obtained the situation of organist to Chelsea College, to which
chambers are attached, and of which the salary was raised upon this
occasion from 20_l._ to 50_l._ per annum. The appointment was announced
in the following handsome letter by Mr. Burke himself:--
“_To Dr. Burney._
“I had yesterday the pleasure of voting you, my dear Sir, a salary
of fifty pounds a year, as organist to Chelsea Hospital. But as
every increase of salary made at our Board is subject to the
approbation of the Lords of the Treasury, what effect the change
now made may have I know not;--but I do not think any Treasury will
rescind it.
“This was _pour faire la bonne bouche_ at parting with office; and
I am only sorry that it did not fall in my way to show you a more
substantial mark of my high respect for you and Miss Burney.
“I have the honour to be, &c.
“_Horse Guards_, Dec. 9, 1783.
“~Edm. Burke.~
“I really could not do this business at a more early period, else
it would have been done infallibly.”
It is known that Doctor Burney wrote an account of the Commemoration
of Handel: on this subject his memorialist is more diffuse than on
most others which relate alone to music. The following remarks on his
presenting the copyright to the Musical Fund are very just, and the
following details respecting the interest his Majesty took in the
progress and matter of the work, not only new, but highly interesting.
“Not small in the scales of justice must be reckoned this gift of
the biographical and professional talents of Dr. Burney to the
musical fund. A man who held his elevation in his class of life
wholly from himself; a father of eight children, who all looked
up to him as their prop; a professor who, at fifty-eight years
of age, laboured at his calling with the indefatigable diligence
of youth; and who had no time, even for his promised history,
but what he spared from his repasts or his repose; to make any
offering, gratuitously, of a work which, though it might have no
chance of sale when its éclat of novelty was passed, must yet,
while that short éclat shone forth, have a sale of high emolument,
manifested, perhaps, as generous a spirit of charity, and as ardent
a love of the lyre, as could well, by a person in so private a line
of life, be exhibited.
“Dr. Burney was, of course, so entirely at home on a subject such
as this, that he could only have to wait the arrival of his foreign
materials to go to work; and only begin working to be in sight of
his book’s completion: but the business of the plates could not be
executed quite so rapidly; on the contrary, though the composition
was finished in a few weeks, it was not till the following year
that the engravings were ready for publication.
“This was a laxity of progress that by no means kept pace with the
eagerness of the directors, or the expectations of the public; and
the former frequently made known their disappointment through the
channel of the Earl of Sandwich; who, at the same time, entered
into correspondence with the Doctor, relative to future anniversary
concerts upon a similar plan, though upon a considerably lessened
scale to that which had been adopted for the Commemoration[52].
“The inconveniences, however, of this new labour, though by no
means trifling, because absorbing all the literary time of the
Doctor, to the great loss and procrastination of his musical
history, had compensations, that would have mitigated much superior
evil.
“The King himself deigned to make frequent inquiry into the state
of the business; and when his Majesty knew that the publication
was retarded only by the engravers, he desired to see the loose
and unbound sheets of the work, which he perused with so strong
an interest in their contents, that he drew up two critical notes
upon them, with so much perspicuity and justness, that Dr. Burney,
unwilling to lose their purport, yet not daring to presume to
insert them with the King’s name in any appendix, cancelled the
two sheets to which they had reference, and embodied their meaning
in his own text. At this he was certain the King could not be
displeased, as it was with his Majesty’s consent that they had been
communicated to the Doctor, by Mr. Nicolai [Nicolay], a page of the
Queen’s.
“Now, however, there seems to be no possible objection to giving
to the public these two notes from the original royal text, as
the unassuming tone of their advice cannot but afford a pleasing
reminiscence to those by whom that benevolent monarch was known;
while to those who are too young to recollect him, they may still
be a matter of laudable curiosity. And they will obviate, also, any
ignorant imputation of flattery, in the praise which is inserted in
the dedication of the work to the King; and which will be subjoined
to these original notes.
“_From the Hand-writing of his Majesty, George III._
“It seems but just, as well as natural, in mentioning the 4th
Hautbois Concerto, on the 4th day’s performance of Handel’s
Commemoration, to take notice of the exquisite taste and propriety
Mr. Fischer exhibited in the solo parts; which must convince his
hearers that his excellence does not exist alone in performing his
own composition; and that his tone perfectly filled the stupendous
building where this excellent concerto was performed.”
“_From the same._
“The performance of the Messiah.
“Dr. Burney seems to forget the great merit of the choral fugue,
‘He trusteth in God,’ by asserting that the words would admit of no
stroke of passion. Now the real truth is, that the words contain
a manifest presumption and impertinence, which Handel has, in the
most masterly manner, taken advantage of. And he was so conscious
of the moral merit of that movement, that, whenever he was desired
to sit down to the harpsichord, if not instantly inclined to play,
he used to take this subject; which ever set his imagination at
work, and made him produce wonderful capriccios.”
ON THE BASE VOICE.
(From _La Revue Musicale_.)
The base voice, whose powerful accents, combined with such tender and
pathetic expression, produce at present such a wonderful effect, was
little used in the serious Italian opera at the beginning of this
century, and is almost unknown in the dramatic compositions of the
early Italian school. _Tito_, _Idomeneo_, and _Orazio_ were written for
tenor voices, contrary to all reason and to the received rules of good
taste[53]. The part of the High Priest in _Gli Orazi_ was the first in
which a base voice became conspicuous, sustaining so beautifully the
trio in ~E~♭; but even this was added by Cimarosa long after the first
production of his opera, the _trio_ being originally only a duet. It
should seem as if the composer had not dared to avail himself of a
quality of voice, in the more dignified characters of tragedy, which
had hitherto been entirely appropriated to the buffo parts, such as Don
Gruffo, &c. It must, however, be considered as the first triumph of
the base voice, which has since run so glorious a career supported by
such champions as _Pellegrini_, _Galli_, _Lablache_, and _Tamburini_.
Indeed, who could have made Mozart, Paisiello, or Cimarosa, believe
that their more fortunate successors would have had at their disposal,
a voice deep and sonorous, which would be able to execute the rapid
passages of the prima donna two octaves below; to modulate on a
subject; or execute an andantino with the same facility as a tenor or
a soprano? The appropriation of the higher parts of tragedy, and the
more brilliant ones of comedy, by base singers, is scarcely of thirty
years’ standing, since in _Tancredi_, one of the first, as well as
one of the best of Rossini’s compositions, but modelled on the old
Italian system, Orgirio is written for a high voice; while to the
base is given a character of very little importance. Base singing is
undoubtedly the triumph of the present age; and it was much wanted to
supply, in the Italian Opera, the place of the male soprani, for which
the female voice is but a poor substitute, and which it can never fully
replace. The French dramatic style has gradually introduced itself
into the Italian Opera; and it is to Rossini, wonderfully seconded by
the flexible and fine toned base voices he has had to write for, that
we owe such works as _Otello_, _La Gazza Ladra_, _Mosè_, &c., where
scenic effect is happily blended with the charms of melody, and that of
the orchestra with the rich tones of the human voice. The introduction
of base voices into the serious opera, the execution of the bold and
brilliant passages, written for them in comic parts, has regenerated
the Italian Opera, which was simply a concert dramatized; while the
Italian singers, feeling how much the effect of music may be aided by
scenic illusion, have, for the most part, become excellent actors.
