in a way to be seen by every performer. But he
must not stop here: at present, the whole body of chorus-singers are
employed--if, indeed, these singers were drilled in the same admirable
mode that the German chorus, who performed at the Opera House last
summer, were, then might a similar powerful effect be produced by the
same attention to the _piano_ and _forte_, the delightful _crescendo_
and _diminuendo_, the beautiful precision, and the nice blending of the
different voices, creating, as it were, an _ensemble_ quite unrivalled.
But as the Ancient Concert chorus is at a considerable distance from
that just described, we are confident that if about four or five voices
to each part were selected from the main body, comprising of course
all the principal singers, the result would be highly beneficial. At
present, the female singers appear to have no idea of what they are
required to do; each seems determined to be heard, by singing as loud
as possible, thus overpowering the other parts, the basses especially,
and materially injuring the general effect. Among the _altos_ and
_tenors_ also, there are some harsh discordant voices, which might be
omitted in the selection with great advantage to the performance. We
shall again revert to this subject.
Of the present concert we cannot but speak with respect;
notwithstanding its containing much that has been repeated from year
to year, yet no _trash_ can be found to disfigure and degrade it.
We protest, however, against the arbitrary and uncalled-for act, of
curtailing the subscribers of a portion of their due, the effect of
which is plainly visible in this selection. The book announces the
_Overture to Saul_, but the band played only the _first movement_,
omitting the other three; one of which (_the third_) is an _obligato_
for the organ: this has always been omitted, owing, it used to be said,
to the nervousness of the late conductor--is the present conductor
equally nervous? we would fain hope the contrary, if only for the
honour of the Ancient Concert, which has a sad _lee-way_ in reputation
to _fetch up_. Only one movement of the noble opening chorus was
performed. We thoroughly dislike these _un ancient_ mutilations, which
we had hoped the influence of the new conductor would be exerted to
remedy. _Miss Masson_ sang a song from Handel’s opera of _Teseo_, which
did her great credit: it is too good to be popular, though we had the
pleasure of hearing her in the same song at the _Philharmonic_, and
also at the _Vocal Concert_, and in both instances she received great
applause. _Mr. Parry_ made his first appearance here, and executed
his song (No. 2) with judgment, by not attempting to introduce
embellishments where they would be entirely misplaced. _Mr. Bennett_
also made his first appearance at these concerts in the fine song
in _The Creation_. (No. 8.) We shall have no objection to hear him
again, which we could wish to do, before pronouncing an opinion--our
impression, however, is favourable. _Mr. Machin_ took the second bass
in Handel’s noble duet (No. 13), and confirmed the view we took of his
performance in the preceding concert. _Mr. Phillips_ acquitted himself
with great credit in the first bass; each party felt emulous to do his
best, and both were successful. _Stevens’s_ lovely glee (No. 12) was
_encored_, a just compliment to its merits. We have been accustomed to
hear it sung by _two trebles_, tenor and bass, which we consider to be
more effective, than with _one treble_ and _an alto_.
_Signor Donzelli_, in the quartet (No. 6), sadly overpowered his
companions, producing an effect almost ludicrous; he has certainly a
voice of amazing power; but we might apostrophise it in the language of
the great bard:--
“Oh ’tis excellent
To have a giant’s strength; but it is tyrannous
To use it like a giant.”
In his song from _Jomelli_ (No. 14), he was occasionally too flat;
indeed, the same observation applies to his singing in the quartet,
where he was by no means in strict tune throughout.
We omitted to notice, in our introductory remarks, the alteration which
has taken place in the orchestra, by bringing it more forward into the
room, and lowering it in front--it is a decided improvement--which we
are informed we owe to the Philharmonic Society, whose concerts have
been removed from the Opera House to these rooms.
THIRD CONCERT OF ANCIENT MUSIC,
_Under the Direction of Lord Cawdor, Wednesday, March 20, 1833._
~Act I.~
‘God Save the King.’
1. Overture, _Occasional Oratorio_ ~Handel.~
2. Recit. ‘It must be so,’ (Mr. Phillips.) Song, ~Handel.~
‘Pour forth no more.’ Chorus, ‘No more to
Ammon’s God.’ _Jephtha_
3. Recit. ‘Ye verdant plains,’ (Mrs. Knyvett.) Song, ~Handel.~
‘Hush, ye pretty.’ _Acis and Galatea_
4. Madrigal, ‘When Thoralis delights’ ~Weelks.~
5. Concerto in G minor ~Martini.~
6. Song, ‘Odi grand’ ombra’ ~De Majo.~
7. Sextet, ‘Dominus a dextris,’ (Miss Clara Novello, ~Pergolesi.~
Mrs. Knyvett, Terrail, Vaughan, Sale, and Phillips.)
Chorus. ‘Gloria Patri’
~Act II.~
8. Overture, _La Clemenza di Tito_ ~Mozart.~
9. Chorus, ‘He gave them hailstones’ } {
10. Chorus, ‘He sent a thick darkness’ } {
11. Chorus, ‘He smote all the first born’ } _Israel {
12. Chorus, ‘But as for his people’ } in { ~Handel.~
13. Chorus, ‘He rebuked the Red Sea’ } Egypt._ {
14. Chorus, ‘He led them through’ } {
15. Chorus, ‘But the waters overwhelmed’ } {
16. Duet, ‘Cantando un. Di sedea,’ (Miss C. Novello ~Clari.~
and Mrs. Knyvett)
17. Glee, ‘Thy voice, O! Harmony,’ (Mrs. Knyvett, ~Webbe.~
Terrail, Vaughan and Bellamy)
18. Song, ‘Agnus Dei,’ (Mrs. Knyvett) ~Mozart.~
19. Chorus, ‘Hallelujah,’ _Messiah_ ~Handel.~
The Queen was present at this concert, attended by the Marchioness
of Westmeath, another lady, and Lord Denbigh, her Majesty’s Lord
Chamberlain.
Having on former occasions given our opinion without reserve, on the
propriety of receiving the Queen at the concert of Ancient Music, in
the same way which has always been observed at the theatres, but which
never was practised _here_, under the _ancien régime_, we shall merely
remark, that we have heard the ‘National Anthem’ much better performed
at the theatres, than it was done now, the solo parts more especially.
The Occasional Overture was played extremely well; but the fugue was
too slow, though in the same time in which the late conductor gave
it. We are confident the effect would be improved, by performing the
overtures of Handel generally a shade faster than is at present done.
The charming concerto of Martini (No. 5) was indeed a treat. _Mr.
Cramer_ may be said to be identified with these beautiful compositions,
which are unheeded and unknown, except at these concerts; and which a
prurient taste for florid and over-loaded accompaniment has nearly put
_hors de combat_.
The madrigal (No. 4) was very creditably done. Mr. Knyvett has
succeeded in bringing about an essential improvement in the performance
of this most interesting style of music; we trust to his judgment
for further efforts towards perfection. There are few difficulties
over which patience and perseverance will not obtain the mastery. Mr.
Phillips sang his song (No. 2) with great spirit, and without _rant_;
we do not recollect ever to have heard him with more effect. The chorus
which succeeds went off equally well: it is an admirable specimen of
the genius of its immortal author. The fine _Sestet of Pergolesi_
(No. 7) was very fairly executed; it is a difficult piece to do well:
every one must perform their part without _flinching_, as each must be
considered as an _obligato_. To speak in terms of praise of the chorus
which followed is superfluous; it ranks among the noblest of the many
noble compositions of the same great musician. Ardently do we wish to
hear from time to time more of his charming productions: his _Stabat
Mater_, _Grand Mass_, _Salve Regina_, and other splendid writings,
surely would afford ample materials from which to select, if those in
authority were competent to the task. _Hinc illæ lachrymæ._
With much pleasure we notice the duet (No. 16), which we believe has
never been done _here_ before--certainly not for many years. The
compositions of this elegant writer are comparatively unknown; but
only require to be heard, in order to be duly appreciated by those who
understand and value that which is of sterling quality. The young lady
who took the upper part made her début this evening at these concerts;
she appears very young, but her manner did not discover any of that
_embarras_, usually so trying to young performers; she possesses
considerable compass of voice, and sang with correctness. The musical
public are under no small obligation to this young lady’s father, for
having brought to light much excellent music, which his indefatigable
industry and research drew from the dust and cobwebs, ‘the rust of
ages,’ under which it had long slumbered ‘neglected and forgotten.’
One of the numerous instances of that slavish attention to precedent,
that horror of departing from the _old beaten track_, which has mainly
contributed to reduce the Ancient Concerts to their present standard,
occurs in the second act, where the batch of choruses from _Israel in
Egypt_ are placed. Between Nos. 12 and 13, _Handel_ has inserted a very
fine one, a masterpiece of learning, yet smooth and flowing in its
construction; this admirable chorus we never remember to have heard
_here_, though the two, between which it stands, are done every season.
We allude to ‘Egypt was glad when they departed.’ These are points,
surely, to which the influence of the present conductor might extend,
if he were so disposed.
The final chorus, which was to have been the magnificent ‘_Cum Sancto
Spiritu_’ of _Pergolesi_, was exchanged for the one from the _Messiah_
(No. 19): if this originated with the director of the night, we cannot
compliment him upon his musical taste; perhaps, however, it was a
suggestion from a quarter to which he could not but accede. We cannot
consider it as an improvement.
PHILHARMONIC CONCERTS.
FIRST CONCERT, _Monday, February 25, 1833_.
~Act I.~
Sinfonia in E flat ~Mozart.~
Aria, Mr. Phillips, ‘Lascia Amor.’ (_Orlando_) ~Handel.~
Concerto, Clarinet, Mr. Willman ~Spohr.~
Aria, Signor Donzelli, ‘Pria che spunti.’ (_Il ~Cimarosa.~
Matrimonio Segreto_)
Overture, _Oberon_ ~C. M. Von
Weber.~
~Act II.~
Sinfonia, No. XI. ~Haydn.~
Aria, Mrs. Wood, ‘Ah che i giorni.’ ~Spohr.~
(_Der Alchymist_)
Quintetto, two Violins, two Violas, and Violoncello, ~Beethoven.~
Messrs. Mori, Watts, Moralt, Seymour, and Lindley
Duetto, Mrs. Wood and Mr. Phillips, ‘Come frenar.’ ~Rossini.~
(_La Gazza Ladra_)
Overture, _Demophon_ ~Vogel.~
Leader, Mr. Spagnoletti.--Conductor, Mr. Cramer.
The Philharmonic Society celebrated its coming of age this year--the
present being its twenty-first season--in a manner not at all unusual
with those who attain their majority, namely, by changing its domicile,
and has gained many important advantages by removing.
The great defect in the Hanover Square Rooms, as injudiciously altered
many years ago, by the directors of the Ancient Concerts, was, the
height of the orchestra from the floor, owing to which, sound seemed
to be confined in a gallery,--was half lost before it reached the
audience; not to mention the ill effect produced on it by striking the
roof before sufficient space had been given for its expansion; and it
actually passed over the heads of all those who sat near the performers.
The orchestra is now sloped down to within about four feet of the
ground, and the front is consequently advanced a considerable distance
further into the room, thus admitting a much greater number of
performers, and bringing the singers, concerto-players, &c. nearly on
a level with the company; that is, only so much elevated as to be seen
in all parts of the saloon. The great and beneficial effect of this
alteration was universally admitted, and rooms acknowledged to be the
worst in London for music, are now confessedly become the best.
The two symphonies in this opening concert were executed in a manner
that left no doubt on the minds of the audience as to the continued
efficiency of the band. Indeed, we are not aware that any change has
taken place in it since the former season; it was, and is, filled by
the highest talent which this country can produce. Haydn’s 11th grand,
though not of so imposing a nature as most of the twelve composed for
Salomon, is full of originality and beauty, and not being so often
heard as some of the others, has a freshness which increases its
charms. The overture to _Oberon_ was as perfect as its great composer
himself could have wished. The _Demophon_ very well answered the
purpose of a finale.
The clarinet concerto of Spohr, in E flat, was by all felt to be too
long: many bars, both in the first and last movement, which are
nothing but unnecessary reiterations, might have been curtailed, much
to the advantage of all parties,--composer, performer, and hearers. Had
this discretion been shown, the adagio in ~A~ flat, a rich and lovely
movement, would certainly have met with an encore. This was played in
an exquisite manner, though Mr. Willman did not seem at his ease in the
other parts; they evidently cost him great labour, but made no adequate
return. Beethoven’s quintet, the first in C, op. 29, was executed in a
very masterly style by Mori and his coadjutors; the slow movement was
played in a remarkably fine manner; but though the whole abounds in
genius, it has the defect of much modern music, is somewhat too long;
and when before large mixed audiences, performers would act prudently
in omitting the repeats.
The vocal pieces in this concert did not show much research or vigour
in the selection of them. The two first arie, excellent as they are,
have been heard till they pall on the ear; and Donzelli with his mighty
voice, is resolved that at all times, and in every kind of music, its
utmost power shall be displayed. _Piano_ is a term unknown in his
vocabulary; or else softness is despised by him, as an indication of
effeminacy or idleness. This is the more to be regretted, because,
had he a little light and shade in his singing, he would be the first
Italian tenor in Europe. Mrs. Wood, in Spohr’s air, was admirable; and
though a cadence to this was not only unnecessary, but ill-judged, yet,
as a cadence, it was in exceedingly good keeping. The fine duet of
Rossini is, like all his best music, worn to tatters, and, though well
sung, was received with icy coldness.
The room was full from the very commencement.
SECOND CONCERT, _Monday, March 11, 1833_.
~Act I.~
Sinfonia, No. I. ~Spohr.~
Recit. ed Aria, Miss Masson, ‘Morirò! ma vendicata.’ ~Handel.~
(_Teseo_)
Quintetto, MS. (composed expressly for these Concerts, ~Cramer.~
and first time of performance) Piano-forte, Violin,
Viola, Violoncello, and Contra Basso, Messrs. Cramer,
F. Cramer, Moralt, Lindley, and Dragonetti
Duetto, Miss Masson and Mr. Horncastle, ‘Bella Ninfa.’ ~Spohr.~
(_Jessonda_)
Overture, _Euryanthe_ ~C. M. Von
Weber.~
~Act II.~
Sinfonia, No. VII. ~Beethoven.~
Aria, Madame de Meric, ‘Per pietà.’ (_Così fan ~Mozart.~
tutte_).
Concertino, Violin, Mr. Henry Wolff ~Wolff.~
Terzetto, Madame de Meric, Mr. Horncastle, and Mr. E. ~Beethoven.~
Taylor, ‘Tremate, empi, tremate.’ (_Fidelio_)
Overture, _L’Hotellerie Portugaise_ ~Cherubini.~
Leader, Mr. F. Cramer.--Conductor, Sir George Smart.
Spohr’s symphony in ~D~, dedicated to this society, certainly
improves upon acquaintance. Written as it is, and as most of this
composer’s works are, after Mozart’s models, it still is not devoid of
original traits: while in fulness of harmony, and that kind of finish
which well-directed labour produces, it has never been surpassed. We
have not heard Beethoven’s symphony in A better executed, hardly ever
so well. The second movement[46],--to the merits of which we have
often attempted to do justice--was, as usual, encored. The overture to
_Euryanthe_ received equal justice from the hands of this matchless
band. This is one of those compositions which do not develope their
beauties on a first or even a second hearing; but the fine imagination
of Weber, his taste and artistic skill, are as fully displayed in this
as in any of his better-known orchestral productions. Cherubini’s
overture savours of mannerism; it is nearly made up of passages from
his other works.
Mr. Cramer’s quintet--to compose which he was recently engaged by the
society--aims at nothing grand, makes no attempt to surprise, either
by eccentricity of melody or studied and far-fetched modulation; but a
well-considered design is conspicuous in each movement, and the whole,
particularly the slow movement, is marked by that elegance which is
this author’s attribute. The first movement is an allegro in ~B~ flat;
the second a largo in ~F~; and the last a rondo in six-quaver time. The
performance of this was in Cramer’s well-known exquisite and unrivalled
style,--for who like him knows how to touch the instrument!--and his
efforts were met with that attention and applause which they so richly
deserved[47].
Mr. Wolff, first a pupil of Spagnoletti, then of Mayseder, displayed
considerable ability in his concerto. If his intonation was not always
quite exact--if he sometimes attempted more than he could with great
nicety perform, the occasional imperfections may possibly be imputed
to the nervousness arising from a débût, and before such an audience.
Wishing that he had more of his first master than of his second in his
style--more of the solid and less of the glittering--we still think
that there is great promise in this performer but are not so well
convinced that the Philharmonic Concert was exactly the place for his
first performance.
The scena and aria of Handel are worthy of the master, and pleased as
novelties, for every part of the opera is totally unknown. Rage and
revenge are here expressed, according to the fashion of the day, in
long divisions; but these very divisions render the air unfit for Miss
Masson’s voice, which has but little flexibility, and proved unequal to
the many passages requiring quick and distinct articulation. Her shake
too, a grace, if grace it must be called, is anything but perfect, and
unfortunately was here frequently introduced, greatly to the regret
of those who know how to appreciate this lady’s talents, which are of
a high order, but in the present air much misemployed. The duet from
_Jessonda_ was chosen for her with much more judgment. Mozart’s aria,
from the appendix to his _Così fan tutte_, is a fine composition,
abounding in the riches both of melody and accompaniment, but Mad. de
Meric had fatigued herself by previously singing at the theatre, and
certainly did not make the most of what was now assigned to her. The
terzetto--another hacknied piece--was correctly performed; but this
wants the stage; in concert-room it ranks as a second-rate composition,
whatever the through-thick-and-thin admirers of the author may say to
the contrary.
VOCAL SOCIETY.
FIFTH VOCAL CONCERT, Monday, March 4, 1833.
~Part I.~
1. Full Anthem, ‘O clap your hands’ ~O. Gibbons.~
2. Glee, ‘Blest pair of Syrens.’ (Masters Howe
and Hopkins, Spencer, Vaughan, and Bellamy) ~J. S. Smith.~
{Rec. ‘This image.’ MS. oratorio ‘Daniel } ~F. W.~
3.{ the Prophet’ } Horncastle.
{Air, ‘Lives there a mortal.’ (Mr. Phillips) }
4. Hymn, ‘O thou that read’st.’ (Miss C. ~Novello.~
Novello, Terrail, Vaughan and Chapman,
and Chorus)
5. Duet, ‘Forsake me not.’ _The Last ~Spohr.~
Judgment._ (Miss Shirreff and Mr. Vaughan)
6. Madrigal, ‘Cynthia! thy song and chanting.’ ~G. Croce.~
(1560)
7. Air, ‘Dulcissimum convivium.’ (Mrs. G. ~Mozart.~
Wood)
8. Terzetto, ‘Mandina amabile.’ _La Villanella ~Mozart.~
Rapita._ (Miss C. Novello, Hawkins, and
E. Taylor)
9. Glee, ‘The Shades of the Heroes.’ (Messrs. ~T. Cooke.~
Hawkins, Fitzwilliam, Horncastle, Phillips,
and Atkins)
10. Fantasia, Flute. (Mr. Nicholson.)
~Part II.~
11. Chorus, ‘Viaticum in Domino,’ from a
Litany. ~Mozart.~
12. Glee, ‘Now the blue fly’s gone to bed.’ ~W. Linley.~
(Messrs. Goulden, Horncastle, Vaughan, and
Sale)
13. Cantata, ‘Mad Bess.’ (Miss Shirreff) ~Purcell.~
14. Witches’ Song and Chorus. (Solos by Master ~R. J. S.
Howe, Goulden, Vaughan, Bellamy, and Stevens.~
Atkins)
15. Madrigal, ‘Fire, fire my heart.’ (1593). ~Morley.~
16. Aria, ‘Per questa bella.’ (Mr. Parry, Jun.) ~Mozart.~
17. Duetto from _La Primavera Felice_. ~Parr.~
(Messrs. Horncastle and Phillips)
18. Glee, ‘Come, Lucy, my love.’ (Master ~T. Jolly.~
Howe, King, Horncastle, and Sale)
19. Glee and Chorus, ‘Sons of Dian.’ (Messrs. ~E. Taylor.~
Hawkins, Vaughan, Fitzwilliam, and E. Taylor)
In the composition of a concert, as in that of a good picture, an
attention to the _chiaro scuro_ is of essential importance: some of the
noblest efforts of the pencil owe no small degree of their merit and
high reputation to the skilful management of the artist in a judicious
blending of his light and shade. The same principle, applying in the
one case to the organ of vision, is of equal force in reference to the
organ of audition. The concert under present consideration affords
an apt illustration of our meaning: in variety of authorship, and in
intrinsic excellence, there is little room for objection; but it is
very deficient in what the French term _les nuances_. A succession of
elaborate pieces compose the first act, giving a _sombre_ complexion
to the whole, which might easily have been avoided by throwing in
occasional _relief_. The opening piece, by being chorus throughout,
did not produce anything like the effect of Battishill’s Anthem at
the commencement of the second concert, where a charming verse for
three voices, between the first and last chorus, affords the most
agreeable relief to the musical ear: we are here speaking of _effect_,
not intending any invidious comparison between _Orlando Gibbons_ and
_Jonathan Battishill_, who were both splendid writers; and we heartily
wish we had heard much more of the works of these truly great musicians
at the concerts of the Vocal Society. In a mixed audience, various
tastes must, of course, be expected; and without departing from the
dignity which ought never to be lost sight of in the conduct and
management of such concerts as these, still we contend that music of
a somewhat lighter character might be most advantageously introduced,
to the general improvement of the evening’s performance; always
remembering, that _light_ music and _trifling_ music are by no means
synonymous.
As we shall probably, in our notice of the concluding concert, take
a short retrospective view of the whole, we will not at present say
more on this topic; but proceed to remark briefly on certain points
immediately connected with this night’s performance. The two Madrigals,
(Nos. 6 and 15,) though of unequal merit, were both _encored_, and were
the only _encores_ of the evening. We rejoice to witness the favour and
acceptance which these compositions meet with; it is highly creditable
to the musical feelings of the audience, and a satisfactory answer to
those who affect to say that music of this description is entirely out
of fashion. Miss Shirreff’s ‘Mad Bess’ wanted ease; she had evidently
studied the part, but perhaps this very circumstance was too apparent,
and gave the idea of a laboured performance: we must be permitted
to express our surprise at the piano-forte accompaniment of Mr. T.
Welsh, which we cannot but think his better judgment must disapprove;
running up and down the keys may display the dexterity of the player,
but it ought not to be at the expense of the composer, especially of
such a composer as Henry Purcell. An elegant and pleasing glee (No.
12) of Mr. W. Linley’s was heard with great attention and evident
satisfaction, and had it been done at an earlier period of the evening,
would doubtless have been repeated. The Witches’ Song and Chorus (No.
14) of Mr. Stevens strongly reminds us of Purcell; it is a composition
of great merit: the chorus should have been repeated. As an instance
of the working of the system of admitting single tickets, we observed
an individual _in boots, and with an umbrella under his arm_, walk up
to the upper end of the room, where he stood in a very conspicuous
situation during the whole of the concert. _This is too bad._
SIXTH VOCAL CONCERT, Monday, March 18, 1833.
~Part I.~
1. Anthem, ‘I will sing of thy power’ ~Dr. Greene.~
2. Solo and Chorus, ‘By the dark rolling’ ~M’Murdie.~
3. {Rec. ‘Lo! here my love.’ (Mr. Hawkins) } ~Handel.~
{Air, ‘Love in her eyes.’ _Acis and Galatea._ }
4. Mass, ‘Gloria in excelsis,’ &c. ~Haydn.~
5. Madrigal, ‘So saith my fair.’ (1580) ~Luca
Marenzio.~
6. {Rec. ‘Misera! dove son.’} (Mrs. Bishop) ~Mozart.~
{Aria, ‘Ah! non so io.’ }
7. Glee, ‘If o’er the cruel tyrant’ ~Arne &
Greatorex.~
8. Hymn to the Creator, (Solo, Miss C. Novello, ~M. Chelard.~
and Chorus)
9. Fantasia, Oboe. (Mr. G. Cooke) ~G. Cooke.~
Part II.
10. Quartet and Chorus from a Mass, No 2. ~Hummel.~
(Miss George, Spencer, Bennett, and Chapman)
11. {Rec. ‘First and chief.’ _Il pensieroso_ } ~Handel.~
{Air, ‘Sweet bird’ (Miss Stephens) }
12. Glee, ‘Say, mighty Love.’ (Goulden, Horncastle, ~Evans.~
Fitzwilliam, and Sale)
13. Quartet and Coro, ‘Ogni speranza.’ (Mrs. ~C. M. von
Bishop, Miss Masson, Horncastle, and Parry) Weber.~
14. Ballad, ‘John Anderson my jo.’
15. Madrigal, ‘All creatures now.’ (1601) ~Benett.~
16. Duetto, ‘Bella imago.’ _Semiramide._ (Miss ~Rossini.~
Masson and Mr. Phillips)
17. Glee, ‘Great Apollo.’ (Masters Howe and ~Webbe.~
Hopkins, Vaughan and Bellamy)
18. God save the King.
The sixth and concluding concert of the series having now taken place,
we may fairly offer our congratulations to the Society on the patronage
and success which it has met with. The attempt was, in every point
of view, commendable; and the ardour and zeal with which it has been
followed up, such as, while it deserved success, we have every reason
to believe has abundantly experienced it. We take for granted that
these concerts will be continued another season, and therefore proceed
briefly to review what has, as also what has _not_ been done; which may
not be altogether without advantage to future arrangements.
In the _Prospectus_ issued by the Vocal Society, it is stated that
‘the compositions of native musicians are nearly banished from the
concerts of the metropolis; the glees of _Webbe_, _Callcott_, _Cooke_,
and _Battishill_, as well as those of their living successors, being
superseded by the productions of foreign composers;’ and further,
‘the intention of the Vocal Society is to present, _as its principal
feature_, the vocal music of the English school, both ancient and
modern, including that of the church, the chamber, and the theatre.’
Taking the four names above mentioned--and they are names that claim
the highest rank in the department of glee writing--it is somewhat
remarkable that only _three_ of Webbe’s have been produced, which,
with an ode and a catch, form the catalogue of his compositions; of
Callcott, _one_ glee and one catch only; of Dr. Cooke, who in sterling
merit we should scarcely hesitate to place at the top of the list,
_one_ glee only; and of Battishill, of whose elegant melodies and
sound harmonies it were impossible to speak too highly, _not a single
glee_ has been done. We might go on to mention the names of _Danby_,
_Robert Cooke_, and other charming English composers, known but to few;
but whose music would infallibly delight and captivate an audience
brought together to enjoy compositions of superlative excellence.
Of the Madrigals introduced, the effect has exceeded our previously
formed anticipations; they were executed generally with correctness and
precision highly creditable to all parties; and the manner in which
they were received by the audience was a sufficient hint how acceptable
they were. Of English church music, the portion given has been very
scanty. Part of an anthem of _Battishill’s_, part or one by _Orlando
Gibbons_, and one by _Dr. Greene_, comprise the whole. Of theatrical
music, not a note, with the exception of Mr. Bishop’s, has been heard.
Of _Henry Purcell_, the pride and ornament of the English school,
_one_ piece has been given[48], and _that_, one of his most hackneyed
compositions, brought forward on frequent occasions, as offering a test
to try the merits of young musical aspirants, who in their adventurous
flight have too often met the fate of _Icarus_, by thus soaring too
high. In regard to the works of _living_ writers, the committee of
managers must have felt great difficulty: and this feeling by no means
lessened, we conceive, owing to the circumstance of some of its members
being _themselves_ composers. So strongly, indeed, are we impressed
with this idea, that, if it should form part of the Society’s plan to
change the committee from year to year, we would venture to hint at
the propriety of excluding composers from being elected; not from any
apprehension of their abusing their trust, but solely with the view
of securing independence and impartiality in the execution of a duty
requiring both delicacy and firmness.
In regard to the foreign music which has been performed, when it is
considered that the _principal feature_ of these concerts was stated
to be ‘_to present the vocal music of the English school_,’ it would
appear as if this intention had been materially departed from, in
the number of Italian and German compositions which are to be found.
Without detracting in the slightest degree from the merit of these, we
still entertain great doubt as to the policy of the measure: take, for
instance, _Mozart_, one of the most admirable writers of either ancient
or modern date, whose music, whether for ‘_the church_, _the chamber_,
_or the theatre_,’ was never more in fashion than in the present day,
and may be constantly heard in all parties, both public and private.
We observe _three_, and sometimes _four_ pieces of Mozart in the same
evening, and not one of the six concerts _without_ his music. With all
our high respect for this eminent man, we could have wished to hear
less of him, in order to have made room for composers who would have
done honour to the Society, and given the highest gratification to the
audience; and, strictly speaking, would have been more in accordance
with the scope and design put forth in the Prospectus. We allude to
Palestrina, Pergolesi, Bononcini, with many others, whose names are
not to be found in the concerts of the past season. Of _Haydn_ we have
had a small portion compared with Mozart, nor have the selections from
him been happily chosen; an English dress does not become him; and
we must own, that of _translations_ and adaptations generally, there
are very few that do not materially interfere with the beauty and
spirit of the original. One other point we must just touch upon
before we conclude, of which the managers do not seem to have taken the
same view, with regard to its importance, that we do. We have already
dwelt upon the propriety of throwing in a certain portion of _relief_
in the composition of these concerts: many a half-suppressed yawn we
have witnessed in the room, during the performance of some very good
music, which would gladly have been exchanged for something less fine,
but more pleasing, and doubtless more intelligible to the majority
of the audience. The simple ballad, sung with much expression by Mr.
Broadhurst in the first concert, ‘My ain fire-side,’ was _encored_
with enthusiasm, while the terzetto of Beethoven, which followed soon
after, was heard with comparative indifference. A catch of _Webbe’s_
was introduced in the first, and one of _Callcott’s_ in the second
evening’s performance, but none since, although both were _encored_. If
the future managers choose to exert themselves, they will be at no loss
to find many cheerful, and even humorous compositions, where the words
are altogether unexceptionable, and the music excellent. We strongly
recommend attention to this.
We had proposed to say something on the merits of the performers
individually, but our limits forbid. We will only observe, that a
strong desire to please was evident throughout the season; and we doubt
not that much satisfaction has been afforded to numbers, who will
readily testify the fact, by renewing their subscription the following
season; when the experience which has been gained during the past will
enable the ~Vocal Society~ to resume its functions next year with
improved effect; and we take our leave, with cordial wishes for its
future success.
REVIEW OF NEW MUSIC.
SACRED MUSIC.
1. ~Solo Anthem,~ ‘Bow down thine ear,’ _composed by_ ~Thomas
Attwood~, Esq., _Composer to_ His Majesty’s Chapels Royal, &c. (A.
Novello.)
2. ~Christian Melodies~, _partly original, partly composed from the
sacred Works of the most eminent Masters_, and _adapted by_ ΩΜΕΓΑ.
(Seeley, Fleet Street.)
3. ~Sacred Music~, _consisting of an_ ~Anthem~, ~Psalms~, ~Chants~,
&c. _composed in Score for three and four Voices, with an
Accompaniment by_ ~William Dorrell~. (Duff.)
4. ~Four Sacred Melodies~, _the Words by_ ~Charles V. Incledon~;
_the Music by_ ~Raffaelle A. Wallis~. (Purday.)
Mr. Attwood’s anthem is, in the strictest sense of the word,
devotional, and suited to the service of the church, though the
melodies and accompaniments are cast in a modern mould. The school
is that of Mozart, influenced by habits early acquired in an English
Protestant choir: for the author laid the foundation of his musical
knowledge in the King’s Chapel, and finished an education thus happily
begun, under the great musician of Saltzburg.
This anthem comprises two short movements; the first a larghetto in
~F~, three-eight time; the second rather quicker, in common time, made
up of verse and an alternating chorus for the usual voices. The whole
composition is evidently the production of an accomplished musician,
but the first movement will gain most suffrages; the clearness of the
phraseology or rhythm, and the richness of the harmony--full, but not
affectedly crowded--cannot fail to please all who possess a cultivated
taste. Some, however, may perhaps think that words declaratory of so
much wretchedness should have been set to sounds expressive of deeper
distress; and we are willing to admit that the minor key, or some
mixture of it, would have enforced the sentiment more strongly than an
unbroken continuation of the major third. We likewise wish that the
singer may always profit by the licence granted by the _ad libitum_,
page 6, and reject the secular flourish set down in the small notes,
which would not be quite in character in the chamber; most assuredly is
unfitted for the church.
* * * * *
No. 2,--in a livery of fawn-coloured satin paper, on which are
impressed, in glittering golden characters, the title and epigraph,
surmounted by a blazing lyre and cross, the whole inclosed in a border
of the same proud metal,--does not introduce itself with that humility,
which, both in letter and spirit, the Christian religion inculcates:
it proclaims a church superb, not simple, and addresses itself to the
eye that loves gaud, rather than to the understanding which despises
show. But we shall not quarrel with the author on account of his cover:
anomalies in such things are too common to be matter of reproach. The
richest clad book we ever opened was a Mazarin bible, and the text was
nothing the worse for the magnificence of its clothing.
In a preface the author tells us that, ‘of all the liberal sciences,
music is the most esteemed on earth, and is the only one that appears
to have been admitted into heaven.’ This is comforting news for
musicians, but not very consoling to geometricians, grammarians, &c.
Ωμεγα (or _great O_, as Mr. Cobbett would translatingly call him) is
more liberal of words than careful in the use of them; we, however,
find some good sense mixed with a great deal of enthusiasm,--some
valuable remarks amidst too much _verbiage_. Thus what he says in
his introduction concerning the adaptation of sacred words to airs
originally set to those of a ludicrous, nay sometimes of a loose kind,
has our entire concurrence. ‘In a large collection of tunes designated
as “Sacred Music,” appear sundry compositions dignified with the names
of Handel, Mozart, &c.; and which consist of certain extracts from
their _profane_ works most unscientifically selected, and united to
other extracts to eke out the metre. In one of these “compositions”
is recognized the Sancho Panza of the Zauberflöte, singing one of the
songs of Zion to the air of “Das klinget so herlich!” If such “Sacred
Music” be not an insult to ~Him~ in whose service it is designed to be
employed, it is so to good sense and to right feeling,--it is so to the
memory of the illustrious dead whose names it bears,--and it is so to
that public upon whose credulity it would impose.’
This publication embraces between thirty and forty ‘Christian
Melodies,’ as the compiler terms them, but they are, in fact, harmonies
also for four voices, and originally so composed; for the ‘greater
part were found in the oratorios, the masses, and other elaborate and
similar works of their respective authors.’ Handel, Haydn, Mozart,
Graun, and Hasse, are the composers chiefly selected from; and the
editor has added a few of his own. Without having examined every one
in the collection, but judging from those on which our attention has
been carefully bestowed, we can venture to say that they have been made
with a due regard to the fitness of the airs to the words, and that the
harmonies, where they have been added, are correct and good.
This publication is rather novel in its appearance. The paper is
extra-sized folio, and the whole fifty-two pages of music are printed
from stone, the lithography having been executed by the editor’s own
hand.
* * * * *
In No. 3, the Anthem has most claim to notice, both on account of
extent and merit. It is for a soprano, and what is in choirs understood
by the phrase, verse and chorus. The first movement is in ~F~,
three-four time; the melody is charmingly natural, but not common, the
accompaniment delicate and free from all pedantry. The choral parts are
well introduced and harmonious. A recitative leads to a full chorus in
common time, the whole in the fugue style, though not in regular fugue,
and perhaps more vocally effective on this very account. The words are
set with great judgment--no conceits, no false accentuation, every part
manifests good plain sense and correct taste.
The Psalm tunes are much like other compositions of the kind; they show
no extraordinary exertion. The base accompaniment of a 5th in the last
bar of the second is not altogether judicious; the 3rd in such a case
is far preferable. We need hardly mention the omission of a ~D~ in the
accompaniment, a few bars before, because it is most likely the fault
of the engraver. The note is in the tenor, and doubtless was meant to
appear in the organ part.
The Chants cannot boast of more new features than the Psalms; but, as a
matter of taste, would not the ~C~ in the ninth bar of the first have
been improved by a sharp? It now stands thus:--
[Illustration]
The modulation is into ~D~ minor, and surely ~C~ would have sounded
better had it been sharpened.
The rounds are not entitled to much notice; and that the canon is flat
and unprofitable, only proves that the composer has, fortunately for
himself, no talent for dulness.
* * * * *
The Melodies, No. 4, display a goodly disposition both for air and
graceful expression, but also show a great want of the creative power,
and of experience. We recommend Mr. Wallis to go on writing for a
while, but to destroy as fast as he writes. Practice may do much for
him. If, too, the poet who is joined in this publication were to employ
his thoughts more, and his pen less, for some time to come, he might,
perhaps, produce something rather superior to the verses to which he
here gives his name.
PIANO-FORTE.
1. ~Introduction~ _et_ ~Grand Rondeau Brillant~, (_en_ ~A~)
_composés par_ ~J. N. Hummel~,. Op. 56. (Wessel and Co.)
2. ~Rondoletto Brillante~, _composto da_ ~F. Schoberlechner~. Op.
36. (Chappell.)
The first of the above is the eleventh book of the _Album des Pianistes
de première force_, and by far the most rational of the collection
that has come under our notice, for it is only a new edition of the
rondo, justly a favourite one, which has been, and long ago we believe,
reviewed in our work. M. Hummel has frequently played it in public, and
most of our readers are well acquainted with the composition.
* * * * *
It is not clear to us why the composer of No. 2 should have added a
diminutive to his rondo, implying either brevity or ease, whereas it is
of the ordinary length, and difficult. A short introduction, adagio,
promises well for the following allegretto scherzando, the chief
movement; but the latter disappoints us; it is in the skittish Mayseder
style, and the passages are far from uncommon; though it certainly will
be found lively if well played, and comes under the description of
brilliant music, by which is understood whatever is quick, showy, and
exhilarating.
* * * * *
1. ‘L’Or est une Chimère,’ _from_ ~Meyerbeer’s~ _Robert le Diable,
arranged with Variations by_ ~C. Czerny~. (Chappell.)
2. ~The Tournament March~, do. do. do.
3. ~The Gamester Chorus~, _from do. arranged as a_ ~Rondo~ by ~J.
Herz~. (Chappell.)
4. ~The Final Chorus~, do. do. do.
The introduction to No. 1 has not cost M. Czerny much thought, and his
variations on this very popular air are not remarkable for originality,
but are devoid of all those absurdities of which we have so often to
complain, and are also within the reach of those who do not think it
advisable to dedicate half their time to the labour of practising.
No. 2 has an introduction in ~A~ flat, which enables a moderate player
to make a considerable display, provided his left hand can conveniently
reach tenths. The March in ~C~ is short and simple, and what we have
said of the variations to the preceding applies to the present; but
these are much easier for the performer.
* * * * *
No. 3 takes the _Chœur des Joueurs_ as an introductory movement; the
rest of the piece is the same air as No. 1, in ~F~, protracted to
sixteen pages in the form of a rondo, but is executed with ability, and
the passages are all of a reasonable kind; for it is to be observed,
that we have not Henri Herz before us, but his brother.
* * * * *
No. 4 is a very pleasing rondo in ~E~; the melody is agreeable and new,
and Mad. Cinti’s cavatina, being embodied in the piece, imparts much
variety to it. This is by no means so easy for the performer as the
foregoing; and some reiterated semiquavers--fit enough for a violin,
but not calculated for the piano-forte--are unnecessarily introduced;
yet, on the whole, this is a clever arrangement, and such as is likely
to be approved very generally.
* * * * *
1. ~Gems of Scottish Melody~, _a Selection of the most popular_
Airs of Scotland, _arranged with a Variation to each, by_ ~J. M.
Muller~, No, 1. (_Edinburgh_, Paterson and Co.)
2. Ditto No. 2, ditto.
3. Ditto No. 3, ditto.
4. Ditto No. 4, ditto.
In every one of these numbers are eight airs, each of which, with the
single variation, fills one page only. Now much as we disapprove the
numerous variations, or the interminably long ones, which so frequently
appear, yet two or three, of moderate length, are desirable, for the
sake of that variety which the term implies, and, if moderately good,
can never be thought tedious. This is all we have to object to in the
present publication, which are of a very useful kind, the melodies
being chosen with taste, and arranged with judgment for rather juvenile
students. But in truth, really good players need not be ashamed to
bestow two or three minutes upon any one of them, for we do not find
a single melody among the thirty-two that is not worthy of being
listened to by any lover of national music; such music, too, as that of
Caledonia.
* * * * *
1. Délassemens de l’Etude, 25 ~Favourite Airs~, _arranged and
fingered by_ ~François Hünten~. Book I. (Chappell.)
2. Ditto. Book II.
We have here another publication that will prove of great utility: it
is a collection of the most popular modern airs from foreign operas, or
by foreign composers--by Mozart, Beethoven, Rossini, Weber, Meyerbeer,
&c.,--arranged and fingered for the use of learners almost of the
youngest class, and in a manner which justifies M. Hünten in affixing
his name to the work, for he has evidently bestowed an attention on
it which proves that he knows the importance of putting only what is
correct, and likely to form a good ear, into the hands of children.
DUETS PIANO-FORTE.
1. Les Deux Amis, _composed by_ ~J. N. Hummel~. Op. 117. (Cramer,
Addison, and Beale.)
2. The Archduke Rudolph’s ~Triumphal March~, König Stephan,
_composed by_ ~L. Van Beethoven~; arranged by ~C. A. de Winkhler~.
(Wessel and Co.)
3. ~Mehul’s Overture~ to Une Folie, _arranged with Accompaniments_
(ad lib.) for _Flute, Violin, and Violoncello_, by ~S. F.
Rimbault~. (Purday.)
4. My Delight, _Twelve short and melodious Pieces_, _composed by_
~Ant. Diabelli~. 2 Books. (Wessel and Co.)
The opening adagio in B minor of No. 1, is of the expressive kind,
and if played with much nicety and great feeling, will be effective;
though we trust that all persons who wish to discourage whatever tends
to vitiate musical taste will at once cut out the run of thirds in
semitones forming part of the cadenza, which, like all passages of
the sort, only serves to remind us of that half-suppressed cry which
a fit of the tooth-ache, or colic, sometimes extorts from the most
patient sufferer. But the author seems to have exhausted himself in
this movement; the second, molto vivace, in ~D~, though, in some
respects, clever, and exhibiting very bold modulation, will never have
any attraction for those who think that air and grace are essential in
musical composition. This is not an easy work; but we must add that
the notation--the avoidance of apparently short notes--is a proof of
M. Hummel’s clear understanding. Composers, in general, are not aware
of the difference, in point of difficulty, which may be made by mere
notation. Writing demisemiquavers and shorter notes is, commonly,
either mere pedantry or sheer ignorance. Sometimes, we grant, they are
necessary, but in nine cases out of ten they may be avoided, as in the
present instance, by words indicating great rapidity; or by putting
a bar through the C marking common time. But the metronome (which M.
Hummel, like a man of sense, always uses) is the surest and best guide.
* * * * *
Mehul’s overture is a great favourite in French theatres, and not
devoid of something like dramatic effect, but as a piano-forte duet, as
drawing-room music, it is very jejune indeed.
* * * * *
If Beethoven had never written but in the style of the Archduke’s
march, his name would not have been heard beyond the confines of
day-schools or Margate libraries. This is an easy, common-place affair;
but, perhaps, quite good enough for the triumphs of the illustrious
Rudolph, whoever he may be. What is meant by ‘König Stephan’ we
pretend not to guess. _Our_ King Stephen thought his unmentionables
too expensive at a crown: we hold that his namesake’s march is much
dearer at half the sum. We will not, however, imitate the son of the
conqueror, and call the vendor by foul names.
* * * * *
M. Diabelli’s ‘Delight’--(what can be meant by so nonsensical a
title?)--is, if we may judge from No. 4, to make babies play in duo.
These very little pieces keep the hands in one position, being limited
to the compass of five notes: so far they may answer a good purpose,
and they are not disagreeable.
VOCAL.
1. ~Duet~, ‘Now like a Monarch,’ _composed by_ ~A. De Beauplan~.
(Chappell.)
2. ~Ballad~, ‘The Kiss on the Lips we love,’ _the Words by_ ~J.
Imlah~, Esq., _the Melody by_ Mrs. ~P. Millard~. (_Norwich_,
Woodward.)
3. Mignon’s Song, or ‘A foreign Sky above,’ _by the Author of_
~Musical Illustrations of the Waverley Novels~. (Novello.)
4. The Sea Rover, _the Poetry by_ ~J. S. Foster~, Esq., _the Music
by the_ ~Chevalier Sigismund Neukomm~.
5. A Parting Song, _the Poetry by_ Mrs. ~Hemans~, _the Music by
the_ ~Chev. Neukomm~. (Cramer and Co.)
6. ~Song~, ‘So we’ll go no more a roving,’ _written by_ ~Lord
Byron~, _composed by_ ~John Lodge~, Esq. (Chappell.)
7. ~Chansonnette~, ‘Were a Wizard to say unto me,’ _written and
composed by_ ~J. Augustine Wade~, Esq. (Chappell.)
8. ~Air~, ‘I will think of thee,’ _composed by_ ~Henry R. Bishop~.
(Chappell.)
9. ~Ballad~, ‘She grew on Earth a summer Flower,’ _composed by_
~John Daniel~. (_Edinburgh_, Wood and Co.)
10. ~Ballad~, ‘He came to her with gentle Words,’ _written by_ Miss
~Rennie~, _composed by_ ~T. S. Ray~. (Goulding and Co.)
11. ~Ballad~, ‘My Rose,’ _the Poetry by_ Mrs. ~Charles Greville~,
_composed by_ ~Bianchi Taylor~. (Collard and Co.)
12. ~Song~, ‘I met him in the lonely Dell,’ _written by_ ~G.
Vanderhoff~, Esq., _composed by_ ~B. Hime~. (Collard and Co.)
The Duet, No. 1, possesses just that kind of silly prettiness which
probably will sell it.
* * * * *
No. 2 is a very pleasing, easy melody, well accompanied.
* * * * *
No. 3 exhibits all the independence, the originality, and feeling,
which are so conspicuous in this Lady’s ‘Illustrations.’ The words are
Goethe’s, but we conjecture that the composer intends them to apply
to the expatriated Poles, whose miseries have excited her strongest
sympathy. There is all the enthusiasm of genius in this, but no want
of method. We do not, however, see why the whole should not have been
written in three-crotchet time.
* * * * *
No. 4 is a very spirited air, with a well-judged accompaniment, but
it will inevitably be compared with the author’s ‘Sea,’ and thereby
suffer, for the task would be no easy one to produce any thing at all
equal to that brilliant composition. Let the present be judged by
its own merits, and it will be generally approved. It is short, not
difficult to sing, and suited to a tenor or a soprano voice.
* * * * *
No. 5 is, in fact, a ballad of four stanzas, the melody short, but
repeated. It is gentle and elegant, rather à la Haydn, and would be
easy, but for a double sharp or two, at which singers who accompany
themselves are apt to start. Let us, however, recommend them not to be
dismayed; the song is full of feeling, and will repay their trouble.
* * * * *
No. 6 is a very sweet melody, in the rondeau style, with an agreeable
Scottish tinge, and accompanied in a lighter manner than is usual with
Mr. Lodge; though there are glimpses of harmony here and them that show
his inclination, which, however, he has not indulged to any great
extent, but has afforded every possible facility to both singer and
accompanist.
* * * * *
The words of No. 7 ought to sell the song. The reasons why a young
maiden should not agree to be metamorphosed into a star, a flower, or a
fish, are quite cogent and reasonable. The air is light, as it should
be, and very simple.
* * * * *
No. 8 shows a strong effort to produce new harmonic effects: the
modulation in the very first two bars from ~C~ to ~A~ flat is rather
sudden, and somewhat startling--_e. g._
[Illustration]
but anything is better than triteness. The air is free and agreeable,
with an accompaniment in the guitar manner. We cannot, however, add
that the words go quite smoothly and well to the melody.
* * * * *
The composer of No. 9 writes with much feeling, and his air is pleasing
and appropriate, but he has injudiciously separated some of the words,
and not very accurately accented others.
* * * * *
No. 10 certainly does not rise above mediocrity, either in music or
words.
* * * * *
No. 11 is correct and graceful, rather than striking or new.
* * * * *
On No. 12 we really can bestow no praise, however qualified; the words
and music are nearly on a par with the lithographed vignette, but of
the three, the music is least obnoxious to criticism.
HARP.
1. Air de Ballet, _as a_ ~Brilliant Rondo~, _the subject from_
~Meyerbeer’s~ Robert le Diable, _arranged by_ ~Theodore Labarre~.
No. 2. (Chappell.)
2. Ditto No. 3.
3. Ditto No. 4.
The first of the above is the _Pas de Cinq_, the second the _Valse des
Démons_, and the third the _Chœur Dansé_, from the opera now performing
in all parts of Europe, though certainly with variable success. But
the pieces selected by M. Labarre are universally admired, whatever
may be, according to different tastes, thought of the work in its
entire state. These are all arranged with a view to general use; all
unnecessary difficulty, therefore, is avoided, but not at the expense
of the author’s intended effects, which are as carefully preserved as
the means afforded by a single instrument render possible.
HARP AND PIANO-FORTE.
~Six Waltzes~, _composed by_ ~Hummel~, _arranged by_ ~N. C.
Bochsa~. (Chappell.)
These are the well-known waltzes, Op. 91, written by Hummel for the
piano-forte only, and now converted, with considerable address, into
very effective, yet perfectly easy duets for the two drawing-room
instruments.
MADRIGAL SOCIETY.
The anniversary of this society, on Thursday the 21st of February,
proved, past all doubt, that the taste for the species of music
cultivated by its members is anything but on the decline. A more
brilliant meeting has not for many years been known, as the subjoined
list of music performed, of members present, and of visitors, will
amply testify; and it was by all agreed, that the various compositions
were never heard to greater advantage.
There are cycles in music as well as in other heavenly things; the
madrigal is come round again, and probably will, in two or three years,
again disappear, except to the present society, who have never lost
sight of it, and to whom (as also, indeed, to the Ancient Concerts) we
are perhaps indebted, for having preserved it from final occultation.
We shall not be surprised soon to find it visible in our most
fashionable drawing-rooms, and to hear that the revived taste for it
in this country has drawn the attention of our continental neighbours
to a kind of harmony which those who profess any knowledge of the art,
either from study, or merely listening to and enjoying it, cannot but
admire.
After the cloth was removed, and the youthful choristers of the King’s
Chapel and St. Paul’s Cathedral were admitted, the following madrigals
were performed, nearly all present taking a part:--
Voices. Composers.
All creatures now are merry-minded. 5 ~J. Bennet.~
Arise, awake 5 ~Thos. Morley.~
Basti fin qui le pene 10 ~Luca Marenzio.~
Cynthia, thy song and chanting 5 ~Giov. Croce.~
Dainty fine sweet Nymph 5 ~Thos. Morley.~
Fire, fire, my heart 5 ~Thos. Morley.~
I will sing of thy power 5 ~Dr. M. Greene.~
Kyrie eleison 5 ~Clari.~
Lo! where with flow’ry head 5 ~Thos. Morley.~
Lord, for thy tender mercy’s sake 4 ~R. Farrant.~
Lady, your eye my love enforc’d 5 ~Thos. Weelkes.~
Miserere mei 4 ~J. P. Palestrina.~
Now, O now, I needs must part 4 ~J. Dowland.~
Oft have I vow’d 5 ~J. Wilbye.~
Sweet honey-sucking bees 5 ~J. Wilbye.~
Fal lal la (The Waits) 4 ~J. Saville.~
Among the members present were, Messrs. W. Linley, (Chairman), W.
