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This e-text is based on ‘The Harmonicon, Part the First,’ from
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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.”