In short, we may say, that to hear such an opera as _La Gazza Ladra_
performed by such singers as Rubini, Tamburini, Lablache, Graziani,
Malibran, and Mariano, is the perfection of dramatic music.
REVIEW OF NEW MUSIC.
~A Biographical Sketch of Henry Purcell~, _from the best
Authorities. 44 pages in folio._ (J. A. Novello.) 1832.
This is the ‘Prefatory Number’ to a complete collection of Purcell’s
Sacred Music, containing considerably more than a hundred of his
compositions, which Mr. Novello has been publishing during the last
three or four years, the early numbers whereof were sent to us, and
noticed in our review as they appeared.
Purcell, take him for all in all, is the greatest musical genius that
this country can boast; and our deliberate opinion is, that, from
the earliest period in the history of music down to the moment of
his death, Europe would in vain be searched to find his equal as a
composer of secular vocal music. That he was to some extent indebted
to Lulli, can hardly be denied by those who are well acquainted with
the dramatic works of both; but that he far surpassed what, perhaps in
compliment to our second Charles and to the fashion of the time, he
occasionally took as his model, every impartial critic must admit. If,
too, his cantatas--‘From rosy bowers,’ and ‘Mad Bess,’ for instance--be
compared with compositions in a degree similar by Alessandro Scarlatti,
which have been so highly praised and so long were vaunted, the vast
superiority of the English musician, whether as relates to air, to
harmony, to propriety of expression, or to beauty of effect, will never
be disputed by unbiassed judges. Purcell’s great fame is, as we have
before remarked, and now fearlessly repeat, founded on his productions
for the theatre and the chamber: in his compositions for the church,
he met with equals in his own country and superiors abroad; and when
his anthems are compared with those of his successors,--those of Clark,
Croft, Green, and Boyce,--though the science displayed in many of them,
and the study which some have cost, will readily be granted, yet in
melody, in pleasing combinations, and above all, in that judgment which
dictates how sounds should be adapted to sense, it will be in vain that
his admirers attempt to rank him with such of his followers as we have
named, and who possessed advantages that seemed to have been denied to
composers at the close of the seventeenth century.
Hence we are by no means sure that a collection of _all_ Purcell’s
sacred compositions was a publication to be desired, for we feel pretty
certain that several of them would never with his concurrence have
appeared in print. Composers are liable to be called upon, either in
the performance of fixed duties, or to answer some temporary purpose,
to write when ‘the muse is _not_ on them,’ and all that can be expected
under such circumstances is, that they acquit themselves so as to
escape the censure of those immediately concerned with them,--of their
contemporaries. It is rather hard for an author to be exposed, at the
end of a century and a half, to the chance of being criticised for
works on which he most probably set no value, and which he very likely
hoped might never be heard of, after the immediate purpose which called
them forth had been answered. Still we are most willing to give Mr.
Novello every possible credit for research, activity, and zeal, and
only wish that he had confined his views within narrower bounds: his
collection would then have done still more honour to the author, have
been more accessible to many, and not less useful to all. The anthems
of Purcell in Boyce’s collection, those published by Goodison, and
the six in the _Harmonia Sacra_ printed by Walsh, are in few hands,
and without an organ accompaniment: their republication, therefore,
was almost called for, and in them are beauties which are as much the
object of our admiration, as their defects are of our regret. These,
with about half a dozen more, and the services, would have formed a
collection that most would have wished to possess. But it is time to
look at the biography.
It was not to be expected that any new facts remained to be collected
concerning Purcell, and Mr. Novello does not profess to offer any: he
has very diligently extracted every thing relating to him that is to
be found in Hawkins and Burney, and not only all which is immediately
connected with the subject of his memoir, but likewise accounts of
those necessarily mentioned in the history of the principal, together
with an abundance of other not absolutely necessary matter; thus
producing a volume of forty-four very large folio pages, printed
closely in small type, which might easily have been swelled out into
as many more, or indeed to an unlimited extent, by the same ramifying
process. Nevertheless, those who are fond of such discursive biography,
and have not read the histories of Hawkins or Burney, will be informed
and amused by Mr. Novello’s numerous and copious extracts.
Mr. Novello does not strive to impress us with any very favourable
notion of Purcell’s morals: he gives, apparently as his own, Hawkins’s
observations on this subject, and, by omitting the usual marks of
quotation, makes himself responsible for the slurs cast by another.
But as he thus adopts so unfavourable an opinion of the musician’s
private character, he should have been more guarded in speaking of Mrs.
Purcell, and not have applied to her epithets which no facts that we
are acquainted with can at all justify. It was Purcell’s failing, it
seems, to associate with objectionable persons, and to pass late hours
with a profligate character in haunts of by no means a reputable kind.
Sir John Hawkins states this without any reserve; and also relates, on
_hearsay_, that Purcell, coming home late one night, heated with wine,
was refused admittance by his wife, and by being kept a considerable
time in the street, caught cold, and died in consequence. But the
historian does not give credit to this story,--the only one alleged
against the, most likely, neglected wife: and even if true, it would
hardly authorize such terms as ‘arrogant,’--‘low-minded and termagant
woman,’--‘ill-tempered and hypocritical termagant,’ &c. bestowed on her
by her husband’s present biographer. Where are we to find any facts to
warrant such language,--or, indeed, to warrant any reproaches at all?
Mr. Novello has in this ‘Prefatory Number’ inserted whatever he could
find or gather concerning the composer of the works he has edited. He
has deemed it advisable to reprint Dr. Burney’s article, ‘Purcell,’
from the Cyclopædia of Rees; extracts from the Encyclopædia Britannica,
and from the Encyclopædia Metropolitana; from the Harmonicon; several
from the Atlas; from Crotch’s Lectures, &c.; also communications from
many of his musical friends, in the nature of _commendatory letters_.