Hawes (Music Director), C. Baumer, T. Pinto (Stewards), J. P. Street
(Librarian), Tho. Oliphant (Secretary), E. Bates, R. Taylor, J. Capel,
J. T. Cooper, J. Barwise, Sir A. Barnard, K.C.B., Rev. J. Hall, J. P.
Salomons, E. Fitzwilliam, J. N. Macleod, Lord Saltoun, J. Calkin, C.
Hancock, H. Hancock. C. Comerford, J. Dillon, G. Cooper, W. Taylor,
Tho. Gladstone, M.P., E. Taylor.
The non-professional visiters were, Duke of Argyle, Admiral Taylor,
Sir R. Simeon, Hon. A. Macdonald, Dr. Penrose, Messrs. Boldero, Gray,
Nyren, Seviers, (2.) Hall, Spyring, Cox, Bond, M’Donald, Bedford,
Campbell, Mozer, Rich, Pears, Bates, jun., Luttrell, Barnard, Spencer,
S. Cartwright, Street, jun., S. J. Arnold, H. Surman, H. Sanford, J.
Silver.
The professional visiters included Messrs. Vaughan, Sale, Spencer,
Leete, Blackbourne, Horncastle, Ella, Horsley, Hawkins, Walmisley, C.
Evans, C. Taylor, Howell, James Elliott, Goss, Goulden, Jolley.
EXTRACTS FROM THE DIARY OF A DILETTANTE.
[Resumed from page 64.]
_Feb. 28th._ _Tait’s Magazine_ for this month has the following remark
concerning the concerts at Edinburgh:--‘Mrs. Wood has shown on how
much the human voice, and Mr. Boschsa how little the harp, can do to
entrance the soul in musical delight.’ This is sensible criticism, in
no far as it extends to the singing and playing of the individuals
named: but the harp, when in the hands of those who best know how to
use it--who seek not to astonish by what is called execution, which
is only another name for murder, but study its pathetic and romantic
character, and attempt nothing out of this--is an instrument that, in
some shape or other, has charmed in all ages, and will continue to be
admired wherever a taste for music is at all cultivated. Those among as
who remember having heard Mad. Krumpholtz, and, more especially, the
Vicomte de Marin, well know what the harp can do when properly touched.
* * * * *
_March 7th._ The King’s band of musicians was an imitation of the band
of Louis XIV. In Evelyn’s Diary, dated 21st of December, 1662, is
the following account of its first performance. This able and honest
statesman and excellent naturalist possessed a fine taste for the arts,
in which he took very considerable interest. He evidently felt very
indignant at the musical innovation made by the heartless Charles,
whose education was finished in the profligate French court, and thus
expresses himself:--
‘One of his Majesty’s chaplains preached at the King’s Chapel,
after which, instead of the ancient, grave, and solemn wind music
accompanying the organ, was introduced a concert of twenty-four violins
between every pause, after the French fantastical light way, better
suiting a tavern or a play-house, than a church. This was the first
time of change, and now we no more heard the cornet which gave life to
the organ, that instrument quite left off, in which the English were so
skilful. I dined at Mr. Povey’s, where I talked with Cromer, a great
musician.’
* * * * *
--This morning Mr. Guynemer gave--(literally gave, for profit was not
his object)--a ‘Matinée Musicale’ at the Opera Concert Room, chiefly
for the purpose of performing some selections from a Mass recently
composed by him. He, of course, had a very full audience, among whom
were the most distinguished amateurs and professors at present in
London. The Mass, or at least such of it as was introduced, possesses
considerable claims to notice; and if it does not show much fancy, much
original conception, proves the author to be a man of knowledge and
taste. His band was select, and led by Messrs. Spagnoletti and Mori;
himself and Mr. Novello acting as conductors.
* * * * *
_10th._ A weekly paper, in whose well-delivered musical opinions I
generally concur, has attacked in rather strong language the first
Ancient Concert of this season, and in pretty plain terms accused the
directors of imitating the new Vocal Concert, by the introduction of
madrigals. Surely the writer has not carefully looked over the books
of the Ancient Concert, or made himself acquainted with the fact that,
at its very first institution, nearly sixty years ago, madrigals
were among its most important features, and have, more or less often,
continued to be performed up to the present time. I myself heard two of
them last season, though not present at more than three or four of the
concerts. The efforts made by the Madrigal Society during late years
have slowly, but surely, drawn attention to this fine species of music,
and the Vocal Concert happily seized the moment for bringing it before
a larger and more mixed audience, and certainly in a very inviting
form; but let not the Ancient Concert, the finest school in Europe for
the music of the great old masters, and which has preserved the best
models from being trampled into dust--which has stood for years as the
bulwark against the whims of fashion, and steadily resisted the greedy
appetite for whatever is new, however contemptible--let not this be
abused as the servile imitator of an infant establishment which has
only re-produced compositions that have been heard by three generations
at a concert to which--though often mismanaged, and too frequently
a sufferer from prejudice--our country is so much indebted for its
musical taste, and on which, I am persuaded, the preservation of good
music in England yet so mainly depends.
* * * * *
_16th._ We are certainly to be honoured by another visit from Signor
Paganini after Easter, as I last year predicted; though the French
papers, and of course the English, stated positively, that he had
resolved to appear in public no more, but had ‘determined to retire
and enjoy _otium cum dignitate_.’ It was to me a matter of certainty,
demonstrable upon moral principles, that while any thing is to be
got in this country, the hero of one string will be drawn to our
shores by metallic attraction. Of his continued success, however, I
have my doubts; the _fit_ was on the decline last season; our senses
are beginning to return: but if reason should not influence us, the
state of the country will. It is really ‘too bad’ to be lavishing
thousands, tens of thousands, upon a foreigner, who is more admired
for his tricks than for his real excellences, while many of our best
performers--some of whom are more than his equal in the legitimate use
of the instrument--are neglected, and suffering from want of protection.
* * * * *
_20th._ Every letter from Italy, coming from any source to be relied
on, concurs in stating, that music is at the lowest ebb in that
country: from the northern to the southern extremity, from Milan to
Naples, nothing new is brought forward but the vilest trash, and even
Rossini is no longer the idol. This, however, ought not to excite
surprise, considering how unmercifully he has been hacked. It seems
that, after Easter, we are to have thrust down our throats,--or
rather crammed into our ears--Bellini’s _Norma_, and also _Beatrice
Tenda_, both, it is said, the feeblest of modern weaknesses, the first
especially, which all but Italians agree in admitting to be the veriest
rubbish that ever disgraced the lyric stage. We are also to have the
_Montecchi e Capuletti_ of the same composer, which I can, from my own
knowledge, say, is as wretched stuff as any that our Italian theatre
has produced during the last five or six years. I cannot say more.
FOREIGN MUSICAL REPORT.
VIENNA.
The _Josephstadt Theatre_, under its very able direction, ever anxious
to delight the public with novelties, has produced Bellini’s _Die
Capulets und die Montagues_, which, however, was but indifferently
received, notwithstanding the laudable exertions of the singers.
Rossini’s _Semiramis_, also, has lately afforded evidence of the
industry and efficiency of the company of this theatre. M. Pock,
as _Assur_, excited enthusiasm in his audience, and Demlle. Kratky
as _Arsaz_, and Mad. Zimmer as _Semiramis_, were overwhelmed with
applause; in fact, all the singers received ample testimony of the
delight which they afforded, and the whole representation could not but
have given satisfaction to the most severe critic.
On the 4th January, a new operetta by Caché, _Das Küchenregiment_ (the
Kitchen Government), was produced at the _Hofoperntheater_. M. Caché
himself played the principal character (_Vatel_), and was twice called
forward.
BERLIN.
_Königstadt Theater._ A romantic comic opera in three acts, called _Des
Adlers Horst_ (the Eagle’s Eyry), composed by Kapellmeister Gläser, was
produced here on the 29th December. The music is lively and melodic,
bearing, however, at times, perhaps, too close a resemblance to the
_Freyschütz_. The parts were allotted to Demlles. Hälmel, Felsenheim,
and Franchetti, and MM. Holzmiller, Greiner, Fischer, and Beckmann.
On the 4th January, Dlle. Schneider, the daughter of Kapellmeister
Schneider, having previously sung at her father’s concert, appeared for
the first time on the Berlin boards, as _Rosina_ in the _Barbier von
Sevilla_, and was very successful.
At the _Opernhaus, Robert der Teufel_ has again been brought forward;
and on the 20th January, _Figaro_ was given with a very strong cast
of characters: Mad. Pirscher as the _Countess_, Demlle. Grünbaum the
_Page_, Mad. Seidler _Susanna_, M. Hammermeister the _Count_, and
M. Devrient as _Figaro_; it was in every respect a most excellent
representation of the opera.
M. Felix Mendelssohn has given his second and third concerts, in aid
of the fund for the widows of the members of the orchestra, which
proved very attractive. The musical soirées of the Brothers Ganz have
commenced; those of M. Möser are going on successfully.
MUNICH.
M. Spitzeder, who made his debut here on the 30th September, and was
incapacitated from appearing afterwards by illness, died on the 14th
December. Mad. Spitzeder has appeared as _Myrrha_, as _Ninetta_ in _Die
Diebische Elster_ (La Gazza Ladra), _Zerlina_ in _Fra Diavolo_, and
various other characters with her usual success.
PRAGUE.
_Das Fräulein am See_ (La Donna del Lago) has been given here for the
benefit of Demlle. Emmering, who personated _Malcolm_. On this occasion
Demlle. Lutzer made her first appearance in the part of _Helene_. Her
voice, the higher and middle notes of which are very sweet, is rather
weak for so large a theatre; but by regular and well-directed practice,
it will no doubt soon acquire greater strength. M. Podhorsky was
_Roderich_, M. Strataky _Douglas_.
VENICE.
The opera _Eufemio di Messina_, by Maestro Persiani, has been performed
here at the Fenico, but not with the success it obtained at the fair of
Padua. All the efforts of the singers, Dell Serre soprano, La Carobbi
contralto, Curioni tenor, and Crespi bass, could not save it. The
music, that of the second act especially, was throughout considered
monotonous and tiresome.
Recci’s _Chiara di Rosenberg_ is at this time playing in six towns in
Italy, and is everywhere received with enthusiasm.(!)
PARIS.
For a long time it has been evident to every one who has the slightest
taste or feeling for music, that the downfall of this art in Italy is
complete; but nothing, perhaps, could give so just an idea of the state
of absolute degradation into which the Italian taste has fallen, as
the popularity which an opera called _Chiara di Rosenberg_, which was
played lately at the Théâtre Italien, has obtained and still enjoys in
that country. At all times, even when the Italian school was in the
height of its vigour and splendour, bad operas were written, but they
were received as they deserved, and the hisses of the public consigned
them to their merited fate. At the present time this is no longer the
case; the production of a boy makes a _furore_ on its first production,
is twice revived with plaudits at Milan, and is now playing everywhere.
What does all this indicate, but that nothing better is to be hoped for
from a country where the public taste has fallen so low?
An ill-constructed overture, made up of incoherent phrases clumsily
put together, followed by an introduction still more flat and feeble,
cast a cold chill over the audience; however they waited with very
laudable patience for some piece that might interest them, but in vain;
the same mediocrity reigned throughout. A trio for three basses, which
had been much talked about, was looked for with great expectation, but
turned out just as bad as the rest. The success of this trio, in Italy,
arises from one of the characters using a broad provincial dialect,
which is changed according to the city in which the piece is performed;
in Naples it is the Neapolitan, in Venice the Venetian, in Milan the
Milanese, and so on: this makes the audiences laugh there, but in a
foreign country the comic effect is wholly lost, and there is nothing
in the music to compensate for it. The most supportable pieces in the
opera are a chorus and duet between Tamburini and Santini. There is
not in the whole opera one phrase of melody that has either novelty or
any other merit; the harmony is flat and incorrect; the rhythm totally
devoid of character, and eternally broken in upon; and to close all,
the instrumentation is that of a school-boy who had not even the good
sense to study the scores of his contemporaries.
Tired of singing such stuff, Tamburini introduced an air from the
_Inganno Felice_ of Rossini, and never did a base voice give so
splendid a specimen of ease, taste, and execution; the audience,
without considering the fatigue of the singer, encored it; Tamburini
repeated it with more spirit than at first, and then the audience took
their hats and left the rest of _Chiara di Rosenberg_ to be performed
to empty benches.
THE DRAMA.
~King’s Theatre.~
On Tuesday, the 26th of February, Madame ~Schiasetti~ was introduced
to the public for the first time in this country, as _Malcolm_, in
~Rossini’s~ _Donna del Lago_. This lady is an old stager. Many years
ago she sang in Paris, and there again very recently, but with doubtful
success. In the interim she appeared at Dresden, but how she was
received there we cannot tell. Her voice is a mezzo-soprano, which
she wishes to force down to the contralto compass, but betrays her
natural scale in spite of all her efforts. Her high notes are hard and
unmusical, and she is not always pure in intonation. In form, Mad.
~Schiasetti~ rather inclines to the masculine, and shows more muscular
than vocal strength. The opera was got up in a manner that almost
defies description; parts left out, others put in, transpositions,
interpolations, and, in short, nearly every thing that able management
would have forbidden was witnessed; except the character of _Roderick
Dhu_, which ~Donzelli~ performed _à merveille_.
Mad. ~Boccabadati~ has appeared in _Matilde di Shabran_, one of
~Rossini’s~ least interesting operas; and the papers, most of them,
have been as lavish in their praise of her as if her powers were of
the most unrivalled kind. She undoubtedly improved after her debut,
which was a very unfavourable one, and exhibited talents superior
to those which were displayed on her first appearance. But she can
only rank as a prima donna in second-rate theatres. As a seconda, or
as an occasional substitute for the first, Mad. B. may be rendered
exceedingly useful and agreeable.
On the 23d, ~Mozart’s~ _Nozze di Figaro_ made some change in the
performances, which till then had been all ~Rossini~, and not the best
of ~Rossini~. The part of the Countess was given to Mad. ~Boccabadati~,
and Mad. ~Schiasetti~ took that of _Susanna!_ Mdlle. ~Nina Sontag~
personating _Cherubino_. To the first of these the music was perfectly
strange, but, like a stranger, she did not give it welcome: however,
she got through it better than we expected. Poor _Susanna_ has seldom
had so inadequate a representative; and Mdlle. ~Nina~ made a page that
ought not to have excited any doubts in the mind of _Almaviva_. This
part, by-the-by, was transposed for ~Donzelli~, as was much for Mad.
~Schiasetti~; and, altogether, our history of this attempt at reviving
a work of ~Mozart~ cannot be rendered favourable.
We now quit the Italian stage, and cast our view to the
~German Opera~,
which commenced at this house on Thursday, March 14th, with _Der
Freischütz_, thus cast:--
_Max_ M. ~Binder~.
_Caspar_ M. ~Blume~.
_Cuno_ M. ~Kockert~.
_Kilian_ M. ~Ehlers~.
_Agatha_ Mad. ~Pircher~.
_Annchen_ Mdlle. ~Nina Sontag~.
No one of these must be ranked as a first-rate singer, but all are
tolerably respectable. Mad. ~Pircher~ seems to find it necessary to
strain her voice, which is not strong, which sometimes renders her
intonation rather faulty. She, however, sings with feeling, and appears
to understand what she is about. Madlle. ~Nina Sontag~ is just what
she was,--inanimate, both in singing and acting, and inoffensive,
unless great frigidity and slowness can offend.
M. ~Binder~ is the best of the party; he wants little of being a very
good tenor. He was suffered to introduce a song, not one by Weber, for
which the management is more censurable than the singer. We believe
that it was one by that prince of modern composers, Pacini! M. ~Blume~,
with a good base voice, is a respectable actor.
M. ~Hummel~ is the conductor of this corps; but, seated at the
piano-forte, he appears to greater advantage than when flourishing the
baton. His _times_ of the _Freischütz_ were all quicker than those
of the composer, as he gave them at Covent Garden. Which of the two
is most likely to be right, we leave our readers to determine. The
choruses went off extremely well; but in other respects the German
Opera this season is much inferior to that of last; nevertheless,
M. ~Laporte’s~ terms of admission are increased. He has, however,
already found out that one hundred at seven shillings are not quite so
profitable as five hundred at a crown; yet the prices are not reduced.
Up to the present moment the speculation has proved a very losing one,
and we do not hear of any new opera being in readiness.
~Drury Lane Theatre.~
A new ballet-opera, a term quite new to our stage, was brought out at
this house on the 16th ult., entitled _The Maid of Cashmere_, made up
from _La Bayadère Amoureuse_, ~Scribe’s~ very popular piece; the music
by ~Auber~.
The principal characters are--
_Brama_ Mr. ~Wood~.
_Olifour_, the _Grand Judge_ Mr. ~Seguin~.
_Leila_ Miss ~Betts~.
_Zelica_ Mdlle. ~Duvernay~.
_Fatima_ Mdlle. ~Augusta~.
The story may be told in the following words:--_Brama_ assumes
mortality, and is under the necessity of enduring all the evils
incident to the change, until he can find a young female who perfectly
and purely loves him. Having been present at the preparations for
executing an innocent man, he sets the intended victim free, therefore
is proscribed by the authorities, and takes refuge in the city of
Cashmere. He wanders about as _The Unknown_, while a price is set on
his head by the Grand Vizier. He conceals himself near the palace
of _Olifour_, and there remains while some dancing peasants, called
_Bayadères_, exhibit before the grand judge, who falls desperately
in love with _Zelica_, the _Maid of Cashmere_; but she rejects him,
and shows a decided preference for _The Unknown_, who imprudently
comes forward. Soon afterwards he is discovered, and is about to be
seized, when _Zelica_ purchases his liberty by consenting to give her
hand to the old judge. Presents she rejects, but consents to ride in
a palanquin sent for her conveyance; and naturally enough, for _The
Unknown_ had slipped into it, and, lying at the bottom, is effectually
hidden. We next find the pair in the hut of the Bayadère, where she
makes her love for _Brama_ pretty obvious. To try the strength and
truth of her attachment, he makes _Zelica_ jealous, by paying undue
attention first to a singing Bayadère, _Leila_, and subsequently to
another dancing Bayadère, _Fatima_. She is of course very uneasy, and
before long her truth is put to the test, for the judge and his troops
enter in search of _The Unknown_, who escapes through a trap-door into
a cellar,--a very undignified exit for a god, by the way. As _The
Unknown_ is not to be found, the guards seize _Zelica_, and, raising a
pile in her own cottage, proceed to perform the inconvenient ceremony
of burning her. She patiently awaits her doom,--the flames are fast
approaching her--when _Brama_ is seen rising behind her, restored to
his divine state. He exalts the Bayadère into the clouds, and the scene
suddenly changes to the celestial abode of the God. Thus ends the
Opera-ballet, or Ballet-opera.
The strength of this is all in the ballet; the music is light and
frothy, with the exception of a pretty good trio near the end of the
first act. Indeed, as dancing would clearly be the attractive part of
this piece, ~M. Auber~ was fully justified in not wasting much force
on it, and acted prudently in writing nothing of a solid kind, and in
trusting wholly to a pleasing gaiety of style.
_Don Juan_ continues to fill the house in every part: nay it draws
persons into the public boxes, who, on any other occasion, would have
been shocked at a proposal to visit the theatre without the consolation
of a more private and exclusive retreat.
~Covent Garden Theatre.~
The dramatic oratorio, contrary to expectation, has been eminently
successful. After the first night it improved very much in
representation, and still more so in the audiences. It has drawn crowds
ever since.
On the _23rd_ of last month, an opera, altered from the French, under
the name of _The Coiners_, or _the Soldier’s Oath_, the music by
~Auber~, was produced here; but we were at Drury Lane on that
evening, and have not since had an opportunity of seeing this new
production; on which we shall report next month, should the piece
survive, which, according to what we hear, is somewhat doubtful.
THE MUSIC OF THE PRESENT NUMBER.
The Vicomte de Villeblanche, one of the ancient noblesse of France,
was a distinguished amateur. His mother, a great proficient in music,
instructed him very early on the piano-forte, and he having sought
refuge in this kingdom during the most troublesome period of the French
revolution, took lessons of J. B. Cramer. When Buonaparte proclaimed
an amnesty, the Vicomte returned to his native country, entered into
the army, accompanied Napoleon in his expedition to Russia, and is
supposed to have perished in the retreat, he never having been heard
of since that disastrous event. Of his skill in music the movement in
the present Number bears full testimony; it is the only composition by
him that we ever met with or heard of; it appeared many years ago, (in
a musical magazine which had no circulation,) and may be said to be
an unknown production. That it is in the manner of Beethoven will be
apparent to all, and that it is a very elegant imitation of a master
then little known out of Germany, must also be admitted: we are glad to
have been enabled to rescue a composition of so much merit either from
oblivion, or from being hereafter claimed by some one having no title
to it.
* * * * *
The March is arranged from a Notturno by Spohr.
* * * * *
The Saraband and Gigue of Corelli are familiarly known to the
frequenters of the Ancient Concerts, and to all--we fear they are few
in number--who are well read in classical music. We have adapted them
from the original score, and endeavoured to render the violin passages
not only practicable, but easy for keyed-instruments. The Sarabanda was
a slow Spanish dance. The Giga speaks for itself. For an account of the
composer, we refer the reader to one of our early volumes.
* * * * *
The Canzonet, ‘Forget me not,’ has always been ascribed to Mozart,
though not noticed by him in his memoranda, and not included in any
edition of his works. It certainly bears his impress, and, whether
justly or not attributed to that great master, is undoubtedly worthy
of his genius. We have cut out from the symphony some bars which we
strongly suspect to have been an interpolation. The author of the
English words seems to be quite unknown, and it will be no injury to
him to let him remain incognito. As far, however, as the prevailing
sentiment is concerned, the poetry admirably suits the music.
* * * * *
The name of Prati is perfectly new to this country. He was Maître de
Chapelle to the Elector Palatine, and born in 1736. He visited Paris,
St. Petersburg, Florence, &c., in all which cities he produced operas.
In the latter city he brought out his _Ifigenia_, which met with
prodigious success; and at Munich, in 1785, his _Armida abandonnata_
first was heard, which procured him his valuable appointment under the
Elector. He died at Ferrara in 1788. The gay and beautiful aria by him,
which we now publish, is from Reichardt’s _Musikalisches Kunstmagazin_,
for 1791.
* * * * *
A taste for the Madrigal happily seems to be reviving. It is a kind of
composition which possesses some of the best qualities of the fugue,
but rejects all its formality and restraint. John Bennet published
his _Madrigals for four voices_ in 1599, and contributed much to a
curious theoretical work by Ravenscroft, printed in 1614, and now lying
before us, in the preface to which he is thus mentioned;--a ‘partner
in this work is Maister John Bennet, a gentleman admirable for all
kinds of composures, either in art, or ayre, simple or mixt, of what
nature soever.’ Nothing beyond this is known of him, or it certainly
would have been discovered by Hawkins, an indefatigable antiquary,
and a zealous promoter of ancient music. The present madrigal is from
Warren’s _Monthly_ Collection, a work now exceedingly scarce. We have
changed the alto and tenor clefs into the treble and base, and added an
accompaniment, for the first time, it is our belief.
* * * * *
The very pretty Canzonet of Morley is from a set printed in 1599.
One of these appeared in the _Harmonicon_ containing his memoir; to
which the reader is referred for further information concerning this
celebrated theorist and composer.
[Sidenote: May, 1833.]
MEMOIR OF METASTASIO.
The name of the great dramatic poet, whose memoir we are about to
sketch is so connected with the history of music, that it cannot be
thought out of place in the biographical department of our work. We
might almost plead his having been a musician as well as poet, were it
necessary; but no excuse can be required for mixing with the lives of
professors that of a genius to whose productions--which have called
forth the talents of the greatest composers--the art itself is so much
indebted.
* * * * *
~Pietro Trapassi~ was born at Rome on the 6th of January, 1698. His
family, though at the time of his birth reduced to the straits of
indigence, had for many years enjoyed, as opulent citizens, the freedom
of the town of Assisi, the immunities of which were confined to thirty
of the inhabitants only. But the times became altered, and Felice,
the father of our bard, unable to procure a subsistence in his native
place, enlisted into the ranks of the regiment of Corsi, and shortly
afterwards married Francesca Galasti of Bologna. At the fulfilment of
his service as a soldier, Felice found himself possessed of a small
pittance which he had gained, while in garrison, by devoting his
leisure hours to the laborious task of an amanuensis. With this he
entered into partnership with a shopkeeper at Rome, in the petty trade
called in Italy _L’Arte bianca_, or pastrycook. Succeeding tolerably
in this undertaking, he was now enabled to place his two eldest sons,
Leopoldo and the subject of this memoir, at a small grammar school,
where the latter soon displayed that talent and enthusiasm for poetry,
which so eminently distinguished his after life. ‘Before he was yet ten
years old,’ says his biographer Dr. Burney, ‘he had the power of making
verses extempore on any subject, and it was no unusual sight to see
his father’s porch surrounded in the evening, after school hours, by
admiring groups listening to the poesy of a child. During one of these
tuneful fits, when Pietro was in his happiest mood, the celebrated
lawyer and critic, Gravina, happened to pass by his father’s door, and
was no less struck with the youth of the poet, than with the softness,
yet brilliancy of his verse, the smoothness of his measure, and the
sprightliness of his wit, which he employed, _all’ improvvista_, upon
the people and objects that surrounded him. Drawing near, Gravina
expressed his admiration, and offered him some money; the firm but
polite refusal of his donation increased his admiration for the little
bard, and he instantly formed the resolution of adopting him as his
son. Pleased with this idea, he instantly solicited the consent of
his parents; and as there was nothing humiliating, nothing unkind,
in his proposal, Felice gladly complied. The next morning Pietro was
consigned to the care and patronage of Gravina, who changed his name
to Metastasio, as Μεταστασις (_mutatio_) seemed at once to include his
family appellation and his situation as an adopted child.
And now having changed his name, Gravina applied himself to the
more difficult task of altering, or at least improving, the bias of
Metastasio’s mind. For this purpose he destined him to the study of
the law as a profession, wishing rather that he should become an
orator than a poet. This at first may appear strange; but Gravina well
knew that, although the meed of praise may be the poet’s, wealth and
affluence are still strangers to his door, and that, in Rome, riches
are only to be acquired by the followers of the church and law.
Although Metastasio’s time was principally employed in the dry study
of edicts and decrees, he was encouraged by his patron in the perusal
of the best models of the ancient poets; and, at the early age of
fourteen, we find him producing his tragedy of _Giustino_,--really an
astonishing work for so mere a boy. After the appearance of this drama,
written completely in the Grecian style, Gravina appears not only to
have allowed, but even to have encouraged, his pupil’s adoration of
the Muse; and when Metastasio was eighteen years old, we find Gravina
accompanying him to Naples, for the express purpose of singing with the
most celebrated improvvisatori of the day. No sooner had he appeared
than he became a universal favourite. Nothing was heard of but the
graces and dignity of his elocution, the inspiration of his expressive
countenance, and the delightful harmony of his verse, which his hearers
carried away in their memory like the dying cadence of a thrilling
melody. Still with his poetical pursuits did he continue to study the
law; and, to secure an opening into the only other road to preferment,
entered into one of the minor orders of priesthood.
Two years after his arrival at Naples he had the misfortune to lose
his patron, who died in 1718, in the fifty-fourth year of his age,
leaving behind him a character more celebrated for his great classical
learning, than for his poetry, upon which however he most prided
himself; but the protection which he afforded to Metastasio does more
honour to his memory than all the productions of his own pen. It has
been a generally received opinion, that, however deeply his loss was
deplored by our poet, the death of Gravina was a great benefit to
his future fame, for it is supposed that, had he lived, his advice
would have cramped his pupil’s ideas, disposed to all the pathos and
beauty of passion and nature, with the rules and imitations of the
Greek drama. Certain it is, however, that Metastasio mourned over his
patron as a son; nor was his gratitude at all diminished, when by
Gravina’s will, signed in 1718, he found himself sole master of all
his property, consisting of 15,000 crowns, a superb library, and a
small estate in the kingdom of Naples. The generosity of our poet’s
disposition, however, soon ran through this possession; and two years
after Gravina’s death, all that remained to him was an inconsiderable
landed estate. Finding it, therefore, necessary to court some other
genius than the Muse, he placed himself under the care of Paglietti,
a man described as made up wholly of law, a bitter enemy to poetry,
one who hated the sound of rhyme, and the very sight of a poet,
and who was mercilessly intolerant of the slightest deviation from
worldly prudence. For one year Metastasio applied himself with so
much diligence to the labours imposed upon him by Paglietti, that
he appears to have disappointed his suspicions, and even to have
gained his confidence; but at the end of that time, we find him again
sacrificing to the Muse his contract with the law. First appeared an
_Epithalamium_, written at the request of the Countess of Althau, who
likewise prevailed upon him to write the drama _Endymion_.
Under the patronage of the Viceroy of Naples, appeared _Gli Orti
Esperidi_, (the _Gardens of the Hesperides_.) The drama was written
during the hours devoted by Paglietti to the poet’s rest, and under
the express promise that it should be kept a profound secret from the
inexorable lawyer. His next drama was _Angelica_, of which the plot
is taken from Ariosto. The _Gardens of the Hesperides_, which was
played at Naples, was universally admired, and by none more than by the
Signora M. Benti Bulgarini, better known by her prima-donna name of
the Romanini. She was the first singer of her day, and played the part
of Venus in that opera; and so delighted was she with its beauty, that
she rested not until she had obtained an introduction to the author. On
seeing him, the Romanini expressed at once her admiration and esteem,
and warmly pressed him to renounce at once the dry study of the law,
take up his abode under her husband’s roof, and devote his whole time,
his whole energies, to the delights of friendship and the inspiration
of the Muse. Adoring as he did, devoted as he was to poesy, who could
at once resist the enthusiastic bent of his own mind, the seducing
praise of flattering beauty?--certainly not Metastasio. Short was the
struggle in his mind between Paglietti and the Romanini: willingly he
accepted the offer, and from this time the courts of law were forgotten
by him in the plaudits of the theatre.
His _Didone Abandonnata_ was written at the request of the Romanini,
to whom the poet is perhaps indebted for some of the finest dramatic
incidents and effect. The celebrity which this opera obtained caused it
to be set to music by the best composers for all the theatres of Italy,
and consequently brought the author a large pecuniary reward, besides
the extension of a name already widely spread. During his residence
at Rome, whither he repaired with the Romanini in 1727, he finished
several operas, the _Semiramide_, _Artaserse_, _Egio_, _Alessandro nel
Indie_, and the _Catone in Utica_, all of which were received with high
praise; but barren praise appears to have been all his reward--small
indeed were his pecuniary gains.
Upon his first arrival at Rome, Metastasio, willing to repay the
obligations under which he lay to the Bulgarini, took a house for
the reception of the two families of the Bulgarini and Trapassi, and
prevailed upon the Romanini to place herself, as more conversant with
domestic affairs, at the head of his establishment. Upon these terms
they lived till, in 1729, receiving an invitation from the court of
Vienna, he repaired to Germany as coadjutor to Apostolo Zeno, the
imperial laureate. This offer was the more gratifying as it came upon
the recommendation of Zeno himself, who had enjoyed his post unrivalled
for eleven years, and before the time of Metastasio, had written the
best lyrical drama his country’s language could boast. No small praise,
therefore, is due to his generosity in thus forwarding the views of a
poet, whose works, he must have foreseen, would speedily eclipse his
own. Nor was the yearly stipend of 3000 florins at all to be despised
by Metastasio. At Rome he had almost suffered under the pressure of
poverty, and often was obliged to have recourse to the munificence and
generosity of his friend. To her, when he left Italy, he entrusted the
entire charge of his affairs, together with a small sum left to her
guidance for the temporary support of his father.
Of his reception at the court of Charles VI., we have a most gratifying
account written by the poet himself to a friend at Rome, and the
Emperor appears to have been much pleased on finding that Metastasio
was of a grave moral character, and in that possessing principles
congenial to his own. For the next three years, in his correspondence
with the Romanini, we possess almost an autobiography of the bard,
as his letters to her were frequent, and contained the account of
his occupations, of his pleasures, and his pains. In 1734, he had
the misfortune to lose this inestimable counsellor and friend. The
Romanini in that year died at Rome, to the last manifesting the
truth of her attachment, by bequeathing to him, after the death of
her husband, the whole of her wealth, amounting to about 25,000
crowns. Metastasio, however, always abiding by the strictest rules of
honour and probity, declined _in toto_ this generous gift, which he
transferred altogether to her husband, and this sacrifice, for great
sacrifice it was, must be considered highly honourable to the poet’s
heart. As to the exact nature of the connexion subsisting between
him and Romanini, it must for ever remain a conjecture, and a mere
conjecture--whether it was Platonic, or of a tenderer kind, who can
pretend to determine? Metastasio, it is true, lived under the same roof
with her, both at Rome and Naples, but so did her husband; and the
very kind and familiar manner in which the poet writes to the husband,
expressing his friendship for the wife, to the wife of his kindliness
to the husband, and the sincerity with which he expressed to him his
condolence and affliction for her death, would, in any other country
but Italy, be thought sufficiently indicative of conjugal happiness.
But there, Dr. Burney observes, the female singers generally find it
convenient to have a nominal husband, who will fight their battles,
and contend with the impresario or manager. And we shall not perhaps
be judging too uncharitably of the Romanini, should we incline to the
belief that her affection for Metastasio had more in it of the love of
woman, than of Platonic attachment. But whether the poet’s friendship
for Bulgarini were true or not, his grief for the death of his wife
was deep, unfeigned, and lasting. In a letter to him expressing his
condolence, he writes: ‘Oppressed by the afflicting news of the death
of poor Marianna, I know not how to begin this letter. The tidings are
so intolerable to me on so many accounts, that I can devise no means to
diminish the acuteness of my sufferings, and therefore I trust you will
not accuse me of want of feeling, if I am unable to suggest to you any
consolation for your loss, as I have hitherto been totally unequal to
finding any for myself.’ Again, to a friend at Rome: ‘I am now placed
in the world as in a populous desert, and in that kind of desolation
in which a man, if he were transported in his sleep to China or
Tartary, would find himself on waking, among people of whose language,
inclinations, and manners, he was quite ignorant.’ To his brother, too,
he writes: ‘Poor Marianna never will return, and the rest of my life
must be wretched, insipid, and sorrowful.’
At what age the Romanini died is unknown, but having attained to the
eminence of first singer at Genoa in the year 1712, she was probably
much older than Metastasio. The manner of his life at Vienna was but
little varied by other events than the production and success of his
works. In 1735, he wrote the operas _L’Olimpiade_ and _Demofoonte_, the
oratorio of _Giuseppe riconosciuto_, and the canzonet _La Liberta_.
In 1734, besides his usual occupations, he was obliged to produce, in
the greatest haste, an entertainment for music, to be performed by the
archduchesses, and at the same time to assist, direct, and instruct
them. ‘They have acted and sung like angels,’ writes the poet, ‘and it
was truly sacrilege that the whole world was not permitted to admire
them.’ As a return for his trouble, Metastasio was presented with
a valuable snuff-box, valued at 40_l._, and of the most exquisite
workmanship. This dramatic entertainment was called ‘_Le Grazie
vendicate_.’ In the same year, too, he produced, on the Emperor’s
birthday, the _Clemenza di Tito_. Both operas were set by Caldara, the
state composer. In 1735, he wrote, by command of the Empress Elizabeth,
an operetta, with three characters only, to be played by the two
archduchesses, and a lady of the court; it was called _Le Cinesi_, and
intended as an introduction to a Chinese ballet. In the same year he
produced _Il Palladio conservato_, and _Il Sogno di Scipione_, pieces
written for the celebration of the Empress’s name-day. They are a
kind of birth-day odes; but the fulsomeness of praise is delicately
disguised in a dramatic form. In 1736 his _Temistocle_ appeared, set
by Caldara; but while this was being performed, he was required to
write the opera of _Achille in Sciro_, in the short space of eighteen
days, to grace the nuptials of the Archduchess Teresa with the Duke of
Lorrain. The drama of _Ciro riconosciuto_ was the production also of
this year. In 1737-38-39, nothing new of any note emanated from his
pen. In 1740, however, his muse was more propitious; for, besides the
opera _Zenobia_, and the oratorio _Isacco_, he wrote _Il Natale di
Giove_, and the opera _Attilio Regolo_ for the natal day of Charles
VI.; but, as that prince shortly after died, it was laid aside till
1750, when it was set by Hasse for the court at Dresden.
Between the years 1740 and 1745, we find but two complete dramas
written by Metastasio, _Antigono_ and _Ipermestra_, the former of these
written expressly for the court of Dresden. They were both set to music
by Hasse, who ranked high in the favour of the poet as a composer and
as a man of genius. His correspondence with the celebrated Farinelli
began in 1747. Many of the poet’s letters, breathing affection and
confidence, were written to the great singer at Madrid, where, for two
successive reigns, he enjoyed the greatest favour. The blessings of
peace, after a seven years’ war, produced the opera _Il Re Pastore_;
this was followed by _L’Eroe Cinese_. In 1756, at the request of
Farinelli, he wrote for the court of Spain an opera, _Nitteti_, which,
under the direction of Farinelli, was played with the utmost splendour.
The three last operas written by Metastasio were, _Il Trionfo di
Clelia_, in 1762; _Romolo ed Ersilia_, in 1765; and _Il Ruggiero_,
1771: the first was performed at Vienna, on the delivery of Isabella,
first wife of the Emperor Joseph II.; the second at Inspruck, on the
marriage of the grand Duke of Tuscany with Maria, infanta of Spain;
and the last at Milan, on the nuptials of the Archduke Ferdinand, with
the Princess of Modena; and this finished the dramatic labours of the
bard. His other poetical works, which are very numerous, are all
replete with elegance, and every beauty of numbers which the language
of Italy so sweetly supplies. Of his prose writings, the extracts from
Aristotle’s Poetics, and the Ars Poetica of Horace, are the principal.
In all his writings the principles of religion and morality are all so
chastely preserved, that the extreme of delicacy, the utmost vein of
prudery cannot find a sentiment to offend or alarm; and his private
life corresponded well with his writings, as he was always found prompt
to discourage all tendency to license, to show himself the avowed
enemy of disrespect to the ordinances of morality and religion. This
being his universal character, the respect in which he was held at
Vienna was extreme, while strangers of all ranks were eager to seek his
company, attracted by the fame of his genius. Such were the firmness
and constancy of his friendships that death could alone dissolve
them. The Princess di Belmonte Pignatelli, the Countess d’Althau, who
patronized him in his early youth, Count Canali, Baron Hagen, and Count
Perlas, who spent all their evenings with him at Vienna during their
lives, Farinelli, his correspondent for fifty years, Algarotti, and
his brother Leopoldo--all these affections were sincere, and for ever
planted in his heart.
On the 1st April, 1782, in the eighty-fourth year of his age,
Metastasio was seized with a fever, which, for some time, made him
delirious; soon after he recovered his senses, and received the
apostolic benediction, which was sent him by the pope, Pius VI. On the
12th, his disease terminated fatally--Metastasio was no more. Though
his years had reached eighty-four, his faculties to the time of his
death were perfectly entire, and Dr. Burney found him, at the age of
seventy-two, looking like a man of fifty, and the handsomest person
of his age he had ever seen. On his features were painted genius,
goodness, and propriety. He was cautious and modest in his intercourse,
and so polite, that he never was known to contradict in his life any
body in conversation. Lamented, deplored with the tears of sincerity by
all who knew him, Metastasio was interred at Vienna on the 14th April.
The last sad offices were performed with splendour by his grateful
heir, Joseph Martinez, in despite of the wish of the departed, who had
forbidden any pomp.
Metastasio, by all his biographers, is described as eminently the
poet of love, and, in general, happy in pourtraying noble and amiable
sentiments. It is astonishing with how much ease he moves in lyric
poetry, and with what artless language he unites the brightest
ornaments of a poet’s fancy. In all his works he stands high; in his
operas, unrivalled.
HINTS TO LEADERS AND CONDUCTORS.
_To the_ ~Editor~ _of the_ ~Harmonicon~.
~Sir~,
In your critical remarks on the third vocal concert, in the last No. of
the _Harmonicon_ under the head Vocal Society, after pointing out the
necessity of selecting a proper position for the conductor, or person
who is to give the time, the following short, but expressive sentence
occurs: ‘The maestro should be seen by every performer, but not heard.
We can with propriety extend this observation to the instrumental part
of the orchestra, beseeching both leader and conductor to abstain from
such merciless _stamping of feet_, as occurred during the performance
of most of the full pieces.’ This, Sir, is excellent, and had you
written a volume on the subject you could not, in my opinion, have said
more to the purpose, or have made yourself more clearly understood.
In fact you have, in few words, given the most judicious and salutary
advice, not only to the parties immediately concerned, but to all
others (and they are very numerous) to whom it may contingently apply.
Perhaps you will smile at my enthusiasm, when I tell you that most
heartily do I wish the foregoing short, but expressive sentence, might
be printed in a large type, framed and glazed, and hung up in the
sitting-room and bed-chamber (unless one room should unhappily answer
both purposes) of every leader and conductor in town and country. I am
an Englishman, Mr. Editor, and am proud to witness the splendid talent
which many of my countrymen, as vocal and instrumental performers,
possess; but, as conductors, (with one or two exceptions,) they do
not at present appear to me to have acquired that happy method of
conveying their own ideas, or instructions to a large orchestra, which
I have more than once seen so skillfully displayed by Moscheles,
Hummel, the Chevalier Neukomm, and Mendelssohn. Let any one of these
gentlemen be installed maestro, and you will find the band invariably
go well, unless, indeed, it be thwarted and checked by the caprice
of an overbearing, arbitrary leader: there is no ‘stamping of feet’
with them; but all is conducted in silence. Having studied the score,
such a conductor as any one of these relies on himself, and acts with
firmness. There is no ambiguity, every motion of the baton is decisive,
every glance of the eye expressive, and he makes himself clearly
understood by each individual performer. This appears to me, Sir, to be
the proper business of the maestro, and of him only. So adieu for the
present, Messieurs the Conductors.
And now, for a word or two with the leaders. That ‘stamping of feet,’
Mr. Editor, which you complain of, is, most assuredly, an abominable
nuisance, which, strange as it may appear to those of your readers
who have not witnessed it, even the Philharmonic Concert, with the
best band, perhaps, in Europe, is not entirely free from. I am amazed
how any man possessed of common sense, and who is capable of enjoying
good music, can so far forget himself, as to be guilty of a practice
so glaringly absurd, and there have been times when I have expected
the whole band would simultaneously lay down their instruments, and
remonstrate against the use of so barbarous a custom. Some years
ago, I heard the following anecdote: A very respectable member of
the Philharmonic Band obtained permission to take with him to the
rehearsal, a blind youth, who had a great passion for music, and, being
self-taught, played on the violin. This lad had never in his life
heard any music of a high class, such, for instance, as an overture,
or symphony; nor, indeed, had he ever before heard a full band. Judge
then of the delight he experienced upon hearing a symphony performed
by the Philharmonic orchestra! yet, in the midst of his raptures, he
complained of a noise which at intervals disturbed his attention and
greatly annoyed him, and very innocently exclaimed, ‘what a pity it
is that mill should be so near the concert-room!’ Alas! poor boy,
the noise which so much offended him, was produced by the leader’s
foot-clack.
I will venture to ask, did the elder Cramer, Salomon, or Viotti--men
of as great talent, I apprehend, as any in the present day--did they,
or either of them, annoy both the audience and the band by beating
the time, as it were, with a wooden shoe? If I may form an opinion by
what I have seen and heard of Mr. Weichsel, (who may be considered as
belonging to the same school,) I should answer--No.
Then, Sir, there is another habit which of late years seems to have
become fashionable with at least some of our leaders, but which, in my
opinion, is as useless and offensive as the ‘stamping of feet.’ The
custom I allude to is, for the leader to leave off playing at certain
intervals, and then, assuming what I presume he thinks a very elegant
attitude, and commanding position, flourishing his bow backwards and
forwards most heroically. So that, while this species of charlatanism
is going on, there are, in fact, two conductors, and no leader! I
presume this is done either to catch the attention of the ladies, or
to impress on the minds of the unthinking part of the audience, an
idea of his importance and zeal. I have more than once shut my eyes
to avoid looking at this--what shall I call it?--coquetting with the
audience--and have exclaimed in the words of Shakspeare--‘that’s
villainous, and shows a most pitiful ambition in the fool that
uses it.’ I have always entertained the notion that the leader, or
principal violin, should _play his part_, and that he, like every
other performer, should take the time from the conductor[49]. This, I
understand, was the method pursued by M. Chelard, the maestro at the
German opera last season at the King’s Theatre. He proved himself an
excellent conductor; and I have been told by one of the best musical
critics in this country that, with confessedly an inferior band, (for
he had not the assistance of Nicholson, Willman, Platt, Lindley, or
Dragonetti,) the orchestral accompaniments were much more effective,
and in every respect superior to the Italian Opera.
I am happy to close these remarks, by stating that the same judicious
and rational plan appeared to be adopted at the second Philharmonic
concert this season; the consequence was, that two very difficult
symphonies of Spohr and Beethoven were most admirably performed.
I am, Mr. Editor,
Your most obedient servant,
Z.
MAELZEL’S NEW METRONOME.
Report made to the Academy of the Fine Arts, 20th October, 1832, by
its Musical Committee on the Third Metronome of Maelzel.
~Messieurs~,
You have heard read the two first reports made to you by your musical
committee on the Metronome of Maelzel, the first dated 14th October,
1815, and the second 23d May, 1818. Your committee are of opinion, that
in the two former reports the utility of this ingenious instrument, and
the perfection of its mechanism, have been so fully demonstrated, that
it will be needless to fatigue your attention by further dissertation
on those points. What your committee now beg to call your attention
to is, a still further improvement which the author has added to his
instrument.
From the time of Sauveur to the present, all the time-keepers and
metronomes have been limited to marking the time to be occupied by each
bar of a composition, and all have performed this in a uniform manner;
but, as in our musical system, the bars are divided into accented
and unaccented parts, and none of the instruments hitherto invented
indicated this division, they were, if the comparison may be permitted,
like foot-measures divided into spaces by a number of equidistant
parallel lines, but on which the marks indicating inches, half-inches,
&c. had been totally omitted. The indications of the accented and
unaccented parts of a bar can only be felt in relation to the bar
itself, of which they form subdivisions, therefore they cannot be
classed as accented or unaccented until the beating of the bar itself
has been heard.
Mr. Maelzel has long since adopted the idea of adding to his metronomes
this indication of beaten time in every kind of measure, whether 2, 3,
4, or 6-8, and whatever might be the rapidity or slowness of the time;
but while he was occupied at a distance from France in bringing his
project to perfection, M. Bienaimé, a watchmaker at Amiens, submitted
to the examination of the Conservatory of Music an instrument of a
very complicated construction, intended to attain the same object.
Unfortunately, notwithstanding all the talent the inventor had bestowed
on his new metronome, he had not any mechanical principle for its
foundation, so that it is liable to be continually out of order. The
balance-wheel, which he has adopted as a regulator, is set in motion
by a straight spring, which is equivalent to the spiral spring of a
watch; and according to the greater or less tension of this spring,
the vibrations of the balance-wheel are slower or more rapid. This
spring is, therefore, the most important part of the instrument; and
to secure its regularity of action, it ought not to be subject to
any alterations; but this is not the case,--for the spring, which,
in performing its functions, describes large arcs, will lose its
flexibility, and no longer give the same number of vibrations for the
same divisions on the dial. Besides, the dial-plate can only be divided
according to the force of the spring, and if that gives or breaks,
a new spring will require a new division of the dial-plate; the one
cannot be renewed without the other.
Mr. Maelzel, by adopting as the foundation of his contrivance the
unchangeable laws of the pendulum, has constructed a machine at once
simple, free from all incertitude, and not subject to any derangement
in its action. This last metronome has moreover the advantage of a much
greater extent in its power of marking both slow and quick time. In the
old instruments the slowest movement that could be marked was 50, and
the fastest 160; the present extends as far as 40 for slow movements,
and 208 for quick, that is to say, 10 vibrations slower and 48 quicker
than the precedent ones. The improvements made by Mr. Maelzel in his
metronome, instead of increasing, have tended to diminish its cost; and
we are of opinion that the degree of facility with which new and useful
ideas in the cultivation of the arts and sciences can be circulated,
ought to be taken into consideration; for, to render this circulation
easy, it is necessary that the savant, or artist, who thinks it his
duty to employ any of these new methods, should be able to acquire
that power at a moderate expense. We are of opinion, therefore,
without intending in any way to injure M. Bienaimé, that the metronome
of M. Maelzel deserves the preference on many accounts; priority of
idea, simplicity of construction, regularity of movement, solidity,
elegance of form, and diminution of price, even with the addition of
the mechanism for marking the time as beaten. Everything, in fact,
appears to authorize our proposing that the academy should accord its
approbation to the report we have now the honour to make; for, in our
opinion, M. Maelzel, by this ingenious instrument, of which he has
entrusted the construction to M. Wagner, one of the ablest mechanics
in the capital, has rendered to the musical art a service which may be
compared to that heretofore rendered to navigation by the invention of
the mariner’s compass.
Signed, ~Cherubini.~
~Lesuer.~
~Paer.~
~Berton~, _Recorder_.
~Debret~, _President_.
~Berton~, _Vice-President_.
~Quatremere de Quincy~, _Secretary_.
AN AMATEUR’S MUSICAL PARTY AT THE FREEMASONS’ TAVERN.
The name of an accomplished Devonshire baronet (Sir John Rogers)
has frequently appeared in the _Harmonicon_, during the last two
or three years; those, therefore, of its readers who have not the
pleasure of his personal acquaintance, are, nevertheless, fully aware
of his musical acquirements. But only his more immediate friends and
associates, who have heard most if not all of his anthems, madrigals,
and glees, can justly appreciate his merit as a composer.
On Saturday the 6th of April, a musical party dined with this
distinguished amateur at the Freemasons’ Tavern. Upwards of forty of
his private and professional friends were invited, among whom were Lord
Saltoun, Mr. Capel, Sir Andrew Bernard, Mr. Rogers, Mr. Gwilt, Mr.
Ayrton, Mr. Vaughan, Mr. C. Freeling, Mr. Milne, Mr. W. Linley, Col.
Rogers, Mr. Sanford, the Rev. F. Hamilton, Mr. Horsley, Mr. Terrail,
Mr. Oliphant, Mr. T. Welsh, Mr. J. B. Sale, Mr. Bellamy, Mr. Leete,
Mr. Hawes, Mr. King, Mr. Goss, Mr. J. Jolly, Mr. Pye, Mr. Novello,
Mr. Turle, Mr. Horncastle, Mr. Hobbs, Mr. A. Novello, Mr. C. Evans,
Mr. M’Murdie, Mr. Nicks, Mr. Bates, Mr. Elliott, Mr. Brownsmith, Mr.
Streete, Mr. Walmisley, Mr. Gedye, Mr. Spencer, Mr. Moxley, &c. An
excellent dinner was put on the table at half-past five, the worthy
host, of course, presiding. When the cloth was withdrawn, a Grace,
‘For these and all his mercies,’ composed by the president, (a canon
three in one,) was sung by all the company, and not only pronounced,
but felt by every one present, to be an exceedingly clever, effective
production, remarkable not merely for technical skill, but also for
the elegant simplicity, the vocality of the subject; and melody, so
necessary an ingredient in all good compositions, is but rarely to be
found in that species denominated canon.
After grace, the last Gresham prize-anthem, for five voices and chorus,
composed by Mr. Kellow John Pye of Exeter, was performed, and received
with richly-deserved plaudits, which must have proved highly gratifying
and encouraging to the author, who was present and gave the time of the
several movements. The other pieces sung during the evening, thirteen
in number, came--many of them quite fresh--from the pen of the talented
baronet.
Our limits do not allow us to enter critically into the merits of each
composition; to pass them all in silence would be unjust; and yet it
is difficult to say which is best where all show such superiority of
genius, knowledge, and taste, and we mention the four following merely
as specimens or samples of the whole. 1. A canon, six in two, ‘Lighten
our darkness,’ a very masterly production, such as none but a good
theorist, possessed of a rich imagination, could have written. 2. ‘When
I listen to thy voice,’ an admirable glee for five voices. We had heard
this before, at the Hanover Square Rooms, and hope frequently to meet
with it. 3. ‘Hears not, my Phillis,’ and 4. ‘Oh! how I long my careless
limbs to lay,’ two madrigals, each for six voices, of which we will
remark--parodying what Dr. Johnson says of Homer and his translator
Pope--if the author of ‘Sweet honey-sucking bees’ were to class his
successors, he would assign a very high place to the writer of these
madrigals, without requiring any other evidence of genius.
By a reference to the list of visiters it will be seen how many of our
principal vocalists were present; and to these were added four of the
young choristers of Westminster Abbey: it is, therefore, unnecessary
to state, except in justice to them, that the several pieces were
executed in the most perfect manner. The performers exerted themselves
_con amore_, and the pleasure they so evidently felt was doubly enjoyed
by those who listened to the united excellence of composition and
performance.
N.
* * * * *
Our conjecture is that the foregoing comes from the pen of a musician,
and we are rejoiced to find a professional man able and willing to
proclaim the merit of an amateur composer. It is too much the practice
in the present day for musicians _par métier_ to undervalue, to
sneer at the compositions of such as do not directly or indirectly
gain a livelihood by their productions, it not being considered--or
perhaps the fact is endeavoured to be concealed--that those who to
a sufficiency of musical science and experience add the fruits of
education and cultivation, are much more likely to excel than such as
have no knowledge beyond their own art; or, rather, who know their
own art but imperfectly; for to understand any art or science well,
it is absolutely necessary to have acquired a considerable share of
subsidiary knowledge, not only for the sake of bringing that knowledge
to bear upon the main object, but also because the mind is invigorated
in proportion to the quantity of information it has received. The
compositions of the worthy baronet, to whose hospitality as well as
talents we are, it is our belief, indebted for the above pleasant
communication, show how far an intellect strengthened by real learning,
and refined by many accomplishments, soars above minds not so improved.
Of the madrigal, ‘Oh! how I long my weary limbs to lay,’ we have no
reluctance in saying, that any living professional composer, who would
attempt to compete with it, must have more confidence in his own
ability than we have in his chance of successful rivalry.
MR. Z. T. PURDAY’S REPLY TO MRS. MILLARD’S LETTER.
_To the_ ~Editor~ _of the_ ~Harmonicon~.
Sir, _45, High Holborn, April 12th. 1833_.
I was somewhat surprised on glancing over the pages of the last number
of the _Harmonicon_ at finding a letter signed ‘Virtue Millard,’
commencing thus:--‘As I wish to avoid all communications with Mr.
Z. T. Purday, Music publisher, &c. &c.’ followed by a charge of my
having sent her an impertinent message! Now, although I have the
honour of being personally acquainted with most of the professors of
any eminence, both in the metropolis and throughout the kingdom, I
have never enjoyed or sought the felicity of being introduced to that
lady; nor am I aware of ever having authorised any person to convey to
her a message of any kind, much less of an ‘impertinent’ character;
the ‘offence’ to which she alludes, as well as the ‘accompanying
impertinence,’ must, therefore, have been the work of some idle gossip.
It is true I have an imperfect recollection of some person having
called on me soon after my publication of Mr. T. Haynes Bayly’s ‘Songs
for the Grave and Gay,’ stating, he had left the volume with Mrs.
Millard for her perusal, which she returned, remarking that there was
nothing in it worthy her notice, and that the work would never _take_
with the musical public. Preferring, however, your judgment, (see
‘Harmonicon’ for April, 1831,) which I am happy to say has been borne
out by a result perfectly satisfactory to me, and diametrically opposed
to that lady’s gratuitous opinion, I think it very probable I might
not, in return, have complimented either her musical taste or _critical
acumen_.
A word respecting the ‘French air’ and I have done:--I beg to say that
I never knew Mr. Cross had arranged it until he brought the M.S. to me
and requested to have it engraved _on his own account_, neither have
I seen the plates, or a single copy of the work since the proofs were
sent to that gentleman.
Whether Mrs. Millard had ever seen or heard Rode’s melody, with
the well known association of Catalani’s name, or, in examining
the ‘Songs for the Grave and Gay,’ had subsequently discovered in
‘Upbraid me not,’ (which is adapted to the ‘French air’ in question,)
a great similarity to her own ballad, and hence the pretext for the
unwarrantable use of my name, I now leave to her own feelings and
the judgment of your readers; regretting that I have been obliged to
trespass so much upon the pages of your valuable journal.
I am, Sir,
Your most obedient Servant,
~Zenas T. Purday~.
MEMOIRS OF DR. BURNEY, BY HIS DAUGHTER MAD. D’ARBLAY.
[Continued from page 75.]
Of the publication of Volume II. of Dr. Burney’s great work we have the
following account:--
“So many years had elapsed since the appearance of the first
volume, and the murmurs of the subscribers were so general for
the publication of the second, that the earnestness of the
doctor to fulfil his engagement became such as to sicken him of
almost every occupation that turned him from its pursuit. Yet
uninterrupted attention grew more than ever difficult; for as his
leisure, through the double claims of his profession and his work,
diminished, his celebrity increased; and the calls upon it, as
usual, from the wayward taste of public fashion for what is hard to
obtain, were perpetual, were even clamorous; and he had constantly
a long list of petitioning parents, awaiting a vacant hour, upon
any terms that he could name, and at any part of the day.
“He had always some early pupil who accepted his attendance at
eight o’clock in the morning; and a strong instance has been given
of its being seized upon even at seven[50]; and, during the height
of the season for fashionable London residence, his tour from house
to house was scarcely ever finished sooner than eleven o’clock at
night.
“But so urgent grew now the spirit of his diligence for the
progress of his work, that he not only declined all invitations to
the hospitable boards of his friends, he even resisted the social
hour of repast at his own table; and took his solitary meal in his
coach, while passing from scholar to scholar; for which purpose he
had sandwiches prepared in a flat tin box; and wine and water ready
mixed, in a wickered pint bottle, put constantly into the pockets
of his carriage.
“If, at this period, Dr. Burney had been as intent and as skilful
in the arrangement and the augmentation of his income, as he was
industrious to procure, and assiduous to merit, its increase, he
might have retired from business, its toils and its cares, while
yet in the meridian of life; with a comfortable competence for
its decline, and adequate portions for his daughters. With regard
to his sons, it was always his intention to bestow upon them good
educations, and to bring them up to honourable professions; and
then to leave them to form, as he had done himself, a dynasty of
their own. But, unfortunately for all parties, he had as little
turn as time for that species of speculation which leads to
financial prosperity; and he lived chiefly upon the principal of
the sums which he amassed; and which he merely, as soon as they
were received, locked up in his bureau for facility of usage; or
stored largely at his banker’s as an asylum of safety: while the
cash which he laid out in any sort of interest was so little, as to
make his current revenue almost incredibly below what might have
been expected from the remuneration of his labours; or what seemed
due to his situation in the world.
“But, with all his honourable toil, his philosophic privations,
and his heroic self-denials, _The Second Volume of the History of
Music_, from a continually enlarging view of its capability of
improvement, did not see the light till the year 1782.
“Then, however, it was received with the same favour and the same
honours that had graced the entrance into public notice of its
predecessor. The literary world seemed filled with its praise;
the booksellers demanded ample impressions; and her Majesty Queen
Charlotte, with even augmented graciousness, accepted its homage at
court.
* * * * *
“Relieved, by this publication, from a weight upon his spirits and
his delicacy, which, for more than six years had burthened and
disturbed them, he prudently resolved against working any longer
under the self-reproachful annoyance of a promised punctuality
which his position in life disabled him from observing, by
fettering himself with any further tie of time to his subscribers
for the remaining volumes.”
He renounced, therefore, the excess of studious labour with which,
hitherto,
his toil
O’er books consum’d the midnight oil;
and restored himself, in a certain degree, to his family, his friends,
and a general and genial enjoyment of his existence. And hailed was the
design, by all who knew him, with an energetic welcome.
“And yet, in breathing thus a little from so unremitting an ardour; and
allowing himself to bask awhile in that healing sunshine of applause
which administers more relief to the brain-shattered and mind-exhausted
patient, than all the _materia medica_ of the Apothecaries’ Hall; so
small still, and so fugitive were his intervals of relaxation, that the
diminished exertion, which to him was gentle rest, would, to almost
any other, have still seemed overstrained occupation, and a life of
drudgery.
“With no small pleasure, now, he resumed his wonted place at the opera,
at concerts, and in circles of musical excellence; which then were at
their height of superiority, because presided over by the royal and
accomplished legislator of taste, fashion, and elegance, the Prince
of Wales[51]; who frequently deigned to call upon Dr. Burney for his
opinion upon subjects of harmony: and even condescended to summon him
to his royal vicinity, both at the opera and at concerts, that they
might ‘compare notes,’ in his own gracious expression, upon what was
performing.”
In the following year the Doctor, through the influence of Mr. Burke,
obtained the situation of organist to Chelsea College, to which
chambers are attached, and of which the salary was raised upon this
occasion from 20_l._ to 50_l._ per annum. The appointment was announced
in the following handsome letter by Mr. Burke himself:--
“_To Dr. Burney._
“I had yesterday the pleasure of voting you, my dear Sir, a salary
of fifty pounds a year, as organist to Chelsea Hospital. But as
every increase of salary made at our Board is subject to the
approbation of the Lords of the Treasury, what effect the change
now made may have I know not;--but I do not think any Treasury will
rescind it.
“This was _pour faire la bonne bouche_ at parting with office; and
I am only sorry that it did not fall in my way to show you a more
substantial mark of my high respect for you and Miss Burney.
“I have the honour to be, &c.
“_Horse Guards_, Dec. 9, 1783.
“~Edm. Burke.~
“I really could not do this business at a more early period, else
it would have been done infallibly.”
It is known that Doctor Burney wrote an account of the Commemoration
of Handel: on this subject his memorialist is more diffuse than on
most others which relate alone to music. The following remarks on his
presenting the copyright to the Musical Fund are very just, and the
following details respecting the interest his Majesty took in the
progress and matter of the work, not only new, but highly interesting.
“Not small in the scales of justice must be reckoned this gift of
the biographical and professional talents of Dr. Burney to the
musical fund. A man who held his elevation in his class of life
wholly from himself; a father of eight children, who all looked
up to him as their prop; a professor who, at fifty-eight years
of age, laboured at his calling with the indefatigable diligence
of youth; and who had no time, even for his promised history,
but what he spared from his repasts or his repose; to make any
offering, gratuitously, of a work which, though it might have no
chance of sale when its éclat of novelty was passed, must yet,
while that short éclat shone forth, have a sale of high emolument,
manifested, perhaps, as generous a spirit of charity, and as ardent
a love of the lyre, as could well, by a person in so private a line
of life, be exhibited.
“Dr. Burney was, of course, so entirely at home on a subject such
as this, that he could only have to wait the arrival of his foreign
materials to go to work; and only begin working to be in sight of
his book’s completion: but the business of the plates could not be
executed quite so rapidly; on the contrary, though the composition
was finished in a few weeks, it was not till the following year
that the engravings were ready for publication.
“This was a laxity of progress that by no means kept pace with the
eagerness of the directors, or the expectations of the public; and
the former frequently made known their disappointment through the
channel of the Earl of Sandwich; who, at the same time, entered
into correspondence with the Doctor, relative to future anniversary
concerts upon a similar plan, though upon a considerably lessened
scale to that which had been adopted for the Commemoration[52].
“The inconveniences, however, of this new labour, though by no
means trifling, because absorbing all the literary time of the
Doctor, to the great loss and procrastination of his musical
history, had compensations, that would have mitigated much superior
evil.
“The King himself deigned to make frequent inquiry into the state
of the business; and when his Majesty knew that the publication
was retarded only by the engravers, he desired to see the loose
and unbound sheets of the work, which he perused with so strong
an interest in their contents, that he drew up two critical notes
upon them, with so much perspicuity and justness, that Dr. Burney,
unwilling to lose their purport, yet not daring to presume to
insert them with the King’s name in any appendix, cancelled the
two sheets to which they had reference, and embodied their meaning
in his own text. At this he was certain the King could not be
displeased, as it was with his Majesty’s consent that they had been
communicated to the Doctor, by Mr. Nicolai [Nicolay], a page of the
Queen’s.
“Now, however, there seems to be no possible objection to giving
to the public these two notes from the original royal text, as
the unassuming tone of their advice cannot but afford a pleasing
reminiscence to those by whom that benevolent monarch was known;
while to those who are too young to recollect him, they may still
be a matter of laudable curiosity. And they will obviate, also, any
ignorant imputation of flattery, in the praise which is inserted in
the dedication of the work to the King; and which will be subjoined
to these original notes.
“_From the Hand-writing of his Majesty, George III._
“It seems but just, as well as natural, in mentioning the 4th
Hautbois Concerto, on the 4th day’s performance of Handel’s
Commemoration, to take notice of the exquisite taste and propriety
Mr. Fischer exhibited in the solo parts; which must convince his
hearers that his excellence does not exist alone in performing his
own composition; and that his tone perfectly filled the stupendous
building where this excellent concerto was performed.”
“_From the same._
“The performance of the Messiah.
“Dr. Burney seems to forget the great merit of the choral fugue,
‘He trusteth in God,’ by asserting that the words would admit of no
stroke of passion. Now the real truth is, that the words contain
a manifest presumption and impertinence, which Handel has, in the
most masterly manner, taken advantage of. And he was so conscious
of the moral merit of that movement, that, whenever he was desired
to sit down to the harpsichord, if not instantly inclined to play,
he used to take this subject; which ever set his imagination at
work, and made him produce wonderful capriccios.”
ON THE BASE VOICE.
(From _La Revue Musicale_.)
The base voice, whose powerful accents, combined with such tender and
pathetic expression, produce at present such a wonderful effect, was
little used in the serious Italian opera at the beginning of this
century, and is almost unknown in the dramatic compositions of the
early Italian school. _Tito_, _Idomeneo_, and _Orazio_ were written for
tenor voices, contrary to all reason and to the received rules of good
taste[53]. The part of the High Priest in _Gli Orazi_ was the first in
which a base voice became conspicuous, sustaining so beautifully the
trio in ~E~♭; but even this was added by Cimarosa long after the first
production of his opera, the _trio_ being originally only a duet. It
should seem as if the composer had not dared to avail himself of a
quality of voice, in the more dignified characters of tragedy, which
had hitherto been entirely appropriated to the buffo parts, such as Don
Gruffo, &c. It must, however, be considered as the first triumph of
the base voice, which has since run so glorious a career supported by
such champions as _Pellegrini_, _Galli_, _Lablache_, and _Tamburini_.
Indeed, who could have made Mozart, Paisiello, or Cimarosa, believe
that their more fortunate successors would have had at their disposal,
a voice deep and sonorous, which would be able to execute the rapid
passages of the prima donna two octaves below; to modulate on a
subject; or execute an andantino with the same facility as a tenor or
a soprano? The appropriation of the higher parts of tragedy, and the
more brilliant ones of comedy, by base singers, is scarcely of thirty
years’ standing, since in _Tancredi_, one of the first, as well as
one of the best of Rossini’s compositions, but modelled on the old
Italian system, Orgirio is written for a high voice; while to the
base is given a character of very little importance. Base singing is
undoubtedly the triumph of the present age; and it was much wanted to
supply, in the Italian Opera, the place of the male soprani, for which
the female voice is but a poor substitute, and which it can never fully
replace. The French dramatic style has gradually introduced itself
into the Italian Opera; and it is to Rossini, wonderfully seconded by
the flexible and fine toned base voices he has had to write for, that
we owe such works as _Otello_, _La Gazza Ladra_, _Mosè_, &c., where
scenic effect is happily blended with the charms of melody, and that of
the orchestra with the rich tones of the human voice. The introduction
of base voices into the serious opera, the execution of the bold and
brilliant passages, written for them in comic parts, has regenerated
the Italian Opera, which was simply a concert dramatized; while the
Italian singers, feeling how much the effect of music may be aided by
scenic illusion, have, for the most part, become excellent actors.
In short, we may say, that to hear such an opera as _La Gazza Ladra_
performed by such singers as Rubini, Tamburini, Lablache, Graziani,
Malibran, and Mariano, is the perfection of dramatic music.
REVIEW OF NEW MUSIC.
~A Biographical Sketch of Henry Purcell~, _from the best
Authorities. 44 pages in folio._ (J. A. Novello.) 1832.
This is the ‘Prefatory Number’ to a complete collection of Purcell’s
Sacred Music, containing considerably more than a hundred of his
compositions, which Mr. Novello has been publishing during the last
three or four years, the early numbers whereof were sent to us, and
noticed in our review as they appeared.
Purcell, take him for all in all, is the greatest musical genius that
this country can boast; and our deliberate opinion is, that, from
the earliest period in the history of music down to the moment of
his death, Europe would in vain be searched to find his equal as a
composer of secular vocal music. That he was to some extent indebted
to Lulli, can hardly be denied by those who are well acquainted with
the dramatic works of both; but that he far surpassed what, perhaps in
compliment to our second Charles and to the fashion of the time, he
occasionally took as his model, every impartial critic must admit. If,
too, his cantatas--‘From rosy bowers,’ and ‘Mad Bess,’ for instance--be
compared with compositions in a degree similar by Alessandro Scarlatti,
which have been so highly praised and so long were vaunted, the vast
superiority of the English musician, whether as relates to air, to
harmony, to propriety of expression, or to beauty of effect, will never
be disputed by unbiassed judges. Purcell’s great fame is, as we have
before remarked, and now fearlessly repeat, founded on his productions
for the theatre and the chamber: in his compositions for the church,
he met with equals in his own country and superiors abroad; and when
his anthems are compared with those of his successors,--those of Clark,
Croft, Green, and Boyce,--though the science displayed in many of them,
and the study which some have cost, will readily be granted, yet in
melody, in pleasing combinations, and above all, in that judgment which
dictates how sounds should be adapted to sense, it will be in vain that
his admirers attempt to rank him with such of his followers as we have
named, and who possessed advantages that seemed to have been denied to
composers at the close of the seventeenth century.
Hence we are by no means sure that a collection of _all_ Purcell’s
sacred compositions was a publication to be desired, for we feel pretty
certain that several of them would never with his concurrence have
appeared in print. Composers are liable to be called upon, either in
the performance of fixed duties, or to answer some temporary purpose,
to write when ‘the muse is _not_ on them,’ and all that can be expected
under such circumstances is, that they acquit themselves so as to
escape the censure of those immediately concerned with them,--of their
contemporaries. It is rather hard for an author to be exposed, at the
end of a century and a half, to the chance of being criticised for
works on which he most probably set no value, and which he very likely
hoped might never be heard of, after the immediate purpose which called
them forth had been answered. Still we are most willing to give Mr.
Novello every possible credit for research, activity, and zeal, and
only wish that he had confined his views within narrower bounds: his
collection would then have done still more honour to the author, have
been more accessible to many, and not less useful to all. The anthems
of Purcell in Boyce’s collection, those published by Goodison, and
the six in the _Harmonia Sacra_ printed by Walsh, are in few hands,
and without an organ accompaniment: their republication, therefore,
was almost called for, and in them are beauties which are as much the
object of our admiration, as their defects are of our regret. These,
with about half a dozen more, and the services, would have formed a
collection that most would have wished to possess. But it is time to
look at the biography.
It was not to be expected that any new facts remained to be collected
concerning Purcell, and Mr. Novello does not profess to offer any: he
has very diligently extracted every thing relating to him that is to
be found in Hawkins and Burney, and not only all which is immediately
connected with the subject of his memoir, but likewise accounts of
those necessarily mentioned in the history of the principal, together
with an abundance of other not absolutely necessary matter; thus
producing a volume of forty-four very large folio pages, printed
closely in small type, which might easily have been swelled out into
as many more, or indeed to an unlimited extent, by the same ramifying
process. Nevertheless, those who are fond of such discursive biography,
and have not read the histories of Hawkins or Burney, will be informed
and amused by Mr. Novello’s numerous and copious extracts.
Mr. Novello does not strive to impress us with any very favourable
notion of Purcell’s morals: he gives, apparently as his own, Hawkins’s
observations on this subject, and, by omitting the usual marks of
quotation, makes himself responsible for the slurs cast by another.
But as he thus adopts so unfavourable an opinion of the musician’s
private character, he should have been more guarded in speaking of Mrs.
Purcell, and not have applied to her epithets which no facts that we
are acquainted with can at all justify. It was Purcell’s failing, it
seems, to associate with objectionable persons, and to pass late hours
with a profligate character in haunts of by no means a reputable kind.
Sir John Hawkins states this without any reserve; and also relates, on
_hearsay_, that Purcell, coming home late one night, heated with wine,
was refused admittance by his wife, and by being kept a considerable
time in the street, caught cold, and died in consequence. But the
historian does not give credit to this story,--the only one alleged
against the, most likely, neglected wife: and even if true, it would
hardly authorize such terms as ‘arrogant,’--‘low-minded and termagant
woman,’--‘ill-tempered and hypocritical termagant,’ &c. bestowed on her
by her husband’s present biographer. Where are we to find any facts to
warrant such language,--or, indeed, to warrant any reproaches at all?
Mr. Novello has in this ‘Prefatory Number’ inserted whatever he could
find or gather concerning the composer of the works he has edited. He
has deemed it advisable to reprint Dr. Burney’s article, ‘Purcell,’
from the Cyclopædia of Rees; extracts from the Encyclopædia Britannica,
and from the Encyclopædia Metropolitana; from the Harmonicon; several
from the Atlas; from Crotch’s Lectures, &c.; also communications from
many of his musical friends, in the nature of _commendatory letters_.
Likewise a statement of the origin of his present publication, with the
original prospectus, and an interesting account of a highly talented
and learned lady, ‘unknown to fame,’ a Mrs. Hurst, daughter of the
late Mr. White, well remembered as the early friend of Mr. Bartleman,
and the auctioneer who sold all the fine musical libraries that were
brought to the hammer from nearly the end of the last century till
about the year 1824. These are followed by seven pages of ‘Preliminary
Remarks,’ condensed from the ‘Quarterly Review, and from various other
sources of information.’ They contain short biographical notices of all
our church composers, with many notes, comprising several curious and
entertaining anecdotes. This he concludes with a statement which we,
in common with all those who wish his indefatigable zeal and industry
had experienced more encouragement, regret having been called for.--He
says, ‘The Editor of this work has endeavoured to contribute his share
towards these efforts, by bringing forward this collection of sterling
compositions for the church service. Hitherto his endeavours have been
but very little assisted or encouraged by the clergy who have the
control in choirs, where these anthems would be found most useful:--for
out of the forty-two cathedral and collegiate establishments in
England, which were endowed with funds for the support of no fewer than
three hundred and sixty-eight choristers, only _three_ choirs have
come forward to give the least support to this collection of Purcell’s
sacred music: viz. St. Paul’s Cathedral, Westminster Abbey, and Durham,
which have each subscribed to the work, but for _one_ copy only.’
‘The clergy,’ he continues, ‘will probably soon find that it will be
for _their own interest_ to alter the system of tasteless apathy,
careless indifference, and avaricious meanness, which have so long
characterized the behaviour of the generality of them, in what
relates to the musical department of the service, as well as their
shabby, grasping conduct respecting the funds, which ought to be
appropriated to the remuneration of the members of the choirs that have
been subjected to their management. The slothful and useless drones
amongst the clerical body, who have hitherto been allowed to enjoy
such valuable benefices and large incomes for doing little or nothing
themselves, will perhaps find it advisable, for their own sakes, to
consider whether the public, who have been so much enlightened lately
upon certain matters, will consent much longer to pay so high a price,
or _any price at all_, for the meagre and uninteresting musical
service which is provided for them by these selfish and niggardly, but
impolitic and short-sighted persons. It is not very likely that, after
the improvement which has taken place in the general taste for good
music, the people will continue to be attracted by such common-place,
insipid compositions and performances, as those which are but too
frequently heard in our rich church establishments, which have already
wasted, and still continue to swallow up annually such large sums of
the public money. Unless some decided and extensive change for the
better should speedily take place, the probability is, that these
enormous funds will not only be considerably reduced, so as to be
placed upon a more rational and just footing of proportion between the
sum _paid_, and what is _received_ by the public in return for it;
but the funds themselves will most likely be transferred to the hands
of other persons, who will make a more conscientious appropriation of
them to the purposes for which they were really intended; who will have
the sagacity to perceive, and the good sense to act according to the
demands of the increased intelligence, the improved taste, and the
more liberal spirit of the age.’--p. 43.
* * * * *
~Original Compositions~, _in Prose and Verse, illustrated with
Lithographic Drawings, to which is added_ some ~Vocal~ _and_
~Instrumental~ _Music_. 4to. (Lloyd, Harley Street). 1833.
This is a volume got up ‘for the benefit of a family in reduced
circumstances,’ and contains fourteen prose and poetical pieces, with
ten short musical compositions, the whole gratuitously contributed. We,
of course, direct our attention to the latter part only.
1. The first is a song by the Chevalier Neukomm, ‘I call’d on the hopes
of the years that are past,’ in two movements, is full of pathos,
and, considered as a simple, unlaboured effusion, is one of his most
pleasing and successful productions.
2. Mr. J. B. Cramer has contributed a very brief, easy air for the
piano-forte, in the few bars of which his peculiar style is easily
traced.
3. A German air, ‘Gruss,’ the poetry by H. Heine, composed by M.
Mendelssohn Bartholdy, the whole comprised in fifteen bars, contains
much in a very small compass.
4. A march, by Frederic Arthur Gore Ouseley, a child six years old
when he composed it, is one of the most marvellous productions of this
age of musical wonders, and as such we have added it to the music in
our present number. We can speak of the extraordinary, the unexampled
genius of this little boy--now only seven years and a half old--on the
authority of a gentleman, in whose report we place the most implicit
confidence. He has received no instructions in music, and though taught
by himself to play with considerable skill on the piano-forte, does
not know his notes on paper, and trusts to his sisters for writing
down what he composes. He improvises entire scenes, singing to his
own accompaniment, the latter often exhibiting harmony the most
recherchée, chords that an experienced musician only uses with caution;
but these are always introduced and resolved in a strictly regular
manner, not by rule, for he has learnt no rules, but by the aid of a
very surprising ear, and of some faculty, which, for want of a better
term, we will call intuition. His organ of hearing is so fine, that,
with his eyes closed, he instantly names any musical sound produced;
and so discriminating is this sense in the child, that, when a note
is struck on an instrument, tuned either above or below the usual
pitch, he immediately discovers and accurately states in what the
deviation consists. A chord of four notes being sounded, he named each
note exactly, though at some distance from the instrument, and with
his back turned to it. When five years of age he suffered during some
weeks from a continued fever, and on his recovery composed a piece of
music descriptive of the commencement of the disease, its progress,
crisis, and abatement, intending it as a present to his physician for
the care and attention he had bestowed on him. Though an abundance
of lively fancy is displayed in this, there is nothing in it at all
extravagant or ridiculous; on the contrary, it is strictly _en règle_,
and expresses, as well as inarticulate sounds are capable of expressing
sensations, all the variety of feeling which would be experienced in
the course of a long fever. This precocious genius is the son of the
Right Honourable Sir Gore Ouseley, Bart., G.C.H., whose learning and
high acquirements are well known in all parts of the civilized world:
and under a French governess and a tutor for Latin, his education
is proceeding in the usual manner, music forming no part of it.
His intellects are quick, and declare themselves in a countenance
remarkable for intelligence and beauty. His habits and amusements are
suited to his age, and the activity of his mind does not appear to have
operated unfavourably on his general health, which seems to be good,
and as well established as is usual with children of his years.
No. 5 is a short expressive air in ~A~ flat, by the same gifted
child. This is his favourite key; and ~A~ flat with the minor
third is the mode which he prefers when he has occasion to use the
minor key.
No. 6 is a Polonaise by Giornovichi, not endowed with much meaning.
No. 7 is a pleasing song, ‘Go, gentle breeze,’ by--Barker, Esq.
No. 8 is a waltz, not very new, but written in good taste, by E. Mammet.
No. 9 is a _Minne-Lied_, by C. Klingemann, in ~A~, nine-eighth
time, in which much character is exhibited, and an air of no common
kind.
No. 10 is a _Tyrolienne_, a lively piece of three short pages, by
the Honourable Miss Jervis, but, though agreeable, does not show any
of those original traits which sometimes characterize this lady’s
compositions.
* * * * *
PIANO-FORTE.
1. ~Premiere Fantaisie Elegante~, _sur des motifs de l’Opéra_ Fra
Diavolo, _composée par_ ~C. Czerny~. (Chappell.)
2. _Souvenir de_ Fra Diavolo, _a_ ~Melange~ _of favourite subjects
from that Opera, composed by_ ~Adolphe Adam~. (Chappell.)
Lo! here we have the _Fra Diavolo_ again! There is nothing like wearing
a thing thoroughly out, so getting rid of it speedily, composers seem
to think. But is this not as bad as cutting up the bird that produced
such valuable eggs? A good opera is a rarity, so is a good song; and no
sooner do we obtain either, than we set about the means of surfeiting
everybody with it.
M. Czerny has intended well in choosing subjects from Auber’s opera
that are not so common as many others, but he has thus selected the
least pleasing. Our readers may perhaps call us unreasonable, and say,
that we object to the popular airs because they are worn out, and to
those less worn because not popular. Our reply is, that M. Czerny was
not driven to an alternative, and should have selected neither the
one nor the other, but directed his attention elsewhere. He has here
produced a very common-place, dull affair--a _fantaisie_, in which
there is no fancy, and a continual drumming on the high notes, till
the auditor is quite fatigued with such an unbroken succession of
ear-piercing sounds. Whoever invented the additional keys _above_ ought
to be declared guilty of a misdemeanour.
* * * * *
M. Adolphe Adam has gone into the other extreme, and chosen subjects
that every one knows by heart. These, however, he has managed
gracefully, and produced a divertimento at once easy and pleasing.
* * * * *
1. ~Air de Ballet~ _from_ ~Auber’s~ _Opera_, La Bayadère, _arranged
as a_ ~Rondo~ _by_ ~Henry Herz~. No. 1. (Chappell.)
2. Ditto No. 2.
3. Ditto No. 3.
_La Bayadère_ is now performing at Drury Lane, under the title of _The
Maid of Cashmere_, where its success depends much more on the dancing
than the music. There is a vivacity in the first and second of the
above which will procure them attention, though, except that skittish
kind of liveliness which marks M. Auber’s latter productions, they
possess nothing out of the very common way. The third, however, is
more original, and will be effective in almost any form; as a stage
piece it is particularly so. M. Herz has arranged these all in a more
rational manner than is customary with him, though he is as fond of the
additional notes as M. Czerny, and others of the tinkling school.
* * * * *
1. Inspirations à Pillnitz, ~Trois Rondeaux Mignons~, _composés
pendant son séjour à Pillnitz, par_ ~C. G. Reissiger~. Op. 58. No.
1. (Wessel and Co.)
2. Ditto No. 2.
3. Ditto No. 3.
4. Der Alpen Sänger, _the March as played by_ the Guards, _arranged
by_ ~S. Gödbe~. (Collard and Collard.)
The very grandiloquent word, ‘inspiration.’ led us to hope that we
should find M. Reissiger under the immediate influence and auspices of
Phœbus; that we should meet with flights of imagination, efforts
of genius, such as can only be expected under favour of a god--or, at
least, of a Muse; but on looking at these _darling rondos_, we soon
perceived that neither Apollo nor any of the Nine had taken any trouble
in the matter, and that the inspirations boasted of were at the best
but mere dreams, brought about by the fumes of mum, or German beer.
These, we grant, are pretty, unaffected, easy pieces, prudently short,
and will make a little variety in the modern repertory, where, in
truth, we find little else than opera airs in every form except a new
one.
* * * * *
No. 4 is--what shall we say?--it is Mr. Gödbe’s version of a march
now enjoying the full tide of military popularity. Of course, every
publisher puts forth his own edition, and the present is a very easy
one, with a page of appropriate introduction.
* * * * *
DUETS, PIANO-FORTE.
1. ~C. M. Weber’s~ _Grand_ ~Jubilee Overture~, _arranged by_
~Charles Czerny~. (Wessel and Co.)
2. ~Rondeau~, à 4 mains, _sur des Thêmes favoris, composé par_
~François Hünten~. Op. 55. No. 1. (Cramer, Addison, and Beale.)
3. Ditto No. 2.
The Jubilee Overture is well known to our readers as a grand military
piece, a _réjouissance_, in which the clamourous shouts of joy are
chiefly intended to be expressed, and what is called science, as being
out of place, is not to be looked for. M. Czerny has done it justice in
his arrangement, and not exacted too much from the performers, though
he could not make the upper part easy; but he has rendered the whole
effective, if placed in proper hands.
* * * * *
No. 2 is Carafa’s ‘Aure felici,’ and No. 3 is another air by the same,
converted into very agreeable, short, and comparatively easy duets.
VOCAL.
1. ~Cheerful Glee~, Old May Morning, _for four voices; the Words
by_ ~Charles Cowden Clarke~; _the Music by_ ~Vincent Novello~. (J.
A. Novella.)
2. ~Cheerful Glee~, ‘Sweet Mirth,’ _for three voices, composed by_
~William Shore~. (J. A. Novello.)
3. ~Glee~, ‘Had we never met,’ _for four voices; the Poetry by_
~Burns~; _composed by_ ~W. Shore~. (J. A. Novello.)
The two first of these glees obtained the prizes given by the gentlemen
of the Manchester Glee Club; Mr. Novello’s was successful last year,
and Mr. Shore’s the year preceding.
Mr. Novello’s glee, in ~A~, six quavers in a bar, for four equal, or
men’s voices, is in one movement, though the time is rather slackened
at page 7, but intended, we presume, to be recovered after the pause,
in which case the want of proper notice is an omission that may
mislead. This is a composition which will gain the applause of the
connoisseur as well as the mere admirer of vocal harmony; the words
are set with great propriety, there is no want of pleasing melody, and
the technical part is evidence of the author’s ability. The length of
the glee, however, excites a wish for a little more modulation: by the
frequent repetition of the subject, good as it is in the same key, the
ear begins to grow rather impatient, and desires some decided change
for the sake of that variety which in a long piece is so needful. But
then comes in a holding base, operating like a charm, and a passage
(page 9) where the lowest voice imitates the first tenor, introducing
some of those syncopated notes so delightful to people of cultivated
taste, reconciling us to what had begun to excite some slight degree
of mental murmur. Mr. Novello has not spared the countertenor, who
frequently is called upon to hold a ~C~ sharp, and the other parts
demand from the performers more effort than glee-singers in general
like to exert. The chances are that many of them will complain that
this does not ‘sing well;’ but it is high time to rouse them; drowsy
glees which have no merit except that of being ‘well written,’--for
such is the phrase under which much dulness is attempted to be
concealed,--will not much longer be listened to with that forbearance
which has too often been extended to them.
* * * * *
Mr. Shore’s glee in ~D~ is for three equal voices, and in three
movements, the first and last quick, the second rather slower. When
we have said that this is not an unpleasing composition, and that it
makes no pretence, we have bestowed as much praise on it as is at all
allowable. It certainly has not the smallest claim to originality,
either in design or execution, and must have been very fortunate in the
kind of competitors it had to contend against.
* * * * *
No. 3 is a clear and pleasing melody, agreeably harmonized for soprano,
alto, tenor, and bass, and the exceedingly touching words of Burns are
set with taste and feeling.
* * * * *
1. ~Scena e Romanza~, _in the operetta of_ Amore e Psiche, _the
Poetry by_ ~S. E. Petronj~, Esq., _composed by_ ~G. Liverati~.
(Lonsdale and Mills.)
2. ~Recit. e Duetto~, do. do. do.
3. ~Three Italian Notturnos~, _composed by_ ~D. Crivelli~, _the
words by_ Sig. ~Caravita~. (Cramer and Co.)
4. ~Arietta~, ‘Calma ti pria ch’io parta,’ composed and published
as the preceding.
5. ~Cavatina~, ‘Gentil vaga Violetta,’ _nell’ opera_ La Violetta,
del Sig. ~M. Carafa~. (Chappell.)
6. ~Canzonet~, ‘Va! lusingando Amore,’ _composed by_ ~John
Barnett~. (Chappell.)
No. 1 is an accompanied recitative, with a long harp introduction. The
romance which follows, in ~G~ minor,--a happy mixture of the Italian
and German styles,--is full of passion and melodious effect.
* * * * *
The recitative to No. 2 is not very striking. The duet which follows
opens in ~D~ flat, adagio, and passes into a moderato in ~B~ flat. Good
as this is, it must not be concealed, that it is written decidedly in
imitation of Rossini.
* * * * *
Sig. Crivelli’s Notturnos will not be disapproved by those who
encourage the Italian style of the age immediately preceding the
present. They are less simple than the productions of the Venetian and
Neapolitan schools, but have not much imagination or vigour. A few
inaccuracies have eluded the eye of the composer, among which standing
in great need of correction are, octaves between the second voice and
the base, page 3, bar 2; and a ~D~ flat rising instead of falling, in
last bar of page 8.
* * * * *
No. 4 is rather elegant, though far from new, and the words are well
set.
* * * * *
No. 5 is one of those things which may be heard half a dozen times
without leaving the slightest impression; and that might have been
written by any one having sufficient technical skill to put the notes
in right order. But the composer is a _maestro_. He is an instance of
what fame may be acquired in the musical world by a single air.
* * * * *
No. 6 is far from a common melody; and but for certain harsh notes,
arising from an over-strained though laudable attempt at originality,
we should add, that the accompaniment is as masterly as it is bold.
An ~A~ double-flat, page 3, is beyond our comprehension. Had it not
occurred twice, we should have concluded that B double-flat was
intended. This canzonet, however, considered altogether, is highly
creditable in every may to Mr. Barnett.
* * * * *
~Ballet Opera~, The Maid of Cashmere, _or_ La Bayadère, _composed
by_ ~Auber~, _and adapted to the English stage by_ ~Henry R.
Bishop~. (Chappell.)
1. ~Duet~, ‘Ah! why, too lovely Bayadères?’
2. ~Notturno~, two voices, ‘O happy Banks of Ganges!’
3. ~Air~, ‘Charming Bayadère.’
4. ~Ballad~, ‘Beats there a heart on earth sincere?’
5. ~Air~, ‘Ne’er is the Cottager’s door.’
No. 1 (‘Comment, aimables Bayadères’) possesses one great charm, that
of originality, and of a pleasing kind too, though we cannot add that
the words are set in a manner corresponding with the sentiment or the
scene. The second movement of this is an air that must soon become
popular.
* * * * *
No. 2 (‘O bords heureux du Gange’) is exceedingly light, pretty, and
novel: there are too many words for the notes, in both languages, and,
as in the former case, the sound does not agree with the sentiment.
Love is tender, not sportive: there is in this passion nothing of
a comic kind to plead an apology for music of so very playful a
description.
* * * * *
In No. 3 (‘Sois ma Bayadère’) the composer partly imitates himself, and
partly Rossini. There is nothing worth a remark in this.
* * * * *
Nothing can be more common than No. 4; not a phrase, not a cadence,
but what has been worn to tatters years and years past. We should have
guessed this to be an English air, did not the title-page inform us
otherwise.
* * * * *
No. 5 is a failure in English, whatever it may be in the original
language. We have rarely met with words, both in signification and
accent, so ill adapted to the music as are the present.
* * * * *
1. ~Duet~, ‘Our Hero Knights,’ _in_ Robert le Diable, _composed by_
~J. Meyerbeer~. (Chappell.)
2. ~Duet~ ‘The streams that wind amid the hills,’ the Poetry by G.
Darley, Esq.; the Music composed by ~Fanny Steers~. (Cocks and Co.)
3. ~Aria~, ‘Speed, ye softly-heaving billows,’ _composed by_ the
Chevalier ~Sigismond Neukomm~. (Chappell.)
4. ~Song~, ‘The Lark and the Nightingale,’ _composed by_ the
Chevalier ~Neukomm~. (Chappell.)
5. ~Song~, ‘Give me not music in the glare of day,’ _written and
composed by_ ~J. Augustine Wade~, Esq. (Chappell.)
6. The Song of the May Rose, ditto, ditto.
7. The Warrior’s Invocation, _written by_ Mrs. ~E. Smith~; _the
Music by_ ~Charles Smith~. (Cocks and Co.)
8. The Welsh Melody, _sung by_ Miss ~Kelly~ _in_ Dramatic
Recollections, written in Welsh and English, and adapted to ‘Llwyn
ou,’ _or the_ ‘Ash Grove,’ _by_ ~J. Parry~. (Chappell.)
9. ~Air Suisse~, ‘Je dois te fuir,’ _composé par_ ~F. Stockhausen~.
(Chappell.)
No. 1 is the magnificent duet for tenor and base, ‘Si j’aurai ce
courage?’ of which we have spoken more than once.
* * * * *
No. 2 is not belonging to the uncommon order.
* * * * *
No. 3 is delicate and pleasing, though it does not seem to have cost
the composer much effort.
* * * * *
No. 4 is more studied; and by four changes in the time broken into as
many short movements, the last of which, in ~C~ minor, is the strain of
the ‘most melancholy’ Philomel, an interesting air.
* * * * *
No. 5 is an ably imagined, well-written, and very pleasing song. No. 6
was favourably noticed by us long ago, as part of a volume entitled the
_Songs of the Flowers_.
* * * * *
No. 7 is composed with taste, but laboured; it was not ‘struck out at a
heat.’
* * * * *
The English words of No. 8 are well set to the Welsh air which
furnished a melody, much more than a century ago, to Gay’s ‘Cease your
funning.’ What success Mr. Parry has had with his Cambrian poetry in
union with the melody, it is not in our power to say, we having no
cunning in his native language.
* * * * *
No. 9 is as agreeable as most Swiss airs are, and so like many that
all the world have heard, that, unless it had been sent to us as new,
we should have believed it to be of three or four years’ standing at
least. In fact, hear half a dozen of these Helvetic melodies, and
you hear them all; there is a prodigious family likeness in them. M.
Stockhausen is over-productive; he wants some musical Malthus to curb
him.
* * * * *
PIANO-FORTE AND FLUTE.
1. ~Overture~ _to_ Fidelio, _arranged for two_ Flutes _and_ Piano,
_by_ ~J. Clinton~ _and_ ~A. Brand~. (Wessel and Co.)
2. ~Carafa’s Air~, ‘O cara Memoria,’ _with concertante Variations
by_ ~J. Czerny~. Op. 16. (Hill.)
3. ~Introduction~ _and_ ~Variations~ _on the Romance in_ ~Weber’s~
Euryanthe, _by_ ~F. Kuhlau~. (Hill.)
The first of the above is the overture in ~E~ _now_ played, not that
originally written for the opera. Considered as arranged for the
piano-forte, with accompaniments for two flutes, there is nothing
ridiculous in this,--indeed the effect of it is good; but when called
a trio, a smile is drawn from us:--the overture to _Fidelio_ as a trio
for two flutes and piano!
* * * * *
No. 2 makes a very charming duet, requiring two players of the better
kind, whose execution is neat rather than brilliant. M. J. Czerny has
put an Introduzione to this, and added five variations, all of which,
the finale excepted, are in character with the air, and will not
disappoint expectation.
* * * * *
In No. 3, M. Kuhlau has proved how difficult it is to avoid the snares
of fashion. He here succumbed to the prevailing depravity of taste,
and wrote what may be called clever variations to Weber’s Romance, but
certainly not appropriate ones. The whole of this demands two expert
performers, whose time may be much better employed than in overcoming
obstacles that are not worth conquering.
* * * * *
FLUTE.
1. ~The Flutist’s Album~, containing Thirty National Melodies, with
Variations and Embellishments, composed by ~A. Nicol~. 1 Vol. 4to.
(_Glasgow_, M’Fadyen.)
2. _The favourite_ ~Airs~ _in_ ~Meyerbeer’s~ Robert le Diable,
_arranged by_ ~C. Saust~. (Chappell.)
No. 1 is a collection of airs, of all nations, that have been most
popular during the last few years, each having two or more variations,
in which the ease of the performers does not seem to have been a
primary consideration. But the task, though somewhat severe for players
in general, is not a long one, as one single page is the limit of each
piece. This is a good selection, and the additions would be all of a
commendable kind were they uniformly in keeping with the respective
melodies; but all are brilliant, while many of the airs are quite
different in character.
* * * * *
No. 2 is a small neat quarto publication of fourteen pages (upon which,
by the by, a price any thing but reasonable is fixed), containing
thirteen pieces from the opera, set in a studiously easy manner for the
instrument.
* * * * *
VIOLONCELLO AND PIANO-FORTE.
~Select Italian Airs~ _from the most popular Operas_, arranged by
~F. W. Crouch~. Nos. 1 and 2. (Chappell.)
Mr. Crouch has here restored to an air by Paisiello, ‘Ah, mia cara,’
and one by Sacchini, ‘Più non ho la dolce speranza,’ both of which were
doubtless once ‘popular,’ but before our time, and, we suspect, ere Mr.
C. took much cognizance of these matters. However, we are pleased to
meet with them; and convinced as we are that it will soon be expedient
to resuscitate many good things by the same composers, we hail this as
something of a beginning. Both the present are as short and easy as can
be imagined, and are as graceful as brief.
* * * * *
GUITAR AND PIANO-FORTE.
‘L’or est une chimère,’ _from_ ~Meyerbeer’s~ Robert, _arranged by_
~W. Neuland~. Op. 12. (Chappell.)
These two instruments agree remarkably well together when the larger
one uses its giant strength with moderation. The present is an
excellent adaptation of an excellent air, and is so contrived that
almost any two players may execute it, while the best need not blush to
perform it. It is so short also, that it will bear an encore.
ANCIENT CONCERTS.
We waited till the latest moment for the usual communication from a
friendly correspondent of the _Harmonicon_, who has, for three or four
years past, favoured us with his criticisms on these concerts, but
not hearing from him till too late to furnish what he has omitted to
supply, we can only give our readers the programmes of the last three
performances.
FOURTH CONCERT,
_Under the Direction of his Royal Highness the Duke of Cumberland,
Wednesday, March 27, 1833._
~Act I.~
Coronation Anthem, ‘The King.’ Quartet, ‘Exceeding ~Handel.~
glad.’ Chorus, ‘Thou hast prevented him.’
Recit, ‘Ye twice ten hundred.’ Song, ‘By the ~Purcell.~
croaking.’ (_Indian Queen._)
Madrigal, (Full Choir,) ‘Oh, that the learned.’ ~Gibbons.~
Song, ‘Holy! holy!’ (_Redemption._) ~Handel.~
Concerto in ~A~ minor ~Martini.~
Trio and Chorus, ‘Disdainful.’ (_Judas Macc._) ~Handel.~
Recit, ‘Berenice, dove sei?’ Song, ‘Ombra che ~Jomelli.~
pallida.’ (_Lucio Vero._)
Solo and Chorus, ‘Glory to God.’ (_Joshua._) ~Handel.~
~Act II.~
Overture, (_Ptolemy._) ~Handel.~
Recit, ‘The mighty.’ Song, ‘Softly sweet.’ ~Handel.~
(_Alexander’s Feast._)
The Music in Macbeth. ~Locke.~
Glee, ‘Cold is Cadwallo’s tongue.’ ~Horsley.~
Recit, ‘Sposa! Euridice!’ Song, ‘Che farò.’ ~Gluck.~
(_Orfeo._)
Double Chorus, ‘The horse.’ (_Israel in Egypt._) ~Handel.~
FIFTH CONCERT,
_Under the Direction of Lord Burghersh, Wednesday, April 17, 1833._
~Act I.~
Introduction and Cho., ‘Ye sons of Israel.’ ~Handel.~
(_Joshua._)
Recit., ‘And God said.’ Song, ‘Now heaven.’ ~Haydn.~
(_Creation._)
The Passions. (_Solomon._) ~Handel.~
Recit., ‘Sweep, sweep.’ Air and Chorus, ‘Music, spread
thy voice.’ Air and double Chorus, ‘Now a different.’
Recit. and Chorus, ‘Then at once.’ Recit., ‘Next
he tortur’d.’ Air and Chorus, ‘Thus rolling surges.’
Song, ‘Pious orgies.’ (_Judas Maccabeus._) ~Handel.~
Quartet, ‘Godiam la pace.’ (_Idomeneo._) ~Mozart.~
Concerto 12th. (_Grand._) ~Handel.~
Stabat Mater. ~Pergolesi.~
Chorus, ‘Glory to God.’ Quartet, ‘O Lord, have ~Beethoven.~
mercy.’ Grand Chorus, ‘The Lord is great.’
~Act II.~
Symphony. (_Surprise._) ~Haydn.~
Glee, ‘Jesse.’ ~Knyvett.~
Song, ‘Honour and arms.’ (_Samson._) ~Handel.~
Anthem and Cho., ‘Call to remembrance’ ~Battishill.~
Recit., ‘E il padre.’ Aria, ‘Gia la vittima fatale.’ ~Jomelli.~
(_Ifigenia._)
Chorus, ‘O voto tremendo.’ Dead march ~Mozart.~
(_Idomeneo._)
Recit., ‘O worse than death.’ Song, ‘Angels, ever ~Handel.~
bright.’ (_Theodora._)
Madrigal, full choir, ‘Fire! Fire!’ ~Morley.~
Aria, ‘Il mio tesore.’ (_Don Giovanni._) ~Mozart.~
Chorus, ‘Cum Sancto Spiritu.’ ~Pergolesi.~
SIXTH CONCERT,
_Under the Direction of the Earl of Cawdor, Wednesday, April 24, 1833._
~Act I.~
First, Second, and Fourth Movements. ~Handel.~
(_Dettingen Te Deum._)
Song, ‘Softly rise.’ Chorus, ‘Ye southern breezes.’ ~Boyce.~
(_Solomon._)
Glee, ‘Who comes so dark.’ ~Callcott.~
Song, ‘Dryads, Sylvans.’ Chorus, ‘Lo, we all attend.’ ~Handel.~
(_Time and Truth._)
Concerto 4th. ~Corelli.~
Song, ‘Non so d’onde vieni.’ ~Bach.~
Quartet, ‘Ave verum corpus.’ ~Mozart.~
Recit, ‘My cup is full.’ Song, ‘Shall I in Mamre’s.’ ~Handel.~
Chorus, ‘For all these mercies.’ (_Joshua._)
Recit, ‘Ma che giorno.’ Solo and Chorus, ‘Tu è ver.’ ~Mozart.~
(_La Clem. di Tito._)
~Act II.~
Symphony in ~E~ flat. ~Mozart.~
Chorus, ‘De profundis.’ ~Gluck.~
Song, ‘Vo Solcando.’ ~Vinci.~
Madrigal, ‘Flora gave me.’ ~Wilbye.~
Recit, ‘Ove son.’ Song, ‘Gelido in ogni vena.’ ~Bavanella.~
Chorus, ‘Avert these omens.’ (_Semele._) ~Handel.~
Recit, ‘Rejoice, my countrymen,’ Chorus, ‘Sing, O ~Handel.~
ye heavens.’ (_Belshazzar._)
PHILHARMONIC CONCERTS.