Likewise a statement of the origin of his present publication, with the
original prospectus, and an interesting account of a highly talented
and learned lady, ‘unknown to fame,’ a Mrs. Hurst, daughter of the
late Mr. White, well remembered as the early friend of Mr. Bartleman,
and the auctioneer who sold all the fine musical libraries that were
brought to the hammer from nearly the end of the last century till
about the year 1824. These are followed by seven pages of ‘Preliminary
Remarks,’ condensed from the ‘Quarterly Review, and from various other
sources of information.’ They contain short biographical notices of all
our church composers, with many notes, comprising several curious and
entertaining anecdotes. This he concludes with a statement which we,
in common with all those who wish his indefatigable zeal and industry
had experienced more encouragement, regret having been called for.--He
says, ‘The Editor of this work has endeavoured to contribute his share
towards these efforts, by bringing forward this collection of sterling
compositions for the church service. Hitherto his endeavours have been
but very little assisted or encouraged by the clergy who have the
control in choirs, where these anthems would be found most useful:--for
out of the forty-two cathedral and collegiate establishments in
England, which were endowed with funds for the support of no fewer than
three hundred and sixty-eight choristers, only _three_ choirs have
come forward to give the least support to this collection of Purcell’s
sacred music: viz. St. Paul’s Cathedral, Westminster Abbey, and Durham,
which have each subscribed to the work, but for _one_ copy only.’
‘The clergy,’ he continues, ‘will probably soon find that it will be
for _their own interest_ to alter the system of tasteless apathy,
careless indifference, and avaricious meanness, which have so long
characterized the behaviour of the generality of them, in what
relates to the musical department of the service, as well as their
shabby, grasping conduct respecting the funds, which ought to be
appropriated to the remuneration of the members of the choirs that have
been subjected to their management. The slothful and useless drones
amongst the clerical body, who have hitherto been allowed to enjoy
such valuable benefices and large incomes for doing little or nothing
themselves, will perhaps find it advisable, for their own sakes, to
consider whether the public, who have been so much enlightened lately
upon certain matters, will consent much longer to pay so high a price,
or _any price at all_, for the meagre and uninteresting musical
service which is provided for them by these selfish and niggardly, but
impolitic and short-sighted persons. It is not very likely that, after
the improvement which has taken place in the general taste for good
music, the people will continue to be attracted by such common-place,
insipid compositions and performances, as those which are but too
frequently heard in our rich church establishments, which have already
wasted, and still continue to swallow up annually such large sums of
the public money. Unless some decided and extensive change for the
better should speedily take place, the probability is, that these
enormous funds will not only be considerably reduced, so as to be
placed upon a more rational and just footing of proportion between the
sum _paid_, and what is _received_ by the public in return for it;
but the funds themselves will most likely be transferred to the hands
of other persons, who will make a more conscientious appropriation of
them to the purposes for which they were really intended; who will have
the sagacity to perceive, and the good sense to act according to the
demands of the increased intelligence, the improved taste, and the
more liberal spirit of the age.’--p. 43.
* * * * *
~Original Compositions~, _in Prose and Verse, illustrated with
Lithographic Drawings, to which is added_ some ~Vocal~ _and_
~Instrumental~ _Music_. 4to. (Lloyd, Harley Street). 1833.
This is a volume got up ‘for the benefit of a family in reduced
circumstances,’ and contains fourteen prose and poetical pieces, with
ten short musical compositions, the whole gratuitously contributed. We,
of course, direct our attention to the latter part only.
1. The first is a song by the Chevalier Neukomm, ‘I call’d on the hopes
of the years that are past,’ in two movements, is full of pathos,
and, considered as a simple, unlaboured effusion, is one of his most
pleasing and successful productions.
2. Mr. J. B. Cramer has contributed a very brief, easy air for the
piano-forte, in the few bars of which his peculiar style is easily
traced.
3. A German air, ‘Gruss,’ the poetry by H. Heine, composed by M.
Mendelssohn Bartholdy, the whole comprised in fifteen bars, contains
much in a very small compass.
4. A march, by Frederic Arthur Gore Ouseley, a child six years old
when he composed it, is one of the most marvellous productions of this
age of musical wonders, and as such we have added it to the music in
our present number. We can speak of the extraordinary, the unexampled
genius of this little boy--now only seven years and a half old--on the
authority of a gentleman, in whose report we place the most implicit
confidence. He has received no instructions in music, and though taught
by himself to play with considerable skill on the piano-forte, does
not know his notes on paper, and trusts to his sisters for writing
down what he composes. He improvises entire scenes, singing to his
own accompaniment, the latter often exhibiting harmony the most
recherchée, chords that an experienced musician only uses with caution;
but these are always introduced and resolved in a strictly regular
manner, not by rule, for he has learnt no rules, but by the aid of a
very surprising ear, and of some faculty, which, for want of a better
term, we will call intuition. His organ of hearing is so fine, that,
with his eyes closed, he instantly names any musical sound produced;
and so discriminating is this sense in the child, that, when a note
is struck on an instrument, tuned either above or below the usual
pitch, he immediately discovers and accurately states in what the
deviation consists. A chord of four notes being sounded, he named each
note exactly, though at some distance from the instrument, and with
his back turned to it. When five years of age he suffered during some
weeks from a continued fever, and on his recovery composed a piece of
music descriptive of the commencement of the disease, its progress,
crisis, and abatement, intending it as a present to his physician for
the care and attention he had bestowed on him. Though an abundance
of lively fancy is displayed in this, there is nothing in it at all
extravagant or ridiculous; on the contrary, it is strictly _en règle_,
and expresses, as well as inarticulate sounds are capable of expressing
sensations, all the variety of feeling which would be experienced in
the course of a long fever. This precocious genius is the son of the
Right Honourable Sir Gore Ouseley, Bart., G.C.H., whose learning and
high acquirements are well known in all parts of the civilized world:
and under a French governess and a tutor for Latin, his education
is proceeding in the usual manner, music forming no part of it.
His intellects are quick, and declare themselves in a countenance
remarkable for intelligence and beauty. His habits and amusements are
suited to his age, and the activity of his mind does not appear to have
operated unfavourably on his general health, which seems to be good,
and as well established as is usual with children of his years.
No. 5 is a short expressive air in ~A~ flat, by the same gifted
child. This is his favourite key; and ~A~ flat with the minor
third is the mode which he prefers when he has occasion to use the
minor key.
No. 6 is a Polonaise by Giornovichi, not endowed with much meaning.
No. 7 is a pleasing song, ‘Go, gentle breeze,’ by--Barker, Esq.
No. 8 is a waltz, not very new, but written in good taste, by E. Mammet.
No. 9 is a _Minne-Lied_, by C. Klingemann, in ~A~, nine-eighth
time, in which much character is exhibited, and an air of no common
kind.
No. 10 is a _Tyrolienne_, a lively piece of three short pages, by
the Honourable Miss Jervis, but, though agreeable, does not show any
of those original traits which sometimes characterize this lady’s
compositions.
* * * * *
PIANO-FORTE.