THIRD CONCERT, Monday, March 25, 1833.
~Act I.~
Sinfonia in D ~Mozart.~
Scene, Mr. Phillips, ‘The Last Man’ ~W. H.
Callcott.~
Fantasia, Flute, Mr. Nicholson ~Nicholson.~
Aria, Miss Clara Novello, ‘Per pietà’ ~Mozart.~
Overture, _The Matins of Wallersee_ ~Chelard.~
~Act II.~
Sinfonia, Pastorale ~Beethoven.~
Song, Mrs. W. Knyvett, ‘With verdure clad’ ~Haydn.~
Quartetto, two Violins, Viola, and Violoncello, ~Beethoven.~
Messrs. Spagnoletti, A. Griesbach, Moralt, and
Rousselot, No. 5
Terzetto, Miss Clara Novello, Mrs. W. Knyvett, and ~Mozart.~
Mr. Phillips, ‘Soave sia il vento.’ (_Così fan
tutte_)
Overture, _Prometheus_ ~Beethoven.~
Leader, Mr. Weichsel.--Conductor, Mr. Bishop.
The Symphony of Mozart, No. 3 of the scores, was played with great
spirit and the utmost precision. This is one of the most animating of
the composer’s works, and seems always to inspire the band as much
as it excites the audience. The Pastoral Symphony was never better
performed; every movement produced its due effect; even the andante,
long as it is, was not felt tedious. Still we are persuaded, and
experience confirms our opinion, that about a third of this might be
omitted, with the most beneficial effect on the whole. Some of the
passages are repeated over and over again; the reduction of these would
hardly interfere with the author’s design, and, having been _twice_
heard, might be spared without at all being missed. At all events,
it is better that an audience should wish for more than complain of
redundancy.
The Overture of M. Chelard (director of the German company that
performed at the King’s Theatre last year) was now produced for the
first time. It is altogether descriptive, and as a novel attempt, we
give his programme, or explanation of it:--
‘The knights of St. George, of Bavaria, returning from the Crusades,
are bringing back to the castle of Wallersee the remains of the count,
its former possessor, and the grand master of their order, accompanied
by Everhart of Schœnfeld, the banneret knight and nephew of the
count, and the betrothed of his daughter Iolanda, who is supposed to
have perished when the castle was laid in ruins by the usurper, Rodolph
of Trento. The overture opens with a funeral march of the knights,
followed by the triumphal song of the apotheosis. It then returns
to the march, and afterwards to the song of triumph. The dead march
is repeated; and as the knights recount the deeds of the hero, the
voices of departed spirits are supposed to be heard welcoming him to
heaven. The knights separate; Everhart remains alone; he approaches the
chapel, and while there, lost in meditation, is suddenly startled by
the bell announcing the midnight hour; the voices of the nuns blending
with the organ in the anthem for the dead--“_Dona pacem, sancte Deus
clemens: audi preces nostras; Pater, miserere!_” Thunder is heard. He
distinguishes among the voices one of a female repeating his name. She
approaches, and he recognizes his lost Iolanda, who had here sought
refuge from the usurper’s tyranny.’
It must immediately be evident that not one half, not one sixth of
this, admits of description in musical sounds. The funeral march,
the little bell on which the hour was actually struck, and the
motet,--sung by four persons concealed from view,--were all understood
well enough; but the connexion of these with the story must have
remained an enigma which would have defied Œdipus himself, but for
the printed plot insinuated into the room. The overture, however,
is a clever work, and shows a great deal of imagination, as well
as knowledge of orchestral effects. The descriptive parts are as
successful in exciting images as the means employed would admit, and
some very good, indeed new harmonies, are dispersed throughout the
composition. The author undertook a work which most living composers
would have rendered perfectly ridiculous; he has produced what some
admired, many approved, and very few condemned, and has steered clear
of any gross absurdity: he therefore is entitled to our thanks for the
boldness of his enterprise, and to our applause for the manner in which
he has carried into execution so hazardous an attempt.
The Overture to _Prometheus_, too good for a finale, delighted all who
stayed to hear it.
Mr. Nicholson’s Fantasia was, we hardly need say, beautifully played;
but is an air with variations fit for such a concert? The directors,
however, we conclude, must sometimes give way, and, like other great
men, be governed by existing circumstances. The Quartet--the 5th, in
~A~, the andante of which is the foundation of Carafa’s air ‘Aure
felici,’--was most delicately executed.
Mr. Phillips sang young Callcott’s fine Scene in a most impressive
manner. Miss C. Novello did all that is to be done with Mozart’s Aria,
a composition from his _Operngesaenge_ (opera songs, a collection of
detached pieces), and is which, we can easily believe, the author
did not take much pride. It is one of those written for a temporary
occasion, and is unnoticed in his own catalogue. Mrs. Knyvett’s ‘With
verdure clad’ was admired for its purity, though all wished that a
less hackneyed air had been chosen. The same feeling was excited by
the Terzetto, which, beautiful as it is, ought now to be laid by for a
while. Moreover, it was not performed in the best possible manner.
FOURTH CONCERT, Monday, April 15, 1833.
~Act I.~
Sinfonia in C minor ~Beethoven.~
Aria, Mr. Bennett, ‘Il mio tesoro.’ (_Il Don ~Mozart.~
Giovanni_)
Grand Septetto, MS. composed expressly for these ~Moscheles.~
Concerts, and fist time of performance, Piano-Forte,
Violin, Viola, Clarinet, Horn, Violoncello, and
Contra Basso, Messrs. Moscheles, Mori, Moralt,
Willman, Platt, Lindley, and Dragonetti
Scena, Mrs. R. H. Bishop, ‘Ah! non so’ ~Mozart~
Overture, _Preciosa_ ~C. M. von
Weber.~
~Act II.~
Sinfonia, No. 2 ~Haydn.~
Aria, Miss Shirreff, ‘Deh! se piace mi vuoi.’ ~Mozart.~
(_Tito_)
Concertante, four Violins principal, Messrs. Mori, ~Maurer.~
Seymour, Patey, and Griesbach
Terzetto, Mrs. H. R. Bishop, Miss Shirreff, and Mr. ~Cimarosa.~
Bennett, ‘O dolce e caro istante.’ (_Gli Orazi_)
Overture, _La Clemenza di Tito_ ~Mozart.~
Leader, Mr. Mori.--Conductor, Mr. Moscheles.
The extent to which the epidemic, the Influenza, prevails, was visible
enough in the thinned benches of the room this evening. Some few of
the band, sufferers from the general malady, were also absent, but the
others made up by their exertions for deficiency in numbers, for never
did the ~C~ minor of Beethoven go better; and Haydn’s lovely Symphony,
in ~D~, which, we hardly know why has been less used than most of the
twelve grand, or Salomon’s, was performed with all the delicacy and
spirit required to give due effect to it. And here we will observe _en
passant_, that the last movement was rather too quick: the composer, it
is true, marks it _Presto_, but moderates this by the caution ‘ma non
troppo.’ His finales are now almost invariably hurried--an evil that
was growing even in Salomon’s time, who in the last year of his life
mentioned this to us in strong terms of reprobation. Unfortunately,
when Haydn wrote nothing of the pendulum kind was in use, he therefore
was only able to give his directions in the vague and often mistaken
terms then and still employed in music.
The light and exceedingly pleasing overture to _Preciosa_ abounds in
original traits, and shows the versatility of the composer’s genius, as
well as his great sense of fitness. Whoever hears this, will, without
any previous information, conclude that it was written for a pastoral
or a simple opera. The overture to the _Freischütz_ at once announces
the preternatural scenes, the magic, the _diablerie_, that are to
follow. Thus he discriminated in his dramatic productions, which all,
without a single exception that we are aware of, proved how much he
thought, and how invariably to the purpose. The overture to _Tito_ went
off with splendid effect.
The novelty of the evening was the Septet of Mr. Moscheles, one of
the pieces composed for the society, and an incontrovertible evidence
of the wisdom as well as liberality of the members in engaging this
gentleman, among others, to exercise his talents in their service.
It consists of an allegro in D; a scherzo and trio in ~D~ minor; an
adagio in B flat; and a finale in the major key. Clear as is the first
movement, it made less impression on us than any of what followed.
The scherzo is strikingly original; the adagio, full of feeling and
exquisite taste; and the finale bounding with vivacity and joy. A work
like this ought to be seen, or to be heard more than once, to enter
fairly into all its merits, but we may venture to say, that this alone
would be sufficient to establish the author’s reputation as a composer
of the highest order, had he produced nothing else. It is long,
certainly, and we should recommend that either the first movement be
abridged, or that it be played without the repeat.
The concertante went off remarkably well. It is an able work, but
lengthy, the nature of the composition being considered. Mori, in this,
exerted himself very kindly in support of his young coadjutors: indeed
his labours during the evening--as leader, and taking the violin part
in the septet--were of no ordinary kind, and required as much corporeal
strength as professional ability.
The aria, ‘Il mio tesoro,’ was passable. The scena of Mozart, ‘Misera!
dove son?’ and following aria in ~E~ flat, ‘Ah! non so ion’ the
seventh of his _operngesaenge_, possess, at least, the recommendation
of not having been often heard, and Mrs. Bishop was not sparing, in
exertion to do them every possible justice. Of the remaining vocal
pieces, the less said the better; though it is fair to state, that Miss
Shirreff was called upon at a late hour to supply the place of Mad. de
Méric, and sang without rehearsing.
ROYAL ACADEMY OF MUSIC.
The pupils of this institution had their first public concert for the
season at the Hanover Square Rooms, on Saturday morning, March 30th,
when the following pieces were performed by them exclusively:--
~Part I.~
Symphony, in D No. 4 ~Mozart.~
Introduction to Zauberflöte, ‘Oh Stelle!’ ~Mozart.~
Recit. ‘For behold;’ Song, ‘The People that walked ~Handel.~
in Darkness,’ Mr. Stretton. (_Messiah_)
Concerto, Grand Piano-Forte, First Movement only, ~Hummel.~
Master Johnson, [Pupil of Mr. J. B. Cramer]
Madrigal, ‘Sweet honey-sucking Bee.’ ~Wilbye.~
Song, ‘If guiltless Blood,’ Miss Turner. ~Handel.~
(_Susanna_)
Motet, ‘O Lord who dwellest;’ composed for, and ~Lucas.~
performed at, St. George’s Chapel, Windsor
~Part II.~
Concerto (MS.) Grand Piano-Forte, composed and ~Bennett.~
played by Master Bennett, Pupil of Mr. Potter
‘Qui tollis,’ from Mass No. 2, Solo, Mr. G. Le Jeune ~Haydn.~
Aria, ‘Ah qual giorno,’ Miss Birch. ~Rossini.~
(_Semiramide_).
Quartet Concertante, for four Violins ~Maurer.~
Duo, ‘Ebben per mia Memoria’ (_Gazza Ladra_) ~Rossini.~
‘Sanctus and Benedictus,’ Mass No. 2 ~Hummel.~
Leaders--Part I. Mr. Seymour--Part II. Mr. Patey.
The movement from Hummel’s concerto was very neatly played by Master
Johnson; but the most complete and gratifying performance was that of
young Bennett, whose composition would have conferred honour on any
established master, and his execution of it was really surprising,
not merely for its correctness and brilliancy, but for the feeling he
manifested, which, if he proceed as he has begun, must, in a few years,
place him very high in his profession.
We were glad to meet with a Madrigal, and one of the finest extant, in
this concert: hitherto the pupils have been allowed to indulge too much
in fashionable music, half of which, moderately estimated, is downright
trash, while they have been kept too ignorant of the really great
masters.
Whoever is teacher of Handel’s vocal music in this academy, should
himself get some further instruction. He is quite at fault in his
notion of the true style, if we may draw any inference from the manner
in which the pupils generally perform it.
The Motet possesses a good deal of merit, but has been much over-rated.
The Quartet Concertante was exceedingly well played: we wish it were
possible truly to say that ‘Oh Stelle!’ was as well sung.
The room was very fully attended.
SOCIETA ARMONICA.
The illness of a gentleman on whom we relied for some account of these
concerts, has prevented our bestowing that attention on them which,
we learn from many quarters, they have merited. We have heard of the
performance of Beethoven’s Mass in ~C~, which had never before been
given in this country with full orchestral accompaniments, and applaud
the spirit that prompted its introduction. Though according to all
accounts it might have been executed in a better manner, the attempt is
praiseworthy, and perseverance leads to perfection. The subscription,
it must be considered, is low, and does not afford the managers the
means of obtaining all the assistance which otherwise they would, we
are disposed to believe, be willing to procure.
AN OFFICIAL NOTE.
THE Editor of the _Harmonicon_ presents his compliments to the Editor
of _La Revue Musicale_, and is happy to find that anything contained in
an English publication has been thought worthy of being transferred to
the pages of a French one.
Though the Editor of _La Revue Musicale_ manifestly entertains no great
partiality for the British nation, yet that good-breeding so common to
all his countrymen, and of which he doubtless partakes in an eminent
degree, would certainly have prompted him to acknowledge from what
source he obtained the air by Keiser, inserted in his work last March,
had he been aware of the quarter whence it proceeded; the Editor of
the _Harmonicon_, therefore, fully persuaded that the Editor of _La
Revue Musicale_ will feel most happy in being correctly informed on
the subject, has the honour to acquaint him, that the composition in
question was published--for the first time since the year 1701, it is
supposed--in the _Harmonicon_ for February last; that the German copy
afforded only a melody and base, consequently that the accompaniment,
good, or bad, is attributable to the Editor of the _Harmonicon_ only;
and that the English words set to it are not a translation from the
German, nor do they even imitate the original, but were selected
because the general sentiment they express is not at variance with the
music, and because the metre very exactly suits the notes.
The Editor of _La Revue Musicale_, in having caused the English verses
of Miss Seward to be translated into French, has done her great
honour, though he has not mentioned her name; and has conferred a
no less flattering distinction on the Editor of the _Harmonicon_ in
adopting his accompaniment, and by giving it the additional advantage
of appearing to have proceeded from the able pen of the learned French
Editor.
The Editor of the _Harmonicon_ has in his pages often availed himself
of the labours of the Editor of _La Revue Musicale_, and never
intentionally failed to acknowledge his obligations. He now begs the
Editor of the French Review to accept his thanks generally, together
with his assurances of high consideration.
EXTRACTS FROM THE DIARY OF A DILETTANTE.
[Resumed from page 89.]
(_The three following Notices were omitted by our Printer in last
Number._)
_3d_ (_of March_). I find the following sensible critical remarks among
my papers; they were copied from a weekly work (the _Court Magazine_, I
think) some months ago, and have since escaped my notice. The opinions
are worthy of being widely extended.
‘Melody is of two kinds; one which is affected by the prevailing taste
or fashion, and is made up of the particular graces and embellishments
of the day; and the other, broad, flowing, majestic, bearing the
stamp of no particular period, and without ornament; but composed
principally of long notes, upon which the sentiment is encrusted and
cannot be mistaken--adorned with all the vigour and effect of striking
and appropriate harmony and instrumentation. The latter is the real
classic melody: classic, because it is imperishable, as being the noble
and unsophisticated expression of never-varying truth. It is like
those pictures of the old masters which will be relished in all ages,
because they represent that which must be understood by all generations
of men. Handel, the immortal Handel, whose works will never perish,
produced much of the first kind of melody, which is now overlooked
and forgotten: but his rich and pure streams of the second kind
flow freely, to delight and refresh with their beauties the present
generation, as they will the remotest generations to come. Cimarosa has
very little of the first kind; Mozart and Beethoven none; Meyerbeer a
great deal in his Italian operas, but none in his German and French.
All these masters have written for posterity.’
* * * * *
_10th_ (_of March_). The Halifax Guardian states that ‘the fifty-third
performance of the Halifax Quarterly Choral Society took place, in
the Old Assembly Room, Talbot Inn, on Tuesday evening last. The music
consisted of a selection from _The Seasons_ of Haydn, and the whole
of Beethoven’s _Mount of Olives_. There was a full attendance of
performers, vocal and instrumental; the orchestra was led by Mr. White
of Leeds, under whose able guidance the above sublime and beautiful
compositions were performed with a degree of precision and spirit which
is frequently wanting in concerts of much higher pretensions. Miss
Milnes, the principal _soprano_, has not only a beautiful voice, but
much execution and a pure taste; and Mr. Carter, the principal tenor,
is also entitled to very high praise. The style and expression with
which he sang the deeply pathetic recitative and air that open _The
Mount of Olives_, were admirable. The other solo parts were exceedingly
well performed; and we only regret that our limits do not allow us,
on the present occasion, to do the singers justice. The choruses were
given with great correctness, and the _ensemble_ was excellent: the
points were taken up with a decision that showed how much at home the
singers were in their parts. The effect, in particular, of the grand
choral fugue, which concludes _The Mount of Olives_, was magnificent.
It is very gratifying to see this society so spiritedly conducted. It
is of such standing that it may be considered in the vigour of manhood.
May it be long before it shall betray any of the infirmities of old
age!’
* * * * *
_19th_ (_of March_). It has just been determined, by the most
influential gentlemen of Liverpool, to have a grand musical festival
in that town early in October. Let us hope that this will encourage
other enterprises of the kind and raise the drooping spirits of our
orchestral performers, whose time lay unprofitably on their hands
during the whole of the last summer and autumn.
* * * * *
_April 6th._ One of those paragraphs which the dealer in small wares
furnishes to the ‘Morning Chronicle,’ tells us, this day, that ‘Poor
Giovanni, many years stage manager at the Italian Opera-House, is,
we regret to hear, in the work-house. He was, in his position at the
theatre, a man of modest, unassuming manners, and a great favourite
behind the scenes. It is to be lamented that foreigners, who are so
liberally paid by the public for the exertion of their talents in the
London theatres, do not institute a fund for the support of their
indigent brethren.’ Now true as it may be that Signor di Giovanni has
been obliged to seek such a refuge, it was not at all necessary to
add a pang to his misery by publishing it to all the world. Had the
writer recommended a subscription to be opened for the relief of this
unfortunate servant of the fashionable portion of the public, he might
have done some good; none could arise from a mere gossiping paragraph.
Di Giovanni was not at any time stage-manager; he never arrived at any
higher office than that of deputy. Other parts of the article are not
less incorrect. As to a fund, it was once begun, and a per centage on
the salaries of the performers raised something to commence with. This
was never heard of after the retreat of Mr. Waters to Calais.
* * * * *
_10th._ In an account of the Rev. Robert Hall, by Olinthus Gregory,
recently published, is the following anecdote, or, indeed, two-fold
anecdote, which adds further testimony to the effect produced by the
music in Westminster Abbey at the far-famed Commemoration:--
‘Robert Hall,’ it is stated, ‘was at the Commemoration of Handel in
1784, and present at that extraordinary scene when George III. stood
up at one part of the performance with tears in his eyes.’ Nothing ever
affected him more strongly; ‘It seemed,’ he said, ‘like a great act of
national assent to the fundamental truths of religion.’
It was at one of the grand performances in the same venerable building,
a few years after, that Haydn was observed sitting in a corner under a
side gallery, weeping like a child, and he declared that he had never
before been so powerfully affected by music.
* * * * *
_15th._ The _influences_ of the _Influenza_ were strikingly evinced
at the Philharmonic Concert this evening. More than a third of the
subscribers were absent; and of those present, one half at least,
judging from the symptoms they exhibited, would have been better at
home. The orchestra, too, lost some of its best performers.
* * * * *
_15th._ At the rehearsal of the Ancient Concert this morning, Signor
Rubini, keeping his seat, and with his hat on, began to sing an aria.
Lord Burghersh, the director, hinted that it was usual to treat so many
subscribing auditors as were present with rather more respect. The
Signor then contrived to rise; but a gentle intimation from the same
quarter, that the Signor would be heard to greater advantage without
his hat, received no attention whatever. Now this really should not be
wondered at in a country where every thing has a money value. Signor
Rubini is making 6000_l._ or 7000_l._ per annum by his engagements,
to which we sensible English largely contribute. Such an income is
superior to that of most baronets, nay, of many lords; Signor R.’s rank
here, consequently, is equal or superior to theirs, according to the
money difference; _ergo_ he has a right, in his Britannic Majesty’s
dominions, where wealth is every thing, to rehearse seated, and with
his beaver firmly fixed on a head from which issues a voice that
commands (_O mores!_) a revenue which many an English nobleman, many a
German prince, will hear of with astonishment and envy.
* * * * *
_16th._ The daily press is beginning to manifest some reasonable
dissatisfaction at the sordid propensities of the _Baron of the
Single-string_. Had it decried his absurdities (absurdities, however,
well calculated for the meridian of London) two years ago, it might
have prevented his proving ungrateful, and caused a great deal of money
to reach the pockets of English performers, who wanted it, instead of
flowing into the coffers of a stranger who had no real occasion for
it, and did not deserve one-tenth of what he received. The _Globe_ of
this evening tells us that ‘the munificent support which M. Paganini
met with in London does not appear to have softened his heart towards
English artists. He was applied to a short time since to lend the aid
of his talents, in union with all the French and Italian performers of
eminence in Paris, to support a benefit advertised by Miss Smithson,
in the hope of retrieving some of the losses arising from the failure
of her speculation there, and her unfortunate accident, which still
confines her to her bed. He refused, on the plea of ill-health. This
was very well. The benefit was comparatively a failure, being only
sufficient to pay one-fifth of the debts due by Miss Smithson to the
English actors, who have been in a state little short of starvation,
and are even unable to return to England. Another benefit, in which
Mars, Duchesnois, and all the other artists came forward in the
handsomest manner, is announced for to-morrow. Paganini, who is well
enough to play to-morrow night at the Opera [the _French_ Opera] for
himself, has been again applied to, and now refuses flatly, saying,
that the failure of Miss Smithson’s speculation is nothing to him. This
should not be forgotten when he re-visits London.’
But it will be forgotten: the English public have lost those patriotic
feelings which once distinguished them, in so far as relates to foreign
performers. The Signor, however, will not reap another rich harvest
here, he may be assured. Though some futile attempt will be made to
deny the truth of the foregoing statement, it will be made in vain;
the _rage_ is over; our eyes as well as our ears are now opened; the
pretended enthusiasts--for affectation has had much to do with the
matter--will no longer be able to cry up the _Witches’ Dance_, the
_Friars’ Hymn_, &c. as prodigies of art; they will not be listened to
if they again endeavour to deafen us with the wonders of sounds almost
inaudible, and nearly, if not quite, inappreciable: we are grown a
little wiser, and have found out, that in proportion as two legs to a
body are preferable to half the number, so four strings to a fiddle are
better than one.
* * * * *
_22d._ In the Revue Musicale, M. Fétis lately, with much apparent
justice, severely criticised a new Italian opera by a Sig. Ricci,
called _Chiara di Rosemberg_: he even proceeded so far as to say,
that music has declined in Italy, and that there is little hope of
its revival in a country where such a work as Ricci’s could meet with
success. This has brought upon him the vengeance of the editor of _L’
Eco_, an Italian literary journal published at Milan, who not very
temperately exclaims: ‘It needed all the effrontery that is often met
with in the French journals, to deny superiority in an art to a country
which claims as its own a Rossini, a Bellini, a Mercadante, a Pacini, a
Donizzetti, a Ricci, and many other composers; to a country which has a
right to triumph in a Pasta, a Tosi, a Rubini, a Donzelli, a Lablache,
a Tamburini, &c. Nothing, in truth, but the most stupid ignorance or
the blackest malignity could assert of such a country of artists,
that “the decline of music in Italy is complete.”’ M. Fétis has well
answered the attack, and shown that the critic who can place Bellini,
Mercadante, &c., by the side of Rossini--who can put Pasta on a level
with Tosi, must be wholly incapable of discussing a question which
requires some knowledge of music, and some power of judging between
good and bad performers. The Milan editor may rave as he will, but he
may be assured, that M. Fétis speaks the opinion of every real and
unbiassed critic.
FOREIGN MUSICAL REPORT.
VIENNA.
The _Josephstädter Theater_ recently produced Donizetti’s _Anna Bolena_
with little success; the _Leopoldstädter Theater_, however, was more
fortunate in the production of a new opera, _Die Liebe auf der Alm_
(Love on the Alm), the numerous performances of which were received
with much applause. The music, by Riotti, is very melodious.
The concerts have been numerous; that of M. Benesch was very
successful. He performed a concerto of his own composition, and Madame
Benesch also distinguished herself, in a concerto of Kalkbrenner’s,
as a finished pianiste. A new symphony by M. Joachim Hoffman, a
composition of great merit, was performed at that gentleman’s
concert. A concert has also been given by the Koutski family. Anton,
the pianist, infused much expression into his play, which is more
remarkable for solidity than brilliancy. Carl, the violinist, excited
astonishment by a spirited performance, and the singer, Eugenie,
delighted the audience with an agreeable, well cultivated voice, and
very chaste style. Demoiselle Fanny Sallamon has also given a concert,
at which her exquisite performances on the piano-forte were, as usual,
enthusiastically applauded. Besides the above, there have been four
very excellent concerts given by the Society of Musicians.
BERLIN.
_Königstadt Theater._ On the 4th February Demoiselle Caroline
Schechner, a sister of the celebrated singer of the same name, made her
debut here as _Emmeline_ in _Die Schweizerfamilie_. Her voice is clear
and sweet, she sings with much taste and expression, and altogether
gives great promise of future excellence. On the 26th, a new opera,
_Melusina_, was brought out under the direction of the composer,
Conradin Kreutzer. The music is very pleasing, being light and flowing.
M. Felix Mendelssohn has given two very brilliant concerts,
particularly the last, which were fully attended. In these was
performed a Symphony by Louis Berger, full of fine thoughts, clear in
style, and very original. M. Mendelssohn played a capriccio of his own,
a concerto in ~D~ minor of Sebastian Bach, and a sonata in ~C~ sharp
minor by Beethoven. He is now on his road to London.
A grand concert has been given by M. Hubert Ries, consisting solely of
classical compositions, which was well attended. He played a new violin
concerto by Spohr, with uncommon precision, grandeur, and depth of
feeling, and some compositions of Beethoven with M. Felix Mendelssohn
and M. Ganz. Three concerts have been given by the Dutch virtuosi,
MM. Brugt and Franco Mendez, and Madame Schmidt. The former is a
distinguished singer, with a sweet, though not particularly strong
voice, and great powers of execution. M. Mendez played some variations
on the violoncello with neatness and good taste, but his tone on the
lower notes is thin, and Madame Schmidt displayed more flexibility of
voice than taste.
On the 26th February the Vocal Academy performed the Passion Music of
St. John the Evangelist.
M. Möser’s second series of concerts has commenced. The first concert
introduced a well conceived overture by Taubert, and the second, the
overture to King Stephen, by Beethoven.
At the last meeting of this season, which was to celebrate the
anniversary of Beethoven’s death, we heard for the first time his
Fest-Ouvertüre, ‘Zur Weihe des Hauses,’ a masterpiece in the fugue
style, or rather an ancient theme, full of original ideas, such as
could only occur to Beethoven. His piano-forte concerto in ~E~
flat major was performed by a Scotch virtuoso, Mr. R. Müller, who has
lately been playing with great success at the courts of Denmark and
Sweden. In his style, Mr. Müller distinguishes himself more by his
conception and delivery of the intrinsic beauties of the composition,
than by imitation of the popular pianists of the day. He shows the
highest degree of his ability in the sonatas of Beethoven, in which the
most difficult passages, when played by him, appear not as passages
merely, but real musical ideas. If we were allowed to express a
wish, it would be that Mr. Müller should perform on a solid English
instrument to which he has been accustomed, and which under his finger
would truly express all the delicate degrees of light and shade. Mr.
Müller, as far as we remember, is the first pianist of Great Britain
who has performed publicly on the continent; and it gives us the more
pleasure to admire in him the talents of one of Old England’s artists,
because our own German artists have always found in that country the
most flattering reception.
MUNICH.
The Philharmonic Society, founded here by M. Schönche, is going on
flourishingly. It was established for the education of pupils in every
branch of the art, who have invariably had artists of eminence to look
up to as models; in the list of these have recently appeared the names
of M. and Madame Bohrer, Bärmann, Dusshek, &c.
M. Küstner is expected to be appointed manager of the Royal Court
Theatre, and Baron Von Poissl director of the court music. M. Mentor,
the violoncellist, has been recalled from Hechingen to Munich.
LEIPZIG.
The principal novelties produced at the subscription concerts were,
an overture by M. Hartknoch, of original conception, and clever in
point of instrumentation, and a symphony by Richard Wagner, scarcely
twenty years of age, which was much and deservedly applauded. The
solo players, M. Maurer, from Hanover, and his son, on the violin; M.
Gros, on the violoncello; Demoiselle Clara Wieck, on the piano-forte;
M. Kressner, on the flute; and M. Rückner on the oboe, delighted the
audiences with their performances on their respective instruments. Nor
were the efforts of the singers less attractive. Demoiselle H. Grabau’s
singing was exquisite, and Demoiselle Livia Gerhard appeared to have
improved, not only in execution, but also in the tone of her voice. The
male singers were MM. Otto, Pögner, and Bode.
DRESDEN.
A new opera seria, by Baron Boromäus Von Miltetz, is expected to be
produced here shortly, under the title of _Saul King in Israel_. It is
generally supposed that the Baron will be appointed director-general of
the theatre and the chapel.
FRANKFORT.
The repertoire of this theatre has been considerably enriched of
late. The principal new productions, besides _Der Templer und die
Jüdin_, which particularly delighted the Jews, have been _Die Fremde_
(La Straniera), of Bellini, _Der Vampyr_, of Marschner, and _Zampa_,
of Herold. _Robert de Diable_ too has been given; but not by the
theatrical direction. Kapellmeister Guhr produced it at his concert,
and it was not much admired.
The Cecilian Society, under the able direction of M. Schelble, has
recently given the first of four concerts for the season, at which the
overture and introduction to _Eliza_, by Cherubini, and the overture
to _Idomeneo_, were played by a considerably augmented and improved
orchestra; and it redounds highly to the credit of the members of the
opera, that they should have assisted the efforts of the Society with
their vocal contributions.
Madame Filipowicz has performed here three times on the violin
with extraordinary success. Her shake in particular is exquisitely
brilliant, and her bowing equally powerful and graceful. After
displaying her talents in various other German towns, Madame Filipowicz
intends to proceed through France to England.
MANHEIM.
The opera of _Valeria_, composed by M. Aloys Schmidt, long known
as a distinguished pianist, was produced for the first time on the
2d December, under the direction of the composer. It went off most
brilliantly; every piece from the overture to the very conclusion,
being received with bursts of applause. After the fall of the curtain,
M. Schmidt was enthusiastically called forward. Its reception, when
performed again on the 16th December, was no less gratifying.
WÜRTZBURG.
Joseph Dietz, aged fourteen, a violin player, and pupil of Professor
Fröhlich, has been well received at a grand vocal and instrumental
concert here. Among other concertos excellently performed, he played
Rode’s last concerto, No. 12, with great execution, neatness, and
purity of tone.
WEIMAR.
The opera of _Robert der Teufel_ was given here for the first time on
the 6th December. On the first performance, the house was crowded; on
the third, nearly empty; the singers, however, did their utmost to
support the opera, and the orchestra was very effective.
HAMBURGH.
The same opera, _Robert der Teufel_, was produced here for the first
time on the 20th December, and its reception was enthusiastic. The
finale of each act, indeed almost every piece in the opera, called
forth the warmest applause. Full justice was done to the composition by
all the singers.
Some very interesting concerts have lately been given here, at which
M. W. P. de C. Vrugt, from Amsterdam, and M. Lafont, particularly
distinguished themselves. The former sang, for the first time, at
the concert of M. Leopold Lindenau, a violoncello player of great
ability. His style is chaste, and his shake masterly; and he sings
chromatic passages in ascent and descent with delicacy and pureness
of intonation. His voice, which is of extensive compass, is rich and
mellow, particularly in the upper notes. The delightful performances of
M. Lafont were received with the applause which they merited.
MERSEBURG.
On the 15th February, M. Amme gave a concert here. Among the selection
were the overtures to _Die Felsenmühle_ by Reissiger, and to _Die
Stumme_; a concertante by Iwan Müller for two clarionets, played by MM.
Amme and Kunze with sweetness and expression; a concertino by Meyer,
for the basset horn, by M. Queiser of Leipzig; a duet for violin and
violoncello by MM. Ullrich and Grabau; and a duet by Reichel for two
trumpets by M. Queiser and a pupil of his, worthy of such a master.
HEIDELBERG.
M. Schmidt, of Darmstadt, professor of the violin, gave a concert
on the 12th December in the saloon of the Museum, and was received
with the encouragement to which his talents justly entitled him. The
selection of the pieces was as judicious as their performance was
meritorious.
DÜSSELDORF.
A musical society, consisting of 500 effective members, flourishing
here for some years, has been gradually falling into decline, the
management having come into the hands of some amateurs not possessed
of sufficient musical knowledge to conduct it. The fragments of this
society now consist of a very few lovers of the art; and they have
applied to M. Anton Schindler, to undertake the task of restoring it,
if possible, to its former eminence.
PESTH.
CANINE CONNOISSEUR.
At a most respectable house at Pesth, where a great deal of music is
played, there is a dog, who, unlike his brother dogs, has a great fancy
for music. But the most singular part of the story is, that this animal
delights only in listening to the performance of Mozart’s, Haydn’s,
Weber’s, or Spohr’s music. If such a piece is played, he lays his head
upon his two fore paws, listens attentively, and now and then suffers
a sigh of emotion to escape him. But when he hears a composition by
Rossini, Auber, Herold, &c., he whines and howls most pitifully,
as any other dog would on hearing music.--_From the Allgemeiner
Musikalischer Anzeiger._
GREIFSWALD.
M. Amadeus Abel, scarcely sixteen years old, a pupil of Spohr,
lately gave a concert here, and performed a concerto of Spohr’s, and
variations of Mayseder’s, with great applause; he also played on the
piano-forte, a fantasia of Kalliwoda without accompaniments, with great
execution and expression.
SCHWAZ.
On St. Cecilia’s day, the oratorio of _Paradise Lost_, by Frederick
Schneider, was given for the benefit of the poor of this place, in a
manner highly creditable to all connected with the performance.
TRIESTE.
The son of the singer Bonoldi, a young composer brought up in the
Conservatorio at Milan, wrote the opera with which the Carnival Season
was opened in this town. It is his _coup d’essai_, and called _Il
Mauro di Calisto Bassi_. On the first night the young composer was
unfortunate. Nobody knew his part except Bonoldi, the father; and he
was so overcome by interest for his son, that he lost his voice and was
obliged to omit much. In fact, the theatre was closed two nights; but
after that Bonoldi recovered his powers, the opera was reproduced with
applause, and the maestro and singers called forward at the close of
the performance.
NEW YORK.
The second night of _Il Pirata_, Bellini’s serious opera, found us at
the Richmond-hill theatre. The first representation of all musical
pieces we consider as little more than a last rehearsal; for the
singers are generally nervous, and the band over cautious. Critics
ought to take such a state of things into consideration, and prefer the
second night for the exercise of their vocation. In a country as young
in music as America, it may be a matter of doubt whether the omission
of some of the earlier authors be wise on the part of the manager;
and whether, in leaping over the heads of Cimarosa, Mozart, and
Rossini, and fixing upon Mercadante and Bellini, he does not resemble a
school-master placing Sallust and Terence in the hands of a boy who has
not completed Cæsar and Cornelius Nepos; or rather, are we not likely
to fall into the error of a sapient critic who discovered, when he saw
Kean, that he was an imitator of Booth?--Now there are many juvenile
amateurs in this city, who, to our knowledge, have never heard _La
Gazza Ladra_; but who have heard _Elise e Claudio_; and unless they pay
good attention to chronology, they may make a discovery, that Rossini
has borrowed numerous passages from Mercadante, because one of those
authors decidedly has borrowed from the other. Another observation we
shall address to the _direttore_ of the concern: instead of learned
and dry operas, which afford delight to professional persons only, let
him diligently seek works with lively melodious music, interesting and
clear plots, and fine scenery. He has in the public but an infant to
nurse, and it will take honey in preference to olives. Allowing that
the inhabitants of New York are as fond of music as those of London,
which we fully believe, let it be remembered that very few of the
higher classes of society in the latter city would be tied down to sit
night after night in public boxes, to hear the same opera throughout,
overture and all. By no means would they submit to it; they enjoy
the luxury of private boxes which are so many _boudoirs_, in which
society is received: nor do we know any more agreeable lounge than the
Italian Opera House in London, where individuals, who have a taste
for music without understanding it as a science, can drop in at any
particular hour for the sake of hearing a particular _morceau_ by
Pasta, Sontag, Malibran, or any other star; and can, either previous
to its commencement or after its performance, while away the time in
conversation with friends, without disturbing those professionals and
amateurs who are riveted to every note. This cannot take place in
public boxes. There is, likewise, the addition of a ballet in London;
and a number of persons, particularly male bipeds, find it the sole
attraction. We think that the above is sufficient cause for advising
the management of the Italian opera, (in the absence of _ballet_ and
_converzatione_,) to render their performance as pleasing and light as
possible to their subscribers; for, be it remembered, that the Italians
themselves not only talk and see dancers caper at their opera houses,
but actually sup in their boxes; and, when it is considered that they
can understand every word that is sung, and feel the sentiment as
well as hear the harmony and melody of the music, surely some little
compassion ought to be taken on Brother Jonathan, who drinks in sweet
sounds, and has to guess at their meaning equally with Brother Bull.
The overture to this opera is beautiful and effective in a high
degree. It commences with a spirited, dashing movement for a few bars,
something after the style of Auber’s Masaniello; it is then followed by
a more subdued movement, in which the basses are pizzicati; and here
we remark that the only fault we could find with the overture was the
want of bass. We once stated that a double bass and violoncello were
not sufficient, and the increase of the band in other respects causes
this fault to become more apparent; _ergo_, the pizzicato movement
appeared feeble. The quick movement is a bold allegro, leading away
in a minor mood, well worked up throughout. Altogether, the overture
is original; and, to our thinking, the finest composition this band
has yet performed. The orchestra contains, at present, twenty-six
musicians; and we do not hesitate to state, that is now as good a
band as was ever heard in America; and, if another double bass and
violoncello are added, as we hear is in contemplation, it would be a
fair orchestra in any part of Europe. The opening symphony and chorus,
_Ciel, qual procella orribile_, during a storm and shipwreck, at once
assured us that we were under the influence of a great and original
master; and when we reflected that he was but twenty-four years old
when the opera was composed, our admiration increased. Throughout
there is a firm and leading bass, which progresses according to the
old master’s style, more than we are accustomed to hear in modern
compositions. The instrumentation is splendid, and the management of
the wind instruments, particularly, reminds us strongly of Weber.
Indeed we have the German school continually before us. Mr. Montresor
has a part better suited to his voice than any we have yet heard him
in. His first aria, _Nel furor delle tempeste_, was admirably led by
a clarionet solo. Monsieur Guilleaud is an artist, and Mr. Montresor
sang the aria well. We adhere to our original opinion, that he is
the best instructed singer in the company. We must be excused from
using the jargon now in fashion among the press. We cannot see why a
company of Italians are to be called a _troupe_; nor why the ladies
and gentlemen are to act _roles_. There is mystification enough to
the generality of readers in the technicalities we are obliged to
use, and which we address to well read amateurs and professional men
alone, without hunting for French words to put in the place of plain
English. The part of Imogene was acted beautifully by Pedrotti. Her
singing was exceedingly good. Her voice is an organ of great power and
good quality, and her forte is expression. Her _scena_ and _duetto_
with Fornasari were very finished. Her mad scena, in the last act, was
highly creditable to her. Indeed we have very little fault to find. If
we must point out any defect, it would be occasionally a clumsiness of
execution, and a failure in the attempt at the chromatic scale; but who
can do it? For one fault she has twenty beauties, particularly in her
acting; and the use of her arms and hands is most easy and graceful.
Fornasari is certainly a very good looking man, with a very fine voice;
but there is a tremour about it continually, and his progression from
note to note is imperfect. In certain passages we were delighted with
him, in others greatly disappointed. In his principal song, and in
several leading passages in the duet with Imogene, we really were at
a loss to know what he intended to convey to the audience. He made a
curious sound in his throat, in which two notes only were perceptible.
It could not have been intended for a shake, we are tolerably sure; and
we set it down as being meant for an active passage of some sort, in
which he wished to show his _agilità_; but _vox faucibus hæsit_. This
gentleman’s education as a vocalist has undoubtedly been neglected;
but nature has been highly bountiful to him. The costume was well
preserved. Fornasari’s second dress was a picture. The female chorus
was weak, the male chorus good, but not correct. The _finale_ to the
first act is a composition of very superior merit.
The scenery is excellent. The artist’s forte, we think, is
architectural design; and we have noticed that Italian scene-painters
generally excel in that department. This is an opera which will
afford the professor profitable amusement, and the well-informed
amateur delight; but we have an unpleasant, lurking suspicion, that
it savours more of the olive than the honey; and, therefore, may
not be so readily swallowed as some other operas; at least we fear
that the ‘most respectable public,’ as the manager terms them, will
prove our suspicion just, and we are sure that they ought not to do
so. Mr. Lorenzo Daponte has got a very curious flourish in the books
of the opera, in which he says: ‘we sigh no more for Malibran!’ and
an enormous puff for the Italian artists in general, making some
comparisons which had been better let alone. He says that the company
procured by him shall merit the _gratitude_ of the public; that we
must all learn Italian without delay; and that he has got a gentleman
in the person of one Dr. Montresor, who will assist him in teaching
us. Very well, if it must be so, anything to oblige him, and _viva la
musica!_ We have omitted to mention a well imagined _trio_ between
Pedrotti, Montresor, and Fornasari, which we believe to be composed by
Mr. Bagioli, the conductor. It does him great credit, and gives us a
high opinion of his musical talents. There is scarcely a more effective
piece in the opera.
On Thursday, Miss Hughes took her benefit, and a new opera called Nadir
and Zuleika was produced; the music partly selected, partly composed
by Mr. Horn. Of course, the piece is of an eastern character. The
music is light, pretty, and well suited to the sentiment. The plot is
rather extravagant; turning upon no less than the opium day-dream of
Nadir, a young gentleman who has expressed a wish to become acquainted
with the lovely houris, or black-eyed beauties of Mahomet’s heaven;
and this being overheard by Zuleika, a young lady who imagines that
her charms are sufficient to ensure him a terrestrial paradise, she
resents his conduct by dosing him and his servant with opium; and then
gets up a scene during his bewilderment, which causes him to believe,
that he really has thrown off ‘this mortal coil,’ and is in possession
of his wish. A number of droll circumstances and situations arise,
which we have not space to dwell on: suffice it to say, that it is
a lively operetta of the Abon Hassan species; and, like that piece,
has an admirable part for Placie, which he makes the most of; indeed,
he is extremely droll, and kept the house in constant laughter. The
overture is composed by Fétis, a person who stands high as a critic in
Paris, and editor of a musical journal. Mr. Horn has likewise used the
chorus _Tacete non temete_, by Mercadante, as found in his opera _Le
Nonne de Gamache_. It is also introduced in _Elise e Claudio_. To this
he has added a second subject skilfully, and, we think, has increased
its effect. A ballad, founded on a Swiss air, sung by Miss Hughes, is
a charming little gem; and was executed by her extremely well, and
deservingly encored. She had likewise a _bravura_, with a _corno_ and
_clarinette_ accompaniment. The former instrument was clumsily managed,
the latter had not enough to do; but Herwig never fails in his part;
and what he had to play was perfect. We do not admire this _bravura_;
the divisions are common-place, and such as we have heard five hundred
times with all the _clap-traps_ and _gallery-delights_ commonly used;
but Horn has instrumented the song with his usual ability. Jones has
two songs, both good; the last a very beautiful air, too chaste perhaps
to please the multitude; but it comes in a bad situation, directly
after the former noisy song. Another place should be found, or dialogue
introduced between the two. The choruses are pleasing, and they sang,
particularly the ladies, admirably. Richings sustained the character
of Vivienne, a French officer brought into the east--we really forget
for what purpose. He acted naturally, and there was nothing in the
concerted music beyond his capability. After the opera, the excellent
piece of ‘Ways and Means’ was performed; and between the acts the
band played out of the book _number six_, which the house immediately
recognized, and hissed most profoundly. Horn’s pretty ballad, the
Mermaid’s Cave, followed, sung by Miss Hughes, and accompanied by
himself; it was received with its usual _éclat_. The opera of John of
Paris concluded the evening, which was done much more perfectly than
before.--(_New York Mirror._)
THE DRAMA.
~King’s Theatre.~
Of the Italian Opera we have literally nothing to report, except
that, up to very nearly the end of April, it has been in a state of
wretchedness never equalled in our time. The present month, May, is
to give us Mesdames ~Pasta~, ~Cinti~, Signors ~Rubini~, ~Tamburini~,
and ~Zuchelli~,--but will any operas be ready for them? will the
new operas announced be worthy of this theatre? And, let it not be
forgotten, that about two-thirds of the season are over, and that two
out of the three hundred guineas paid for each box may be said to have
been thrown away, even if the remainder of the season should be worth
anything. An attempt has been made to cover the disgrace brought on the
Italian stage, by the German opera, which, though far superior to the
Italian, is yet very inferior to that of last year. _Fidelio_ has been
performed, but Mad. ~Pirscher~ is not to be named with Mad. ~Devrient~;
and as the weight of the opera falls on the female character, the
difference between the two cannot be made up by any merit that the
others may possess. Of this merit ~M. Blum~, as _Rocco_, has his share:
he is a good singer and an excellent performer.
On the 18th was produced _Zampa_, a German opera, by ~Herold~, which
has been much praised in the foreign journals, and perhaps may excite
an interest in those to whom the language is familiar; but musically
considered, we find in it very little indeed that can justify the
encomiums bestowed on the work abroad. It is a kind of _Don Giovanni_
story, only the statue is of the female gender, and the profligate
invites the marble lady, not to a supper, but to a wedding.
An air first heard in the overture, and afterwards sung by Mad.
~Pirscher~, the heroine, is effective; as is a trio in the same act.
And to the third act M. ~Hummel~ has written a finale, which very much
strengthens the opera, and displays his skill in dramatic composition,
though it does not exhibit much originality.
~Drury Lane Theatre.~
Nothing of any importance has been presented here since our last. _The
Maid of Cashmere_ continued to be performed till the parties engaged in
it were dispersed. Mr. and Mrs. Wood, it seems, are preparing to depart
for America. How the stage is to repair her loss we cannot guess. If
we are to have only foreigners as first vocal women in our English
theatres, her place may be filled certainly; but will the public long
endure this? We believe they will, for they are grown apathetic.
The performers themselves, however, ought to be active; they should
combine in their own defence, and open an English, a really English,
theatre; the Lord Chamberlain would sanction them; and the town might
be conciliated, if they would give good operas, demand moderate prices,
and endeavour to keep offensive company of all kinds, not only women,
but men, as much as possible out of the way.
~Covent Garden Theatre.~
_The Coiners_, an opera of Auber, produced at the latter end of March,
we have now heard, and find it altogether unworthy of notice.
~English Opera House, Adelphi.~
Mr. Arnold opened this small house on Easter Monday, merely with a view
to keeping his company together while his own theatre is rebuilding.
A new opera, _Philip of Anjou_,--founded on a German story, of which
a translation appeared some years ago in a collection of Tales by the
Misses Corbet,--composed by the Mr. Martin who lately succeeded H.
Phillips as _Leporello_, was performed for the first time with some
success. Two or three old favourites have since been brought forward,
apparently to the satisfaction of the town, for they have drawn numbers
to the theatre; and new things are in preparation, which, we trust,
will be ready by the time the blighting east wind leaves us, and takes
in its train the universally-prevailing disease.
* * * * *
It is a fact, unparalleled in the modern history of the English
stage, that about the middle and towards the end of last month,--the
month of April, too, and after Easter--Drury Lane, Covent Garden, the
King’s Theatre, and the Haymarket, were all closed for several nights!
The illness of many of the performers was the ostensible cause; but
we believe that the managers were too happy in being able to avail
themselves of this excuse, and closed their doors merely because so few
persons presented themselves for admittance.
* * * * *
Rumours are afloat that the two winter theatres are about to be
virtually under one management, and that the artists are to be engaged
with a condition that they shall perform at either house, as may be
required. If they have any spirit, a monopoly of this novel kind may
easily be defeated.
THE MUSIC OF THE PRESENT NUMBER.
Dussek’s works, ingenious, refined, and beautiful as they are, now
are rarely heard. Perhaps the two specimens we have in the present
Number given of his composition, may make his name known to some of the
younger amateurs of the day, who are probably acquainted with no other
music than arrangements of Rossini’s operas, a little of Mozart, _done
into quadrilles_, and much of Herz and Czerny.
* * * * *
Handel’s _Musette_ (the word signifies a _bag-pipe_) is written for
an orchestra, but of stringed instruments only. It is one of the
lovely compositions of this great master which are only known to the
frequenters of the Ancient Concerts.
* * * * *
The Romance of Hummel is from his heroi-comic opera, _Mathilde von
Guise_. We have reprinted it from the original Leipzig edition, but
omitted the German words. This is the most popular piece in the opera.
* * * * *
The masterly Madrigal by Wilbye is from the edition published by Mr.
Warren, editor of the celebrated collection of Glees, &c. Wilbye, Sir
John Hawkins tells us, was ‘a teacher of music, who dwelt in Austin
Friars, about the year 1598.’ His compositions are inferior to those of
none of his contemporaries, and his madrigal for five voices, ‘Flora
gave me fairest flowers,’ has hardly an equal in sweetness of melody,
in rich unaffected harmony, and in admirable contrivance of the parts.
* * * * *
The air of Gluck immediately follows, or rather opens out of, the
overture to _Iphigénie_, as an addition to which it is always performed
at the Ancient Concerts, arranged for a full band by Mr. Greatorex.
This charming melody has very recently been published in a collection
(see _Harmonicon_ for March last, page 60,) as a ‘Bohemian air,’ and
marked _allegretto!_
* * * * *
The song by Pelham Humphrey is melodiously plaintive, but the air
certainly is not suited to the two cheerful verses, however well
adapted to those that complain. Our accompaniment is drawn from
inference, as we had only a treble and unfigured base to direct us.
However, the composer’s intentions are pretty obvious. Humphrey was
born in 1647, and brought up in the King’s Chapel, of which he was
admitted a gentleman in 1666, and died in 1674.
* * * * *
Concerning the march and its author, we beg to refer the reader to our
Review for the present month.
[Sidenote: June, 1833.]
BIOGRAPHICAL SKETCHES OF ADRIAN BATTEN, JOHN WELDON, THOMAS TUDWAY,
~Mus.~ D., WILLIAM BLAKE, D.D., ~and~ CHARLES KING, M.B.
We now proceed towards the conclusion of our notices of the most
distinguished composers of English cathedral music, down to the end of
the last century, which branch of musical biography will be completed
in our next Number.
* * * * *
~Adrian Batten~ was organist of St. Paul’s Cathedral during the
reigns of Charles I. and II. He is called by Sir John Hawkins, not
in very courteous terms, a ‘singing man,’ and certainly appears on
the books as a vicar-choral of the church, for then the duty at the
organ was executed by one of that body; and the organist still draws
most of his emoluments from his share in the property belonging to
the vicars-choral. The name of this composer is even now well known
in all our choirs, from his short full anthem, ‘Deliver us, O Lord,’
which has continued in use up to the present day. Batten was, says
Burney, ‘merely a good harmonist of the old school, without adding any
thing to the common stock of ideas in melody or modulation with which
the art was furnished long before he was born. Nor did he correct any
of the errors in accent with which former times abounded.’ It is,
however, just to remark, that his anthem, ‘Hear my prayer,’ for five
voices, is, in point of construction and effect, equal to most of the
compositions of his time. He undoubtedly exhibited no great talent, and
owes the transmission of his name more to the convenient brevity of the
above-mentioned anthem, than to his musical genius.
* * * * *
~John Weldon~, born at Chichester, received his first musical
instructions from John Walter, organist of Eton College, and afterwards
became a disciple of Purcell. He was at an early age chosen organist of
New College, Oxford. In 1701, he was appointed gentleman-extraordinary
of the Royal Chapel; in 1708 he succeeded Dr. Blow, as organist
thereof; and seven years after, upon a second composer being added
to the establishment, he was named to that situation. He was a great
pluralist; for while he held all these offices, he was also organist
of St. Bride’s; and George I. having presented the parish of St Martin
in the Fields with an organ, Mr. Weldon, perhaps in compliment to the
king, Hawkins adds, was elected organist.[54]
Weldon’s compositions were chiefly confined to the service of the
church; but he assisted in setting Congreve’s masque, _The Judgment of
Paris_, to music, in which is the air ‘Let ambition fire thy mind,’ a
lovely melody, and still as fresh as if the production of the present
century. This was introduced by Arne in _Love in a Village_, and is
known to all as ‘Hope, thou nurse of young Desire.’ Some of his songs
are to be found in the _Mercurius Musicus_, and other collections.
Among these are ‘From grave lessons and restraint,’ a very popular air,
and as such remembered in Sir John Hawkins’s time, who has reprinted
it in his fifth volume; and it would even now be occasionally sung by
lovers of natural melody, but that the words partake of that pruriency
which does not tell well for ‘the wisdom of our ancestors.’
The great and deserved fame of this composer is built on his anthems,
‘In thee, O Lord,’ and ‘Hear my crying,’ of which Hawkins very justly
observes, ‘it is difficult to say whether the melody or the harmony of
each be its greatest excellence.’ Dr. Burney speaks very slightingly of
Weldon’s powers; and it seems to us that on this subject he was either
prejudiced, or imperfectly acquainted with the works he criticised.
Weldon died in 1736, and was succeeded in the Chapel Royal by Dr. Boyce.
* * * * *
~Thomas Tudway~, Doctor in Music, was educated under Dr. Blow, with
Turner and Purcell. Soon after quitting the Chapel Royal he was
admitted into the choir at Windsor, as a tenor singer. Like his
fellow-disciples, he endeavoured to distinguish himself early as
a composer, and inserted in the collection of church music, which
he selected and transcribed for Lord Harley, an anthem composed by
himself in 1675, when he was only nineteen, with six more of his
early productions for the church, of which, Dr. Burney tells us, the
counterpoint is but ordinary and clumsy.
In 1681 he was admitted to the degree of Bachelor in Music, at
Cambridge; and in 1705, when Queen Anne visited that place, he produced
an anthem, ‘Thou, O God, hast heard my vows,’ which was performed as an
exercise for a doctor’s degree. He then was appointed public professor
of music in that university. As an acknowledgment for other anthems
composed for the use of Queen Anne, he was appointed her organist and
composer-extraordinary.
In the latter part of Dr. Tudway’s life he resided chiefly in London,
and was much patronized by the Oxford family. The valuable scores of
English church music, in six thick quarto volumes, now in the British
Museum, and forming part of the Harleian Collection, (No. 7337,) were
collected and transcribed by himself at this time. During the same
period he was in the habit of meeting Prior, Sir James Thornhill,
Christian the engraver, and other eminent characters, at Lord Oxford’s,
once a week; and Sir James drew all their portraits, among which is
Tudway playing on the harpsichord. Prior wrote humorous verses under
these drawings, which were in the possession of Mr. West, formerly
President of the Royal Society. There is also a picture of Dr.
Tudway in the Music-school at Oxford, a present from Dr. Rawlinson.
‘At Cambridge,’ Burney rather sarcastically remarks, ‘he was longer
remembered as an inveterate punster than as a great musician.’[55]
His intimacy with Purcell furnished him with the means of forming
an accurate judgment both of the character and talents of that great
composer, of which he thus speaks in a letter addressed to his son:--‘I
knew him perfectly well: he had a most commendable ambition of
exceeding every one of his time, and succeeded without contradiction,
there being none in England, nor anywhere else I know of, that could
come in competition with him for compositions of all kinds,’ &c.
Dr. Tudway died in 1726.
* * * * *
~William Blake~, Doctor in Divinity, was prebendary of Salisbury, and
rector of St. Thomas’s church in that city. This is all that we can
learn of his history. We conjecture that his death must have taken
place more than fifty years ago, for in a volume of anthems published
about the year 1780, he is mentioned as ‘_late_ prebendary,’ &c. Burney
does not speak of him; his name therefore, of course, does not occur
in Hawkins; and we do not meet with it in the new edition of Wood’s
_Athen. Oxon._, or in the Biographical Dictionary. But though he is
thus unnoticed, no anthem is more generally known and admired than
his ‘I have set God always before me,’ which, for beauty of melody,
elegance in construction, and correctness in setting, is without a
superior. It has been contemned by those whose beau ideal of excellence
consists in canons and fugues, but long-continued public approbation is
a sure test of merit, and this the composition in question has enjoyed,
till the criticism of pedants is nearly if not quite silenced.
* * * * *
~Charles King,~ Mus. B.--Sir John Hawkins, who seems to have been
personally acquainted with the subject of this sketch, states that he
was bred up in the choir of St. Paul’s, under Dr. Blow, and was at
first a supernumerary singer in that cathedral, for the small stipend
of 14_l._ a year. In 1704 he was admitted bachelor in music at Oxford;
and on the death of Jeremiah Clark, whose sister was his first wife,
was appointed almoner and master of the children of St. Paul’s; and in
1730 became a vicar-choral thereof. He was also organist of St. Bennet
Fink, London; and held these several appointments till his death in
1745. ‘With his second wife,’ says Sir John, ‘he had a fortune of seven
or eight thousand pounds, left her by the widow of Mr. Primatt, the
chemist, who lived in Smithfield, and also in that house at Hampton
which is now Mr. Garrick’s. But notwithstanding this accession of
wealth, he left his family in but indifferent circumstances. King
composed some anthems, and also services to a great number, and
thereby gave occasion to Dr. Greene to say,--and indeed he was very
fond of saying it, as he thought it a witty sentiment--that “Mr.
King was a very _serviceable_ man.” His compositions are uniformly
restrained within the bounds of mediocrity; they are well known as
being frequently performed, yet no one cares to censure or commend
them, and they leave the mind just where they found it. Some who were
intimate with him say, he was not void of genius, but averse to study;
which character seems to agree with that general indolence and apathy
which were visible in his look and behaviour at church, where he seemed
to be as little affected by the service as the organ-blower.’ Hawkins
was very much enamoured of the works of Blow, and such laborious, dry
composers, and appears to have had little if any genuine taste for what
is natural in music--for flowing melody and unaffected harmony,--for
both of which King’s productions are eminently distinguished. Their
best praise is, that they have continued to be performed from the
moment they were brought forth to the present time; they are in
constant use in every cathedral in England and Ireland: this is an
incontestable proof of merit, and silences all criticism. He who can
listen to King’s Service in ~B~ flat with indifference, may be assured
that he has no true taste, though he may be a great admirer of canons
_recte_ and _retro_, and four in one.
A TREATISE ON MELODY.
(From _La Revue Musicale_.)
A Treatise on Melody, independent of its connection with Harmony;
with a Supplement on the Art of accompanying Melody with Harmony
where the former is predominant; the whole supported by the best
Models of Melody. By ~Anthony Reicha~, Member of the Legion of
Honour, and Professor of Composition in the Conservatory of Music.
Second Edition. Paris, 1832. In two volumes quarto.
In the preface to this work, M. Reicha expresses himself thus--“During
several ages a great number of treatises have been written on harmony,
and not one on melody.” Further on he says, “Several authors of merit
have indeed spoken in their various works on the subject of melody, but
it has only been with reference to its general effects. In Germany,
Italy, England, and especially in France, remarks, more or less
important, more or less instructive, and often more or less ingenious,
have been published on the subject; but what has been the result of
these remarks on the musical art? Why have they been of so little
profit to it? Because vague reasonings, unsupported by demonstrative
proofs, however ingenious, however instructive they may be, having very
little internal evidence, are susceptible of being combated and refuted
by other reasonings, and consequently remain without effect. It is
with music as with geometry; in the one you must prove every point by
musical examples, as in the other by geometrical figures. In both you
must proceed regularly, from consequence to consequence, and establish
a system so solid, that no reasoning whatever can shake it. It is in
this point of view that I say nothing has yet been published respecting
melody; all the remarks which have been made on the subject united
would not furnish matter for a real treatise on melody. I found myself
in my researches, therefore, entirely abandoned to myself; and if
unwittingly I have, on some occasions, followed the paths of those who
have written on melody before me, it will be an immediate emanation of
my own system, and in that case it would be unjust to make it a matter
of reproach.
“It will be seen in the course of this treatise that the musical period
has a real existence. This period has remained a secret even to the
present time, no one has ever proved or defined it indubitably, and
even when it has been spoken of, it has been only too much confounded
with the phrases and melodic members which are in fact only its
decisions. This is the reason it played so unhappy a part in the famous
contest between the Piccinists and the Gluckists.
“Musical rhythm, the knowledge of which is so important, not only in
music, but in lyric poetry, for similar reasons, has shared the same
fate.”
I have extended my quotation to this length, only that the object M.
Reicha proposes to achieve by his book, and the circumstances under
which he wrote it may be well understood. Not only has he felt the
utility of a systematic treatise on melody, but the necessity of it
has appeared to him so pressing, that he has persuaded himself there
existed no previous work on the subject. Though he is mistaken in this
respect, it is a point which should be borne in mind, in order that he
may be allowed all the merit of his own ideas.
I have said that M. Reicha is in error when he says, that no work
especially on the subject of melody existed before his own. In
fact, setting, aside entirely the excellent discourse of Doni “on
the Perfection of Melody,” which will be found in the second volume
of his musical works; and the work of Nichellman, (published at
Ratisbon in 1752,) _Die Melodie nach ihren Wesen sowohl als nach ihren
Eigenschaften_, (Melody considered in its Nature and Qualities,)
the first part of the great work of Riepel, published at Frankfort
and Leipsic, in 1757, and entitled _Anfangsgründe zur Musikalischen
Setzkunst_, (Elements of Musical Composition,) is a complete treatise
on the Melodic Rhythm; and the second part of the same work,
_Grundregeln zur Tonordnung_, (Fundamental rules of the System of
Tones, &c.,) contains a very good theory of modulation. The two last
volumes of Koch’s Essay towards an Introduction to Composition contain
also an excellent treatise on melody, considered in various ways. The
second volume treats on the creation and forms of melodic passages, on
modulation, on the varieties of times, &c. The third and last volume is
divided under the following heads: 1. Of Rhythm. 2. Of the Ornaments of
Melody, and the manner of varying their forms. 3. On the Melodic Period.
We have likewise seen that, when writing his book, M. Reicha believed
also that there was no especial work on particular rhythm, that is to
say, on measure in music and poetry, except the general treatises on
melody: he did not know, therefore, the work of Augustan Pisa, entitled
_Battuta della Musica Dichiarata_; nor that of P. Sacchi, _Della
Divisione del Tempo nella Musica, nell ballo e nella Poesia_, of which
the work of Bonesi, entitled “A Treatise on Measure, or the Division
of Time in Music and Poetry,” is in some respects only a translation.
In examining the work of M. Reicha, therefore, we must not lose sight
of the consideration that he has not used other books to assist the
construction of his own; it is to his own individual ideas and thoughts
alone that we are introduced, and we most allow him the merit he
deserves on that score, even if he is sometimes mistaken.
Another consideration must also be kept in mind when examining the work
of M. Reicha, and that is, that he has intentionally treated of melody
alone, laying aside all consideration of its connection with harmony.
By fixing these bounds to his work he has, doubtlessly, renounced the
analyzing some points of high interest; for in the present state of the
art, melody derives as much effect from the harmony which accompanies
it as from its own resources; the modulation, the expression of a
phrase, often depends upon it; but M. Reicha has said in his preface
that he has determined to treat only of the material, or, if the
epithet may be permitted, palpable parts of melody; that is to say,
of the form of its periods and its phraseology. It is doubtless the
same reason which has prevented him from discussing the poetry of
melody, or the influence of rhythm on melodic expression. A complete
treatise on melody would embrace all these points; but again, it is to
be remembered that such a treatise was not what the author proposed to
write.
M. Reicha seems to have an idea that, in order to justify the writing a
treatise on melody, it is requisite to anticipate and answer beforehand
all the objections which would be made against such a book. It is not
from forethought that M. Reicha has anticipated these objections; I
have frequently heard them from the mouths of professors themselves.
There seems a general persuasion that the best melodies are the produce
of a blind instinct, a mere uninstructed animal genius, and people are
not aware that the best-organized composer, the man most endowed by
nature with the faculty of creating, does not at first know what to do
with his own ideas; that he is incapable of himself alone conceiving
the mechanism of rhythm, that of modulation, or the magic effect of
reducing his thoughts to order. All these things are learned: some
learn them from books, some from the instructions of a professor, and
some again from their own experience. Hence it arises, that the first
essays of a man of genius, if he has had no preliminary education,
are as defective in melodic invention as in any other point. The only
difference between the man of genius and the ordinary musician is,
that in the productions of the former a certain air of novelty and
vigour is generally to be detected rising above the faults with which
it is surrounded, and giving promise of what the writer will be when
he has acquired experience. The requisites indispensable to melody are
symmetry in the rhythm of the phrases, symmetry in the number of bars,
and regularity of modulation, that is, an easy and pleasant arrangement
in the succession of the notes; these things are first learned, then
become habitual, and, finally, present themselves without our having
the labour of thinking of them.
It is erroneous to suppose that there are so many obstacles as some
conceive, in the way of a spontaneous production of ideas, for
rhythm, number, and modulation are faculties so inseparable from a
well-instructed musician, that he obeys them as by instinct, without
ever remarking it, while he is solely occupied by the graceful,
energetic, gay, or passionate character with which he wishes to invest
his melody. How many other more real obstacles is the composer obliged
to combat with and surmount in the arrangement of his ideas! If he
writes to words in the dramatic style, the arrangement of the verse,
the prosody, the rapidity of the action, and many other difficulties,
restrain him much more; yet the man of genius always ends with triumph.
Composers themselves cannot understand by what mysterious agency they
are endowed thus with the faculty of invention, the power of keeping up
their warmth of feeling and their enthusiasm; of investing themselves
with a passion, in the midst of no many obstacles; of retaining their
independent power of choosing subjects, and working upon them with
equal dexterity, as if there were nothing in the way. I have heard
persons who disapprove of writing on melody, say, that supposing a
good work could be produced on such a subject, no one is competent
to the task but a composer celebrated himself for his happy invention
of melodies, such as Mozart or Rossini. This appears to me to be a
manifest error. The man of genius, who is constantly occupied by new
productions, has not time to analyse the mechanism of his own works; he
has no doubt that he himself understands what he knows, and he has no
faith in things which are to be learned; no man can be more unfit to
become a teacher. The power of analysis is a very rare gift of nature,
and not necessarily connected with or produced by any of the other
faculties of the mind.
After giving some preliminary notions on the most important objects
of music, M. Reicha passes to the definition of melodic designs, of
cadences, of rhythm, and the construction of the period. He then
develops all those points in separate articles, entitled--1. Of periods
consisting of one member only. 2. On periods consisting of two members.
3. On the complement (filling up) of the bar after the completion of a
melodic phrase. 4. On measures understood, not expressed in the rhythm.
5. On the melodic echo. 6. On the difference of rhythms in relation
to the quantity of bars. 7. On periods consisting of two members. 8.
Of Organ points, &c. 9. On the conducting of melody. 10. On periods
consisting of more than two members. 11. On the connection of periods.
12. On melodies consisting of two periods. 13. On melodies with three
principal periods. 14. General observations on the form, outline, and
dimensions of melodic phrases. 15. Remarks on airs of declamation
and concerted pieces. 16. On the different characters of melody. 17.
Observations on the unity and variety of melody. 18. On the style of
delivering and of ornamenting melody. 19. Observations on national
airs. 20. On the methods of developing a subject. 21. On the methods of
studying and practising the writing of melody. 22. Plan of a programme
of a course of study for composition. 23. Last remarks on rhythm. 24.
(Supplement.) On the art of accompanying melody with harmony where the
former is predominant.
~Fetis.~
MR. BARNETT _versus_ THE PHILHARMONIC SOCIETY.
_To the_ ~Editor~ _of the_ ~Harmonicon~.
~Sir~, 9, _John Street, Adelphi_.
Without a wish to mix up your respectable publication with my quarrels
and grievances, I trust you will make known the following remarks to
your readers, and allow _them_ to judge for themselves whether they are
called for or gratuitous.
A few months ago I was informed of certain reformations about to take
place in the Philharmonic Society, and of certain resolutions agreed
upon at a meeting of the members. I refrained from making known to the
public _then_ that portion of the business which concerned me, because
I gained my information in confidence; but since that time, I have
heard it from those who have made no secret of it: I shall, therefore,
treat the public with a ‘plain unvarnished tale,’ serving to show the
_extreme liberality_ of the _Philharmonic Society_.
Soon after the publication of my strictures upon the _unjust_ conduct
of these gentlemen towards native artists, their truth was doubtless
felt; and a meeting was called for the laudable purpose of arranging
plans to treat artists in future more generously than they had treated
_me_. We not unfrequently find that ungenerous persons (like bad
paymasters, who either pay beforehand or not at all) stride from
one extreme to the other: thus the Society acted as preposterously
on the one hand, as they had before done on the other; and, with a
show of liberality which I had not given them credit for, they now
resolved upon engaging English writers by wholesale, to compose for
them, thereby giving the lie to all I had advanced against them. Mr.
A. then proposed his intimate friend Mr. B., and Mr. C. did the same
kind act for Mr. D., until the whole alphabet of English composers
was proposed and received. Some of the gentlemen (I mention no names)
who were to be called upon to write had scarcely made up their minds
whether they should set up for composers or not; and I doubt not that
there was at the time a great run upon Messrs. Boosey and Co. for all
the _partiture_ of the classical writers. Now then was the glorious
time for the Society to lay aside all personal feeling towards me,
and to do me justice, in common with others of no greater pretensions
than myself. At this meeting of the members of the Philharmonic,
there was but _one_ gentleman (whose name I do not feel myself at
liberty to mention) who felt and stated, in finding that _my_ name was
not in the most remote manner alluded to, that I had been unjustly
treated by them, and that, as a liberal body, they ought to make the
_amende honorable_ by employing _me_ with the rest; and that if it
was to be presumed that _I_ was the first cause of a revolution in
the arrangements of the Society, that _I_ ought at least to share in
the benefits of it. No sooner did the hated name echo from director
to member, than the hue and cry was raised, the motion negatived on
all hands, the member silenced, and the Philharmonic Society, in the
very midst of their (newly-acquired) glowing liberality, forgetting
themselves, threw off their “borrowed robes,” and appeared in their
native nudity.
I am not vain enough to say that my trifling efforts were worthy
of performance at their concerts, but I may boldly assert that my
abilities (such as they are) had nothing at all to do with their
rejection of me: had I been a _Beethoven_, I doubt not that they would
have treated the bare mention of my name in the same manner. They were
actuated by a paltry feeling of revenge and animosity, and hailed
the opportunity of casting an affront upon me; but in this way alone
could they do it: they dared not to revenge themselves openly upon me,
but under cover of a meeting to which they knew _I_ could not gain
admittance to tax them with their injustice.
Having learnt the result of the transaction, I came to the natural
conclusion, that I had judged these gentlemen aright. Had they waived
that ill feeling towards me, which was occasioned by any act of mine
which they might have deemed improper, and had admitted me upon the
score of any musical talent which I might possess, their conduct would
have been magnanimous, and I should have sorely regretted having
exposed their former ill treatment of me to the public, but--
Ex pede Herculem,
they did the very thing to convince the world that my original opinion
of them was a just one. However disposed I might have been to have
judged them liberally, it was not likely that a body of men who had
before treated me so scurvily either would or could now behave like
_true artistes_, and, in the anxious wish to advance music in England,
lose sight of all private picque.
In conclusion, should any further question arise whether, in the first
instance, they treated me as I have represented, let it be borne in
mind that I advanced, boldly, a string of facts which were given
publicity to, through the medium of the _Harmonicon_: I signed my name,
gave my address, and was ready for any confutation, either public or
private. The only reply to my former letter was a weak and futile
attempt to prove that Messrs. ~Attwood~ and ~Potter~ were _not so
clever as I asserted them to be_; but the main point was not attempted
to be disputed, and my brave antagonist shielded himself under cover
of a _fictitious name_. These gentlemen thought it wisest to suffer
my assertions to go uncontradicted, because _they could not_ disprove
them; and, moreover, because they knew that I had in the background
strong evidence of the ~TRUTH~ of my statement, even among _the members
of their own Society_.
I have the honour, Sir,
Of subscribing myself
Your obedient, humble servant,
~John Barnett~.
MEMOIRS OF DR. BURNEY, BY HIS DAUGHTER MAD. D’ARBLAY.
[Concluded from page 99.]
In bringing to a conclusion this lengthened account of a work which,
however executed, must be interesting to the general reader on
account of the anecdotes relating to distinguished literary and other
characters which it contains, and to the musical amateur from the
information, though too scanty, which it conveys on matters concerning
his favourite pursuit, we shall confine ourselves as much as possible
to what relates to the art and its professors.
In 1785, Dr. Burney’s account of the Commemoration appeared, and led to
his first audience of George III. and his queen.
This year, happily for Dr. Burney, re-opened with a new
professional interest, that necessarily called him from the
tributary sorrow with which the year 1784 had closed.
The engravings for the Commemoration of Handel were now finished;
and a splendid copy of the work was prepared for the King. Lord
Sandwich, as one of the chief Directors of the late festival,
obligingly offered his services for taking the Doctor under his
wing to present the book at the levee; but his Majesty gave Dr.
Burney to understand, through Mr. Nicolai, that he would receive
it, at a private audience, in his library.
This was an honour most gratifying to Dr. Burney, who returned from
his interview at the palace in an elevation of pleasure that he
communicated to his family with the social confidence that made the
charm of his domestic character.
ROYAL AUDIENCE.
He had found their Majesties together, without any attendants or
any state, in the library; where he presented both to the King and
to the Queen a copy of his Commemoration.
They had the appearance of being in a serene _tête-à-tête_, that
bore every mark of frank and cheerful intercourse. His reception
was most gracious; and they both seemed eager to look at his
offerings, which they instantly opened and examined.
“You have made, Dr. Burney,” said his Majesty, “a much more
considerable book of this Commemoration than I had expected; or,
perhaps, than you had expected yourself?”
“Yes, Sire,” he answered. “the subject grew upon me as I proceeded,
and a continual accumulation of materials rendered it almost daily
more interesting.”
His Majesty then detailed his opinion of the various performers;
and said that one thing only had discredited the business, and that
was the inharmonious manner in which one of the base singers had
sung his part; which had really been more like a man groaning in a
fit of the cholic, than singing an air.
The Doctor laughingly agreed that such sort of execution certainly
more resembled a convulsive noise, proceeding from some one in
torture, than any species of harmony; and that therefore, as he
could not speak of that singer favourably in his account, he had
been wholly silent on his subject; as had been his practice in
other similar instances.
The Queen seemed perfectly to understand, and much to approve,
the motive for this mild method of treating want of abilities and
powers to please, where the will was good, and where the labour had
been gratuitous.
The King expressed much admiration that the full _fortes_ of so
vast a band, in accompanying the singers, had never been too loud,
even for a single voice; when it might so naturally have been
expected that the accompaniments even of the softest pianos, in
such plenitude, would have been overpowering to all vocal solos. He
had talked, he said, both with musical people and with philosophers
upon the subject; but none of them could assign a reason, or
account for so astonishing a fact.
Something then bringing forth the name of Shakspeare, the Doctor
mentioned a translation of his plays by Professor Eichenberg. The
King, laughing, exclaimed, “The Germans translate Shakspeare! why
we don’t understand him ourselves! how should foreigners?”
The Queen replied, that she thought Eichenberg had rendered the
soliloquies very exactly.
“Aye,” answered the King, “that is because in those serious
speeches there are none of those puns, quibbles, and peculiar
idioms of Shakspeare and his times, for which there are no
equivalents in other languages.”
The remaining part of this conversation we omit, out of tenderness
to Madame d’Arblay, who, being a practised writer, surely might have
conveyed the sense of the highly flattering compliment paid her by
their Majesties in less direct terms than she has here employed.
In 1786, Dr. Burney experienced some disappointment in not being
appointed to succeed Mr. Stanley (‘blind Stanley’) as Master of the
King’s band. The office was bestowed on Mr., afterwards Sir William,
Parsons, by the Marquess of Salisbury, the Lord Chamberlain, at the
request of the Marchioness. As Mr. Parsons had even less claims
as a composer than Dr. Burney, and--though a most honourable,
well-educated, sensible man, of very polished manners--possessed none
of those literary talents which the other was then so exclusively and
successfully devoting to the service of music, his appointment to the
only place in the gift of the crown which offers anything like an
adequate reward for musical eminence, was much censured, and, according
to the author of these Memoirs, not a little displeasing to the King.
It is but just, however, to the memory of Sir W. Parsons, to add, that
he very soon conciliated the good will of all the royal family, with
whom, ostensibly as singing-master to the Princesses, he passed much
time, at both Buckingham House and Windsor, in intercourse as social as
the great difference of each in the parties permitted.
About this time, Miss F. Burney, the future wife of General d’Arblay,
was made Keeper of the Robes to the Queen, and had apartments assigned
to her in the two principal royal residences. At those in Windsor
Castle, Dr. Burney was, by royal desire, invited to pass some days with
his daughter; and here the King, throwing off all the formalities of
royalty, had an opportunity of entering into unrestrained, familiar
conversation with the historian of music. The first of the interviews
thus agreeably brought about is described in the following extract.
He [the King] opened upon musical matters, with the most animated
wish to hear the sentiments of the Doctor, and to communicate his
own; and the Doctor, enchanted, was more than ready, was eager, to
meet these condescending advances.
No one at all accustomed to court etiquette could have seen him
without smiling: he was so totally unimpressed with the modes
which, even in private, are observed the royal presence, that he
moved, spoke, and walked about the room without constraint; nay,
he even debated with the King precisely with the same frankness
that he would have used with any other gentleman whom he had
accidentally met in society.
Nevertheless, a certain flutter of spirits which always accompanies
royal interviews that are infrequent, even with those who are
least awed by them, took from him that self-possession which, in
new or uncommon cases, teaches us how to get through difficulties
of form, by watching the manœuvres of our neighbours. Elated
by the openness and benignity of his Majesty, he seemed in a
sort of honest enchantment that drove from his mind all thought
of ceremonial; though, in his usual commerce with the world, he
was scrupulously observant of all customary attentions. But now,
on the contrary, he pursued every topic that was started till he
had satisfied himself by saying all that belonged to it; and he
started any topic that occurred to him, whether the King appeared
to be ready for another or not; and while the rest of the party,
retreating towards the wainscot, formed a distant and respectful
circle, in which the King, approaching separately and individually
those whom he meant to address, was alone wont to move, the Doctor,
quite unconsciously, came forward into the circle himself; and,
wholly bent upon pursuing whatever theme was begun, either followed
the King when he turned away, or came onward to meet his steps when
he inclined them towards some other person; with an earnestness
irrepressible to go on with his own subject, and to retain to
himself the attention and the eyes--which never looked adverse to
him--of the sweet-tempered monarch.
This vivacity and this nature evidently amused the King, whose
candour and good sense always distinguished an ignorance of the
routine of forms, from the ill manners or ill will of disrespect.
The Queen, also, with a grace all her own towards those whom she
deigned to wish to please, honoured her Robekeeper’s apartment with
her presence on the following evening, by accompanying thither
the King; with the same sweetness of benevolence of seeking Mrs.
Delany, in granting an audience to Dr. Burney.
No one better understood conversation than the Queen, or
appreciated conversers with better judgment: gaily, therefore, she
drew out, and truly enjoyed, the flowing, unpracticed, yet always
informing discourse of Dr. Burney.
In 1791, Dr. Burney became a ‘member among the monthly reviewers,
under the editorship of the worthy Mr. Griffith.’ In the same year he
commences his journal in the following words:--
“1791.--This year was auspiciously begun, in the musical world,
by the arrival in London of the illustrious Joseph Haydn. ’Tis
to Salomon that the lovers of music are indebted for what the
lovers of music will call this blessing. Salomon went over himself
to Vienna, upon hearing of the death of the Prince of Esterhazy,
the great patron of Haydn, purposely to tempt that celebrated
musical genius hither; and on February 25, the first of Haydn’s
incomparable symphonies, which was composed for the concerts of
Salomon, was performed. Haydn himself presided at the piano-forte:
and the sight of that renowned composer so electrified the audience
as to excite an attention and a pleasure superior to any that
had ever, to my knowledge, been caused by instrumental music in
England. All the slow middle movements were encored; which never
before happened, I believe, in any country.”
In 1801, Dr. Burney entered into an engagement with the proprietors of
Rees’s Cyclopædia, as it is called, to furnish all its musical articles
at stated periods. He thus speaks of this enterprise in a letter to
some friend:--
“I have entered now into concerns that leave me not a minute
or a thought to bestow on other matters. Besides professional
avocations, I have deeply engaged in a work that can admit of no
delay, and which occupies every instant that I can steal from
business, friends, or sleep. A new edition, on a very enlarged
plan, of the Cyclopædia of Chambers, is now printing in two double
volumes 4to., for which I have agreed to furnish the musical
articles, on a very large scale, including whatever is connected
with the subject; not only definitions of the musical technica, but
reflections, discussions, criticism, history, and biography. The
first volume is printed, and does not finish the letter A; and in
_nine months’ hard labour_, I have not brought forth two letters.
I am more and more frightened every day at the undertaking, so
long after the usual allowance of three score years and ten have
expired. And the shortest calculation for the termination of this
work is still ten years.”
And in his letters to West Hamble on the same subject, he mentions,
that to fulfil his engagement, he generally rises at five or six
o’clock every morning--! in his seventy-sixth year.
The only entry in Dr. Burney’s journal, in the year 1803, relates to
Beethoven’s music, of the merits of which his quick discrimination
enabled him immediately to form a favourable opinion.
“Beethoven’s compositions for the piano-forte were first brought
to England by Miss Tate, a most accomplished _dilettante_ singer
and player. I soon afterwards heard some of his instrumental works,
which are such as incline me to rank him amongst the first musical
authors of the present century. He was a disciple of Mozart, and is
now but three or four and twenty years of age.”
In his journal for 1804, he mentions his retirement from his
profession, and confesses the advance of some of those infirmities
which, when within two years of becoming an octogenarian, it is rather
difficult to avoid.
“In 1804, in the month of April, I completed my 78th year, and
decided to relinquish teaching and my musical patients; for both
my ears and my eyes were beginning to fail me. I could still hear
the most minute musical tone; but in conversation I lost the
articulation, and was forced to make people at the least distance
from me repeat everything that they said. Sometimes the mere tone
of voice, and the countenance of the speaker, told me whether I
was to smile or to frown; but never so explicitly as to allow me
to venture at any reply to what was said! Yet I never, seemingly,
have been more _in fashion_ at any period of my life than this
spring; never invited to more conversaziones, assemblées, dinners,
and concerts. But I feel myself less and less able to bear a part
in general conversation every day, from the failure of memory,
particularly in names; and I am become fearful of beginning any
story that occurs to me, lest I should be stopped short by hunting
for Mr. How-d’ye-call-him’s style and titles.
“I was very near-sighted from about my 30th year; but though it is
usually thought that that sort of sight improves with age, I have
not discovered that the notion was well founded. My sight became
not only more short, but more feeble. Instead of a concave glass,
I was forced to have recourse to one that was convex, and that
magnified highly, for pale ink and small types.”
Dr. Burney meets the Prince of Wales at Lady Salisbury’s, and, of
course, is enchanted by him. At the same party is Lady Melbourne, an
old pupil of the Doctor, who reproaches him with never having been
to dine with her, and promptly mixes up a party, in which the heir
apparent and the musical historian are the chief ingredients. The
Prince and the Doctor agree surprisingly well in their opinions, and
meet again afterwards at the Opera, where their unanimity is not less
remarkable. But a few months later, Dr. Burney being on a visit to
the Duke of Portland, at Bulstrode, is in company with Lord and Lady
Darnley, with whom he did not so well agree in matters of musical taste.
“They came in,” he says in his journal, “while I was dressing,
and I had not heard their names, and knew not who they were.
Unacquainted, therefore, with the bigoted devotion to the exclusive
merit of Handel that I had to encounter, I got into a hot dispute
that I should else, at the Duke’s house, have certainly avoided.
The expression ‘modern refinements,’ happened to escape me, which
both my lord and his lady, with a tone of consummate contempt,
repeated: ‘Modern refinements, indeed!’ ‘Well, then,’ cried I,
‘let us call them modern changes of style and taste; for what one
party calls refinements, the other, of course, constantly calls
corruption and deterioration.’ They were quite irritated at this;
and we all three went to it ding-dong! I made use of the same
arguments that I have so often used in my musical writings,--that
ingenious men can not have been idle during a century; and the
language of sound is never stationary, any more than that of
conversation and books. New modes of expression, new ideas from
new discoveries and inventions, required new phrases: and in the
cultivation of instruments, as well as of the voice, emulation
would produce novelty, which, above all things, is wanted in music.
And to say that the symphonies of Haydn, and the compositions of
Mozart and Beethoven, have no merit because they are not like
Handel, Corelli, and Geminiani,--or to say that the singing of
a Pacchierotti, a Marchese, a Banti, or a Billington, in their
several styles, is necessarily inferior to singers and compositions
of the days of Handel,--is supposing time to stand still.”
In 1805, the King visited and closely inspected Chelsea College, of
which Dr. Burney was resident organist; and he had the honour to
be summoned to the royal presence, when a long conversation, very
diligently recorded in the Doctor’s journal, took place, of which the
following is a small portion:--
“‘And what are you doing now, Dr. Burney?’ said the King.
“‘I am writing for the new Cyclopædia, Sir.’
“‘I am glad the subject of music,’ he answered, ‘should be in such
good hands.’
“And then, with an arch smile, he added: ‘For the essay writers and
the periodical writers are all, I believe, to a man, at this time,
Jacobins.’
“And afterwards, with a good-humoured laugh, he said: ‘That disease
(the Jacobin) was first caught here, I believe, by the poets;
and then by the actors; and now the infection has caught all the
singers, and dancers, and fiddlers.’”
Nearly all the poets thus alluded to are still living, but most of them
are entirely recovered from such diseases. The dancers and fiddlers
so elegantly spoken of, and in the plural number, to avoid apparent
personality, were, we conjecture, M. Didelot and Mr. Viotti, both of
whom were, for a time, obliged to leave this country.
Dr. Burney all his life had been a zealous Tory, but the Tories
never showed their zeal for him. In 1806, when the Whigs came into
office, the united efforts of Mr. Windham and Mr. Fox procured for the
historian of music a pension of £300--a grant which, it is not saying
much when we assert, was more justly obtained in this instance, than in
nine cases out of ten in which the royal prerogative has been exercised.
Not only was the latter part of Dr. Burney’s life rendered comfortable
through the instrumentality of that party for which he, and still
more his daughter, entertained so great a horror, but he was destined
to have an honour of the highest kind conferred on him by Jacobinism
itself; for about this time the _Institut National de France_ elected
him a member of the _Classe des Beaux Arts_; and we have reason to
know that he considered this as one of the most flattering events
of his life; though his daughter, governed by prejudice rather than
that exactness which ought to be the chief aim of a biographer, would
lead us to believe that the distinction thus conferred was not only
embarrassing, but somewhat disagreeable to him.
We now are fast approaching the close of Dr. Burney’s life, and the
termination of this Memoir. One of the best remarks that have, in the
progress of these three volumes, fallen from Madame d’Arblay’s pen, is
the following, introducing the last entry made by her father in his
journal. The date is 1813.
Sir Joshua Reynolds desired that the last name he should pronounce
in public should be that of Michael Angelo; and Dr. Burney
seems to purpose that the last name he should transmit--if so
allowed--through his annals to posterity, should be that of Haydn.
“Finding a blank leaf at the end of my journal, it may be used in
the way of postscriptum, in speaking of the prelude or opening of
Haydn’s Creation, to observe, that though the generality of the
subscribers were unable to disentangle the studied confusion in
delineating chaos, yet, when dissonance was tuned, when order was
established, and God said,
‘Let there be light!--and there was light!’
‘_Que la lumière soit!--et la lumière fut!_’
the composer’s meaning was felt by the whole audience, who
instantly broke in upon the performers with rapturous applause
before the musical period was closed.”
The winter of 1814 was remarkable for its severity, and made its
impression on the feeble frame of Dr. Burney. Spring, however, had
arrived, and he flattered himself, or rather flattered his numerous
and affectionate family, that he had triumphed over the effects of so
inclement a season. But he was deceived: the exertion to resist its
influence had cost all his remaining strength, and more genial weather
found him utterly exhausted.
On the 12th of April he almost suddenly exhibited symptoms which showed
that nature could make no further effort, and he remained in a state
nearly approaching insensibility, till the 15th, in the evening of
which day he tranquilly breathed his last. A detailed account of this
event is given in a letter written at the time by Madame d’Arblay
to her husband, General d’Arblay, then in Paris, and this narrative
may be mentioned as one of the best parts of the whole work; though
it evidently has received recent touches that have not improved what
we can imagine to have been the more natural tone and style of the
original.
* * * * *
A memoir of so distinguished a literary character, of so excellent a
musical critic, as Dr. Burney, cannot be read without exciting a very
considerable degree of interest, particularly as coming from the pen of
a celebrated writer; and, still more especially, as embodying numerous
anecdotes of persons who filled such prominent stations, and shone with
so much brilliancy, during a period that may almost be called our own.
Had the whole been written with the spirit and in the manner of those
early letters which Madame d’Arblay has here so judiciously published
in all their native vivacity and unaffected simplicity, the work would
have been delightful and irreproachable: but, unhappily, she delayed
putting together her materials till that judgment, once so strong, was
no longer in full vigour; till advancing age had somewhat lessened
those qualifications which, at the time when she was deprived of her
highly-gifted, excellent, and venerable parent, she, most undeniably,
possessed for the performance of such a task.
Vain would it be to express a wish that Madame d’Arblay could be
induced to publish what we will venture to call a castigated edition
of this Memoir; her age renders it next to impossible that such a hope
should be realized: but the time probably will come, when what she
has here collected will be revised, be combined in a very different
manner, and then form a work worthy of being classed among the most
entertaining of the many pieces of biography in which the literature of
our country abounds.
ON THE RE-INTRODUCTION OF THE LYRE,
_In its most ancient form of a four-stringed Instrument._
_To the_ ~Editor~ _of the_ ~Harmonicon~.
~Sir~,
We have lately seen the guitar, an instrument nearly new to this
country, introduced among us, and acquire great popularity. This was
an instrument of the Greeks, though far less a favourite than the
lyre. Why, then, should not the lyre be now found to possess yet
higher recommendations? The fact of its origin in Greece, and the high
estimation in which it was held by that people, prove, at least, that
it deserves our study.
The strings of the lyre, it appears, were gradually increased from four
to forty. The lyre of Apollo had only four strings; and the number of
seven continued to be established by law at Sparta, so late as the time
of Timotheus, who attempted an innovation in adding four more, and was
condemned for it.
Some circumstances render it, in my opinion, probable that, in playing
on the lyre, the ancients stopped the strings, at various places, by
means of some metallic substance, in order to produce a great variety
of notes. Probably the plectrum might occasionally be used for that
purpose. It was, indeed, scarcely possible that their κιθαρα should so
perfectly resemble the guitar of the present day (as observed in the
sequel), without suggesting to them the stopping of the strings of the
lyre.
The violin seems to me to be only a modification of the earliest lyre,
having attached to it a vast body for the purpose of increasing sound,
a contraction in the middle to allow the application of the bow, and an
elongated neck to permit the same hand at once to support it against
the shoulder and to stop the strings.
What has been gained by these changes?--By the body, loudness of
tone; by the bow, continuity; and by the neck, a new mode of at once
supporting and stopping.
What is the relative value of these changes?--Great loudness may be no
advantage. Continuity may not be desirable, even when the voice is not
engaged; and it never is so where the instrument is employed as a mere
accompaniment. A new mode of at once supporting and stopping is only of
use in this new application of the instrument.
What has been lost by these changes?--for it is really possible that
we may have lost something by _improving_ upon the Greeks, and that
improvement upon the lyre of Apollo may deserve to be classed with
improvements on the Philippics of Demosthenes, on the Iliad of Homer,
on the Parthenon of Phidias, &c.--Why, by the body, we may have lost
somewhat of the freer aërial vibration when we gained so much of the
woody or boxy one, for these should bear a certain relation to each
other; by the bow, we may have lost the natural ring of musical chords,
when we gained the ever distinguishable scrape of horse-hair and rosin;
and by the neck, we may have lost a more perfect stop, by trying at
once to stop and support.
It is worthy of remark, that the mere external beauty of all
instruments of this kind is destroyed by a large body or sounding-box.
The most beautiful forms of the lyre, among the Greeks, had least of
this; and even the guitar had a body proportionately small, if we may
judge from that of which a figure, hitherto I believe unobserved, may
be seen sculptured among the Townley marbles in the British Museum--No.
35 of the fifth room.
The violin has, in regard to beauty of form, too large a body. It looks
something like the shell of a large crab with a tail attached to it.
The bow, however, gives an external vibration which compensates for
this; and it would almost seem that we might consider the length of the
bow as added to that of the strings.
In the construction of stringed instruments, nothing seems more
wonderful than that the strings should be incapable of producing what
may be called musical sound, except in connexion with some hollow
wooden or other body; that the vibrations of the former should seem
incapable of being communicated to the air; and that, though the
latter is itself incapable of producing any musical sound, it should
so accurately communicate, and, as it were, enforce, the power of each
otherwise silent string which is attached to it.--This subject requires
further observation and inquiry.
So much for the body at present.--I would more particularly dwell on
the great advantage resulting from the absence of that continuity of
tone which is produced by the bow, where the instrument is a mere
accompaniment.
Where tones are emitted in consequence of strings not being struck or
rubbed, but merely set free from the finger, where these tones assist
and verify the voice, and yet, owing to their peculiar quality, in
no way interfere with it, and where, from want of continuity, they
gradually fall while the tones of the voice steadily proceed, or even
rise,--a beautiful contrast is formed, the voice acquires an accuracy,
boldness, and independence which could not otherwise be obtained by it,
and all its power and splendour are displayed to the utmost advantage.
It was evidently this change from non-continuity to continuity of tone,
and the corresponding change of position, which unfitted the violin for
an accompaniment to the voice, and which leave to the lyre its high
prerogative in this respect.
These reflections have led me to propose the restoration of the lyre,
and that in its most ancient form, as a four-stringed instrument;
for such form would be attended with a great advantage, namely, that
the whole of the violin music at present extant would be instantly
applicable to it.
Its advantages over the violin or violoncello played pizzicato, are
its far greater beauty of form, the absence of the wooden tone, the
freedom of its strings, and its capability of a fuller harmony--a vast
recommendation in these days.
The lyre is indeed altogether unrivalled for beauty of form. It may be
constructed of any size to avoid the wooden tone of the sounding-box.
Its strings, which vibrate with perfect freedom, may be accurately
stopped by means of a metallic instrument. Half or quarter notes may
be produced on it; and these may be run into each other, upward or
downward, by carrying the stop correspondingly over the string.
It is not, however, enough to propose this: I have carried into
practice what I recommend. By merely cutting away the finger-board
of an old lute, reducing it to the length of a violin, and fitting
it up with four strings, I have procured a lyre which fulfils every
expectation that can reasonably be founded on such a transformation.
Great beauty and even splendour may, however, be given to the form of
the lyre, and of these it is quite worthy, for its capabilities seem to
have little limit. I have no doubt, therefore, that it is destined to
become, in the hands of the vocalist, precisely what the violin is in
those of the instrumentalist.
~Donald Walker.~
A BIOGRAPHICAL NOTICE OF TAMBURINI. ~By~ M. CASTIL BLAZE.
Antonio Tamburini, the man who has brought base singing to its utmost
perfection, was born at Faenza, March 28, 1800. He was the son of
Pasquale Tamburini and Luigia Collina. His father was a professor
of music at Faenza, playing on the clarionet, the horn, and the
trumpet. He quitted this town and went to Fossombrone, near Ancona,
where he became the director of the musicians entertained by the
municipal authorities. Antonio accompanied his father, who taught
him the rudiments of music, and then gave him lessons on the horn.
At the age of nine the young Tamburini played this instrument very
well, though it never pleased him; but the fatigue attendant on its
practice in the case of so young a subject, brought on a serious
illness, which determined his father to change the object of his son’s
musical studies. When his health was perfectly re-established, he was
placed under the Maestro di Capello at Fossombrone, who exercised him
continually in the solfeggi, and then brought him forward in all the
churches of the town and its environs. He was everywhere admired for
the beauty of his voice; but when he was twelve years old, his father’s
engagement at Fossombrone being ended, they returned to his native town
of Faenza, where he was engaged at the theatre to sing the soprano
parts in the chorus. The smallest towns in Italy possess their musical
artists of the first merit; and such singers as Mombelli, David, and
Donzelli, did not disdain to assist at the theatre of Faenza during the
fair. Our youthful _choriste_ heard and admired their execution; he
profited by what he heard, and without receiving lessons from any one,
formed his own style on the models that he had thus daily opportunities
of witnessing. He divided his time between the church and the theatre,
as is the custom in countries where music still forms a prominent
part in the service of the temple. His assistance was required in the
chapels of all the neighbouring convents, where his fine voice and
delicate and florid execution were the theme of universal admiration.
At eighteen Tamburini resolved to see the world, and, without bidding
adieu to his parents, this nightingale of Faenza took flight for
Bologna, the rendezvous of all those pretenders to musical fame who,
possessing moderate talent, come there hoping to form engagements with
the managers of various corps of itinerant artists who seek for such to
fill their ranks; and with one of these, who was forming a _troupe_ for
the theatre at Cento, he associated himself.
In the mean time the delicate _soprano_ of Tamburini had become a
fine _base_, at once sonorous and flexible--full of expression and
pathos, and, at the same time, capable of executing with ease rapid
and brilliant passages. He made his débût in the town of Cento, in _La
Contessa di Col-Erboso_ of Generali, and was agreeably surprised by
the reception he met with: the measured and moderate praises bestowed
on him in his native town had not prepared him for the enthusiastic
plaudits that awaited this his débût in the first rank of dramatic
character as a base singer. However, such was his success, that it
emboldened the leader to advertise a representation for the benefit
of this highly-favoured débutant: honour was, however, all that he
derived from this evening’s success; the profit went to the funds of
the _troupe_. At Mirandola, at Correggio, his success was the same: at
the latter place he met with Azioli, who congratulated him on his voice
and his talent, telling him at the same time, that with more regular
study he would probably have had less brilliant success. Their musical
tour completed, the _troupe_ returned to Bologna, where one of the
actors proposed to ask for the Teatro Contavalli, for the purpose of
giving representations, but Tamburini distrusted his powers, nor could
the favourable reception he had hitherto met with make him confident of
success with the more refined audience of Bologna. In this diffidence
none shared, and it was determined that the attempt should be made.
The dilettanti of Bologna confirmed the judgment already given at
Cento, Mirandola, and Correggio; in consequence, he was immediately
engaged for the theatre at Piacenza, during the Carnival of 1819. Here
Tamburini found a much more extensive musical library, and was enabled
thus to quit the circumscribed path he had hitherto trodden, and to
launch out at once into the wide field of Rossini’s compositions. He
appeared first in the _Cenerentola_, and his fame spreading rapidly,
Rimbaldi came express from Naples to judge of the merits of this
youthful pretender, and finding that report had not exaggerated his
talents, immediately engaged him for the Teatro Nuovo in that city. If
his débût here was not marked by that enthusiastic applause which had
awaited him in other places, his success was not the less solid, being
only delayed by the caution of a fastidious public, which here, as in
Paris, withholds its praise till the judgment is entirely satisfied. It
is enough to say, his engagement was renewed for the next season.
During these two years, Pavesi, Generali, Cordella, and Mercadante,
wrote for Tamburini. The troubles of 1820 causing the theatres of
Naples to be closed, he went to Florence, where he was attacked by a
serious indisposition, which checked for a time his career of fame.
From Florence he went to Leghorn for the Carnival; and from thence
to Turin. In the autumn of 1822 he appeared on the immense stage of
La Scala, at Milan, and met here with Mlle. Marietta Gioja, a singer
of much merit and most agreeable figure, to whom he was soon after
married. Passing through Venice, on his road to Trieste, where he was
engaged for the Carnival, he was stopped by a mandate too powerful
and too flattering to be resisted, that he might assist at two
representations of _Il Matrimonio Segreto_, in presence of the Emperors
of Germany and Russia, and at the concerts given to them and their
court.
He afterwards proceeded to Venice to fulfil his engagement there,
whence he went to Sicily, and remained two years at Palermo. A singular
story is told of him during his residence in that city, where a
custom prevails of allowing, during the first day of the Carnival,
the audience at the theatres to interrupt and drown the performance
by every sort of discordant noise. The prima donna, offended at this
licence, refused to perform her part; the people were furious; and
Tamburini, who had once before allayed the storm by his ready wit, now
undertook to go through the scene in the dress of Elisa, and in the
high tones of his clear falsetto, which he is said to have done with
the most perfect success, contriving even to perform the duet, with
which the scene concludes, by rapidly changing from the high notes of
the female part to the deep and full tones of his own natural voice. He
gave another proof of the versatility of his talent at Naples, where
the principal woman having, through sudden illness, lost her power of
singing, he went through the whole aria while she leaned motionless on
his shoulder. After he quitted Palermo, he entered into an engagement
with Barbaja for four years, during which he appeared at Milan, at
Vienna, and at Genoa, for the opening of the Carlo-Felice. He was then
recalled to Naples by Barbaja, with whom he had renewed his engagement.