1. ~Premiere Fantaisie Elegante~, _sur des motifs de l’Opéra_ Fra
Diavolo, _composée par_ ~C. Czerny~. (Chappell.)
2. _Souvenir de_ Fra Diavolo, _a_ ~Melange~ _of favourite subjects
from that Opera, composed by_ ~Adolphe Adam~. (Chappell.)
Lo! here we have the _Fra Diavolo_ again! There is nothing like wearing
a thing thoroughly out, so getting rid of it speedily, composers seem
to think. But is this not as bad as cutting up the bird that produced
such valuable eggs? A good opera is a rarity, so is a good song; and no
sooner do we obtain either, than we set about the means of surfeiting
everybody with it.
M. Czerny has intended well in choosing subjects from Auber’s opera
that are not so common as many others, but he has thus selected the
least pleasing. Our readers may perhaps call us unreasonable, and say,
that we object to the popular airs because they are worn out, and to
those less worn because not popular. Our reply is, that M. Czerny was
not driven to an alternative, and should have selected neither the
one nor the other, but directed his attention elsewhere. He has here
produced a very common-place, dull affair--a _fantaisie_, in which
there is no fancy, and a continual drumming on the high notes, till
the auditor is quite fatigued with such an unbroken succession of
ear-piercing sounds. Whoever invented the additional keys _above_ ought
to be declared guilty of a misdemeanour.
* * * * *
M. Adolphe Adam has gone into the other extreme, and chosen subjects
that every one knows by heart. These, however, he has managed
gracefully, and produced a divertimento at once easy and pleasing.
* * * * *
1. ~Air de Ballet~ _from_ ~Auber’s~ _Opera_, La Bayadère, _arranged
as a_ ~Rondo~ _by_ ~Henry Herz~. No. 1. (Chappell.)
2. Ditto No. 2.
3. Ditto No. 3.
_La Bayadère_ is now performing at Drury Lane, under the title of _The
Maid of Cashmere_, where its success depends much more on the dancing
than the music. There is a vivacity in the first and second of the
above which will procure them attention, though, except that skittish
kind of liveliness which marks M. Auber’s latter productions, they
possess nothing out of the very common way. The third, however, is
more original, and will be effective in almost any form; as a stage
piece it is particularly so. M. Herz has arranged these all in a more
rational manner than is customary with him, though he is as fond of the
additional notes as M. Czerny, and others of the tinkling school.
* * * * *
1. Inspirations à Pillnitz, ~Trois Rondeaux Mignons~, _composés
pendant son séjour à Pillnitz, par_ ~C. G. Reissiger~. Op. 58. No.
1. (Wessel and Co.)
2. Ditto No. 2.
3. Ditto No. 3.
4. Der Alpen Sänger, _the March as played by_ the Guards, _arranged
by_ ~S. Gödbe~. (Collard and Collard.)
The very grandiloquent word, ‘inspiration.’ led us to hope that we
should find M. Reissiger under the immediate influence and auspices of
Phœbus; that we should meet with flights of imagination, efforts
of genius, such as can only be expected under favour of a god--or, at
least, of a Muse; but on looking at these _darling rondos_, we soon
perceived that neither Apollo nor any of the Nine had taken any trouble
in the matter, and that the inspirations boasted of were at the best
but mere dreams, brought about by the fumes of mum, or German beer.
These, we grant, are pretty, unaffected, easy pieces, prudently short,
and will make a little variety in the modern repertory, where, in
truth, we find little else than opera airs in every form except a new
one.
* * * * *
No. 4 is--what shall we say?--it is Mr. Gödbe’s version of a march
now enjoying the full tide of military popularity. Of course, every
publisher puts forth his own edition, and the present is a very easy
one, with a page of appropriate introduction.
* * * * *
DUETS, PIANO-FORTE.
1. ~C. M. Weber’s~ _Grand_ ~Jubilee Overture~, _arranged by_
~Charles Czerny~. (Wessel and Co.)
2. ~Rondeau~, à 4 mains, _sur des Thêmes favoris, composé par_
~François Hünten~. Op. 55. No. 1. (Cramer, Addison, and Beale.)
3. Ditto No. 2.
The Jubilee Overture is well known to our readers as a grand military
piece, a _réjouissance_, in which the clamourous shouts of joy are
chiefly intended to be expressed, and what is called science, as being
out of place, is not to be looked for. M. Czerny has done it justice in
his arrangement, and not exacted too much from the performers, though
he could not make the upper part easy; but he has rendered the whole
effective, if placed in proper hands.
* * * * *
No. 2 is Carafa’s ‘Aure felici,’ and No. 3 is another air by the same,
converted into very agreeable, short, and comparatively easy duets.
VOCAL.
1. ~Cheerful Glee~, Old May Morning, _for four voices; the Words
by_ ~Charles Cowden Clarke~; _the Music by_ ~Vincent Novello~. (J.
A. Novella.)
2. ~Cheerful Glee~, ‘Sweet Mirth,’ _for three voices, composed by_
~William Shore~. (J. A. Novello.)
3. ~Glee~, ‘Had we never met,’ _for four voices; the Poetry by_
~Burns~; _composed by_ ~W. Shore~. (J. A. Novello.)
The two first of these glees obtained the prizes given by the gentlemen
of the Manchester Glee Club; Mr. Novello’s was successful last year,
and Mr. Shore’s the year preceding.
Mr. Novello’s glee, in ~A~, six quavers in a bar, for four equal, or
men’s voices, is in one movement, though the time is rather slackened
at page 7, but intended, we presume, to be recovered after the pause,
in which case the want of proper notice is an omission that may
mislead. This is a composition which will gain the applause of the
connoisseur as well as the mere admirer of vocal harmony; the words
are set with great propriety, there is no want of pleasing melody, and
the technical part is evidence of the author’s ability. The length of
the glee, however, excites a wish for a little more modulation: by the
frequent repetition of the subject, good as it is in the same key, the
ear begins to grow rather impatient, and desires some decided change
for the sake of that variety which in a long piece is so needful. But
then comes in a holding base, operating like a charm, and a passage
(page 9) where the lowest voice imitates the first tenor, introducing
some of those syncopated notes so delightful to people of cultivated
taste, reconciling us to what had begun to excite some slight degree
of mental murmur. Mr. Novello has not spared the countertenor, who
frequently is called upon to hold a ~C~ sharp, and the other parts
demand from the performers more effort than glee-singers in general
like to exert. The chances are that many of them will complain that
this does not ‘sing well;’ but it is high time to rouse them; drowsy
glees which have no merit except that of being ‘well written,’--for
such is the phrase under which much dulness is attempted to be
concealed,--will not much longer be listened to with that forbearance
which has too often been extended to them.
* * * * *
Mr. Shore’s glee in ~D~ is for three equal voices, and in three
movements, the first and last quick, the second rather slower. When
we have said that this is not an unpleasing composition, and that it
makes no pretence, we have bestowed as much praise on it as is at all
allowable. It certainly has not the smallest claim to originality,
either in design or execution, and must have been very fortunate in the
kind of competitors it had to contend against.
* * * * *
No. 3 is a clear and pleasing melody, agreeably harmonized for soprano,
alto, tenor, and bass, and the exceedingly touching words of Burns are
set with taste and feeling.
* * * * *
1. ~Scena e Romanza~, _in the operetta of_ Amore e Psiche, _the
Poetry by_ ~S. E. Petronj~, Esq., _composed by_ ~G. Liverati~.
(Lonsdale and Mills.)
2. ~Recit. e Duetto~, do. do. do.
3. ~Three Italian Notturnos~, _composed by_ ~D. Crivelli~, _the
words by_ Sig. ~Caravita~. (Cramer and Co.)
4. ~Arietta~, ‘Calma ti pria ch’io parta,’ composed and published
as the preceding.
5. ~Cavatina~, ‘Gentil vaga Violetta,’ _nell’ opera_ La Violetta,
del Sig. ~M. Carafa~. (Chappell.)
6. ~Canzonet~, ‘Va! lusingando Amore,’ _composed by_ ~John
Barnett~. (Chappell.)
No. 1 is an accompanied recitative, with a long harp introduction. The
romance which follows, in ~G~ minor,--a happy mixture of the Italian
and German styles,--is full of passion and melodious effect.
* * * * *
The recitative to No. 2 is not very striking. The duet which follows
opens in ~D~ flat, adagio, and passes into a moderato in ~B~ flat. Good
as this is, it must not be concealed, that it is written decidedly in
imitation of Rossini.
* * * * *
Sig. Crivelli’s Notturnos will not be disapproved by those who
encourage the Italian style of the age immediately preceding the
present. They are less simple than the productions of the Venetian and
Neapolitan schools, but have not much imagination or vigour. A few
inaccuracies have eluded the eye of the composer, among which standing
in great need of correction are, octaves between the second voice and
the base, page 3, bar 2; and a ~D~ flat rising instead of falling, in
last bar of page 8.
* * * * *
No. 4 is rather elegant, though far from new, and the words are well
set.
* * * * *
No. 5 is one of those things which may be heard half a dozen times
without leaving the slightest impression; and that might have been
written by any one having sufficient technical skill to put the notes
in right order. But the composer is a _maestro_. He is an instance of
what fame may be acquired in the musical world by a single air.
* * * * *
No. 6 is far from a common melody; and but for certain harsh notes,
arising from an over-strained though laudable attempt at originality,
we should add, that the accompaniment is as masterly as it is bold.
An ~A~ double-flat, page 3, is beyond our comprehension. Had it not
occurred twice, we should have concluded that B double-flat was
intended. This canzonet, however, considered altogether, is highly
creditable in every may to Mr. Barnett.
* * * * *
~Ballet Opera~, The Maid of Cashmere, _or_ La Bayadère, _composed
by_ ~Auber~, _and adapted to the English stage by_ ~Henry R.
Bishop~. (Chappell.)
1. ~Duet~, ‘Ah! why, too lovely Bayadères?’
2. ~Notturno~, two voices, ‘O happy Banks of Ganges!’
3. ~Air~, ‘Charming Bayadère.’
4. ~Ballad~, ‘Beats there a heart on earth sincere?’
5. ~Air~, ‘Ne’er is the Cottager’s door.’
No. 1 (‘Comment, aimables Bayadères’) possesses one great charm, that
of originality, and of a pleasing kind too, though we cannot add that
the words are set in a manner corresponding with the sentiment or the
scene. The second movement of this is an air that must soon become
popular.
* * * * *
No. 2 (‘O bords heureux du Gange’) is exceedingly light, pretty, and
novel: there are too many words for the notes, in both languages, and,
as in the former case, the sound does not agree with the sentiment.
Love is tender, not sportive: there is in this passion nothing of
a comic kind to plead an apology for music of so very playful a
description.
* * * * *
In No. 3 (‘Sois ma Bayadère’) the composer partly imitates himself, and
partly Rossini. There is nothing worth a remark in this.
* * * * *
Nothing can be more common than No. 4; not a phrase, not a cadence,
but what has been worn to tatters years and years past. We should have
guessed this to be an English air, did not the title-page inform us
otherwise.
* * * * *
No. 5 is a failure in English, whatever it may be in the original
language. We have rarely met with words, both in signification and
accent, so ill adapted to the music as are the present.
* * * * *
1. ~Duet~, ‘Our Hero Knights,’ _in_ Robert le Diable, _composed by_
~J. Meyerbeer~. (Chappell.)
2. ~Duet~ ‘The streams that wind amid the hills,’ the Poetry by G.
Darley, Esq.; the Music composed by ~Fanny Steers~. (Cocks and Co.)
3. ~Aria~, ‘Speed, ye softly-heaving billows,’ _composed by_ the
Chevalier ~Sigismond Neukomm~. (Chappell.)
4. ~Song~, ‘The Lark and the Nightingale,’ _composed by_ the
Chevalier ~Neukomm~. (Chappell.)
5. ~Song~, ‘Give me not music in the glare of day,’ _written and
composed by_ ~J. Augustine Wade~, Esq. (Chappell.)
6. The Song of the May Rose, ditto, ditto.
7. The Warrior’s Invocation, _written by_ Mrs. ~E. Smith~; _the
Music by_ ~Charles Smith~. (Cocks and Co.)
8. The Welsh Melody, _sung by_ Miss ~Kelly~ _in_ Dramatic
Recollections, written in Welsh and English, and adapted to ‘Llwyn
ou,’ _or the_ ‘Ash Grove,’ _by_ ~J. Parry~. (Chappell.)
9. ~Air Suisse~, ‘Je dois te fuir,’ _composé par_ ~F. Stockhausen~.
(Chappell.)
No. 1 is the magnificent duet for tenor and base, ‘Si j’aurai ce
courage?’ of which we have spoken more than once.
* * * * *
No. 2 is not belonging to the uncommon order.
* * * * *
No. 3 is delicate and pleasing, though it does not seem to have cost
the composer much effort.
* * * * *
No. 4 is more studied; and by four changes in the time broken into as
many short movements, the last of which, in ~C~ minor, is the strain of
the ‘most melancholy’ Philomel, an interesting air.
* * * * *
No. 5 is an ably imagined, well-written, and very pleasing song. No. 6
was favourably noticed by us long ago, as part of a volume entitled the
_Songs of the Flowers_.
* * * * *
No. 7 is composed with taste, but laboured; it was not ‘struck out at a
heat.’