After two years of uninterrupted success at Naples, he came to London;
thence he proceeded to Paris, where he made his débût on the 7th of
October, 1832, in his favourite part of Dandini in _La Cenerentola_.
Tamburini is a good actor; his figure is manly, and his exterior is
altogether noble and prepossessing; his acting is full of spirit and
gaiety. His voice is a fine baritone, well defined, extending from ~A~
to ~F~, occasionally reaching ~G~♯, and sometimes descending to ~G~♭.
I might have allotted to him the two full octaves without reserve, but
I prefer to retrench the semitone, above and below, that I may give to
his voice and tone the full praise it merits. It is round, rich, and
clear, of wonderful flexibility, and such astonishing firmness, that
it is impossible to suspect any note is passed over unperceived. He
has the neatness and precision of execution that Ber and Barizel have
acquired on the clarionet or bassoon. The tone is equal in its whole
extent, taking and holding ~F~♯ with as much ease as a tenor voice
would do, or running over the notes with a vivacity unheard of till
now; while its pathetic tones, in the cavatina from _La Straniera,
Mai tu vieni o misera_, move the hearer even to tears. The parts of
Dandini and of Figaro show his comic powers, his good taste, and the
astonishing rapidity of his articulation. No singer has yet displayed
so much grace in the andante from _La Cenerentola, Come un Ape_. The
part of Valdeburgo, in _La Straniera_, and of Uberto in _l’Agnese_ of
Paer, have taught us to appreciate his pathetic powers, and even to
the insignificant part of Faraone, in _Mosè_, he has given a degree of
importance which does honour to his powers. Such brilliant successes
could not fail to induce our directors of the Italian Opera in Paris to
engage Tamburini for the ensuing season.
ON PRIZES FOR GLEES.
~Sir~, _London, May 18th, 1833_.
The adjudication, last Tuesday, of the premium given by the Catch-Club
for the best glee, has very much excited the notice of amateurs as well
as professors. Not that the taste, much less the impartiality, of those
who voted on the occasion is at all seriously impugned, for they had
nothing but second-rate compositions to deal with, though one which was
rejected is superior to either of the two selected for final choice.
But great regret is openly expressed that the members of so long
established, so distinguished a musical society,--a society to which we
are indebted for the finest works of their kind that this, their native
country, ever produced,--should now, when genius is not abundant,
bind themselves to award their prize, whether the candidates do or do
not establish a just claim to it. Suppose, it is said, that next year
another Cooke, another Webbe, a Stafford Smith, or a Callcott, should
start up, would any of these feel honoured by a premium that had been
bestowed on compositions with which they would hardly have deigned to
compete?
You probably may ask what remedy there is for the evil? I will
endeavour to point one out; and I think that those who have to
discharge a duty which often is so perplexing and comfortless, will be
inclined to listen at least to my proposal. My remedy is this:--let it
not be imperative on the club to give the prize when the _positive_
merits of the claimants are insufficient to entitle any one of them to
the reward. Sometimes it happens that two or more competitors, of great
and equal ability, appear together; in such cases it is a very painful
task to make the selection. Now, if the judges held in hand, had at
their disposal, one or more _deferred_ prizes, they would possess
the means to reward merit when it should appear in a plurality of
instances, and thus stimulate to further exertion those who might be at
once depressed by having their reasonable hopes disappointed, and whose
failure might prevent them from making another effort. For real genius,
Sir, is always sensitive, and sometimes is easily discouraged; while
plodding mediocrity is devoid of the finer feelings, is persevering,
and ready to profit by the dearth of real, of commanding talent.
I wish it to be understood, however, that I have no intention that the
latter observation should be applied to any individual whatever,--it is
meant to be quite general, not personal.
I have the honour to be, &c.
~An Amateur.~
REVIEW OF NEW MUSIC.
SACRED MUSIC.
1. ~Te Deum~, ~Jubilate~, ~Magnificat~, and ~Nunc Dimittis~, _in
score, for four voices, with an accompaniment, composed by the_
Rev. ~Edward Shuttleworth~, _Curate of Chorley_. (Preston.)
2. ~Set of Hymns~, _for three voices, from ‘Church and Home
Psalmody,’ by the_ Rev. ~T. J. Judkin~, M.A., _composed by_ ~D.
Crivelli~. (The Author, Upper Norton-street.)
3. ~The Sacred Musical Offering~; _the Poetry by_ ~Bishop Heber~,
Mrs. ~Hemans~, &c.; _the Music by_ ~Beethoven~, ~Mozart~, &c.,
_edited by_ ~C. H. Purday~. (Purday.)
4. ~The Monthly Sacred Minstrel~, _edited by_ ~John Goss~. Nos. 1
and 2. (Cramer and Co.)
We have more than once taken the liberty to offer it as our opinion,
that, as an amusement, and to fill up those leisure moments which every
profession, if prudently pursued, must afford, music is the fittest
for the clergy, not only because it is intellectual and innocent,
but inasmuch as it enables a divine to superintend and regulate an
influential, therefore an important, part of the church service. A
knowledge of this art qualifies him to advise and direct his organist
and his singers, who, in most cases, stand much in need of counsel,
for want whereof they not unfrequently, though we are persuaded
unintentionally, run many risks of making ridiculous that which should
excite nothing but associations and feelings of the gravest and calmest
kind.
The author of the first of the above publications is, clearly, a good
musician; the whole of his Service is evidence of this, though it does
not enable us to add that it exhibits much invention. The plan long
laid down has here been followed with a scrupulousness which, probably,
Mr. Shuttleworth considers a duty: if he has erred, his error is on the
right side, for any attempt to over-modernize, to radically change, the
form of our church music, is to be deprecated and resisted. This is a
Verse Service in ~F~, not elaborately written, pleasing melody, harmony
good but not deep, and a correct accentuation of the words, appearing
to have been the great objects of the composer, in which he has
succeeded. Those choirs, consequently, which are anxious to increase
their library, may safely add the present work to their collection.
* * * * *
Mr. Crivelli’s Hymns are creditable to his taste, and likewise show
that he has made himself better acquainted with our language than is
the case with most of his countrymen. Nevertheless he has wanted--and
this is by no means surprising--some little assistance in adjusting his
notes to English poetry, though the instances of error are few, and
correction may easily be applied by the intelligent singer. The hymns
are six in number, four for soprano, contr’alto, (or low soprano,)
and base; and two for soprano, tenor, and base. The style is an
intentional, but not heterogeneous mixture of Italian and English; the
parts are vocal and easy, and the accompaniment is simple without being
meagre.
No. 3 is an elegant volume in quarto, with frontispiece, presentation
plate, gilt leaves, and all the exterior decorations of the best
musical annuals. Its interior, too, corresponds, in some degree, with
its outside appearance; of the twenty compositions contained in the
volume, nearly all are respectable, and some much to be commended.
Two by Neükomm have much pleased us; also one each by Dr. Carnaby and
Edwin Nielson. An adaptation of a quartet by Mozart, said to be his
last composition, is a good piece of simple harmony: and the very air
by Beethoven which is given in its true form in our present number,
is here adapted to words; but much altered in many respects, and
transposed from ~A~ flat to ~G~--we need not say, very detrimentally.
The words upon the whole suit the music very well; but an exception
cannot but be made as regards the third in the set, ‘Oh! read to me,’
where we find more blunders than we supposed could have been gathered
together in three pages;--e. g. _promises_; _penitent_;--‘of’ and
‘its,’ occupying half a bar each, and moreover the accented half,
&c.: nevertheless, the volume contains enough to make it worth the
price which all experienced people will buy it at. The _marked_ price,
indeed, is moderate.
* * * * *
No. 4 is a nicely got up little work in octavo, published in numbers,
each containing eight pages. In the present two numbers are five
pieces,--an air by Neükomm, from his oratorio; one by Mr. Goss; the
Vesper Hymn, by Attwood, originally published in the _Harmonicon_,
which ought to have been acknowledged; an Elegy for three voices, by
Eisenhofer; and a movement from Beethoven’s Septet, with words very
well set to it. This is a publication entitled to much commendation;
but what will the brethren of the music trade say to so cheap a work?
Surely Messrs. Cramer and Co. will be anathematized by the fraternity!
* * * * *
PIANO-FORTE.
1. ~Impromptu Musicale~ _sur la Ronde_ Bacchique des Démons de la
Tentation, _composée par_ ~F. Kalkbrenner~. Op. 114. (Goulding and
D’Almaine.)
2. L’Hermite, 3me. ~Rondo~, _sur des thêmes de_ La Tentation,
(_Musique de_ ~Halevy~) _arrangée par_ ~Adolphe Adam~. (Chappell.)
Whether it is that the state of the country influences the publication
of music of this class, or that the extravagancies and inanities with
which we have so long been deluged have at length produced the effect
which was to be expected, we will leave our readers to determine;
certain it is that very few compositions for the piano-forte have
appeared this spring--a season in which they usually are so abundant
that we have found it difficult to keep pace with them, and indeed have
generally been deeply in arrear with composers of all descriptions.
Our belief is, that music requiring nothing but mechanical powers of
execution, in which neither taste nor invention have any share, has
had its day--a very long one; but people are growing more rational,
common sense is returning, and with it will be again opened to us
those rich stores of the great masters, the access to which has been
almost choked up by the rubbish that has issued in cart-loads from the
shops, and been recommended by nine masters in every ten throughout the
country. Haydn and Mozart will again be met with in the drawing-room;
Beethoven’s best and most reasonable works will once more be placed
before the fashionable amateur; Dussek’s, Clementi’s and Steibelt’s
works, with the early ones of Cramer, will be restored; and even Handel
and Corelli must speedily be acknowledged to possess as much claim to
notice as Czerny, Pixis, and _id genus omne_.
The two rondos before us are from an opera very popular in Paris;
indeed we are indebted to the theatre for all our most modern
piano-forte music. The first air--if air it may be called, which,
though it has rhythm, possesses little melody--is simple enough, being
nearly all confined to the following notes:--
[Illustration]
Mr. Kalkbrenner has of course very much extended it, by passages, one
or two of which bring back good old harmony to our recollection, by
others not inappropriate, and none difficult; but altogether this has
not many pleasing qualities to recommend it.
* * * * *
No. 2 is an agreeable though not a very uncommon air. M. Adam has
enlarged it in a familiar manner certainly, for while about his task,
if a task it proved, he was not able to call up a single new thought.
And let us caution him against such left-hand passages as
[Illustration]
they are intolerable, and send one back to the horn-book of music. They
are, it is true, to be met with now and then in some few of the old and
excellent masters; but in reviving the works of these--which will soon
be set about--all such twaddle must be carefully expunged.
* * * * *
1. ~Introduction~ _and_ ~Rondino~ _in the air_, ‘Under the
Walnut-tree,’ _composed by_ ~T. A. Rawlings~. (Chappell.)
2. ~Military Divertimento~, _in which is introduced a favourite
Spanish Air, composed by_ ~James Calkin~. (Chappell.)
It will be supposed, from the wording of the title-page of No. 1, that
the air is the composition of Mr. Rawlings, whereas it is the very
melody that lately produced the controversy between the author and Mr.
Gödbe, and to which our pages gave publicity. The best part of the air,
in fact, is Stephen Storace’s, though it is very possible that Mr.
George Linley, who claims it, had it floating in his memory, without
being aware that it had any rightful owner. Mr. Rawlings has increased
its dimensions by some exceedingly commonplace descant, and the guilt
of employing the very base which we have above reprobated he shares in
common with M. Adolphe Adam. The whole is easy and inoffensive, with
the exception we mention.
To criticise No. 2 would be to break a butterfly on a wheel. A
butterfly!--most of the papilio tribe are beautiful, a quality not at
all perceptible in this one-part-milk-and-nine parts-water production,
craving the reader’s pardon for so long a compound; which epithet,
however, overrates the strength of the composition under notice.
* * * * *
1. ~Divertimento~ _from_ ~Bellini’s~ Pirata, _arranged by_ W.
Etherington. (Metzler.)
2. ~Rondoletto~, _composed by_ ~T. M. Mudie~. (Cramer and Co.)
In the first of these, three of the less commonly known airs in _Il
Pirata_ are woven together with some skill. The first pages are the
best, though Mr. Etherington ought to have been aware that such
reiterated triplets of the same notes as are introduced at page 2 are
ill adapted to keyed instruments. Is this, we beg leave to ask, one of
the works which the publisher sells to the _profession_, and to country
traders, at a _quarter of the marked price_?
No. 2 is a mere bagatelle, but it is a pretty trifle, and a trait or
two of originality may be traced amidst its unaffected simplicity.
* * * * *
DUETS, PIANO-FORTE.
1. ~Grand March~, The Knights-Templars, _composed by the_
~Chevalier Sigismond Neukomm~. (Chappell.)
2. _The_ ~Choruses~ _in_ ~Haydn’s~ Creation, _selected and_
arranged by ~W. Watts~. No. 5. (Cramer and Co.)
3. ~Fantasia~ _sur des Motifs favoris de_ La Fiancée d’~Auber~,
_composée par_ ~C. Czerny~. Op. 247. (Chappell.)
No. 1 is a spirited composition, in which are some good effects, but so
little of novelty of any kind is to be discovered in it, that it really
may be considered as--what most modern things are--a compilation.
* * * * *
No. 2, the fifth of a set of six, from Haydn’s oratorio, is the chorus
‘Achieved is the glorious work,’ including the lovely trio, ‘On Thee
each living soul awaits,’ arranged in Mr. Watts’s usual effective and
sensible manner.
* * * * *
No. 3, though confessedly made up of subjects by Auber, is modestly
claimed by M. Czerny as his own composition. The assurance of some few
musicians seems to have no bounds, but we really believe that it is
attributable to want of understanding, to no worse cause, therefore
make great allowances for it; though we deem it prudent to mention
the matter, in order to warn others from being guilty of the like
weakness. Here are certainly dove-tailed together some of the best
airs in the opera, and a brilliant duet is fabricated out of them,
but the present arranger can very seldom refrain from exhibiting his
musical folly, and has now filled too many pages with passages quite
irrelevant, exceedingly difficult to players in general, and producing
no satisfactory result. Let the reader not overlook one remarkable fact
recorded on the title-page of this publication,--it is M. Czerny’s
two-hundred and forty-seventh work! And he is still quite a young man.
What a treasure to the stationer! What a labourer for the cheesemonger!
* * * * *
~The Musical Scrap Book~, _edited by_ ~Finlay Dun~. No. 1. 1 vol.
4to. (_Edinburgh_, Wood and Co.)
This is a collection of ‘original and selected songs, ballads, &c. for
the voice, and polonaises, quadrilles, &c. for the piano-forte.’ Why
it should be called a _Scrap-book_ we cannot positively say, seeing
that all the pieces it contains are entire, not fragments. Perhaps it
is so named for pretty much the same reason that a multitude of leaves
covered with music-printer’s blackest ink was not long since called an
Album.--_Lucus a non lucendo_. But we forgive the misnomer, and look to
the body of the work, which, in thirty-two pages, comprises some rather
agreeable trifles, both vocal and instrumental, and three or four much
too feeble to be at all pleasant. But to make up for these, we have
the lovely andante from Mozart’s second violin quartet, arranged for
the piano-forte, and a very sweet ballad by Marschner. The work is
brought out in a neat respectable manner, and intended as a quarterly
publication.
* * * * *
VOCAL.
1. ~Terzetto~, ‘Son finite omai le Pene,’ _from the Operetta_
Amore e Psiche, _composed by_ ~Liverati~; _the Poetry by_ Signor
~Petronj~. (Lonsdale and Mills.)
2. ~Ballad~, ‘The birken Bower,’ written by ~J. Imlah~, Esq. _the
Melody by_ Mrs. ~Philip Millard~. (Chappell.)
3. ~Ballad~, ‘Hark! the merry Bells,’ _written and composed by_
Mrs. ~William Marshall~. (Gerock and Co.)
4. ~Ballad~, ‘The Rose of Peace,’ _by_ ~J. Augustine Wade~, Esq.
(Chappell.)
5. ~Song~, ‘The Archery Meeting,’ _the Poetry by_ ~T. H. Bayly~,
Esq., _the Music by_ ~G. Linley~, Esq. (Chappell.)
6. ~Ballad~, ‘The Hunter’s Bride,’ _the Poetry_ by L. E. L.,
_composed by_ ~G. Hargreaves~. (Hawes.)
7. ~Canzonet~, _from Stanzas by_ ~Percy B. Shelley~, _composed by_
~F. W. Horncastle~. (Hawes.)
8. ~Ballad~, ‘Maureen,’ _the Poetry by_ ~Barry Cornwall~, _composed
by_ ~John Goss~. (Cramer and Co.)
9. ~Canzonet~, ‘When we two parted,’ _written by_ ~Lord Byron~,
_composed by_ ~C. Rudolphus~. (Wessel and Co.)
10. ~Song~ of the Serenaders, ‘Oh! rove with me,’ _written and
composed by_ ~H. K. Sayers~, Esq. (Card.)
11. ~Ballad~, ‘When this life is o’er,’ _written and composed by_
~Henry Fase~. (Eavestaff)
12. ~Canzonet~, ‘The Sicilian Girl to the Madonna,’ _composed by_
~J. M. Harris~. (Aldridge.)
13. ~Canzonet~, ‘How sweet is Woman’s Love!’ _the words by_ ~H. G.
Knight~, Esq., _composed by_ ~J. E. Goodson~. (Falkner.)
14. ~Song~, ‘The white Cliffs of England,’ _Written by_ ~G.
Linley~, Esq., _composed by_ ~W. Newland~. (Chappell.)
15. ~Song~, ‘What Hand is that?’ _the Poetry by_ Mrs. ~Charles
Greville~, _composed by_ ~C. Eulenstein~. (Chappell.)
No. 1 is a very graceful trio for three soprano voices; and for the
convenience of those who prefer English to Italian words, the music
is also set to a translation, which is remarkably well adapted to the
notes.
* * * * *
No. 2 is a very pretty air, an imitation of Caledonian melody.
* * * * *
The whole of No. 3 may be said to be comprised in four bars, for the
ballad is nothing but a repetition of these, which have not either
novelty or beauty to recommend them.
No. 4 does not exhibit a single original feature.
* * * * *
No. 5, a humorous, clever song, is a pleasant laugh at that employment
by which idle people contrive to kill time, ycleped archery. It is
a matron who sings, and complains that one of her daughters is too
fat to wear the prize bracelets, even should she win them, and the
other so giddy that she once shot her arrow into Lady Flint’s eye,
instead of the target. Neither attract the desired notice of the male
toxophilites, who therefore are by the disappointed mother called
_cross-beaux_.
* * * * *
No. 6 is far superior to the common run of modern ballads; the air is
expressive, and the words are sensibly and pleasingly set.
* * * * *
No. 7 is the composition of a good musician, who knows how to read the
words he sets; but it is rather the fruit of labour than of inspiration.
* * * * *
No. 8 is a gentle, appropriate melody, full of good taste, and ably
accompanied.
* * * * *
No. 9 is a very charming composition, rich both in air and harmony.
Such music is worthy of such poetry. At the eighth bar of the second
page is an error in accentuation, which may be corrected thus:
[Illustration: Cold-er thy kiss]
The Words are difficult to set, certainly, but ‘kiss’ must be the
emphatic word, not ‘thy.’
* * * * *
Much of the little we have said of No. 3 applies to No. 10; we have to
add that it is a duet in F sharp.
* * * * *
Nos. 11 and 12 do not, by many degrees, reach mediocrity.
* * * * *
There are some good passages in No. 13, and the composer has well
expressed the sentiment of the words, till he arrives at nearly
the end, where he has fallen into the error of concluding with the
boisterous vulgar close with which nine out of every ten Italian
bravuras terminate.
* * * * *
The motivo of No. 14 is a pleasing air, and the accompaniment is
easy and unaffected; there are, however, certain rests improperly
placed, which break the connexion of the words, and almost lead to the
conclusion that the music was adapted, not written, to the poetry.
No. 15 is not inelegant, though, like most of the songs which every
month brings forth in such abundance, anything but new in phrase, in
cadence, in melody, and in accompaniment.
* * * * *
PIANO-FORTE AND HARP.
~Grand Duet~ _for Piano-forte and Harp, or two Piano-fortes, by_
~F. Kalkbrenner~ _and_ ~F. Dizi~. Op. 82. (Chappell.)
This, if we mistake not, was written for and performed at the
Philharmonic Concerts some years ago. It is in four movements, the
first an adagio in ~F~ minor, opening into an allegro maestoso in the
major key; the third is Mozart’s air, ‘Deh! perdona,’ in ~A~; and the
last, an allegretto in ~F~. We can here trace the scientific bias (we
wish he would more often yield to its influence) of M. Kalkbrenner,
and that delicacy of taste which is M. Dizi’s characteristic; each has
had his share in producing a spirited, elegant, and effective work, in
which there is no want of that grand essential in music, air, nor any
deficiency of that without which melody soon becomes insipid, harmony.
It is moderate in length, and displays none of those wanton, stupid
difficulties of execution which the works of some of our modern German
composers are bristled with, but should only be intrusted to good and
experienced players.
* * * * *
HARP.
1. _The_ Quatuor du Turnois. ‘Sonnez Clairons,’ _from_ Robert le
Diable, arranged as a ~Quick March~, _by_ ~N. C. Bochsa~. (Mori and
Lavenu.)
2. _The celebrated_ ~Alpine Air~, _arranged as_ a Divertimento,
_by_ ~Thomas Erard Cripps~. (Longman.)
No. 1 is the animated, animating quartet, from Meyerbeer’s last work,
arranged in an easy, but most effective manner.
* * * * *
No. 2 is certainly a very popular air, and not undeservedly so. The
adaptation is free enough from all difficulties, but we cannot say that
in other respects it is entitled so much praise.
* * * * *
VIOLIN.
1. ~Practical Rules~ _for producing_ ~Harmonic Notes~ _on the
Violin, with a Theoretical Explanation of the manner in which
Musical Notes, natural and harmonic, are produced by vibrating
Bodies, composed and arranged by an Amateur_. (Cramer, Addison, and
Beale.)
2. ~Paganini’s~ _Method of producing_ ~Harmonics~, _exemplified and
explained in a Series of Exercises, to which is added the_ Prayer
from Mosè, as performed on the _4th String by that extraordinary
Violinist, arranged by_ ~C. H. Mueller~. (Purday.)
3. ~Tricks on the Violin~, _Introduction to and Variations on_
‘Nel Cor,’ _in which are introduced some Imitations of_ Paganini’s
_Style, by_ ~C. H. Mueller~. (Cocks and Co.)
4. ~Sonata~ _on the Prayer from_ Mosè, ~Solo~, _for the_ ~Violin~
_on one String, &c., by_ ~C. H. Mueller~. (Purday.)
Now and then, though very rarely, it may be desirable to have
recourse to the harmonics of the violin. In certain passages they
prevent the inconvenience of taking the finger from a particular
string, and obviate the necessity of sudden and extreme shifts, but
it is a question whether such passages should ever be written for
the instrument; more especially, as is commonly the case, when they
introduce notes so high as to be almost inappreciable, and so weak as
to be scarcely audible. The compass of the violin, including nearly
three octaves of distinct and easily produced sounds, is surely range
sufficient for all rational purposes; and it is our decided opinion
that, except in a few instances which just serve to prove the rule, an
extension of the scale of this instrument beyond what may be called its
natural boundary, is of no practical utility, and would scarcely ever
be resorted to, but for the purpose of displaying the dexterity of the
performer.
The author of the first of these works was induced to inquire into the
manner of producing harmonics in consequence of hearing so much of
Paganini’s performances, and repeated trials led to the rules he has
here laid down. But, resolved to test the accuracy of his practical
results by philosophical investigation, he submitted them to a friend
skilful in the theory of vibrations, who demonstrated their truth, and
has furnished Part III. of the present publication,--‘An Account of the
Theory of the Vibration of Musical Strings, explaining the production
of the Harmonic Notes on any Stringed Instrument,’ which is executed
in a scientific manner, though it will not be so clear to the mere
violinist as probably the author expects[56].
Part I. of this work consists of ‘Practical Rules,’ &c., which are
clearly delivered and satisfactorily illustrated. Part II. is a
continuation of the first, therefore it was hardly necessary to
separate it. This includes a few good examples, and a very useful
table, calculated on divisions into tenths, eighths, sixths, &c. of the
fourth open string, and showing in notes, the harmonics resulting from
the string when touched at any of those points of division.
* * * * *
No. 2 is chiefly made up of materials furnished by the author of No. 1.
The latter, however, finding that what he supplied had been published
in an incorrect, incomplete manner, determined on printing his own
system, or that which we have above noticed.
* * * * *
The titles of Nos. 3 and 4 fully describe the nature of the two
publications, which, we will add, display great industry and no little
ingenuity.
ANCIENT CONCERTS.
SEVENTH CONCERT,
_Under the Direction of the Duke of Cumberland, Wednesday,_
_May 1, 1833._
~Act I.~
Introduction. Chorus. ‘O come, let us sing.’ ~Handel.~
(_Anthem._)
Air, ‘O come, let us worship.’ Mr. Vaughan. Chorus, ~Handel.~
‘Glory and worship.’
Frost Scene, ‘What ho!’ (_King Arthur._) ~Purcell.~
Concerto 5th. (_Grand._) ~Handel.~
Cantata, ‘From silent shades.’ Miss Stephens ~Purcell.~
Madrigal, ‘Let me, careless.’ ~Linley.~
Song, ‘Sorprender mi vorresti.’ Mad. Cinti Damoreau. ~Hasse.~
Chorus, ‘When his loud voice.’ (_Jephtha._) ~Handel.~
~Act II.~
Overture. (_Samson._) ~Handel.~
Song, ‘How willing my paternal love.’ Mr. Parry. ~Handel.~
(_Samson._)
Glee, ‘O’er desert plains.’ ~H. Waelrent.~
Recit, ‘Ye sacred priests.’ Song, ‘Farewell, ye ~Handel.~
limpid.’ Mrs. Knyvett. (_Jephtha._)
Madrigal, ‘Now is the month of Maying.’ ~Morley.~
Recit. ‘My prayers are heard.’ Song, ‘Tears such ~Handel.~
as tender.’ Mr. Phillips. (_Deborah._)
Chorus, ‘Fall’n is the foe.’ (_Judas Macc._) ~Handel.~
Song, ‘Confusa, abbandonata.’ Mad. Cinti Damoreau ~Bach.~
Chorus, ‘The many rend.’ (_Alexander’s Feast._) ~Handel.~
Vain the search after the name of Haydn or Mozart in a concert selected
by his Highness of Cumberland! And as to Beethoven’s, the mere sound
of it in the royal director’s ear would be as the piercing, the
threatening din of the revolutionary tocsin. The illustrious Duke is
perhaps quite right--we, possibly, quite wrong; but it seems to us
that a discreet mixture of modern music (not by _living_ composers)
with that of older date, would be highly to the advantage of both,
particularly in a programme consisting of from eighteen to twenty
pieces--a number which almost unavoidably must be felt oppressive,
unless that variety, which can only be found in composers of
widely-distant periods, is as much an object of attention as contrast
in the species, sentiment, and keys of the pieces brought together.
But though there was a want of a due admixture of schools in the
present concert, the music was the choicest of its kind. The Anthem
composed for the Duke of Chandos (Pope’s Timon) is one of Handel’s
best, the only weak part being the overture. The lovely air, ‘O come,
let us worship,’ is rather beyond Mr. Vaughan’s voice, as it now is:
with a note or two more in compass, and a small increase of strength,
he would have rendered it more effective. We felt some regret that the
melodious fugue, ‘Tell it out among the heathen,’ and the gentle, the
charming air, ‘O magnify the Lord,’ so well adapted to Mrs. Knyvett’s
powers, were not included. The vocal parts of the Frost scene were
taken rather too slow: and a little more point, more emphasis, in
the chiding air, ‘Thou doating fool!’ would much have improved it,
otherwise this fine specimen of the great English master’s dramatic
music was very successfully performed. The Concerto was executed in
a manner peculiar to the Ancient Concert band, the conductor and
leader of which, and a few others among its members, possess the true
tradition of the author’s times and style. We would not exchange one
bar of the largo in ~B~ minor, as played by F. Cramer, for all
the _Friars’ Chants_ and _Witches’ Dances_ that adroit charlatanerie
can produce, or good-humoured credulity applaud. _Mad Bess_ pleased us
much, both as part of the present concert and by exciting agreeable
recollections: we admire Miss Stephens as she is and remember, with
unalloyed satisfaction, what she was. The piano-forte accompaniment,
too, deserves honourable mention,--so modest, so judicious! The
Madrigal is a _chef d’œuvre_; it was sung by Mrs. Knyvett, Messrs.
Terrail, Vaughan, Phillips, and Sale, in the chastest and most perfect
manner. Warm as we are in our admiration of the madrigalists of the
sixteenth and seventeenth centuries, we still must acknowledge that
this lovely work of the elder Linley, by surpassing all that preceded
it, proves the advance of the art; though, unfortunately, the kind of
composition not having been encouraged, little has been gained by the
exertion of his genius.
Hasse’s fine Bravura was sung with a neatness of execution which none
ever yet exceeded. The most difficult passages proved mere playwork to
Mad. Cinti, and she added to them others of her own,--very appropriate
ones though,--to show how much more than equal she is to the task
assigned to her. Her strength is not great, but the flexibility of her
voice is surprising; and her knowledge, not merely of her own part, but
of the whole of the score, is apparent in whatever she performs.
The Chorus from _Jephtha_ wanted more support from the trebles. We
advise the conductor in future to break through the trammels of custom,
and accompany the point of the fugue, ‘They now contract,’ with the
diapasons and principals only; that is, to spare us the mixture stops,
which scream most abominably when only covered by a few sopranos.
Mr. Parry’s song from _Samson_ was quietly and delicately sung. The
glee, ‘O’er desert plains,’ could not have had more justice done it,
but this really is little better than a psalm-tune. What a pity that
the beautiful verses of Shenstone have never yet been wedded to more
congenial music! The Recitative, ‘Ye sacred priests,’ was delivered
with great judgment, and the following air, ‘Farewell!’ could not
have been more delicately sung: it were, however, to be wished that
the shakes, transmitted from one singer to another, could be lessened
in number as they pass. And the cadence, another incumbrance, had
better be at once repudiated; it is an ancient abomination, which now
the English alone practise. Morley’s Madrigal is, both in melody and
harmony, free as air--all hilarity, and not a glimpse of pedantry.
The chorus should have repeated _each_ stanza, and not, as on the
present occasion, have been employed only in the last. Mr. Phillips,
in the song from _Deborah_, was very nearly perfect. Bartleman in
this was perfection itself; and so will our excellent living singer
be, when he has acquired the deep pathos, the experience of his
predecessor. In voice he has a manifest advantage; and this is not his
only superiority. The aria, a bravura of _John Christian_ Bach, (the
Christian names should have been added,) has all the prettiness, and
not a little of the weakness, of the composer, who, of the many sons
of John Sebastian Bach, is least worthy of the name. It was executed
with the utmost neatness, but not sung _con amore_. In fact, it has
nothing in it to excite any ardour in a singer possessing Mad. Cinti’s
knowledge and taste.
EIGHTH CONCERT,
_Under the Direction of the Earl Fortescue, Wednesday,_
_May 8, 1833._
~Act I.~
Overture. (_Esther._) ~Handel.~
Madrigal, ‘The silver swan.’ ~Gibbons.~
Recit., ‘Be comforted.’ Song, ‘The Lord.’ (_Judas ~Handel.~
Maccabeus._)
Concerto 2nd. ~Corelli.~
Recit., ‘If I give thee.’ Song, ‘Let me wander.’ ~Handel.~
Chorus, ‘And young and old.’ (_L’Allegro._)
Quartet, ‘Sing unto God.’ Chorus, ‘Cry aloud.’ ~Croft and
Greatorex.~
Glee, ‘As now the shades.’ ~Dr. Cooke.~
Double Chorus, ‘Immortal Lord.’ (_Deborah._) ~Handel.~
~Act II.~
Chaconne and Requiem ~Jomelli.~
Recit., ‘No more in Sion.’ Song, ‘Wise men, ~Handel.~
flatt’ring.’ (_Judas Maccabeus._)
Madrigal. ‘Dissi all’ amata mia.’ ~Luca
Marenzio.~
Chorus, ‘Let none despair.’ (_Hercules._) ~Handel.~
Concerto in ~G~. Avison.
Quartet and Chorus, ‘Then round about the starry ~Handel.~
throne.’ (_Samson._)
Recit., ‘Justly these evils.’ Song, ‘Why does the ~Handel.~
God.’ (_Samson._)
Chorus, ‘Sing unto God.’ (_Judas Maccabeus._) ~Handel.~
The overture to _Esther_ and Corelli’s concerto belong to a school
which has always been protected and exhibited to the best advantage
in these concerts; both were now performed in their true spirit. The
_immortal_ chorus from _Deborah_ is a composition which can only
receive justice in this orchestra: the great number of vocal performers
collected at our grand provincial meetings certainly give more force to
it, but are unable to perform it with that precision, that nicety, on
which its effect so mainly depends. We never hear the passage where the
voices take up the point, ‘to swift perdition,’ accurately executed but
at the Ancient Concerts. The song from _Judas Maccabeus_ is generally
considered to be one of Handel’s happiest thoughts; but it rolls and
rumbles so much, and the base instruments are so continually in unison
with the voice--a defect not peculiar to this composer, but to the
period in which he wrote--that the only pleasure which it affords us is
entirely attributable to the singer, provided that singer be Phillips.
Dr. Cooke’s lovely and most masterly glee was a decided failure: it is
not at all suited to Mrs. Bishop; her school is of a totally different
kind. To Mrs. W. Knyvett this should have been assigned.
The ‘Requiem’ and ‘Agnus Dei’ of Jomelli did not find the choral
performers quite at home in their parts, although their occasional
want of confidence was only discernible to very experienced and close
observers. How ingenious, how effective, and yet how simple, the whole
of the base accompaniment to the first movement, the Requiem! Not
less admirable, but in another style, is the ‘Agnus Dei,’ and full
of original melody, which is still new, because, fortunately, never
yet imitated. The fugue, too, at ‘Lux æterna,’ is of that kind which,
while its musical learning is as indisputable as great, possesses the
superior merit of being pleasing. Mrs. Bishop is not yet familiar with
Handel; her ‘Wise men, flatt’ring’ was not what it doubtless will be
when she is become more accustomed to this music--though it was far
from displeasing. It is much to be wished that the singer would have
the courage to get rid of about two-thirds of the shakes which the
composer himself, we admit, has written. We are certainly bound by
the author’s text, which is permanent, but not by his embellishments,
which belonged only to the age that produced them. A singer in the
present day who should venture to introduce the _double relish_ and
the _back-fall_ of the seventeenth century,--both of which, as
well as other ‘graceless graces,’ are constantly found in the old
writers,--would be laughed at for his scrupulous adherence to the
original. The madrigal of Luca Marenzio is still fresh, and exceedingly
elegant; its only fault is want of modulation. The performance of this
did great credit to the singers. The fine chorus from _Hercules_ was
executed in a most perfect manner. So was the charming quartet from
_Samson_. Here science is turned to the best account: none but a great
musician could have worked out such effects, yet the whole is free from
every thing that smells of the lamp. It is the true offspring of genius
highly cultivated. We are old-fashioned enough in our taste to be
pleased with Avison’s concerto, the _soli_ parts in which were nicely
played by Mori, (in the absence of F. Cramer,) who was ably seconded
by the band, and most judiciously supported by the organ, which Mr.
W. Knyvett always manages with taste and discretion. The song from
_Samson_ is beyond Mr. Horncastle’s physical powers, and only fit for
such a voice and such energy as Braham possesses. Indeed, we so little
like its incessant divisions, and especially the puerile attempt to
give expression to the word ‘thunder,’ that we should not repine were
we never to hear it again.
NINTH CONCERT,
_Under the Direction of Lord Burghersh, for the Archbishop of York,_
_Wednesday, May 15, 1833._
~Act I.~
Anthem, ‘O sing unto the Lord.’ (_Sixth._) ~Handel.~
Recit., ‘When he is in his wrath.’ Song, ‘When ~Handel.~
storms the proud.’ Chorus, ‘O Judah, boast.’
(_Athalia._)
Quartetto, ‘Come! ohimè!’ (_Nina._) ~Paisiello.~
Concerto 4th. (_Oboe._) ~Handel.~
Recit., ‘Tranquillo io son.’ Song, ‘Ombra adorata.’ ~Zingarelli.~
(_Romeo e Giul._)
Ode, ‘Hence, all ye vain delights.’ ~Webbe.~
Duetto, ‘Son io desto.’ (_Nina._) ~Paisiello.~
Chorus, ‘Kyrie eleison.’ ~Beethoven.~
~Act II.~
Overture. (_Idomeneo._) ~Mozart.~
Recit., ‘Crudele!’ Song, ‘Ho perduto.’ ~Paisiello.~
Glee, ‘Bird of the wilderness.’ ~Clarke and
Greatorex.~
Recit., ‘’Tis done!’ Song, ‘Heart, the seat.’ (_Acis ~Handel.~
and Galatea._)
Magnificat. ~Mozart.~
Song, ‘Amor se nume,’ ~Scarlatti.~
Double Chorus, ‘From the censer.’ ~Handel.~
This was a very fine concert, for the music was well chosen, both as
regards diversity of school and contrast in style. An infusion of
Mozart and Beethoven as moderns, of Paisiello and Zingarelli who may
be said to belong to the middle age, and of Handel and Scarlatti as
of the ancient class, produced a mixture that suited every taste, and
presented a fair prospect of great amelioration in the system by which
these concerts are regulated.
The selection from Handel’s anthem made an excellent beginning; we
should have been glad to hear the whole of it, for it is one of his
best. The scene from _Athalia_ is a good specimen of that fine but
comparatively little known oratorio, the magnificent air in which,
‘When storms the proud,’ is exactly suited to Mr. Phillips, who sang
it admirably. Paisiello’s delicate quartet was not very thoroughly
understood by all the parties engaged in it, nevertheless it proved
very satisfactory to the audience. Madame Pasta, who made her first
appearance here this season, was as great as usual in the calmly
impressive scena from _Romeo_; and in the air, ‘Ho perduto,’ gave every
advantage to the work of a composer who ought again to be brought
forward. The song, as it is called, of _Alessandro_ Scarlatti produced
quite a surprise. Who ever supposed that an air of so much beauty
could have remained thus long unknown in a concert established for the
preservation of ancient music? Who ever imagined that a composition
upwards of a century old could exhibit so many of the best features
of the modern school, that it might be mistaken for the work of
Haydn or Mozart? To Signor Rubini we are, it is said, indebted for
the introduction of this antique gem, and he placed it in a highly
favourable light by his manner of performing it, which, for him, was
remarkably chaste.
The _Ode_ (a much better term for it than _glee_) to Melancholy is one
of Webbe’s _chefs-d’œuvre_, and shows how well that great composer
understood the words. It was most perfectly sung by Miss Stephens, Mrs.
Knyvett, Messrs. Terrail, Vaughan, Elliot, and Sale. Miss Stephens, in
the song from _Acis and Galatea_, pleased as usual by her captivating
simplicity. The Magnificat of Mozart was well performed, and a very
grand work it is. The concerto of Handel, every part of which abounds
in beautiful melody, and not less masterly, though not extraneous
harmony, was most ably executed. The two fugues in this prove how
possible it is to unite the learned and the agreeable. The andante of
it is delicious, and here the oboe is rendered almost vocal; as is the
bassoon in the last movement. The _Kyrie_ of Beethoven wanted rather
more rehearsing; and the overture to _Idomeneo_ required the immense
power of the Philharmonic band; nevertheless it produced considerable
effect. But the stupendous chorus from _Solomon_ was perfect, though
wasted as a finale.
TENTH CONCERT,
_Under the Direction of the Earl of Cawdor, Wednesday,_ _May 22, 1833._
~Act I.~
Overture. (_Ariadne._) ~Handel.~
Recit., ‘Brethren and friends.’ Recit., acc. ‘O thou ~Handel.~
bright orb.’ Chorus, ‘Behold the listening.’
(_Joshua._)
Song, ‘Tyrants would.’ Chorus, ‘Tyrants, ye in vain.’ ~Handel.~
(_Athalia._)
Recit., ‘Now strike.’ Chorus, ‘Break his bands.’ ~Handel.~
Recit., ‘Hark! hark!’ Song, ‘Revenge! revenge!’
(_Alex. Feast._)
Concerto 11th. ~Handel.~
Song, ‘Di quel sublime.’ ~Gluck.~
Glee, ‘See the chariot.’ ~Horsley.~
Recit, ‘Chi per pietà.’ Song, ‘Deh! parlate.’ ~Cimarosa.~
Chorus, ‘Gird on thy sword.’ (_Saul._) ~Handel.~
~Act II.~
Symphony. (_Jupiter._) ~Mozart.~
Recit., ‘Ecco il punto.’ Song, ‘Non più di fiori.’ ~Mozart.~
(_La Clemenza di Tito._)
Glee, ‘Chi mai d’ iniqua stella.’ ~Bononcini.~
Movement from the Lessons. ~Handel.~
Recit., ‘’Tis greater far.’ Song, ‘Pluck root and ~Handel.~
branch.’ Recit., ‘Our souls.’ Chorus, ‘Shall we
the God.’ (_Esther._)
Song and Quartet, ‘Fairest isle.’ ~Purcell.~
Anthem, ‘My heart is inditing.’ ~Handel.~
The overture to _Ariadne_ owes its chief attraction to the graceful
minuet with which it concludes, and this we cannot but think is
commonly played too slow at the Ancient Concert. _Andante_ in Handel’s
time was a term indicating greater quickness than it is now understood
to imply. The recitative, ‘O, thou bright orb!’ contains that risible
attempt to describe the arrest of the sun’s course by a long holding
note. The chorus, however, is a masterly work, but the voices were
not now very firm in it. Mrs. Bishop succeeded well in the air from
_Athalia_. The accompanied recitative, ‘Hark! the horrid sound!’ was
delivered in Mr. Braham’s energetic manner; and the following song,
one of the most striking proofs of the composer’s genius, is foremost
among Mr. Phillips’s triumphs. The air of Gluck was a novelty, and of
no ordinary merit. Set to the same words that afterwards exercised
the genius of Mozart,--in _La Clemenza di Tito_--it not only bears a
comparison with an admired air of the latter, but in our opinion was
superior to it. Mr. Braham, at whose recommendation we believe it was
introduced, entered thoroughly into the composer’s design, and gave
the true effect to this. But, having an unquenchable antipathy to
concerted cadences, we would willingly have spared the two, between the
voice and trumpet, added on this occasion. The glee, ‘See the chariot
at hand,’ was sung with great correctness. Madame Malibran’s scena
and aria of Cimarosa was a most unequal performance: some parts were
beyond all praise; others proved the uncertainty of her judgment. Her
semitonic passages, neither to be found in the author nor in any way in
keeping with his style, were a most unhappy evidence of her occasional
want of taste and discrimination; and the _broderies_ she introduced,
though not so abundant as is common with her, were misplaced: but her
recitative was admirable, and, with the exceptions we have mentioned,
the aria was not less splendidly sung. We have heard ‘Gird on thy
sword’ better executed: there was a want of shortness in the staccato
passages; and in some others the whole band seemed deficient in
confidence. The concerto of Handel--a composition which might furnish
ample materials for half a dozen of modern growth--was the most perfect
performance of the kind we ever heard. This is in fact a violin
concerto, and Mori (who led for F. Cramer) played it in a manner that
words cannot describe or do justice to. His two cadences, of modest
length,--in one of which was an arpeggio, that Paganini, whose chief
excellence is in _arpeggiando_, could not surpass--moved even this
audience to a general expression of applause.
In the scena from Mozart’s _Tito_, Madame Malibran again exhibited
her vast powers and unrestrained confidence in her own opinion. The
declamatory part of this was superb, though a little hurried; and
the immense compass of her voice gave an effect to the air, that, we
are almost inclined to say, has never been equalled. But though the
conductor took care that the latter opened in the exact time, the
singer thought fit to change the movement, and most injudiciously to
convert a _larghetto_ (as marked) into an _andante_. Mr. Knyvett should
have shown his independence by checking this, and his respect for the
author by insisting on maintaining the time in which he set out. Who,
in the name of reason, metamorphosed the _round_ for three voices,
‘Chi mai d’ iniqua stella,’ into a _glee_ for four? This should, of
course, be sung by equal voices, one coming in after the other, as the
author intended, or else the original design is entirely defeated. The
‘Movement from the Lessons’ is a charming orchestral arrangement of
Handel’s lovely air in ~E~, (vulgarly called _The Harmonious
Blacksmith_,) made in excellent taste by the late Mr. Greatorex. The
selection from _Esther_ was not interesting, and the remainder of the
concert demands no further observation. The room was much fuller than
it has hitherto been during the present season.
PHILHARMONIC CONCERTS.
FIFTH CONCERT, Monday, April 29, 1833.
~Act I.~
Sinfonia, No. 3 ~Spohr.~
Aria, ‘Per questa belle mano.’ (Mr. Parry, jun.) ~Mozart.~
Concerto Harp. (Mr. T. Wright.) ~Hummel.~
Duetto, ‘Che al mio bene.’ (Mrs. Wood and Mr. ~Mayer.~
Braham.)
Overture. (_Der Freischütz._) ~C. M. von
Weber.~
~Act II.~
Sinfonia, No. 2. ~Beethoven.~
Scena, ‘Per pietà.’ (Mr. Braham.) ~Beethoven.~
Concerto Violoncello. (Herr Knoop.) ~Kummer.~
Scena, ‘Sì lo sento.’ (Mrs. Wood.) _Faust._ ~Spohr.~
Overture. (_Zaira._) ~Winter.~
Leader, Mr. Loder.--Conductor, Mr. T. Cooke.
Spohr’s symphony in ~E~ flat is richer in melody and more free
from that complication which smells so much of the lamp--from that
labour which fatigues the hearer as much as it did the composer,
than any one of his instrumental works. His designs are here clearly
expressed and readily understood, and we listen to the whole with
pleasure, without feeling that any part of it has been too long. It was
most accurately performed, as was also Beethoven’s, in ~D~, one
of his clearest and most beautiful orchestral productions, sparkling
with genius from beginning to end. The calmly grand opening induces us
to hope for much, nevertheless the exquisite larghetto surpasses all
that had been anticipated. Nor are the scherzo and trio less striking
in another style. The overture to the _Freischütz_ went off admirably.
The last, Winter’s, we did not hear.
Mr. Wright played Hummel’s celebrated piano-forte concerto in ~E~,
arranged for the harp, and executed it in an able manner. Herr Knoop
comes from the city of our queen, Meiningen, and was recommended to
the notice of the society by his majesty. To do extraordinary things
seems to be the object of his ambition, and that to which his labours
have chiefly been directed; he therefore can run thirds and octaves
with vast celerity and neatness, and play with his left hand close
to the bridge, bringing out sounds too high for even a rational
violinist to attempt. But this is to please, or at least to surprise,
the mob of gentlemen who hear but cannot judge. His tone, the first
consideration, is nasal in what we call the legitimate notes of the
instrument, and hard in the highest. His taste is not bad, but he has
very little of it; and in expression, the vivifying principle of music,
he is quite deficient. In short, execution appears to be the god of
his idolatry, at whose altar he has sacrificed--if we may judge from a
single hearing--nearly all that we consider valuable in the art. The
composition he played has been extolled: in our opinion it has very
little merit, except of a negative kind. We, however, were very glad to
hear him; so we believe were all present, for he was new; and moreover,
he has not thrown our own Lindley into shade, but, on the contrary,
taught us to value him more highly.
The vocal part of this concert did not prove very successful. Mr.
Parry, jun. sang Mozart’s aria very well, but it did not excite much
interest. The duet of Mayer has not strength enough for these concerts,
and Mr. Braham was not in good voice, the influenza had just commenced
an attack on him, by which he was afterwards confined. This state of
health of course operated in the scena of Beethoven, much of which,
we may also add, is hardly vocal, especially the cacophonous run of
semitones. The company were so exhausted by the unreasonable length
of _Herr_ Knoop’s concerto, that they left Mrs. Wood to sing the
fine scena from _Faust_ to few more than the orchestra by which she
was accompanied. Upon the whole, then, it must be confessed that the
present performance was not of the most brilliant kind.
SIXTH CONCERT, Monday, May 13, 1833.
~Act I.~
Sinfonia, No. VII. ~Haydn.~
Aria, Signor Rubini, ‘O cara immagine.’ (_Il Flauto ~Mozart.~
Magico_)
Concerto, Piano-forte (in ~D~ minor), Mr. ~Mozart.~
Mendelssohn Bartholdy
Aria, Madame Cinti Damoreau, ‘Deh vieni, non ~Mozart.~
tardar,’ (_Le Nozze di Figaro_)
Overture, _Bibiana_ ~Pixis.~
~Act II.~
Sinfonia, MS., composed expressly for this Society, ~F. Mendelssohn
and first time of performance Bartholdy.~
Duetto, Madame Cinti Damoreau and Signor Rubini, ~Rossini.~
‘Ricciardo che veggo!’ (_Ricciardo e Zoraide_)
Concerto Violin, M. De Beriot ~De Beriot.~
Aria, Madame Cinti Damoreau, ‘En vain j’espère’ ~Meyerbeer.~
(_Robert le Diable_)
Jubilee Overture ~C. M. von
Weber.~
Leader, Mr. Weichsel.--Conductor, Mr. Mendelssohn Bartholdy.
Whatever defects were apparent in the fifth Concert, were fully atoned
for by the sixth, in which the most fastidious critic could find only
one piece of a doubtful kind, and but one that was not performed in a
perfect manner.
Haydn’s symphony, in ~D~, is too generally known and admired to need
any remark. M. Mendelssohn’s, composed in pursuance of a resolution
of this Society, by which he was requested to write a symphony,
overture, and vocal piece, on liberal terms, is a composition that will
endure for ages, if we may presume to judge such a work on a single
performance. The first movement, an allegro vivace, in ~A~, without
any slow opening, speaks at once the highly excited state of the
author’s imagination, and the fine flow of his animal spirits, when he
wrote it: so full of brilliant conceptions is this, and so rapid their
succession, that it would be a hopeless attempt to analyse it without
either having heard it several times, or having the score to refer to.
We may say the same of the finale, which has this peculiarity--that it
is in the minor of the key in which the symphony commences. The slow
movement in ~D~ minor is not less distinguished by ingenuity of a very
rare description, and beauty of the most discernible kind, than by its
undisputed, unquestionable originality: this was loudly encored. The
scherzo, in ~A~, and trio, in ~E~, shew genius of a high order in every
bar. And, to be brief, the manner in which the whole work was received,
by the most critical, the best qualified audience that London (now full
of eminent foreign musicians) could assemble, bears us out in what we
have said, and would justify us were we to add still more in praise of
this masterly production.
The Overture by M. Pixis, now performed for the first time here, begins
in a promising manner, with some good harmony, well distributed among
the wind instruments; but as it proceeds, it falls off most lamentably,
and the greater part of the composition is nothing but noise without
design or order, and really seemed to us as if written for that fair
which is annually held on the site of Smithfield market.