* * * * *
The English words of No. 8 are well set to the Welsh air which
furnished a melody, much more than a century ago, to Gay’s ‘Cease your
funning.’ What success Mr. Parry has had with his Cambrian poetry in
union with the melody, it is not in our power to say, we having no
cunning in his native language.
* * * * *
No. 9 is as agreeable as most Swiss airs are, and so like many that
all the world have heard, that, unless it had been sent to us as new,
we should have believed it to be of three or four years’ standing at
least. In fact, hear half a dozen of these Helvetic melodies, and
you hear them all; there is a prodigious family likeness in them. M.
Stockhausen is over-productive; he wants some musical Malthus to curb
him.
* * * * *
PIANO-FORTE AND FLUTE.
1. ~Overture~ _to_ Fidelio, _arranged for two_ Flutes _and_ Piano,
_by_ ~J. Clinton~ _and_ ~A. Brand~. (Wessel and Co.)
2. ~Carafa’s Air~, ‘O cara Memoria,’ _with concertante Variations
by_ ~J. Czerny~. Op. 16. (Hill.)
3. ~Introduction~ _and_ ~Variations~ _on the Romance in_ ~Weber’s~
Euryanthe, _by_ ~F. Kuhlau~. (Hill.)
The first of the above is the overture in ~E~ _now_ played, not that
originally written for the opera. Considered as arranged for the
piano-forte, with accompaniments for two flutes, there is nothing
ridiculous in this,--indeed the effect of it is good; but when called
a trio, a smile is drawn from us:--the overture to _Fidelio_ as a trio
for two flutes and piano!
* * * * *
No. 2 makes a very charming duet, requiring two players of the better
kind, whose execution is neat rather than brilliant. M. J. Czerny has
put an Introduzione to this, and added five variations, all of which,
the finale excepted, are in character with the air, and will not
disappoint expectation.
* * * * *
In No. 3, M. Kuhlau has proved how difficult it is to avoid the snares
of fashion. He here succumbed to the prevailing depravity of taste,
and wrote what may be called clever variations to Weber’s Romance, but
certainly not appropriate ones. The whole of this demands two expert
performers, whose time may be much better employed than in overcoming
obstacles that are not worth conquering.
* * * * *
FLUTE.
1. ~The Flutist’s Album~, containing Thirty National Melodies, with
Variations and Embellishments, composed by ~A. Nicol~. 1 Vol. 4to.
(_Glasgow_, M’Fadyen.)
2. _The favourite_ ~Airs~ _in_ ~Meyerbeer’s~ Robert le Diable,
_arranged by_ ~C. Saust~. (Chappell.)
No. 1 is a collection of airs, of all nations, that have been most
popular during the last few years, each having two or more variations,
in which the ease of the performers does not seem to have been a
primary consideration. But the task, though somewhat severe for players
in general, is not a long one, as one single page is the limit of each
piece. This is a good selection, and the additions would be all of a
commendable kind were they uniformly in keeping with the respective
melodies; but all are brilliant, while many of the airs are quite
different in character.
* * * * *
No. 2 is a small neat quarto publication of fourteen pages (upon which,
by the by, a price any thing but reasonable is fixed), containing
thirteen pieces from the opera, set in a studiously easy manner for the
instrument.
* * * * *
VIOLONCELLO AND PIANO-FORTE.
~Select Italian Airs~ _from the most popular Operas_, arranged by
~F. W. Crouch~. Nos. 1 and 2. (Chappell.)
Mr. Crouch has here restored to an air by Paisiello, ‘Ah, mia cara,’
and one by Sacchini, ‘Più non ho la dolce speranza,’ both of which were
doubtless once ‘popular,’ but before our time, and, we suspect, ere Mr.
C. took much cognizance of these matters. However, we are pleased to
meet with them; and convinced as we are that it will soon be expedient
to resuscitate many good things by the same composers, we hail this as
something of a beginning. Both the present are as short and easy as can
be imagined, and are as graceful as brief.
* * * * *
GUITAR AND PIANO-FORTE.
‘L’or est une chimère,’ _from_ ~Meyerbeer’s~ Robert, _arranged by_
~W. Neuland~. Op. 12. (Chappell.)
These two instruments agree remarkably well together when the larger
one uses its giant strength with moderation. The present is an
excellent adaptation of an excellent air, and is so contrived that
almost any two players may execute it, while the best need not blush to
perform it. It is so short also, that it will bear an encore.
ANCIENT CONCERTS.
We waited till the latest moment for the usual communication from a
friendly correspondent of the _Harmonicon_, who has, for three or four
years past, favoured us with his criticisms on these concerts, but
not hearing from him till too late to furnish what he has omitted to
supply, we can only give our readers the programmes of the last three
performances.
FOURTH CONCERT,
_Under the Direction of his Royal Highness the Duke of Cumberland,
Wednesday, March 27, 1833._
~Act I.~
Coronation Anthem, ‘The King.’ Quartet, ‘Exceeding ~Handel.~
glad.’ Chorus, ‘Thou hast prevented him.’
Recit, ‘Ye twice ten hundred.’ Song, ‘By the ~Purcell.~
croaking.’ (_Indian Queen._)
Madrigal, (Full Choir,) ‘Oh, that the learned.’ ~Gibbons.~
Song, ‘Holy! holy!’ (_Redemption._) ~Handel.~
Concerto in ~A~ minor ~Martini.~
Trio and Chorus, ‘Disdainful.’ (_Judas Macc._) ~Handel.~
Recit, ‘Berenice, dove sei?’ Song, ‘Ombra che ~Jomelli.~
pallida.’ (_Lucio Vero._)
Solo and Chorus, ‘Glory to God.’ (_Joshua._) ~Handel.~
~Act II.~
Overture, (_Ptolemy._) ~Handel.~
Recit, ‘The mighty.’ Song, ‘Softly sweet.’ ~Handel.~
(_Alexander’s Feast._)
The Music in Macbeth. ~Locke.~
Glee, ‘Cold is Cadwallo’s tongue.’ ~Horsley.~
Recit, ‘Sposa! Euridice!’ Song, ‘Che farò.’ ~Gluck.~
(_Orfeo._)
Double Chorus, ‘The horse.’ (_Israel in Egypt._) ~Handel.~
FIFTH CONCERT,
_Under the Direction of Lord Burghersh, Wednesday, April 17, 1833._
~Act I.~
Introduction and Cho., ‘Ye sons of Israel.’ ~Handel.~
(_Joshua._)
Recit., ‘And God said.’ Song, ‘Now heaven.’ ~Haydn.~
(_Creation._)
The Passions. (_Solomon._) ~Handel.~
Recit., ‘Sweep, sweep.’ Air and Chorus, ‘Music, spread
thy voice.’ Air and double Chorus, ‘Now a different.’