The performance of Mozart’s Concerto by M. Mendelssohn was perfect. The
scrupulous exactness with which he gave the author’s text, without a
single addition or _new reading_ of his own, the precision in his time,
together with the extraordinary accuracy of his execution, excited the
admiration of all present; and this was increased, almost to rapture,
by his two extemporaneous cadences, in which he _adverted_ with great
address to the subjects of the concerto, and wrought up his audience
almost to the same pitch of enthusiasm which he himself had arrived at.
The whole of this concerto he played from memory.
A not less admirable performance was M. De Beriot’s on the violin. As
a composition, his concerto, in ~B~ minor, is entitled to high and
unqualified praise; his subjects are new, pleasing, and skilfully
treated, and his instrumentation, the orchestral parts of his work,
prove him to be a most able musician: but his execution of this indeed
‘beggars description.’ Words cannot convey a just notion of the fulness
and beauty of his tone, the certainty of his double, his triple, stops,
the truth of his harmonics,--which, useless as they are, he introduced,
we conclude, merely to show his power--the brilliancy of his execution,
and the delicacy of his taste. We certainly never heard the violin so
played, and the only fault we have to find with M. de Beriot is, that
he condescended to introduce once, it not twice, certain _pizzicato_
notes, and thus seemed to sanction a piece of quackery which he must
despise. The room rung with the plaudits he drew forth, and it is said
to be the intention of the directors to engage M. de Beriot for the
eighth concert, being the last.
Signor Rubini refrained, as much as with him is possible, from
roulades in the aria of Mozart, and his alternations of fortissimo
and pianissimo were more moderate; indeed, he pretty nearly equalized
his tones; but this is the only commendation we can bestow on his
performance of ‘O Cara Immagine.’ In his duet with Mad. Cinti, his
passionate style told better; and here again he spared us those bursts
by which he caricatures so much of what is assigned to him. Mad. Cinti
was delightful in the aria from _Figaro_. A universal encore of this
proved how completely she had charmed her audience. She was not less
excellent in the air of Meyerbeer, though this did not tell so well as
the other. In fact the concert was long, and many people were moving
off to evening parties.
EXTRACTS FROM THE DIARY OF A DILETTANTE.
[Resumed from page 109.]
_April 28th._ One of the greatest _prôneurs_ of Signor Paganini has
been the editor of _La Revue Musicale_; but in his last number,
speaking of this artist’s recent performance in Paris, he says,
Paganini was not on the present occasion equal to what he has been, and
it appeared to us that he was not quite satisfied with himself. Is it
not more likely that the fit of enthusiasm, excited by novelty, or by a
well got up exhibition, is giving way to dispassionate observation and
cool criticism?
* * * * *
_May 6th._ England is about to possess one of the finest rooms, and the
largest and most powerful organ in Europe. What the other qualities of
the latter will be, remains to be proved. But the metropolis of the
kingdom will not have to boast of these advantages, the credit of them
will belong to a provincial town, to Birmingham, where a townhall is
nearly finished, the interior of which is 140 feet long, 65 wide, and
65 high. In this is to be placed--chiefly for the use of the musical
festivals there to be held for the benefit of the General Hospital--the
organ alluded to, the following description of which accompanies a
lithographic print of the gigantic instrument now building.
The organ case will be forty feet wide and forty-five feet high.
The largest metal diapason pipe is to be five feet three inches in
circumference, and thirty-five feet in height. The largest wood
diapason pipe will measure in the interior upwards of two hundred
cubic feet. In the full organ are to be ten open diapasons, and all
the other parts must be in calculated proportion to this. There will
be sixty draw-stops, and five sets of keys. To supply so stupendous
an instrument with wind will require many sets of bellows, the whole
superficial measure of which will exceed three hundred and eighty feet.
And to give, if it can be fairly estimated, some further idea of the
magnitude of this organ, it may be stated, that its weight will amount
to upwards of forty tons.
It was intended to open this grand hall, and still grander organ, in
the autumn of the present year; but to prevent any injurious haste in
the completion of the building and of the instrument, the grand musical
festival, which will prove to the county of Warwick that it possesses
one of the most splendid rooms, and the most magnificent organ in the
world, is deferred till October, 1834.
* * * * *
_8th._ In the bill of the Ancient Concert this evening is an odd
junction,--‘The _Chaconne_ and _Requiem_ of ~Jomelli~.’ It should have
been _Overture_ only, this including the Chaconne; and neither have
any connection whatever with the _Requiem_, though they make a very
good introduction to it. In future, let us hope that the name of a
ballet-tune will not be coupled with the _Missa pro defunctis_; unless
it be intended to have a musical as well as graphic _Dance of Death_.
* * * * *
_11th._ The Glee Club this day decreed their prize for the best
cheerful glee to Mr. Hawes. Last week, Mr. Goss obtained the prize for
a serious glee.
* * * * *
---- This day died a singer, not unknown to fame in her day, Mrs.
Dickons, who, at nearly the close of the last century, held rather
a prominent station as a performer, both on the stage and in the
concert-room. This lady manifested a decided talent for music at a
very early age, and at eleven years of age, her father, Mr. Poole,
placed her under Rauzzini. At thirteen, the Court Journal tells us, she
appeared at Vauxhall; but no notice is taken of this in the account
given of her in the Dictionary of Musicians, the heads of which were
probably furnished by her direction. Afterwards, but at what exact
time I am not aware, she was placed under Mr. John Ashley, jun., who
instructed her generally in music, and through the interest of his
father she was allowed to sing at the Ancient Concerts.
In 1793, she appeared for the first time on the stage, in the character
of _Ophelia_, and afterwards, progressively, had many principal vocal
parts assigned to her; for though her style of singing was far from
refined, it was correct; and though her voice wanted fulness, and was
reedy, yet her intonation was perfect, her knowledge of music gave her
a firmness that few possessed, and she could be relied on both for
ability and punctuality.
Miss Poole married a Mr. Dickons in 1800, and retired from the stage,
finally, as she supposed, but her union did not prove so happy as
she had reason to expect, and she returned to her public employment,
and was engaged at the King’s Theatre, where she performed as second
to Madame Catalani, who, in 1816, engaged her at the Théâtre Italién
in Paris, (then on lease to Madame C.) as prima donna, where I heard
her in two or three characters. Her success was such as a second-rate
singer has a right to expect from a polite audience; she was listened
to with much attention, some applause, but not, after her debut, by
very numerous auditors. I was present at her first performance, and
immediately discovered Madame C.’s design in engaging an English
vocalist who could never be her rival. Mrs. D. only made a very few
attempts in Paris, then retired. She was subsequently engaged at
Venice, also at one or two other cities in Italy; and on her return to
England, was engaged by Mr. Harris, at Covent Garden Theatre, where
she made her appearance as _Rosina_, in Rossini’s _Barber of Seville_,
adapted to English words. In 1818, she finally abandoned all public
employment, and shortly after was attacked by a cancerous disease, from
which she never recovered, though paralysis was the immediate cause
of her death. Mrs. Dickons was much respected by the public, for she
maintained a most irreproachable character, and was not less beloved
by her friends for all those qualities which contribute so largely to
social happiness.
* * * * *
_14th._ The premium of twenty pounds annually given by the noblemen and
gentlemen of the Catch-club, for the best glee, was this day awarded to
Mr. Walmisley. The candidates were but few, and the prize was decided
by a majority of one vote only; Mr. Walmisley’s composition having
nineteen in its favour, and Mr. T. Cooke’s eighteen. None are allowed
to become candidates for this prize but the professional members of
the club, the competition therefore is confined in a narrow sphere; an
evil, certainly, but unavoidable, for were there no limit, more glees
would be sent in than could by any possibility be tried without an
expense both of time and money that no club could support.
* * * * *
_20th._ The Directors of the Ancient Concert have announced their
determination respecting those performances in future; or at least for
next season. The plan and conditions are as follow:--
‘That there be Eight Concerts, to take place every alternate Wednesday
from the commencement of the season, with the exception of the usual
recess during Passion and Easter weeks.
‘That the Subscription be Six Guineas for Subscribers retaining the
privilege of attending Rehearsals; Five Guineas for those who do not.
‘That the transfer of tickets between Father and Sons, and between
Brothers, also between Mother and Daughters, and between Sisters, be
allowed.
‘That the Subscribers retain the same privilege, as during the present
season, of recommending for single tickets for the evening.
‘In order to carry on the Concerts on the same scale as heretofore,
and with the same vocal and instrumental power and excellence, it is
necessary that the number of Subscribers should not be less than 500.
The Directors therefore give notice, that if, on the 1st of February,
1834, the Subscribers reported to Messrs. ~Lonsdale~ and ~Mills~, of
140, New Bond Street, do not amount to that number, the Concerts will
be discontinued.’
Let us hope that what is here proposed will be successful in upholding
an institution on which the preservation of good music in this country
no much depends. To the study of the ancient masters the great modern
composers confessedly owed their knowledge; these introduced a new
style in instrumental music, undoubtedly, and extended the limits
of modulation, but the foundation was prepared for them, and no one
has established a permanent reputation who has not built on this. In
the words, therefore, of Fra Paoli, I pray for its continuation and
prosperity:--_Esto perpetua!_
FOREIGN MUSICAL REPORT.
VIENNA.
_Hofoperntheater._--The opera _Ferdinand Cortez_ has been reproduced,
with M. Wild as _Telasco_, Madame Ernst as _Amazily_, and M. Breiting
as _Cortez_; the minor characters were also well sustained. Donizetti’s
_Anna Bolena_ has also been given, and with even greater success than
at the _Josephstadttheater_.
At the _Hofburgtheater_ a new oratorio by the organist Assmayr has
been performed; it displays great ability, and the music is eminently
expressive of the words; it was well received.
At the first and second of the _Concerts Spirituels_ have been given
a symphony of Mozart composed for the Concerts Spirituels in Paris in
the year 1778, Vogler’s overture to _Castor and Pollux_, a mass by
Cherubini, symphony in ~C~ minor by Beethoven, chorus from _Jephtha_ by
Handel, a new _Te Deum_, a sterling composition, by Tomascheck, &c. &c.
For the third and fourth concerts were announced Beethoven’s symphony
in ~B~, the ninth psalm of Fesca, Weber’s Jubilee overture, the Abbé
Vogler’s Litany, Mozart’s symphony in ~E~♭, chorus and fugue from the
oratorio _Der Tod Jesu_ by Graun, Beethoven’s festival overture, and
the _Gloria_ from the second mass of Cherubini.
The annual concert at the Conservatory of Music, to display the
progress of the pupils, took place a short time since, when their
performance of Mozart’s symphony in ~D~, and the meritorious efforts of
the vocalists, gave great satisfaction.
A concert of a brilliant character was recently given by the horn
virtuoso, M. Lewy; he was assisted by Demlle. Heinefetter, and MM.
Thalberg, Titze, Hürt, and Sachner.
Romberg is at present sojourning here, and has played on the
violoncello at a concert in the _Kärntnerthor Theater_. Age seems to
have produced no effect upon his mighty powers; his reception was
enthusiastic in the extreme.
BERLIN.
Spontini’s opera _Alcidor_, after an undisturbed repose of many
years, was lately reproduced here. Its success was but indifferent,
notwithstanding the laudable exertions of the singers and the splendour
of the scenery and decorations. Dlle. Gerwer is about to leave us; her
place, however, will be supplied, for a short time at least, by Dlle.
Heinefetter.
A. M. Liebrecht, aged thirteen years, a pupil of M. C. M. Möser, has
given a concert here, showing the degree of perfection to which such a
child may attain by assiduous and persevering application; he exhibited
an extraordinary mastery over his instrument--the violin. Shortly
afterwards M. Wagans gave a concert, at which he played a concerto on
the trumpet with a degree of taste and brilliancy calculated to sustain
the fame which he has already acquired. Other concerts have been--that
of the three brothers Gabrielski, in which two of them distinguished
themselves as clever flute players, and the other as an accomplished
pianist; and one at the theatre, at which Dlle. Fürst, from Dresden,
sang; her voice is rather powerful than sweet, and tolerably flexible.
At the Singing Academy the Passion music of St. Matthew the Evangelist,
by Seb. Bach, was performed; and on Good Friday the annual performance
of the oratorio _Der Tod Jesu_ took place before a very crowded
audience; it was subsequently given in the Garrison Church under the
direction of M. Hansmann.
MUNICH.
The performances during the present year have comprised the operas
_Johann von Paris_, _Zauberflöte_, _Figaro_, _Fra Diavolo_, _Der Maurer
and der Schlosser_, (Le Maçon) _Die beyden Füchse_, _Freyschütz_, _Der
Schnee_, &c. The management of Baron von Poissl terminated on the 28th
February, when he was succeeded by M. Küstner.
STRASBURG.
During the last year it was our good fortune to have a German company,
under the direction of M. Carl Bode, exclusively devoted to the opera;
and their productions were therefore comparatively of so perfect a
nature, that the direction of the French theatre was quite unable to
compete with them. They performed during the season, _Fidelio_, _Die
Schweizer Familie_, _Freyschütz_, _Die Weisse Dame_, _Preziosa_, _Die
Stumme von Portici_, _Don Juan_, _Koskiusko_, _Der Dorf Barbier_, (The
Village Barber,) _Tancred_, _Oberon_, _Das Donauweibchen_, (The Nymph
of the Danube,) _Wiener in Berlin_, _Der Kleiner Wilddiebe_, (the
Little Poacher,) _Sargin_, _Zauberflöte_, _Wilhelm Tell_, and _Robert
der Teufel_. Among the company, consisting of about forty members,
the most distinguished were Madame Brauer Düringer, whose principal
characters were _Fidelio_, _Donna Anna_ in _Die Weisse Frau_, _Elvira_
in _Die Stumme_ and in _Don Juan_, _Sophie_ in _Sargin_, _Mathilde_
in _Wilhelm Tell_, _Isabelle_ in _Robert der Teufel_, and _Tancred_.
She has a powerful, rich voice, which is of extraordinary effect in
the concerted pieces, and she sings with much taste. Madame Mayer,
too, was delightful as _Annchen_ in _Der Freyschütz_; in fact, in all
the characters which she sustained. Demlle. Liszevsky also called
forth great admiration as _Emmeline_, _Agathe_, &c; but particularly
as _Jemmy_ in _Wilhelm Tell_, and _Alice_ in _Robert der Teufel_. M.
Wagner, from the Würtzburg Theatre, as principal tenor, was successful
in all his efforts; he sang with equal skill and excellence the high
part of _Sargin_ and the low one of _Don Juan_; as _Robert_ and as
_Arnold_, he has few equals. M. Heisel, as second tenor, was not
without merit. The other singers were MM. Popp, Netz, Krieg, Fischer,
Kaibel, &c. Great credit is due to M. Bode for having by his judicious
management cultivated the taste for classical productions.
With regard to the French theatre, as matters were not going on very
prosperously, the direction was taken out of the hands of M. Deville,
and the company continued to perform to the end of the season on
their own account. Under these circumstances, many new operas were
not to be expected; one only was given, Auber’s _Liebestrank_ (Le
Philtre). The company consisted of Mesdames Lamotte, prima donna,
possessing a rich voice, but often out of tune; Langlade, an agreeable
second singer and excellent actress, Demouchi and Després; M. Vernet,
principal tenor, with a flexible but thin voice. The rest were scarcely
above mediocrity, and the wretched apologies for choruses were below
criticism.
LEIPZIG.
Under the management of M. Friedrich Seb. Ringelhardt, the
_Stadttheater_ has lately enjoyed much of the public favour and
patronage; the music director, too, M. Stegmeyer, is an active young
man and a thorough musician, and the Regisseur, M. Hauser, who is
also a clever musician, is a very good bass singer. M. Eichberger,
the tenor, is excellent. Of the female singers of the establishment
Madame Steinert ranked first; then came, after the departure of Dlle.
Nina Sontag, whose place she supplied, Dlle. Livia Gerhardt. If want
of novelty in the productions has been a fault to be imputed to the
management, for new operas have been scarce, those which we have had
have been given in such a manner as to compensate for what might
otherwise have been a matter of regret. For instance while Madame
Schroeder was here we had _Fidelio_, _Don Juan_, in which she performed
_Donna Anna_, and _Otello_; she was great in them all and efficiently
supported.
Mendelssohn Bartholdy’s overture to Shakspeare’s Midsummer Night’s
Dream, was played for the first time in Leipzig, at a concert for the
benefit of the poor, and received with great applause; on the same
occasion Beethoven’s symphony in A major was given, and M. Poland
played a violin concerto by Pechatschek with delicacy and spirit.
The Euterpe, the season of which is now closed, has given various
symphonies, overtures, and concertos. In the last selection were a new
symphony of M. F. Kähler, Beethoven’s overture to _Egmont_, Weber’s
overture to _Der Beherrscher der Geister_, &c.; M. Sipp placed a violin
concerto of Rode, and M. Faulmann a concerto of Hummel on the Oboe.
Dlle. Henr. Graban gave a concert on the 21st March to a brilliant
audience. The selection was good; among the instrumental pieces was
Marschner’s overture to _Hans Heiling_, which, it is said, will shortly
be produced on our boards.
An interesting sacred performance lately took place in St. Peter’s
church, conducted by the organist, C. F. Becker; the selection
comprised a fugue by Handel, and fugues and choral subjects with
variations by Sebastian Bach.
PRAGUE.
Gretry’s _Blaubart_ (Bluebeard) has been once more produced here for
the benefit of M. Strataky, and experienced a favourable reception,
notwithstanding the fact that the whole of the characters were not well
sustained. Demlle. Lutzer however as _Maria_ was all that could be
desired; her voice has acquired increased strength, and she may soon
prove a dangerous rival to the gifted Madame Podhorsky. _Zampa_ has
also been given again, and _Die Unbekannte_. The performance of the old
opera, _Der Lustige Schuster_ (the Merry Cobbler), was attended with
little success. Demlle. Lutzer has lately performed _Zerlina_ in _Fra
Diavolo_, _Helena_ in _Das Fraulein am See_, _Desdemona_, _Semiramis_,
_the Princess of Navarre_, and _Camilla_ in _Zampa_, in which latter
opera she shone particularly.
There has been a concert given by the pianiste Dlle. Nina Trenkler;
one by the pupils of the Conservatory of Music; and a third by M. J.
B. Hüttner, the professor of that institution: they were all good and
attractive.
FRANKFORT.
Aloys Schmidt’s opera, _Valeria_, was given here for the first time
a few weeks ago. Although the opera displays some beautiful original
ideas, it also abounds in reminiscences of Beethoven, Cherubini,
Mozart, &c.; it was very successful.
CASSEL.
Motives of economy, and the state of affairs in the grand duchy
of Hesse-Cassel, have occasioned the breaking up of the musical
establishment of the chapel, and the closing of the court theatre. The
consequence of this suppression is distressing to the artists, who were
quite unprepared for such an event. Our celebrated composer, Spohr, is
thus deprived of a very lucrative appointment. The greater part of the
performers, instrumental and vocal, are dispersed, and endeavouring
to find in the different German courts those resources which they are
deprived of here. This is an unfortunate occurrence for the musical
art, for the ducal chapel was one of the best-organised establishments
in Germany.
WEIMAR.
The celebrated Hummel has just received the decoration of the order of
the White Eagle from the hands of the Grand Duke. All Germany applauds
this mark of distinction conferred on a great musician who is a living
honour to his country. M. Hummel has just set out for London, where
he is engaged to direct the German opera at the King’s Theatre. It is
said that he is to receive a thousand pounds for his services, and his
travelling expenses. [The Weimar editor is much misinformed on this
subject.]
MEININGEN.
An opera in two acts by the Ducal music-director Nohr, under the title
of _Die Wunderbaren Lichter_, founded upon a Thuringian tradition, was
lately produced here. This is the second great effort of M. Nohr as a
composer, and was received with well-merited applause; he was called
forward at the conclusion.
BRUNSWICK.
M. Albert Methfessel has, since his appointment as Kapellmeister last
year, strained every nerve to raise the opera to a degree of perfection
to which we had hitherto been strangers. The prime donne of the grand
opera are at present Mesdames Cornet and Franchetti, the former a
most delightful and finished bravura singer. The principal tenor is
M. Cornet, the idol of the frequenters of the opera, who is not less
gifted and accomplished as an excellent dramatic singer than as a
sterling good actor.
There is at present here a Dlle. Bertha Lewig, aged fifteen years,
a pupil of M. Methfessel, who displays wonderful proficiency on the
piano-forte.
BERNBURG.
A series of subscription concerts, which commenced here in December
last, terminated on the 9th March; they were under the direction of
M. Victor Klauss, a young and talented composer. The principal solo
performers were MM. Probst and Fischer, on the violin; M. Wustenhagen,
on the clarionet; M. Bosse, sen., on the oboe; M. Klotzsch, on the
violoncello; and M. Bosse, jun., on the flute. M. Klauss, too,
himself also delighted us with two very excellent performances on the
piano-forte. Some overtures and symphonies of Mozart and Beethoven
were not only faultless in their performance, but really presented a
very rich source of musical enjoyment. The singers consisted of a few
members of M. Atmer’s theatrical company, besides some dillettanti of
great ability.
ATTENBURG.
The New Dessau Opera Company of M. Jul. Miller, commenced their
performances here on the 10th March. The music director, M. Ed. Theile,
a pupil of Fried. Schneider’s, is already known to the public as the
author of some clever piano-forte composition.
THE DRAMA.
~King’s Theatre.~
After nearly a season has passed away, in which nothing but old, mostly
feeble, operas, filled by second and third-rate performers, have been
given to the subscribers--for the _public_ have been too wise to pay
their money for nothing,--we all at once find the theatre so crowded
with singers that they actually jostle each other in the lobby. When
the house stood in need of attraction, when the best management, the
utmost activity, would hardly have enabled the lessee to pay his
expenses, he furnished neither opera nor singer, ballet nor dancer,
that drew enough to meet the rent. When Easter was turned--when that
season had arrived in which, if the doors are opened, the house is
lighted, and a set of puppets are placed on the stage, multitudes
will go to see them--at that season we find a double _troupe_, and
fragments of different operas given on the same night, in order that
the performers may have some employment, and not lose their voices for
want of use!
On the 27th of April _La Cenerentola_, one of ~Rossini’s~ most insipid
operas, was performed, Mad. ~Cinti~ as _Angelina_, whose musical
and flexible though not strong voice, and refined taste, the result
of a perfect knowledge of her art, imparted a charm to what was
originally weak and has been hacked for years. ~Donzelli~ was _Ramiro_,
~Tamburini~ _Dandino_, and ~Zuchelli~ the _Magnifico_, all of whom
sustained their parts well; but the two sisters very nearly spoiled the
whole, by the contrast they formed with the rest, and ~Tamburini~ only
reconciled us to his excessive flourishing by the beauty of his voice
and intonation.
On Thursday the 2nd of May, Madame ~Pasta~ reappeared, after an absence
of two seasons, in _Anna Bolena_, an opera indebted for its continued
existence solely to her performance: in ordinary hands it could not
have survived one night in London. This admirable performer is just
what she was, in person, voice, and action; and we have only to refer
our readers to the opinions we have formerly given on the subject, for
those entertained by us now. She was received by a crowded house in the
warm manner that her great and yet unabated talents gave her a right to
expect.
_Tancredi_ was the second opera got up for Madame ~Pasta~, and in this
she afforded even more pleasure to real connoisseurs than in the part
of _Anna Bolena_, for the music is not only goad, but to be reckoned
among ~Rossini’s~ best. Her _entrata_ was splendid; the recitative ‘Oh!
Patria!’ and aria, ‘Tu che accendi,’ with its popular second movement,
were perfect. Madame ~Cinti’s~ _Amenaide_ was, as regards singing,
not less excellent; and her very different voice, so far from being a
disadvantage on the present occasion, operated favourably, by giving
a greater individuality to each character. ~Rubini’s~ _Argirio_ was
a continued series of roulades, except when, by sudden bursts of his
voice, he made those near him start, and by pianos alternating with
these, he became inaudible to all but such as he had alarmed by his
sforzatos. We have never entertained but one opinion of this singer,
who has been so vaunted in the French journals, and find that an able
contemporary agrees with us. The _Spectator_ says of this performer,
that--
‘Of true feeling he has not a particle. _Per esempio_--when he visits
his daughter in prison and in chains, and she asks--
‘Tu quì, o padre! a che vieni?’
his reply was delivered with as much indifference and flippancy as if
the question had related to the weather, or the last new bonnet; and
yet the words are these--
‘---- ad abbracciarti;
A seguirti alla tomba. In sen di padre
Si tenta in vano suffocar natura.’
The truth is, that with singers like Rubini, the art of dramatic
singing is a mere effort of the _muscles_; with Pasta, one of the
_mind_.’
~Zuchelli~ had but little to do, but did that well. Many changes were
made in the opera; original pieces were left out, strange and not
appropriate ones put in, just as the caprice of the singers dictated;
and the choruses were wretched. _Il Pirata_, another old opera, is
getting up, and this is certainly Bellini’s best work; indeed the only
one of his known to this theatre that has the smallest merit.
Drury-Lane Theatre.
What properly is called the _English_ stage is at its last gasp. Covent
Garden is closed except to foreign performers: its company has been
obliged to seek refuge in a theatre which most of our provincial towns
would scoff at. Mr. Arnold has prudently withdrawn from the Adelphi,
and his performers are doing what they can for themselves; that is,
just keeping that small house open three times a week. Mr. Morris feels
the necessity of closing his doors when the two _national_ theatres,
the _legitimate_, the patent theatres, are opened by foreigners, and
nothing but German, or Italian, or French productions heard therein. A
Sunday paper of the 5th ult. well observes, speaking of the banishment
of the English drama from Covent Garden theatre,--‘This feared event
has, at length come to pass. What Laporte means to do with Covent
Garden we have not heard; but he is in treaty with Paganini, and we
suppose that he will resort to some other foreign performances. It is a
singular fact, and it can hardly fail to produce its effect, that ~OUR
NATIONAL DRAMA~ was finally expelled from one of our great theatres,
while “a native of France was its lessee.” What would have been said
by the French, if an English actor had been director of the _Théâtre
Francais_, and had adopted measures by which the plays of Corneille,
Racine, and Moliere were driven to the Port St. Martin?’ And with what
show of reason do certain writers in our journals exclaim against the
salaries of English _stars_, as they are called, when they know, but
are silent, that Madame Devrient receives nearly three times as much
per night, and Madame Malibran more than seven times, what our first
and best performers could ever obtain? Farren, Braham, and Liston, it
is said, have, or had, twenty pounds a night: Madame Devrient has at
least _fifty_; and Madame Malibran _one hundred and fifty_, though she
does draw enough to pay her own salary!
* * * * *
On the 1st of May, the Italian opera of ~Bellini~, _La Sonnambula_,
with English words adapted to it, was produced at this theatre, for
the debut of Mad. ~Malibran~. The drama is well known to our readers;
the music is of the most flimsy kind, and worthless in every sense of
the word, whether as relates to art, or to the theatre. Our English
operatic composers have not much distinguished themselves of late,
and the undoubted superiority of the German and French schools has
generated a taste among all classes in London for foreign music; but
this is no reason why anything so feeble as the work now under notice
should be patiently listened to, nay applauded. However, we will not
waste our reader’s time by further notice of so inferior a production.
The acting of Mad. ~Malibran~ as the somnambulist, is of a very mixed
kind; sometimes she surprises by traits of extraordinary genius, and
occasionally she exhibits extravagancies that prove a want of any real
knowledge of the first principles of the histrionic art. As a singer,
she certainly is much more perfect. Nature has bestowed on her a voice
rarely equalled, and education has made her an excellent musician. Her
natural taste we believe to be good, but, following the fashion of the
day, it has become vitiated, and her ornaments are so redundant as
often to be ridiculous. These however, are so nicely executed, that
they seduce even the best critics, and lead them to applaud what in
their sober senses they could not but disapprove.
Mad. ~Malibran~ has since appeared in the English opera _The Devil’s
Bridge_, as _Count Belino_, and if her roulades, her admirably
performed freaks, are absurd in Italian arias, how much more so in
English songs! She entirely failed in this attempt, and though the
opera was performed a second time, the public, prejudiced though they
now are in favour of foreigners, whatever their pretensions, could not
be brought to witness another such performance.
Beethoven’s _Fidelio_ has been produced here, Mad. ~Schrœder Devrient~
and M. ~Haitzinger~ in the characters they sustained so well last year
at the King’s Theatre. The number of subscription and benefit concerts
which we feel it a duty to attend, have prevented our yet being present
at the performance of this opera at Drury Lane.
THE MUSIC OF THE PRESENT NUMBER.
Who the composer is of the trio, ‘Like a bright cherub,’ has long
been a matter of dispute, and the point most likely will never now be
settled by any decisive proof. The question, however, lies in a narrow
compass, for it is agreed that to either Handel or John Christopher
Smith[57] the work belongs. Prevailing opinion ascribes it to the
former, and we believe correctly, judging from internal evidence as
well as traditional testimony. _Gideon_, the oratorio of which it forms
a part, was a pasticcio, a selection of music by various authors,
adapted to a dramatic poem by Smith, but when and where performed the
most diligent inquiry has not enabled us to ascertain; in fact, no
record whatever of it seems to be in existence; it was never published,
and we cannot learn that a copy of it remains. The trio now inserted is
the only part of it that ever came under our view, and was printed some
fifty years ego by Birchall, about the time when sung at the Ancient
Concerts. The sweet melody of this, and its effective simplicity when
the three parts come together, ought to recommend it to private musical
parties.
* * * * *
The aria by Mozart is No. 20 of his thirty _Gesaenge_, or detached
airs not appertaining to any of his operas, published by Breitkopf and
Härtel, at Leipzig.
* * * * *
The two movements by Avison are from his fourth Concerto, Book
IV.--a beautiful and clever composition, still performed at the
Ancient Concerts, and always with applause. To these we may apply an
observation which appears in Avison’s Preface to his Concertos,--‘If
music be composed agreeably to principles founded in nature, the true
judge of harmony always approves it, whatever name, style, or national
character it bears.’
* * * * *
The _aria_, as he calls it, of Beethoven, is one of the most exquisite
_morceaux_ of this great master. There is a calm dignity in it which
excites a wish that it had been set to words--to poetry worthy of it.
The two variations, selected from many, are not less striking proofs of
the richness of his fancy.
* * * * *
The song by Labarre is from a recent number of _La Revue Musicale_.
The originality of this recommended it to us, and will, we have no
doubt, be apparent to all; though some may at first think it rather too
elaborate for a _chanson_. It will, however, be more admired the more
it is known.
[Sidenote: July, 1833.]
BIOGRAPHICAL SKETCHES OF JOHN TRAVERS, WILLIAM HAYES, ~Mus.~ D., THOMAS
SAUNDERS DUPUIS, ~Mus.~ D., ~and~ EDMUND AYRTON, ~Mus.~ D.
John Travers received his musical education in St. George’s Chapel,
Windsor, and having gained the good will of Dr. Godolphin, Dean of St.
Paul’s and Provost of Eton College, was by him put apprentice to Dr.
Greene. About the year 1725 he succeeded Kelway as organist of St.
Paul’s, Covent Garden, and subsequently became organist of Fulham. On
the decease of Jonathan Martin, in 1737, Travers was appointed organist
of the Chapels Royal, when he relinquished his situation at Fulham. He
died in 1758, and his successor in the King’s Chapel was Dr. Boyce.
‘Travers,’ says Sir John Hawkins, who knew him well, ‘was a sound
musician; he commenced an early acquaintance with Dr. Pepusch, and
received some assistance from him in the course of his studies, which
by sedulous application he was very careful to improve. In the Chapel
books are sundry anthems of his composition; but as composer he is
best known to the world by eighteen Canzonets, being verses and songs
taken from the posthumous works of Prior, which he set for two and
three voices, in a style as elegant as it is original. Besides these he
published the whole book of Psalms for one, two, three, four, and five
voices, with a thorough-bass for the harpsichord[58].’
Dr. Burney, speaking of Travers, says, ‘His compositions, however pure
the harmony, can only be ranked with pieces of mechanism, which labour
alone may produce, without the assistance of genius[59]’. But this
criticism is no less inconsiderate than severe. To his compositions for
the church it may apply, but his canzonets--many of them at least--have
stood the test of time, and, popular as they were when first brought
forth, are still as much as ever admired for their genius, their
originality, as well as their beauty and contrivance, by all impartial
judges of English music; among whom Dr. Burney certainly cannot
properly be reckoned, so strong were his prejudices in favour of the
Italian school; though latterly the German composers, Haydn especially,
had some share of his esteem.
In Arnold’s _Collection of Cathedral Music_, are a Morning Service, a
Te Deum, and one Anthem, by Travers, which do not exhibit any creative
powers: his best sacred composition is the anthem, ‘Ascribe unto the
Lord,’ and this is still occasionally performed in the King’s Chapel.
* * * * *
~William Hayes~, Doctor in Music, was born at Gloucester, in 1707, and
giving early proofs of a musical disposition, was admitted a chorister
of the cathedral, under Mr. Hine, the organist, where as a boy he early
distinguished himself as a solo singer, and soon arrived at a high
degree of excellence as an organ-player. On quitting Gloucester, he
was appointed organist of Shrewsbury, and shortly afterwards succeeded
to the same situation in the Cathedral of Worcester. But after the
lapse of a few years, a vacancy occurring in the office of organist and
master of the choristers at Magdalen College, Oxford, he obtained that
appointment, which having been the ultimate object of his ambition, he
retained till his death. In 1735 he proceeded to a Bachelor’s degree in
music, and some years after, on the death of Mr. Goodson, was elected
Professor of Music to the University. On the opening of the Radcliffe
Library, in 1749, he was honoured with a doctor’s degree, to which he
was presented by Dr. Bradley, Savilian Professor of Astronomy, who, in
an elegant Latin speech, represented him not only as a man eminent in
his faculty, but as possessed of other estimable qualities, among which
sweetness of temper was mentioned as not the least remarkable.
In 1753 Dr. Hayes published his ‘Remarks on Mr. Avison’s Essay on
Musical Expression,’ which were drawn from him in consequence of
what he considered a covert attack on Handel by the author of that
well-known, and in many respects able, critical work; but he here
manifested more knowledge of his subject than control of temper; and
his observations,--though many of them are very just, while some are
rather hypercritical,--lose much of their force from the asperity of
language in which they were uttered, a fault only to be accounted for,
in one of so mild a disposition, from his enthusiastic admiration of
the illustrious composer whom he vindicated.
On the establishment of the Catch-Club, Dr. Hayes, in 1773, obtained
three out of the six prizes given that year, one of his successful
compositions being that exquisitely beautiful but brief piece of simple
counterpoint, the Glee, ‘Melting airs soft joys inspire.’ This, and the
lovely Round, ‘Wind, gentle evergreen,’ are enough to transmit his name
to posterity, had he produced nothing else; but his _Cathedral Music
in Score_, comprising a full service and upwards of twenty anthems,
published after his decease by his son, Dr. Philip Hayes, will continue
to be highly valued so long as this species of composition shall
continue in use. His Canon, ‘Let’s drink, and let’s sing together,’ is
mentioned by Dr. Burney (in Rees’ Cyclopædia) as ‘the most pleasant of
those laboured compositions which go under the name of Canon.’
Dr. Hayes, after suffering three years from the effects of a paralytic
stroke, died in 1777, and was succeeded in all his appointments at
Oxford by his above-mentioned son[60].
* * * * *
~Thomas Saunders Dupuis~, Doctor in Music, was in 1733 born in this
country, though his parents were natives of France. His father held
some situation at court under George II., and this probably was the
reason why his son was placed in the Chapel Royal. The first rudiments
of his education were received from Mr. Gates. He afterwards became a
pupil of Travers, at that time organist of the King’s Chapel, and for
whom, in the early part of his life, he officiated as deputy.
‘On the death of Dr. Boyce, in 1779, Mr. Dupuis was appointed organist
and composer to the Chapel Royal; and it is probable that the Bishop
of London (Lowth) never exercised his taste and judgment more properly
than by nominating so worthy a man to so respectable a situation.’
_Bingley’s Musical Biography_, ii. 215.
In 1784 he was named as one of the assistant-directors of the
Commemoration of Handel; and in 1790 was admitted to the degree of
Doctor in Music by the University of Oxford. He died in consequence
of taking an excessive dose of opium, at his house in Park Lane, on
the 17th of June, 1796. His successors were Mr. Knyvett, senior, as
organist of the Royal Chapels, and Mr. Attwood as composer to his
Majesty.
Dr. Dupuis published several compositions, among which his _Organ
Pieces_ and two _Sets of Chants_ are the most valuable; but his
reputation is more permanently based on his services and anthems,
written for the use of the King’s Chapel, a selection of which was
printed after his death, in two handsome volumes, by his pupil and
friend, John Spencer, Esq., son-in-law and nephew to the late Duke of
Marlborough. These consist of four Services, and fourteen Anthems in
score; and in Page’s _Harmonia Sacra_ are two other of his Anthems,
‘The Lord, even the most mighty God,’ and ‘I cried unto the Lord,’
which were published during the life of the author.
Great knowledge and taste are more conspicuous in Dr. Dupuis’
compositions than any very great brilliancy of genius; but they are
by no means deficient in invention, though this was curbed by his
devotedness to the school of music in which he had been educated,
and of which he was to the last a most uncompromising defender. His
Services, particularly those in ~E~ flat and ~C~, are as beautiful in
melody, as they are skilful, considered as specimens of writing in
parts. Of his anthems, ‘The souls of the righteous,’ ‘Bow down thine
ear,’ and ‘Be thou my judge,’ will long continue as records of his
ability as a harmonist; and ‘The Lord is my shepherd,’ ‘Lord, what love
have I unto thy law,’ together with ‘Teach me, O Lord,’ can never cease
to please the admirers of graceful, flowing air. As a performer on the
organ, he was excelled by no Englishman of his time; his extemporaneous
fugues were the admiration of all lovers of this kind of music, and
drew multitudes to hear him at the conclusion of the service at the
Royal Chapel.
Dr. Dupuis was a most worthy and amiable man, successful in worldly
matters, but unfortunate in his family. He followed his eldest son (a
clergyman) to the grave, and bequeathed a handsome fortune to an only
remaining one, who thoughtlessly dissipated the whole of it in his
power, and died at an early age.
* * * * *
~Edmund Ayrton~, Doctor in Music,--who closes the list of Masters
of the children of the Chapels Royal, to the end of the eighteenth
century[61],--‘was born in 1734, at Ripon, of which borough his father
was an active and upright magistrate, whose three immediate ancestors
held, successively, the livings of Nidd and Stainley, within the
liberty of that town. He was intended for the church, and received
his education at the free grammar-school of his native place, where,
during five years, he was a contemporary of Beilby Porteus, afterwards
bishop of London. But his father, finding it prudent to indulge his
son’s natural inclination for music, placed him under the instruction
of Dr. Nares, then organist of the cathedral of York. At an early age
he was elected organist, auditor, and _rector chori_ of the collegiate
church of Southwell, in Nottinghamshire, where he married a lady of
good family. He quitted that place in 1764, upon being appointed
gentleman of the Chapel Royal; shortly after which he was installed a
vicar-choral of St. Paul’s Cathedral, and subsequently became one of
the lay-clerks of Westminster Abbey.
‘In 1780 he was promoted, by Bishop Lowth, to the office of master
of the children of his Majesty’s Chapels, on the resignation of his
friend Dr. Nares. In 1784 the University of Cambridge conferred
on him the degree of Doctor in Music; and some time after he was
admitted _ad eundem_ by the University of Oxford. His exercise was a
grand anthem, for a full orchestra, which merited and gained so much
praise, that it was ordered to be performed, with a complete band,
in St. Paul’s Cathedral, on the 29th of July, 1784, the day of the
General Thanksgiving for the peace. This was afterwards published in
score. In the same year he was chosen one of the assistant-directors
of the Commemoration of Handel, in Westminster Abbey, which situation
he filled at all the succeeding performances in that venerable
building, and took a very active part in their management. In 1805
he relinquished the mastership of the children of the Chapel, and
was succeeded by John Stafford Smith, Esq., having been allowed for
many years previous to perform the duties of his other appointments
by deputy. He died in 1808, and his remains were deposited in the
cloisters of Westminster Abbey, near those of his wife and several of
his children.
‘Dr. Ayrton was an excellent musician, of which his compositions for
the church bear indubitable evidence[62]. The performance of these
has been chiefly confined to the Royal Chapel, but the publication of
them, which has long been expected, would usefully augment the musical
resources of our various choirs, and add greatly to the reputation of
their author.’ (_Dictionary of Musicians._)
HARMONICS OF THE VIOLIN.
In the _Westminster Review_ for last January, is an article, under the
above title, which, judging from its clearness and simplicity, we are
inclined to believe must have proceeded from the very able pen of the
critic who recently reviewed in that work the scientific and clever
treatise on the Enharmonic Guitar[63].
The author, wishing to render the doctrine of harmonics comprehensible
to persons of all capacities, has imitated, in a very felicitous
manner, the style of a writer who, whatever opinion may be entertained
of him in other respects, allowedly has the art of making himself
understood by every one, however difficult or intricate the matter on
which he treats; and in a letter written as if from Mr. Cobbett to
his son, has given an intelligibility to the subject which it never
before received, insomuch that we are tempted to exceed the limits of
a quotation, and, for the benefit of such of our readers as do not see
the _Westminster Review_, borrow more largely from the pages of that
very able periodical than is usual, hoping that the liberal spirit of
its proprietors will not accuse us of piracy, and summon us into the
awful presence of the Keeper of the King’s Conscience.
‘The whole theory or principle of finding and producing the
harmonic notes is in reality very simple, and such as might be
communicated to any intelligent child in two or three short
lessons. If the author of the _Political Register_ had been born
and bred a professional musician, (as among the possible freaks
of fortune why should he not?) he would have set the hope of his
family before him, and said,
‘My dear little Son,
‘You are to get your bread by playing on the violin. It will
therefore be exceedingly useful to you to know all that can be
known about the harmonic notes; by which means you may not only get
your bread, but be able to secure its being well buttered also. A
violin-player is _worth_ a great deal more when he knows all about
the harmonic notes; and in fact, since the appearance of Paganini,
the chances are, that a player who does not know it will be worth
nothing at all.
‘Do you know what an _aliquot part_ is? I am sure you do not.
If you have a cake or an apple, and divide it equally among
your companions, whether they be _two_, _three_, _four_, or any
other number, then the thing is said to be divided into aliquot
parts,--“_aliquot_” being a word in the old Latin language meaning
“some certain number or other,” and implying here that the thing is
divided into equal parts of “some certain number or other.” But if
you were to divide it among the same so that their shares should
not be all alike,--or if you were to give each an equal piece, but
there should be a piece left after all which was not equal to one
of the pieces you had given away, but was greater or less,--then
the thing would be divided into parts, but not into aliquot parts.
Now then, my dear little son, you know what is meant by dividing a
string into aliquot parts.
‘Tell me now, how you would begin to show me the different places
in which a string can be divided into _aliquot parts_. You would
first show me the middle point, which divides it into _two_ equal
parts. Then you would divide the string, with your eye or with a
pair of compasses, into _three_ equal parts, and show me the two
points of division between them. Next you would divide it in the
same way into _four_ equal parts, and show me the three points
of division. And so on, for _five_, _six_, _seven_, _eight_,
and as many more as you liked to continue. These, then, you
would say,--both those I have made and those I might make if I
liked--are the points that divide the string into aliquot parts.
And if you pleased, you might mark them by writing under each point
of division the figure which shows how many equal parts the string
is divided into,--as for instance a 2 under the point where the
string is divided into two, a 3 under each of the points which
divide it into three, and so on. And indeed it will be better
that you should do this; for then you cannot help observing, that
sometimes more figures than one will fall on the same place--as for
instance when the string is divided into four, one of the marks
4 will fall on the same place as the division into 2; when it is
divided into six, one of the marks 6 will fall on the same place
that was previously marked 2, and two more on places that were
marked 3; and so on. All of which will be wanted another time.
‘Now if you touch the string gently with the finger at the distance
of any aliquot part from the bridge, (mind I said _from the
bridge_, not at _any_ of the divisions into aliquot parts, but at
the distance of one of them _from the bridge_,) and at the same
time pull the string or draw the bow across between this point and
the bridge, you will see a curious thing. The string will divide
itself into all the aliquot parts of which the point touched by the
finger makes one,--into two, or into three, or into four, as the
case may be,--and every one of them will move by itself, as if it
was a little string held fast at the two ends; the sound produced
being the same that would be made by pressing the string down to
the neck at the point touched, in the common way. If the divisions
are few, as two or three, this may be seen distinctly enough by the
eye: but where this is not the case, it may be shown to be the fact
by laying a little bit of paper on the string while it is sounded;
and if this is laid on any of the points of division into aliquot
parts, whether on the one nearest the bridge or any of its fellows,
it will lie still and not be thrown off, but if it is laid anywhere
else, it will be thrown off directly, which shows that the points
of division are at rest, and the others are not.
‘If you want to know how or why this curious thing takes place,
I will tell you as nearly as I can; but remember I do not pledge
myself that this is the reason, but only that I think it very
likely to be the reason, and this principally because I know no
other way in which it can be brought about. And this way is, that
when one portion of the string is moving in one direction, as for
instance from me towards you, the next portion of the string is
moving at the same time in the contrary direction, or from you
to me; and so with the other portions, whatever their number may
be. In this manner it seems possible that the points of division
should be kept at rest, and in any other manner it seems to be
not possible; and therefore, since the fact is before us that the
points of division remain at rest, I conclude that it is in this
way it takes place. This is what the _feelosofers_ would call a
syllogism. And because this sort of balance can only be kept up by
the portions of the string moving backwards and forwards (which
the same sort of people call _vibrating_) in equal times or with
equal quickness, and this again cannot take place unless the moving
portions of the string are of equal length,--it follows that this
sort of motion in parts or portions of the string can only take
place when those parts or portions are of equal length, which seems
to be the reason why the experiment will only answer when the point
touched is one that divides the string into _aliquot parts_.
‘But this is not all; for there is a more curious thing still.
And that is, that if you touch the string at _any other_ of the
points of division into aliquot parts, (by which I mean any other
than the point of division nearest to the bridge,) the string will
divide itself in the self-same way,--always with the exception (now
mind the exception) of the cases in which the point touched falls
in with a point in some simpler mode of division that has gone
before. For instance, you remember observing, that when the string
was divided into four equal parts, one of the points marked 4
fell on the same place as the division into 2. Touching the string
therefore in this place must make the same sound it did before;
which is a different sound from that which it makes when touched
at the other two points of division into 4. And in like manner in
other cases. But when this agreement with some simpler mode of
division does not interfere, all the points of division on being
touched produce the same sound. For example, if the division be
into five equal parts, inasmuch as none of these will coincide with
any of the simpler modes of division, there must be four points in
the string, any one of which being touched will produce the same
harmonic sound.
‘But if you want to know how and why this still more curious thing
takes place, I can only tell you in a roundabout sort of way as
before. If you divide the string, for example, into five equal
parts, and touch any of the four points of division you choose,
you check and finally prevent the continuance of any motion at
the point touched, though at the same time it would appear that
the touching (which, to make the experiment answer, must be very
light) is not enough to hinder the _shaking_, or, as the learned
people call it, the _vibration_, given at one end, from being
communicated past the point of touch. If, instead of touching the
string lightly, you were to lay hold of it with a pair of pincers,
then the experiment would fail altogether; the reason of which may
be concluded to be, because the motion is presented from being
at all communicated beyond the point laid hold of. In fact the
art,--for there is an art in everything, from scraping the grains
off a cob of Indian corn to sounding a musical string, whatever
the difference in importance and dignity of the two things may
be,--appears to consist in touching the string in such a manner,
and with such a degree of pressure, as shall allow the motion given
by pulling or bowing to be communicated past the finger, and yet
shall check and finally prevent the continuance of all motion, or,
as it was called before, _vibration_, that is not consistent with
the point which is touched remaining at rest. Now if you consider
carefully, you will see that the only way in which motion can go on
and this point remain at rest, is by the string’s dividing itself
into the five equal portions, the movements of which shall balance
each other as before described. It does not indeed follow, that
because the motion could go on no other way, it must necessarily go
on in this; but we have the evidence of the fact that it _does_ go
on in this; and the knowledge of the reasons why it could not go on
in any other is at all events very useful to make us remember what
the effect is that is produced, and how.
‘The next thing is to be able to tell what all the sounds thus
produced are. Now you remember that when you were a very little
boy, I showed you, that if you stop a string by pressing it
down hard in the middle you produce its _Octave_; where the two
sounds (of the original string and its half) are such sounds as
are produced by a man and a child when they sing the same tune
together, but in very different pitches of voice;--that if, instead
of shortening the string in this manner by the half, you shorten it
by a third part, you produce the sound which musicians have called
the _Fifth_; if you shorten it by a fourth part, you produce the
_Fourth_; if by the fifth part, the _Major Third_; if by the sixth
part, the _Minor Third_; with a great deal more which it is not
necessary to mention now;--and I told you, too, that the intervals
from one of these sounds to another were not the same, or such
as to allow of beginning on any you please and making the others
serve in the places they happen to fall in, which is attempted to
be done by what is called _Temperament_, a thing that you as a
violin player should hold in as much scorn, as an invitation to
cut off your two legs for the sake of trying how pleasant it is
to hop on wooden ones. If then you want to know what sound any of
the harmonics really is, you have only to do this;--double the
distance from the bridge to the nearest of the points of division
into aliquot parts, over and over, till you get to some length that
when pressed down in the common way makes a note which you know, as
the _Octave_, the _Fifth_, &c.; and then the harmonic will be this
note, only raised by as many octaves as there have been doublings.
For example, if you touch the thickest or G string of the violin so
as to bring out the harmonic at one-fifth of its length from the
bridge, and want to know what note this is,--doubling this length
once makes two-fifths of the whole string, and doubling it again
makes four-fifths, and four-fifths pressed down in the common way
make the _Major Third_ or B; therefore the harmonic produced is
B two octaves higher than the B on the thickest string, or the
same sound as the first B on the thinnest or E string. And in like
manner in other cases.
‘The examination of all the different possible harmonic notes might
evidently be carried a long way; and it would be very useful to do
it if you were intended for a trumpeter, for all the notes on the
trumpet or French horn are harmonic notes. But for playing on the
violin, as much as is given above appears to be sufficient. It will
enable you to trace all the principal harmonic sounds, and in fact
all that on the violin are of any practical use; for though there
is no absolute end of the number of harmonic notes, inasmuch as you
may divide the string into a hundred parts if you please, and then
into a hundred-and-one,--yet after the division into five or into
six, the sounds on the violin become so feeble as to be of no use
except as matters of experiment and curiosity. And it will have
this further good effect, that it will make you cease to marvel and
to wonder at finding the harmonic sounds on the same string grow
sometimes deeper and sometimes shriller, as you move your finger
from the bridge towards the head,--as if there was some mystery in
it that anybody could not learn in half an hour when they set about
it properly.