Recit. and Chorus, ‘Then at once.’ Recit., ‘Next
he tortur’d.’ Air and Chorus, ‘Thus rolling surges.’
Song, ‘Pious orgies.’ (_Judas Maccabeus._) ~Handel.~
Quartet, ‘Godiam la pace.’ (_Idomeneo._) ~Mozart.~
Concerto 12th. (_Grand._) ~Handel.~
Stabat Mater. ~Pergolesi.~
Chorus, ‘Glory to God.’ Quartet, ‘O Lord, have ~Beethoven.~
mercy.’ Grand Chorus, ‘The Lord is great.’
~Act II.~
Symphony. (_Surprise._) ~Haydn.~
Glee, ‘Jesse.’ ~Knyvett.~
Song, ‘Honour and arms.’ (_Samson._) ~Handel.~
Anthem and Cho., ‘Call to remembrance’ ~Battishill.~
Recit., ‘E il padre.’ Aria, ‘Gia la vittima fatale.’ ~Jomelli.~
(_Ifigenia._)
Chorus, ‘O voto tremendo.’ Dead march ~Mozart.~
(_Idomeneo._)
Recit., ‘O worse than death.’ Song, ‘Angels, ever ~Handel.~
bright.’ (_Theodora._)
Madrigal, full choir, ‘Fire! Fire!’ ~Morley.~
Aria, ‘Il mio tesore.’ (_Don Giovanni._) ~Mozart.~
Chorus, ‘Cum Sancto Spiritu.’ ~Pergolesi.~
SIXTH CONCERT,
_Under the Direction of the Earl of Cawdor, Wednesday, April 24, 1833._
~Act I.~
First, Second, and Fourth Movements. ~Handel.~
(_Dettingen Te Deum._)
Song, ‘Softly rise.’ Chorus, ‘Ye southern breezes.’ ~Boyce.~
(_Solomon._)
Glee, ‘Who comes so dark.’ ~Callcott.~
Song, ‘Dryads, Sylvans.’ Chorus, ‘Lo, we all attend.’ ~Handel.~
(_Time and Truth._)
Concerto 4th. ~Corelli.~
Song, ‘Non so d’onde vieni.’ ~Bach.~
Quartet, ‘Ave verum corpus.’ ~Mozart.~
Recit, ‘My cup is full.’ Song, ‘Shall I in Mamre’s.’ ~Handel.~
Chorus, ‘For all these mercies.’ (_Joshua._)
Recit, ‘Ma che giorno.’ Solo and Chorus, ‘Tu è ver.’ ~Mozart.~
(_La Clem. di Tito._)
~Act II.~
Symphony in ~E~ flat. ~Mozart.~
Chorus, ‘De profundis.’ ~Gluck.~
Song, ‘Vo Solcando.’ ~Vinci.~
Madrigal, ‘Flora gave me.’ ~Wilbye.~
Recit, ‘Ove son.’ Song, ‘Gelido in ogni vena.’ ~Bavanella.~
Chorus, ‘Avert these omens.’ (_Semele._) ~Handel.~
Recit, ‘Rejoice, my countrymen,’ Chorus, ‘Sing, O ~Handel.~
ye heavens.’ (_Belshazzar._)
PHILHARMONIC CONCERTS.
THIRD CONCERT, Monday, March 25, 1833.
~Act I.~
Sinfonia in D ~Mozart.~
Scene, Mr. Phillips, ‘The Last Man’ ~W. H.
Callcott.~
Fantasia, Flute, Mr. Nicholson ~Nicholson.~
Aria, Miss Clara Novello, ‘Per pietà’ ~Mozart.~
Overture, _The Matins of Wallersee_ ~Chelard.~
~Act II.~
Sinfonia, Pastorale ~Beethoven.~
Song, Mrs. W. Knyvett, ‘With verdure clad’ ~Haydn.~
Quartetto, two Violins, Viola, and Violoncello, ~Beethoven.~
Messrs. Spagnoletti, A. Griesbach, Moralt, and
Rousselot, No. 5
Terzetto, Miss Clara Novello, Mrs. W. Knyvett, and ~Mozart.~
Mr. Phillips, ‘Soave sia il vento.’ (_Così fan
tutte_)
Overture, _Prometheus_ ~Beethoven.~
Leader, Mr. Weichsel.--Conductor, Mr. Bishop.
The Symphony of Mozart, No. 3 of the scores, was played with great
spirit and the utmost precision. This is one of the most animating of
the composer’s works, and seems always to inspire the band as much
as it excites the audience. The Pastoral Symphony was never better
performed; every movement produced its due effect; even the andante,
long as it is, was not felt tedious. Still we are persuaded, and
experience confirms our opinion, that about a third of this might be
omitted, with the most beneficial effect on the whole. Some of the
passages are repeated over and over again; the reduction of these would
hardly interfere with the author’s design, and, having been _twice_
heard, might be spared without at all being missed. At all events,
it is better that an audience should wish for more than complain of
redundancy.
The Overture of M. Chelard (director of the German company that
performed at the King’s Theatre last year) was now produced for the
first time. It is altogether descriptive, and as a novel attempt, we
give his programme, or explanation of it:--
‘The knights of St. George, of Bavaria, returning from the Crusades,
are bringing back to the castle of Wallersee the remains of the count,
its former possessor, and the grand master of their order, accompanied
by Everhart of Schœnfeld, the banneret knight and nephew of the
count, and the betrothed of his daughter Iolanda, who is supposed to
have perished when the castle was laid in ruins by the usurper, Rodolph
of Trento. The overture opens with a funeral march of the knights,
followed by the triumphal song of the apotheosis. It then returns
to the march, and afterwards to the song of triumph. The dead march
is repeated; and as the knights recount the deeds of the hero, the
voices of departed spirits are supposed to be heard welcoming him to
heaven. The knights separate; Everhart remains alone; he approaches the
chapel, and while there, lost in meditation, is suddenly startled by
the bell announcing the midnight hour; the voices of the nuns blending
with the organ in the anthem for the dead--“_Dona pacem, sancte Deus
clemens: audi preces nostras; Pater, miserere!_” Thunder is heard. He
distinguishes among the voices one of a female repeating his name. She
approaches, and he recognizes his lost Iolanda, who had here sought
refuge from the usurper’s tyranny.’
It must immediately be evident that not one half, not one sixth of
this, admits of description in musical sounds. The funeral march,
the little bell on which the hour was actually struck, and the
motet,--sung by four persons concealed from view,--were all understood
well enough; but the connexion of these with the story must have
remained an enigma which would have defied Œdipus himself, but for
the printed plot insinuated into the room. The overture, however,
is a clever work, and shows a great deal of imagination, as well
as knowledge of orchestral effects. The descriptive parts are as
successful in exciting images as the means employed would admit, and
some very good, indeed new harmonies, are dispersed throughout the
composition. The author undertook a work which most living composers
would have rendered perfectly ridiculous; he has produced what some
admired, many approved, and very few condemned, and has steered clear
of any gross absurdity: he therefore is entitled to our thanks for the
boldness of his enterprise, and to our applause for the manner in which
he has carried into execution so hazardous an attempt.