‘Suppose now you could stop some tune (as for instance “God save
the King”) on one string of the violin, as for example the fourth,
with your first or second finger, and at the same time always
touch the stopped string gently with the little finger of the same
hand at one quarter of the way to the bridge so as to bring out
the harmonic note;--is it not plain that you would play the tune,
only in the Double Octave, or two octaves higher than if played by
the simple stopping on the fourth string? There is no doubt that
this is very hard, especially for a little boy; it is almost as
bad as playing on two violins at once. But still the thing can be
done. And if, instead of touching with the little finger at the
_quarter_ of the way to the bridge, you should touch at the third,
the fifth, or the sixth of the way, you would bring out notes that
were not Double Octaves to the sound that would be made by simply
pressing down the first finger, but other sounds, which you have it
in your power to calculate; all of which might by possibility be
very useful, but the other was mentioned as being the simplest. If
you asked me what is the use of playing anything in Double Octaves
in this manner, or in any other of the harmonic notes,--I should
answer, First, because these harmonic notes have a very fine and
pure sound,--they do not squall like the sounds made by pressing
the strings to the finger-board very near the bridge;--Secondly,
because it is much easier to make the sounds in tune in this
manner, than by trying to make them by stopping near the
bridge,--for where the string is so short, the smallest error in
the stopping becomes sensible in proportion;--Thirdly, because (as
it is not necessary to be always playing in harmonics) they may be
mixed up with the common notes of the violin, and save an immensity
of trouble in jumping from one end of the instrument to the other
to find the high notes. Look, for instance, at an old-fashioned
fiddler playing on the second string, and wanting (suppose) A _in
alto_; and see what a leap he will make to find it on the first
string, and what a horrible screech he will bring out after all,
when he might produce the note in the most perfect tune and tone
by only touching the second open string that he is on already,
harmonically at a fourth of the way from the head to the bridge, or
at the same place that he would stop D on the second string.’
MELODY AND HARMONY[64].
The object and end of all music is the expression and excitement of
passion, of which its notes are the signs. The practice of music
doubtless shows best how powerful are these signs over the production
of corresponding passions; but its theory also, in the hands of some
writers, has even indicated the precise and simple expressions which
respectively belong to some of the passions.
Now we know that two passions cannot coexist in the mind, except at
the expense of their respective continuity, depth, and intensity. It
follows, of course, that their corresponding signs cannot coexist in
the ear without breaking and enfeebling their expression.
But melody consists of a succession of simple sounds, and harmony of
coexistant and related or concordant sounds. It is obvious, therefore,
that melody is alone adapted to the expression of passion--that is, to
musical expression.
A moment’s reflection, indeed, will show that, in language, it would
not be more absurd to endeavour to express or excite passion by means
of the related terms, emotion, sentiment, &c., or to express and excite
any one passion, as that of love, by means of the related terms,
friendship, affection, &c., than it would, in music, be to endeavour to
excite any passion, in all its purity, simplicity, continuity, depth,
and intensity, by means of impure, compound, broken, and feeble notes.
Which, accordingly, are the nations that have excelled in melody?--The
Italians, the Scots, the Irish, in whom the passions are intense and
powerful; while the Sclavonic and Gothic tribes, in whom the passions
are feeble, have practised that play upon related notes which indicates
the weakness or absence of passion, and which constitutes harmony.
There can, I think, be no more striking illustration than this at once
of the intimate nature and of the relative value of melody and harmony.
To the superior value of melody, however, similar homage is paid,
whether reluctantly or not, in the highest productions of scientific
music. Whenever, in the opera, sentiment, affection, or passion has
to be expressed, the simple melody of the airs is indispensable. If
anything were wanting to corroborate the preceding train of reasoning,
this surely is sufficient.
Let us now, however, from principles which regard the intimate nature
of melody and harmony, as well as their precise relation to the great
end of all music, descend to the mere practical observance of the
relative effects of melody and harmony.
Here one thing will, at the first, strike those who are in the habit
of paying any attention to the operation of their own minds, and of
endeavouring to analyse it. It is this, that, while there is no end
to the variety which the simplest melodies produce, there is but one
sentiment excited by harmony.
However varied the melody may be, whatever the succession of emotion
and passion which it calls up, it will be found that, with each of
these, and always at its expense, the harmony, _quoad_ harmony,
associates another, and that always one and the same, feeling. This,
if observed, will be found to be a feeling of surprise, and certainly
of pleasure, at the display of knowledge in the instant association of
related notes; surprise and pleasure at the art and skill, not at the
feeling and taste, of the composer[65].
The compositions of Handel, Bach, and others, are admirable in their
kinds and perfectly descriptive; but they touch not the most exquisite
feelings; they sink not into the heart; they rouse not the passions.
They excite, as already said, surprise and pleasure at the art and
skill, not at the feeling and taste, of the composer. Let them be
compared in this respect with Sarti, Cimarosa, &c., and all doubt on
this point will cease.
It is evident, then, that the admiration, however delightful, produced
by the instant and unexpected association of related notes, must,
precisely in proportion to its degree, weaken and diminish the
effect of the melody--must, in fact, destroy its purity, simplicity,
continuity, depth, and intensity.
It is, perhaps, scarcely a less fatal objection to the indiscriminate
practice of harmony, that even the restricted pleasure which it conveys
is, from want of education in this peculiar art, incapable of being at
all enjoyed by the vast majority of hearers.
The best practical illustration, indeed, of the relative value of
melody and harmony arises from observing their effects on the mind
and the expression of the features. The English people, being chiefly
of Gothic origin, have a fair capability of apprehending coexisting
related sounds, and their conduct while hearing them will furnish this
illustration.
Let any one, then, observe the effect of these sounds in the finest
harmonies produced at our Opera-house. An affected look of knowingness,
an insincere grin, passes from one face to another, and occasionally,
when some one who really understands the matter gives a bold and
loud rap with his stick,--believing that there must now certainly be
something very fine, they very innocently break into a long paroxysm of
applause, and they repeat this as often as the courageous fellow with
the stick chooses to give them the signal, each secretly thinking how
devilish stupid he must be not really to enjoy what everybody else is
so highly delighted with.
See, however, the same faces when a simple melody breaks out from the
chaos of the harmony: waiting for no prompter, pleasure instantly beams
on every face, and truth and nature have a triumph in that deep and
universal sympathy which art and affectation are utterly incapable of
achieving.
The practice of harmony has, indeed, been borrowed by us from the boors
of Russia, Bohemia, and Swabia, whose broad and flat configuration
of head seems to be as much connected with this _practice_ as their
coldness and apathy are utterly opposed to musical _feeling_, which has
no existence independent of passion.
So natural and universal is melody, that even many quadrupeds are
powerfully affected by it, while not one seems to be influenced by
harmony.
Such then is the kind of music which, originally borrowed from these
boors, the influence of a few amateurs has rendered fashionable
among the half-civilized people of Europe,--for we must call those
half-civilized who have no perception of the fundamental necessity and
transcendent beauty of simplicity in all the fine arts, those sole
tests of the highest civilization.
In Greece, where alone those arts reached the highest perfection,
the purest simplicity characterized every one of their productions;
and there, accordingly, harmony--as in general a complex and idle
decoration, in no way promoting expression, the end of music, but,
on the contrary, defeating its purpose, was, we are told, absolutely
proscribed.
Even if this fact had not been recorded, the slightest knowledge of the
genius of Grecian art would prove that it must have been so; and we
might as safely have predicted that they no more loaded their melodies
with Gothic or Sclavonic harmonies than their temples with Gothic
traceries[66].
The analogy is perfectly strict; for these gingerbread traceries are
not more unproductive of great or good effect than harmonies are; nor
are the barn-like temples which they cover more ugly in their general
form than the meagre airs which harmonies are intended to decorate.
But this is not all. Not only are the airs which harmonies are intended
to decorate generally meagre and worthless, it would appear that no
other airs than those are fit for conjunction with harmonies. It is
certainly true that, whenever the apathetic Germans have attempted to
harmonize the impassioned airs and exquisite melodies of Scotland and
Ireland, they have ruined them, and disgusted every person of pure and
natural taste.
The purpose, then, to which harmony is applicable is not to the
expression of pure, simple, continuous, deep, and intense passion--the
very highest purpose of musical expression,--but to the expression
either of the slightly modified and less definite feelings, or of the
more variable, and even jarring sentiments of several persons, purposes
far inferior to the former.
It is evident that, where several persons express musically somewhat
similar sentiments on the same subject, they may naturally sing
in harmony; and where these sentiments occur at intervals of time
slightly extended, they may even be supposed to chant in that regulated
succession which constitutes fugue. Hence harmony is peculiarly suited
to many voices, where deep pathos and passion are impossible; and it is
an abuse to apply it to the higher species of music.
It is evident, too, that, in descriptive or epic music, harmony
may form the background of the picture--the accompaniment of the
narration,--in the front of which some kind of melody appears; and
of this the most admirable examples are to be found in the works of
Beethoven, the most profound and philosophical of composers. But
whoever mistakes this for the highest species of music is not in a
condition to understand the present paper.
It is in fact, the absence of pathos and passion among the Gothic
races of modern Europe, that has led to the substitution of harmony
for melody. At the same time, their excellence in mechanical invention
has enabled them greatly to improve instruments, which, however suited
to the former, are incapable of the feeling and the meaning, the
expression and the delicacy, which essentially belong to the latter.
And again, the deficiency of instruments in these most important
qualities has led to those strong basses and accompaniments which fill
up the vacuity. Music, consequently, has sometimes degenerated into a
series of tricks which do not rank above rope-dancing or the ballet.
One word may now properly be added on instrumental accompaniments.
They are the natural resource of performers who are destitute either
of feeling or of voice. They may be comparatively beautiful when
associated with these, but they are absolutely offensive when they
interfere with the expression of deep feeling by a beautiful voice.
The best instrumental accompaniment is consequently that which least
interferes with the voice--not the continuous sounds of wind or bowed
instruments (for their music is rather the poor unfeeling substitute
for, than the accompaniment of, fine vocal music), but the light touch
of the string of the harp, the guitar, or the lyre, which, while it
verifies the accuracy, least interferes with the feeling of vocal
expression.
Hence the great masters of art, the Greeks, employed so simple an
instrument as the guitar (their κιθαρα being obviously its original),
or the lyre, which appears to have been simpler and better still.
I rejoice, therefore, to see the former becoming as fashionable in
England as it has long been on the Continent.
~Donald Walker.~
A GERMAN CRITIQUE.
(From the _Allgemeine Musikalische Zeitung_.)
[A specimen of criticism from the most esteemed and widely-circulated
musical journal of Germany, will not be uninteresting to our readers.
The beauty of M. Mendelssohn’s overture has excited in M. Fink’s mind
a lively recollection of Shakspeare’s most fanciful drama, and almost
turned the brain of the critic. He has wrought himself into a belief
that music is equal to language in the power of describing. His reverie
is amusing; but the intimate acquaintance he manifests with the works
of our great dramatic poet, is a circumstance more gratifying to us
than all the sallies of his imagination.]
* * * * *
Overture to Shakspeare’s Midsummer Night’s Dream, composed by Felix
Mendelssohn Bartholdy, arranged as a Duet for the Piano-Forte, by
the composer. (Property of the publishers.) Leipzig. Published by
Breitkopf and Härtel. Pr. 1 Thaler.
The same Composition arranged for the Piano-Forte (for one
performer) by F. Mockwitz.
Reviewed by G. W. Fink, (the Editor.)
It was announced last year in one of the numbers of this publication
that the orchestral parts of this excellent work had appeared at the
above publisher’s; and we then expressed our regret that they should
have been published without the score, for want of which the overture
could not be reviewed. Up to the present time we have not relaxed in
our endeavours to meet with the score, but we have been unsuccessful.
This would have been a matter of still deeper regret to us if we had
not had the good fortune to hear the overture, the arrangements of
which are lying before us, played by our orchestra, which, at the first
performance, got through the difficult composition in such a delightful
manner, that a tolerably distinct impression of it remained upon our
mind, which, upon looking over and playing the two clever arrangements,
is powerfully called back to our memory. From the impression produced
by the instrumental performance, and from these two published
arrangements, we cannot but give the palm to this production of the
persevering young composer, as evincing a greater degree of ability and
genius than any other of his works with which we are acquainted.
Tones of simple melody seem to float, like soft and delicate whispers,
through the shadows of night. It seems as though something mystic were
approaching, from the distance shrouded in darkness, which suddenly
settles like a gleam of moonshine on the desired spot. Now gentle and
vigorous sounds alternate, as though a power of both those characters,
veiled in the misty clouds, were at hand; and in a chord of silvery
softness, Titania beckons her fairy followers, who, forthwith forming
in couples, wind through the silent wood in fantastic twirling dances.
Here, detaching themselves from their companions, a diminutive
elfin couple creep into a polished acorn-cup, and sing in delicate
fairy strains to the elegant movements of the rest. Pea-blossom,
Mustard-seed, Moth, and Cobweb, are there among the busy revellers
in the moonshine; and there is such a twirling and flirting, and
rustling and glitter, that one would fain be present at the nuptial
revels of the bright-helmed Theseus, were it even in the capacity of a
tinker. Anon somebody trips in with a prying look, softly and slyly,
as though he were plotting mischief; and this personage is no other
than Friend Oberon, attended by his roguish Puck, projecting a little
spell to punish his refractory consort. And lo! on a sudden, matters
become coarsely real and corporeal. The ‘rude mechanicals’ are about
to rehearse their ‘most lamentable comedy’ in the wood; and the lovers
are eloping, because the cruel father will not let his daughter marry
him she loves. The night is as busy and full of life as though it were
open day, and a legato cantabile, keeping up the character of the
scene, expresses the impassioned prayer of the maiden, exhausted by
her flight, imploring that she may be allowed to slumber undisturbed
on the mossy rock. In the foreground beneath the trees the mechanics
are rehearsing their drama, each according to his part; Oberon surveys
unseen the strange performance, and gives his commands to the sly
Puck. The scene is now one of wonderful bustle and confusion; mortals
rehearse and elves dance, Oberon smiles, and Puck, ever frolicsome and
mischievous, returning, dives through the dewy atmosphere and presents
to his radiant master the magic floweret, Love in idleness, whose
penetrating juice changes the wise to stupid and the stupid into wise.
This is, between ourselves, the very flower which, among other things,
is the cause that the most shallow effusions thus metamorphosed are
the most assiduously read and strummed. Dip them in the water, their
element, and Puck’s observation is perfectly legible upon their hairy
foreheads--
‘Churl, upon thy eyes I throw
All the power this charm doth owe.’
It is only a pity that the wag should always mistake his man, and,
instead of the right, invariably hit upon the wrong! But for the rest,
this is after all of little consequence; for in a genuine Midsummer
Night’s Dream it is proper that all things should be at cross purposes,
and yet so clearly defined, that in the confusion we may distinguish
the forms of the beings composing it. And here the great charm is
that this is just the case in this instance. Oh! what a delightful
thing is a merry dream! Suddenly the chord of the diminished seventh,
that pliant and accommodating harmony, accompanied by rumbling bases,
resounds through the busy scene, and one may fancy Quince exclaiming,
‘Bless thee, Bottom, bless thee, thou art translated!’ No matter! it
is rather a piece of good fortune for Bottom. Although the scared
artisans run off at the sight of his monstrous head, the slumbering
Titania, being also under the spell of the magic floweret, on awaking
beholds the transformed wight; and oh! how beautiful and intellectual
does she find the agreeable beast! how lovingly does she caress him!
The sprightly elves are ordered to dance to her long-eared darling, and
Pea-blossom to scratch his lovely little head. Theseus now approaches
with his queen of the Amazons and train of huntsmen to the sound of the
horns and the barking of dogs. Things now begin to assume a clearer
aspect; Bottom too is disenchanted, and it seems as if the clowns were
playing Pyramus and Thisbe at the wedding. Bottom roars so that the
duke says, ‘Let him roar again!’ Lysander has returned to his love; and
matters end so much to our satisfaction that one cannot help exclaiming
with Bottom, ‘I have had a most rare vision--I have had a dream past
the wit of man to say what dream it was. Man is but an ass, if he
go about to expound this dream.’ In short, the beauty of the thing
is, that in its true sense, the beginning is the end and the end the
beginning.
Now let the reader, who in this account may here and there have
observed something of a flowery description, first of all read the
Midsummer Night’s Dream; then let him take the two-handed arrangement,
or the duet, as he pleases, (they are both beautiful and good; but the
arrangement for four hands is the better--a circumstance, however,
which ought by no means to imply a defect as regards the two-handed
arrangement, for the simple reason that two is not four,) and he will
be delighted with it and feel the import of the lines,
Thus have I, Wall, my part discharged so,
And, being done, thus Wall away doth go.
REVIEW OF NEW MUSIC.
~Six original English Glees~, _for three and four voices, including
the Glee which gained the Prize given by the_ Manchester Glee-Club,
1832, _and those performed at the_ Concentores Society, _composed
by_ ~H. R. Bishop~. _The Poetry by_ Mrs. ~Hemans~, ~Joanna
Baillie~, ~J. Wilson~, Esq., _and_ Dr. ~Johnson~. (Goulding and
D’Almaine.)
The Glee is our national music, is indigenous to these isles, and a
beautiful species of composition however viewed; we should therefore
be sorry to see it fall into anything like neglect, a danger which
some few years ago seemed to be threatened, though now we trust is
past, judging from the encouragement it has lately received from many
associated bodies, and from its re-introduction to domestic parties,
where it appears to be regaining that favour which its own merits,
and the facility with which it may now be performed, ought always to
command.
Mr. Bishop, though he pursued his professional studies under an
Italian master, and has devoted his life chiefly to the theatre, has
cultivated what in an English musician may almost be called a natural
talent for glee-writing, to which, it is fair to a laudable institution
to state, he has probably been partly induced by his connexion with
the _Concentores Society_, a small club, whose sole object is the
conservation of this kind of composition, and for the service of which
three out of the present collection were produced.
The first glee in this volume, ‘Where shall we make her grave?’ in
~E~♭, for four equal voices, gained the _premium_--(a _Prize_ implies a
medal, or cup; a far more gentlemanlike reward, by-the bye,)--given by
a club at Manchester, and is a very impressive composition, the words
set with judgment and feeling, and full of good, rich harmony. Being
long, a more frequent and decided change of key would have increased
the effect of this; though as it is in four different movements, the
sameness which otherwise would have been felt, is much concealed. The
melody at the words ‘where shower and singing-bird,’ is very charming;
and the whole of pages 4 and 5, where the author modulates first into
~A~♭, then into ~D~♭, is set in a masterly, affecting manner.
The second, ‘Up! quit thy bower!’ a cheerful glee in ~F~, for two
sopranos, tenor, and base, is lively and pleasing: the frequent use
here of the diminished 7th is rather a novelty in a glee, and tends to
a good purpose. The whole of this is full of agreeable melody, which is
particularly striking at page 15, where the annexed passage occurs,--a
successful departure from the usual habits of glee-writers:--
[Illustration: _Moderately Quick_
The lulling stream that sooth’d thy dream is dancing, &c.
The lulling stream that sooth’d thy dream is dancing, &c.
]
The third, ‘No more the morn with tepid rays,’ in ~D~, for four equal
voices,--the words, Dr. Johnson’s Ode to Winter,--is in several
movements, but the key is not so various, and the whole, though set
with a due regard to the Poet’s sentiments, is rather monotonous and
heavy. The following passage contains some clashing notes, though we
allow that many of them are passing notes.--
[Illustration:
congeal’d impetuous show’rs descend, congeal’d impetuous show’rs
congeal’d impetuous show’rs descend.
]
The composer’s design is obvious, but nothing in music can justify what
is disagreeable to a cultivated ear.
The fourth, ‘Oh! Sky-lark!’ in ~F~, also for four equal voices, is
throughout graceful, especially in melody; the repetition of certain
pleasing phrases conduces here very much to effect.
The fifth, ‘In tears, the heart oppressed with grief,’ in ~E~, for
soprano, tenor, and base, a single movement, is elegant and gentle,
and the words are most judiciously set. Some chromatic notes in this
will put glee-singers on the alert: they are, generally speaking,
averse from trouble, but it is time to rouse them, and break through
their ancient habits.
The sixth and last, ‘Come forth, sweet spirit!’ in ~F~, for four
equal voices, in two movements, is a good composition, and quite
irreproachable, yet not very captivating. It is best calculated to
please those critics who judge music by the eye rather than the
ear,--who deal largely in the phrases ‘fine writing,’ ‘parts well put
together,’ &c., and seldom look beyond the mechanism of a composition.
We may pronounce this to be a successful work: the glees are all of
the orthodox kind, deficient in nothing that good taste requires, or
that the nature of the composition, by a prescriptive right, demands.
No very hazardous attempts are made at novelty, but we meet with
nothing common, and no pedantic show of mistaken learning. Mr. Bishop
has written to please, not without a sufficient regard for his own
reputation, and has not failed in his endeavour.
* * * * *
1. ~Songs of the Bower~, _composed by_ ~C. W. Manners~. (Goulding
and D’Almaine.)
2. The Spring Wreath, ~Twelve Songs~, _composed by Messrs._ ~John
Thomson~, ~R. Webster~, ~J. P. Clarke~, ~T. Macfarlane~, _and_ ~W.
Hindmarsh~: _the words by_ ~T. Atkinson~, _author of_ The Cameleon.
8vo. (Goulding and D’Almaine.)
Without being at all informed on the subject, and judging only from
the dedication of the _Songs of the Bower_, we are inclined to believe
that they are the production of an amateur, and that the words are by
the author of the music. If we are in error as to the latter point, the
composer is bound to excuse us, for he should have named the writer
of them, if not from his own pen. They are six in number, show a vast
deal of taste, a desire to avoid commonplaces, (though not always
successful in this respect,) and a most correct manner of setting the
poetry, both as regards expression and accentuation. Indeed, it is the
latter circumstance which leads us to think that the composer and poet
are one and the same person, for mere musicians, more often than not,
are influenced by the meaning of particular words rather than by the
context, and almost as frequently commit mistakes in quantity and in
emphasis.
The first of these, ‘Once more to the bower,’ in ~E~, is a slow,
expressive air, well accompanied, but not very original, particularly
in its cadences. The second, _The Regret_, in ~F~, if sung slowly,
rather ad libitum, and with feeling, will always make an impression.
The accompaniment to this is very appropriate. The third, ‘When youth
first leads,’ in ~D~, is more pleasing than new. Of the fourth, ‘Now is
the hour,’ in ~E~ flat, precisely the same may be said, though it is
not as a whole equal to the former. The fifth, ‘Come welcome with me,
lovely May,’ in ~G~, should have been written in triple time; it has a
strong polacca tendency, and halts exceedingly in its present measure.
The praise we have bestowed on the composer’s accentuation must be
abated so far as this song is concerned: giving a long note to ‘with,’
and in the strong part of the bar too, cannot escape censure. The
sixth, ‘The last red rose,’ in ~E~ flat, is another expressive air, and
the accompaniment shows much good taste in harmony; but the cadences
here, as once or twice before, are, contrary to the moral rule, not the
more valuable for being old acquaintances.
No. 2 is a very pretty volume of lithographed songs, thin enough to
carry in the pocket, and with neat cover and gilt leaves, producible in
any lady’s drawing-room; and all this at a less price than two songs
of the ordinary kind! We confess that the smallness of the characters
calls on the eye for unusual exertion; and the singer and accompanyist,
if in the dual number, must sit in the closest possible contact if they
mean to see a single note or word.
Of these songs, the best are, _The Promise_, in the Scottish style,
by J. P. Clarke; _The Night Flower_, by T. Macfarlane; ‘The Midnight
Dream,’ by John Thomson, Esq., a very superior composition; and _The
Proud Lover_, by R. Webster. The poetry of the songs is unaffected, and
some of it remarkable for tenderness, if not for any higher quality;
and, at all events, the publication is certainly worth the moderate,
the hardly remunerating price set on it.
* * * * *
PIANO-FORTE.
1. _Souvenir du_ Pré aux Clercs, ~Fantasia~, _composé par_ ~F.
Kalkbrenner~, Op. 119. (Goulding and Co.)
2. _Souvenir de_ ~Herold~, _Fantasia, par_ ~C. Chaulieu~. Op. 151.
(Goulding and Co.)
Both of these are remembrances of M. Herold, the lately-deceased French
composer, and made up, we believe, chiefly of airs from his operas.
The first, though requiring considerable powers of execution, is good
music; difficulty is not the author’s _object_. Some parts are very
beautiful, others ingenious; but we most condemn the hateful run of
semitones in thirds, foolishly introduced, at page 8, in deference to a
vicious fashion.
* * * * *
M. Chaulieu has produced some clever and many pleasing things for
the piano-forte, which have always been noticed by us in terms of
due approbation. Though not an original or vigorous composer, he has
generally been a rational one. But all at once his judgment seems to
have abandoned him,--a fit of pedantic foppery has seized him! Will it
be credited that a composer in the nineteenth century, a musician not
under restraint, not actually in a strait waistcoat, can have attempted
to retrograde a century and a half, by introducing, in a piece written
for the piano-forte only, the contra-tenor clef? He has not only
employed this, most freely, in the present fantasia, but written it
with _8va. alta_ over the notes, as if the same meaning could not have
been expressed infinitely better by the usual clef, even admitting that
the ~C~ clef were still in use! If such folly as this is countenanced,
we shall soon go back to six-line staves, to the treble clef on the
first line, and the mean on the fifth,--to musical darkness and
barbarism. Surely the London publisher, Mr. D’Almaine, could not have
been aware of this mad freak, or exquisite piece of musical coxcombry,
or his common sense would have prompted him immediately to restore
sanity to the notation of this work, which, in its present state,
cannot have the least chance of sale.
* * * * *
1. ~Grosses Concert-Stuck~, (_Pièce de Concert_,) _Op. 47, composé
par_ ~Mayseder~, _arrangé pour le Piano-forte par_ ~Charles
Czerny~. (Wessel and Co.)
2. ~Rondeau Mignon, No. 7~, _sur l’air_ ‘Non più andrai’ _de_
~Mozart~, _composé pour le Piano-forte par_ ~Fred. Kulau~. (Wessel
and Co.)
The subject of No. 1 has frequently, in one shape or other, come under
our notice; it has all the frothy gaiety of the author, and not a trait
that gives it the slightest chance of being remembered beyond the
fleeing hour. M. Czerny, as might have been expected, has not palliated
any of its defects, but rather aggravated them, by a succession of
restless, unrelated, senseless passages.
* * * * *
M. Kulau, a judicious musician, but, alas! no more, has made a very
charming rondo out of Mozart’s popular air from _Figaro_. Like a
reasonable man, he has studied the convenience of the player, and also
confined himself within moderate bounds;--like a man of taste, he has
been regulated by the style of the subject;--and like a musician who
really understands his art, he has added nothing but what every sound
harmonist will approve and admire.
* * * * *
1. ~Minuetto~ _and_ ~Trio~, ~Andante Sentimentale~, _and_ ~Allegro
Scherzando~, _composed by_ ~Edward J. Loder~. Op. 19. (Goulding and
D’Almaine.)
2. ~Horn’s~ ‘Happy Valley,’ _and_ ‘Dark-eyed Brunette,’ _arranged,
with an_ Introduction, _by_ ~T. A. Rawlings~. (Monro and May.)
3. ‘Non più mesta,’ _the Finale to_ La Cenerentola, arranged, with
Variation, _by_ ~T. A. Rawlings~. (Monro and May.)
No. 1 evinces talent of no common kind: he who composed these pieces
could, we should suppose, put parts to them, and by the addition of
a single movement exalt them into a symphony, of which they seem to
have been intended as portions. The three great masters are the models
on which these compositions are formed, of whom Beethoven appears to
be the object of the author’s highest admiration. The Minuet, in ~E~
flat, and Trio, in ~A~ flat, are spirited, and less studied in manner
than the Andante, in ~B~ flat, which is impressive and _recherché_.
The Allegretto, in ~A~ flat, is bold and energetic; the modulations
here are many and fearless, and the author has ventured on discords for
which he has no precedent that immediately occurs to us, thus at least
proving a courage and independence which promise much as the result of
his future exertions. Were our advice likely to influence Mr. E. Loder,
we would recommend him to pursue his present course, only guarding him
against the possibility of being allured from melody by the temptations
of harmony.
* * * * *
The composer of a song has no chance now of success unless he fee some
public performer to sing it; and the composer of a piano-forte piece
must not expect that his work will attract any notice unless built on
some popular air. Mr. Rawlings has long known the truth of this, and
still acts on his experience. No. 2 is formed on two airs said to be
popular, and No. 3 on one that unquestionably is, namely, ‘Non più
mesta; of all of which he has made good use, and produced two very
agreeable and recommendable publications.
* * * * *
1. ~Contre-Danses Brillantes~, _et_ ~Valse~, _composés par_ ~J. T.
Surenne~. (Robertson, _Edinburgh_.)
2. ~Quadrille~ _de_ ~Contre-Danses~, _sur des motifs de l’opéra de_
~Donizetti~, Anna Bolena, _arrangée par_ ~Henry Lemoine~. (Wessel
and Co.)
No. 1 are animated, animating dances, not exhibiting any very new
thoughts, but well put together.
No. 2 are subjects from an opera that cannot boast a single original
idea, therefore the compiler of this quadrille must not be censured for
want of novelty; but he has well arranged the airs he has chosen, and
adapted them in a convenient manner for the performer.
* * * * *
DUETS, PIANO-FORTE.
1. ~Grosses Concert-Stuck~, (_Pièce de Concert_,) Op. 47, _composé
par_ ~Mayseder~, _arrangé par_ ~Charles Czerny~. (Wessel and Co.)
2. ~Duet~ _on a_ ~Danish Melody~, _composed for two performers, by_
~Fred. Kulau~. (Wessel and Co.)
No. 1 is the work noticed above, as arranged for a single performer. We
like it better in its present form, for the parts are more dispersed,
and the melody comes out more distinctly. The upper part of this is
very difficult, but the lower is easy, the duet therefore will very
well suit an elder and younger sister, or two players whose musical
advancement is unequal.
* * * * *
No. 2 is Kulau’s _Recollections of Odensee_, in two quick, pleasing,
and very practicable movements. We will not answer for the airs being,
_bonâ fide_, of Danish origin, but whatever their birth-place, they are
lively, pretty, and the superior master often peeps out while he means
to be only simple and familiar.
* * * * *
1. ~Quadrille~ _sur des motifs de_ ~Herold~, _de l’opéra_ Zampa,
_arrangée par_ ~Henry Lemoine~. No. 1. (Wessel and Co.)
2. No. 2, Ditto. ditto. ditto.
Some of the best subjects from an opera which has been too much lauded
on the continent, are here arranged in an easy but effective manner.
* * * * *
ORGAN.
~Select Organ Pieces~, _from Masses, Motets, and other sacred works
of_ ~Mozart~, ~Haydn~, ~Beethoven~, ~Cherubini~, ~Palestrina~,
_and other classical composers of the German and Italian schools,
arranged by_ ~Vincent Novello~. _Nos. 31 to 36._ (A. Novello.)
What the preceding numbers of this work contain, we have had no means
of judging, having only received those now under notice, and must
confine ourselves to them. By means of very close engraving, twenty-two
pieces are included in these numbers, principally from Haydn’s and
Mozart’s sacred compositions, but some few are by Novello, Portogallo,
and Bonno. We are not among those who think that the Masses, &c. of
Haydn and Mozart are, taken altogether, equal to their secular works;
many of them, we are persuaded, would never have been published by
the consent of the composers, but parts of them make very good organ
pieces. These Mr. Novello has culled, and, with his well-known ability,
converted them to a very useful purpose. He certainly calculates his
adaptations for superior organists, and is not sparing of notes.
Sometimes there will be found too many, by second-rate performers;
and we take the liberty to mention to Mr. N. that in the country, nay
even in the metropolis, are several respectable organists, very well
qualified to do the duty of parish churches, who think his arrangements
too much crowded for ordinary players, and too full of harmony for
country congregations.
VOCAL.
‘Tantum ergo,’ a ~Soprano Solo~, _with chorus, and violin, or
flute, obligato, composed by_ ~C. Guynemer~. (J. A. Novello.)
This is more to be praised for smoothness of melody, and elegance
in style, than for invention; we meet with nothing in it that can
be called new, but, at the same time, nothing but what is rather
agreeable. The air is in two movements, the first slow in three-four
time, the last quicker, in common time. We prefer the former. The
chorus, with a principal soprano added, to which a few florid
passages are given, is simple, therefore--according to our notion of
choral church music--appropriate; but it is also graceful. The flute
accompaniment (by Mr. Nicholson) is good, as such, but not of that
grave character which the words so imperatively demand.
* * * * *
1. ~Terzetto~, ‘Soccorso, sostegno,’ _for soprano, contr’alto, and
basso, composed by_ ~John Lodge~, Esq. (Lonsdale and Mills.)
2. ~Glee~, ‘The Butterfly,’ _for four voices, the words by_ ~S.
Rogers~ [Esq.] _the music by_ ~James Battye~. (Goulding and
D’Almaine.)
3. ~Duet~, ‘Wandering Zephyr,’ (_the words from the Spanish, by
Mrs. Lawrence_,) _composed by_ ~John Lodge~, Esq. (Lonsdale and
Mills.)
4. ~Duet~, ‘We must part, love!’ _written by_ ~W. Ball~, _the
melody by_ ~Mozart~, _with symphonies, &c. by_ ~William Forde~.
(Cocks and Co.)
No. 1 begins with a single voice, the contr’alto following, on the
same subject a fourth below; but the most pleasing part of this is
where the three voices come together. The whole is quite in the Italian
style,--the best, though; and not unworthy the acceptance of the
talented and lovely young dilettante to whom it is dedicated,--the Hon.
Mary Anne Jervis.
* * * * *
No. 2 is not a glee, we beg to hint to the composer: having an
accompaniment, and a free one too, it should have been called a
quartet. The name, however, may not much signify; but as Mr. Brown is
better known by that appellation than if he were called Mr. White, so
the term quartet more correctly explains the nature of the present
composition than that now bestowed on it. But whatever the name of
this, it will not give one to its author: he must not build his hopes
of immortality on _The Butterfly_.
* * * * *
No. 3 is simple, easy in every respect, and exactly calculated to
please those who either do not understand or have no taste for
elaborately written music. In whatever Mr. Lodge publishes, however
unpretending, a trait of originality is always to be found, and this
duettino is no exception to the rule.
* * * * *
We cannot say from which of Mozart’s works Mr. Forde has taken the
melody of No. 4; it does not bear any of the very distinguishing
marks of the author, though agreeable. The words, which are not quite
intelligible to us, are not all adapted with the proper regard to
emphasis, and the accompaniment needs much thinning. With a little
alteration, this duet may be made useful to such amateur singers as are
not disposed to examine too critically the poetry to which they give
utterance.
1. ~Arietta~, ‘Torna in quell’ onda chiara,’ _the words by_
~Metastasio~, _the Music composed by_ ~Lord Burghersh~. (Lonsdale
and Mills.)
2. ~Ballad~, ‘Crabbed Age and Youth,’ _composed and published as
the preceding_.
3. ~Ballad~, ‘Unmindful of my sorrow,’ _written by_ ~Mrs.
Butterworth~, _composed by_ Mrs. ~Philip Millard~. (Monro and May.)
4. ~Ballad~, ‘I know our dream of love is o’er,’ _the melody by_
~Beethoven~, _the Poetry, Symphonies, and Accompaniments by_ ~J. A.
Wade~, Esq. (Hawes.)
5. ~Song~, ‘The World of Change,’ _the poetry by_ ~Mrs. Abdy~,
_adapted to a melody of Spohr’s, by_ ~Edwin J. Neilson~. (Hawes.)
6. ~Song~, ‘When the moon sheds her lustre,’ _written by_ ~S. P.
Quin, Esq.~, _composed by_ ~Alexander D. Roche~. (Cocks and Co.)
7. ~Song~, ‘I saw thee crop that beauteous flower,’ _composed by_
~Charles M’Korkell~. (Chappell.)
8. ~Canzonet~, ‘Farewell, ye green hills,’ _composed by_ ~J. W.
Davison~. (Purday.)
No. 1, short and simple as it is, possesses much of that quality
for which we so often sigh,--originality. Nothing can be more easy
than this, for both singer and accompanyist, and it cannot fail of a
circulation among those who do not take fright at a foreign language.
* * * * *
No. 2, we are told in a note, ‘is founded on the ancient Greek
enharmonic mode, in which the 4th and 7th of the scale are omitted,
as in the scale used in the Scotch melodies.’ In old Scottish airs,
and, what is rather remarkable, in Chinese melodies, these intervals
are rejected, but we do not wish to see the practice imitated, except,
perhaps, now and then, to give--as in the present case--a tinge of
antiquity to music set to ancient poetry.
* * * * *
No. 3 is very expressively set; but the time being marked 2/4, it
appears to us that _larghetto_ would have met the composer’s intentions
better than _andante_, which, in four-quaver time, is quicker than the
character of both words and music seems to justify.
* * * * *
No. 4 is the andante in ~B~ flat from Beethoven’s septet, which Mr.
Wade apparently intends now to be sung much slower than it is played in
its original form. He has not been very fortunate in adapting words to
this; ‘one’ is not emphatic, nor is the last syllable of ‘memory,’ of
‘melody,’ and of ‘minstrelsy,’ long. Me-mo-ry, &c., will not do.
* * * * *
No. 5 also exhibits numerous errors in emphasis, beautiful as is the
air. In fact, as the words are now adapted, a singer would stand a fair
chance of being laughed at who should perform this air.
* * * * *
The sixth and seventh of these call for no remark.
* * * * *
No. 8 sets off with some promise of novelty, but the composer, in
modulating from ~F~ to ~E~ minor, gets quite out of his depth, and is
engulphed in fifths of so abominable a kind, that we cannot allow them
to pass without a remark.
PIANO-FORTE AND VIOLIN.
~Gran Duo Concertante~, _on Airs from_ ~Meyerbeer’s~ Robert le
Diable; _the Piano-forte part by_ ~Kalkbrenner~, _the Violin part
by_ ~Lafont~. (Chappell.)
This is a composition in which two first-rate artists have united their
talents, and requires performers of nearly equal rank to execute it in
a fit and proper manner. It is a work remarkable for its brilliancy,
which appears to have been the principal aim of the writers, for the
greater part is of this cast; though an expressive adagio in ~B~ minor,
and one variation of the same kind in ~F~ minor, operate as seasonable
contrasts and reliefs. The bulk of this consists of an air in ~C~, (we
do not recollect its title,) with, in point of fact, five variations,
though only numbered as two. The first of these requires a violinist
expert in double stops; and if the pianist cannot run demisemiquavers
in thirds, with one hand, in quick time, he had better at once decline
all share in the concertante.
* * * * *
PIANO-FORTE AND FLUTE.
~Introduction~ _and_ ~Rondo~ on ‘Ah! quand il gêle sans se
laisser,’ _chorus in_ ~Onslow’s~ _opera_, Le Colporteur, _composed
by_ ~F. Kulau~, Op. 98. (Hill.)
We cannot any that any great exertion appears to have been made by M.
Kulau either in the choice or arrangement of this chorus, but it has an
advantage, and not a trifling one, namely, that it enables two moderate
performers to make a considerable display without the cost of much
previous practice, and at the expense of but little exertion. This is
in ~E~ minor, but ends in the major key. It has an introduction, which,
though there is an air of pretence in it, is heavy, and signifies
nothing.
* * * * *
1. ~Tre Duettini~, _ridotti per due Flauti e Piano-Forte, da_ ~T.
Bucher~. (Cocks and Co.)
2. ~Paganini’s~ _Three_ ~Fantasias~, _arranged and published by the
same_.
The duets are ‘Cara pupille,’ and ‘Che cangi sempre,’ of Blangini, and
‘Vedi da questi palpiti,’ by Mercadante, arranged as ~Trios~, in as
easy a manner as possible for all three instruments; and to a numerous
class of amateurs they will not be less agreeable because divested of
all manner of difficulty, without being rendered insipid.
* * * * *
No. 2 are as brief as the foregoing, but the flute part requires rather
more skill in the performer, while the accompaniment is much the same
as the other. As to the airs, they are without any distinguishing
character; and why such trifling compositions, so short--only two pages
each--so scanty in subjects, and consequently so destitute of those
flights of imagination which the term fantasia implies, should have
received such a title, we are at a loss to guess.
ANCIENT CONCERTS.
ELEVENTH CONCERT,
_Under the Direction of Earl Howe, Wednesday,
May 29, 1833._
~Act I.~
National anthem, ‘Lord of Heaven.’
Song, ‘Rejoice, O Judah.’ Chorus, ‘Hallelujah.’ ~Handel.~
(_Judas Maccabeus._)
Glee, ‘A generous friendship.’ ~Webbe.~
Recit., ‘Ei parte, senti, ah no!’ Song, ‘Per pietà.’ ~Mozart.~
(_Cosi fan Tutte._)
Chorus, ‘O Father, whose.’ (_Judas Maccabeus._) ~Handel.~
Concerto 2nd. (_Grand._) ~Handel.~
Recit., ‘He was cut off.’ Song, ‘But thou didst not ~Handel.~
leave.’ (_Messiah._)
Chorus, ‘Lift up your heads.’ (_Messiah._) ~Handel.~
Selection from the _Creation_. ~Haydn.~
Recit., ‘And God said.’
Recit. acc., ‘In splendour bright.’
Chorus, ‘The heavens are telling.’
Trio, ‘The day that is coming.’
Grand chorus, ‘The heavens are telling.’
~Act II.~
Overture. (_Henry the Fourth._) ~Martini.~
Recit., ‘Grazie vi rendo.’ Song, ‘A compir.’ ~Guglielmi.~
(_Semiramide._)
Glee, ‘When winds breathe soft.’ ~Webbe.~
Recit., ‘Me, when the sun.’ Song, ‘Hide me from ~Handel.~
Day’s.’ (_Il Pensieroso._)
Overture. (_Prometheus._) ~Beethoven.~
Chorus, ‘Rex tremendæ.’ Quartet, ‘Recordare.’ ~Mozart.~
(_Requiem._)
Glee, ‘Though the last glimpse of Erin.’ Irish air,
harmonized by ~Greatorex.~
Chorus, ‘O sing unto Jehovah.’ ~Haydn.~
This concert, the first selected by the noble Earl who has lately
added his name to the list of directors, augurs very favourably of his
musical knowledge and taste. We here discern no symptoms of prejudice,
of an irrational exclusive system, for the best productions of the
great schools are allowed a place; and, so long as the works of
living composers are declared inadmissible,--a regulation which, for
obvious reasons, ought to be strictly enforced,--the wider the field
for choice, the better, both for the subscribers and the art itself.
With this exception, the rule should be, and we have no doubt will be,
to throw the door wide open to all that is excellent, whatever its
country or date, and to give every work all the advantages that the
best-appointed orchestra can bestow.
The Queen was present at this performance, and perhaps what is here
denominated ‘The National Anthem’ was meant as a compliment to her
Majesty. But why not have called it by its right name? And what reason
can there have been for not giving the composer the credit of it? This
is neither more nor less than Haydn’s Hymn for the Emperor Francis,
with English words adapted to the music,[67] and as such would probably
now have been announced, had not the secretary made his copy from a
book of some former year.
The song from _Judas Maccabeus_ is certainly not one of the best in
that fine oratorio, but the chorus is grand. Webbe’s lovely glee, of
which it is difficult to say whether the melody or the simple harmony
is most charming, was well executed by the second choir; the first
wanted strength in the base. Madame Cinti excels more in the cantabile
than in the declamatory style; she therefore sang the air, ‘Per
pietà,’ divinely, but was not quite so successful in the recitative.
The fine choral prayer, ‘O Father, whose almighty power,’ with the
spirited fugue, forming the second movement, was admirably performed;
as was Handel’s concerto. In the air from the _Messiah_, Mrs. Knyvett
was perfectly at home, as she is in all Handel’s music. Indeed this
lady is, we fear--and we feel with regret this apprehension--likely
to be the last of that school which has received from tradition the
true manner of singing the oratorio music of this master. The chorus
that followed, by being placed in juxtaposition with Haydn’s choral
_chef-d’œuvre_, seemed to challenge comparison; but if Handel is to
be weighed in the scale against Haydn, ‘Lift up your heads,’ though a
very masterly chorus, is not the work to be selected for the purpose.
Nothing can exceed the admirable manner in which the selection from
the _Creation_ was performed: Braham’s ‘In splendour bright’ was
magnificent, and ‘The heavens are telling’ stupendously grand; we never
before heard so perfect a performance, and never were more affected by
choral music.
The very pleasing light overture of Martini found an abundance of
admirers in the room: many who did not justly appreciate Haydn’s
chorus, entered fully into the merits of this. The melody, ‘Charmante
Gabrielle,’ forming part of this, dragged--was played too slow. The
aria, ‘A compir,’ proved too much of a duet; the violin was rendered
more prominent than the composer intended; but Madame Cinti executed
her share of it with a delicacy and neatness that never have been
surpassed. Webbe’s greatest work, his glee, ‘When winds breathe soft,’
was a very finished performance. Miss Stephens sang most sweetly the
song from _Il Pensieroso_. What poetical music! what musical words! But
the whole oratorio (as it is called) whence this is taken, tempts one
to commit an anachronism, by making Milton and Handel commune together
during the progress of their work. The overture to _Prometheus_ went
well, but wanted some of the fire of the Philharmonic orchestra. The
chorus, ‘Rex tremendæ majestatis,’ had ample justice done it; but in
the exquisite quartet, a want of _ensemble_, of that union which good
rehearsing produces, was too apparent.
TWELFTH CONCERT,
_Under the Direction of Lord Burghersh, Wednesday, June 5, 1833._
~Act I.~
Overture. Chorus, ‘O the pleasures.’ (_Acis and ~Handel.~
Galatea._)
Song, ‘Parto ma tu ben.’ (_La Clemenza di ~Mozart.~
Tito._)
Glee, ‘Mark’d you her eye.’ ~Spofforth.~
Recit., ‘O loss of sight!’ Song, ‘Total eclipse!’ ~Handel.~
(_Samson._)
Quartet, ‘Vieni à regni.’ (_Orfeo ed Euridice._) ~Gluck.~
Song, ‘Il pensier stà.’ (_Orfeo ed Euridice._) ~Haydn.~
Recit., ‘Euridice!’ Song, ‘Che farò.’ (_Orfeo ed ~Gluck.~
Euridice._)
Te Deum (MS.) Composed for the Royal Chapel at ~Leo.~
Naples, 1741.
~Act II.~
Overture (_Alceste._) ~Gluck.~
Song, ‘Let the bright seraphim.’ Chorus, ‘Let their ~Handel.~
celestial.’ (_Samson._)
Sestetto, ‘Dove son.’ (_Cosi fan Tutte._) ~Mozart.~
Duetto, ‘Dove scorre.’ ~Mozart.~
Quartet ‘Agnus Dei.’ Chorus, ‘Dona nobis.’ ~Mozart.~
Song, ‘Misera! dove son?’ ~Mozart.~
Madrigal (double choir), ‘When all alone.’ ~Conversi.~
Song. ‘Alles still tiefe.’ ~Keiser,
1694.~
Chorus, ‘Father, we adore thee.’ (_Judah._) ~Haydn.~
With this concert the season concluded, and in a manner which we should
suppose must have determined almost every subscriber to continue
his name on the list for the ensuing year. So good a selection, so
much variety and novelty, never appeared on the books of the Ancient
Concerts. Madame Pasta’s deeply expressive style of singing ‘Parto’
was felt by the whole room, but her shakes, or attempts to shake,
nearly neutralized all the good effect she produced. Spofforth’s very
beautiful glee,--one of those specimens of the English school which
will descend to posterity, and never lose its power to charm,--was,
upon the whole, delicately sung, though somewhat too quick. Mr.
Bennet in ‘Total eclipse!’ did himself the greatest credit; he sang
it most chastely, and afforded the best proofs of having studied the
words as well as music of this exceedingly pathetic song, one of the
_chefs-d’œuvre_ of the great master. The beautiful quartet from Gluck’s
_Orfeo_ was new to these concerts. It is reasonably a matter of wonder
that it never before had been rescued from neglect. We would willingly
have spared the ‘Musica di Ballo,’ which, though essential on the
stage, is quite unnecessary in the concert-room. Not less excellent
than the quartet, though of a different character, is the aria from a
drama written on the same subject, and composed by Haydn--‘Il pensier
stà negli oggetto,’ a gentle, lovely air in ~E~, sung by Mr. Parry,
jun., with great judgment and effect. This, we believe, has never
till now been publicly performed in England![68] We have heard Madame
Pasta, in the scena from Gluck’s opera, with feelings of pleasure less
mingled with regret than on the present occasion. She seems exhausted
by constantly singing. The two spring months in London fatigue a
fashionable performer more than a whole year in cities peopled by
reasonable folks. The _Te Deum_ of Leo, though nearly a century old,
is another novelty, not only to the Ancient Concerts, but to this and,
we suspect, every other country: it is one of the grandest works of
this great composer: and some trombone parts which were, with great
good sense, added to it on the present occasion, increase to a very
considerable degree the sublimity of its effect. To Lord Burghersh,
we are told, the subscribers are indebted for so much that is new to
them; and we are much mistaken if the musical world generally will not
have to thank that accomplished nobleman for having saved this valuable
institution from the dissolution that was impending.
The overture to _Alceste_ is decidedly a work of genius. Was it ever
before performed in London, except forty years ago at the Opera-House?
In the sestetto from _Cosi fan Tutte_ the performers were by no means
at ease; they wanted what they ought to have been compelled to undergo,
a couple of hours’ private study together, with the piano-forte only,
before they even rehearsed it with the band.
‘Dove scorre’ has never been a great favourite with us, though
undoubtedly an elegant composition. It was extremely well executed by
Messrs. Bennet and Phillips. The ‘Agnus Dei,’ from a not very generally
known mass, is a beautiful quartet. The scena, ‘Misera! dove son?’ and
following aria, is from Mozart’s _Operngesaenge_, and, like most of the
pieces in that collection, did not call forth much of the composer’s
strength; Mrs. Bishop, however, did it every justice in her power.
The almost bewitching madrigal of Girolamo Conversi, first published
at Venice, in 1575, was encored!--a great effort for this wonderfully
self-controlled audience. Keiser has recently been made generally known
through the medium of our work, and a very passionate and charming air
by him, admirably sung by Madame Devrient, added to the attraction of
this fine concert,--a concert which has most effectually assisted in
retrieving the character that had been rather damaged by a few former
seasons, and has left a most favourable impression on all who were
present at this last of the _fifty-eighth_ series.
PHILHARMONIC CONCERTS.
SEVENTH CONCERT, MONDAY, May 27, 1833.
~Act I.~
Sinfonia in ~C~. ~Beethoven.~
Aria, Signor Tamburini, ‘O, colpo impensato!’ (_La ~Rossini.~
Gazza Ladra._)
New MS. concerto in ~F~, M. Hummel. ~Hummel.~
Duetto, Madame Pasta e Signor Tamburini, ‘Se la ~Rossini.~
vita.’ (_Semiramide._)
Fantasia Drammatica (MS.) composed expressly for the ~The
Philharmonic Society, and first time of performance. Chevalier
Neukomm.~
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.
[Illustration: The Lord my shep-herd is]
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:--
[Illustration:
Why dis-con-tent? All hap-py be!
Eat then, and drink: Laugh then like me.
]
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._
[Illustration: Thy king-dom come.]
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--
[Illustration: dai-ly bread, our &c.]
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:--
[Illustration]
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:--
[Illustration:
On his bo-som swarth and lank,
Griz-zly tress-es harsh and dank.
LARGHETTO.]
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:--
[Illustration]
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.
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