The Overture to _Prometheus_, too good for a finale, delighted all who
stayed to hear it.
Mr. Nicholson’s Fantasia was, we hardly need say, beautifully played;
but is an air with variations fit for such a concert? The directors,
however, we conclude, must sometimes give way, and, like other great
men, be governed by existing circumstances. The Quartet--the 5th, in
~A~, the andante of which is the foundation of Carafa’s air ‘Aure
felici,’--was most delicately executed.
Mr. Phillips sang young Callcott’s fine Scene in a most impressive
manner. Miss C. Novello did all that is to be done with Mozart’s Aria,
a composition from his _Operngesaenge_ (opera songs, a collection of
detached pieces), and is which, we can easily believe, the author
did not take much pride. It is one of those written for a temporary
occasion, and is unnoticed in his own catalogue. Mrs. Knyvett’s ‘With
verdure clad’ was admired for its purity, though all wished that a
less hackneyed air had been chosen. The same feeling was excited by
the Terzetto, which, beautiful as it is, ought now to be laid by for a
while. Moreover, it was not performed in the best possible manner.
FOURTH CONCERT, Monday, April 15, 1833.
~Act I.~
Sinfonia in C minor ~Beethoven.~
Aria, Mr. Bennett, ‘Il mio tesoro.’ (_Il Don ~Mozart.~
Giovanni_)
Grand Septetto, MS. composed expressly for these ~Moscheles.~
Concerts, and fist time of performance, Piano-Forte,
Violin, Viola, Clarinet, Horn, Violoncello, and
Contra Basso, Messrs. Moscheles, Mori, Moralt,
Willman, Platt, Lindley, and Dragonetti
Scena, Mrs. R. H. Bishop, ‘Ah! non so’ ~Mozart~
Overture, _Preciosa_ ~C. M. von
Weber.~
~Act II.~
Sinfonia, No. 2 ~Haydn.~
Aria, Miss Shirreff, ‘Deh! se piace mi vuoi.’ ~Mozart.~
(_Tito_)
Concertante, four Violins principal, Messrs. Mori, ~Maurer.~
Seymour, Patey, and Griesbach
Terzetto, Mrs. H. R. Bishop, Miss Shirreff, and Mr. ~Cimarosa.~
Bennett, ‘O dolce e caro istante.’ (_Gli Orazi_)
Overture, _La Clemenza di Tito_ ~Mozart.~
Leader, Mr. Mori.--Conductor, Mr. Moscheles.
The extent to which the epidemic, the Influenza, prevails, was visible
enough in the thinned benches of the room this evening. Some few of
the band, sufferers from the general malady, were also absent, but the
others made up by their exertions for deficiency in numbers, for never
did the ~C~ minor of Beethoven go better; and Haydn’s lovely Symphony,
in ~D~, which, we hardly know why has been less used than most of the
twelve grand, or Salomon’s, was performed with all the delicacy and
spirit required to give due effect to it. And here we will observe _en
passant_, that the last movement was rather too quick: the composer, it
is true, marks it _Presto_, but moderates this by the caution ‘ma non
troppo.’ His finales are now almost invariably hurried--an evil that
was growing even in Salomon’s time, who in the last year of his life
mentioned this to us in strong terms of reprobation. Unfortunately,
when Haydn wrote nothing of the pendulum kind was in use, he therefore
was only able to give his directions in the vague and often mistaken
terms then and still employed in music.
The light and exceedingly pleasing overture to _Preciosa_ abounds in
original traits, and shows the versatility of the composer’s genius, as
well as his great sense of fitness. Whoever hears this, will, without
any previous information, conclude that it was written for a pastoral
or a simple opera. The overture to the _Freischütz_ at once announces
the preternatural scenes, the magic, the _diablerie_, that are to
follow. Thus he discriminated in his dramatic productions, which all,
without a single exception that we are aware of, proved how much he
thought, and how invariably to the purpose. The overture to _Tito_ went
off with splendid effect.
The novelty of the evening was the Septet of Mr. Moscheles, one of
the pieces composed for the society, and an incontrovertible evidence
of the wisdom as well as liberality of the members in engaging this
gentleman, among others, to exercise his talents in their service.
It consists of an allegro in D; a scherzo and trio in ~D~ minor; an
adagio in B flat; and a finale in the major key. Clear as is the first
movement, it made less impression on us than any of what followed.
The scherzo is strikingly original; the adagio, full of feeling and
exquisite taste; and the finale bounding with vivacity and joy. A work
like this ought to be seen, or to be heard more than once, to enter
fairly into all its merits, but we may venture to say, that this alone
would be sufficient to establish the author’s reputation as a composer
of the highest order, had he produced nothing else. It is long,
certainly, and we should recommend that either the first movement be
abridged, or that it be played without the repeat.
The concertante went off remarkably well. It is an able work, but
lengthy, the nature of the composition being considered. Mori, in this,
exerted himself very kindly in support of his young coadjutors: indeed
his labours during the evening--as leader, and taking the violin part
in the septet--were of no ordinary kind, and required as much corporeal
strength as professional ability.
The aria, ‘Il mio tesoro,’ was passable. The scena of Mozart, ‘Misera!
dove son?’ and following aria in ~E~ flat, ‘Ah! non so ion’ the
seventh of his _operngesaenge_, possess, at least, the recommendation
of not having been often heard, and Mrs. Bishop was not sparing, in
exertion to do them every possible justice. Of the remaining vocal
pieces, the less said the better; though it is fair to state, that Miss
Shirreff was called upon at a late hour to supply the place of Mad. de
Méric, and sang without rehearsing.
ROYAL ACADEMY OF MUSIC.
The pupils of this institution had their first public concert for the
season at the Hanover Square Rooms, on Saturday morning, March 30th,
when the following pieces were performed by them exclusively:--
~Part I.~
Symphony, in D No. 4 ~Mozart.~
Introduction to Zauberflöte, ‘Oh Stelle!’ ~Mozart.~
Recit. ‘For behold;’ Song, ‘The People that walked ~Handel.~
in Darkness,’ Mr. Stretton. (_Messiah_)
Concerto, Grand Piano-Forte, First Movement only, ~Hummel.~
Master Johnson, [Pupil of Mr. J. B. Cramer]
Madrigal, ‘Sweet honey-sucking Bee.’ ~Wilbye.~
Song, ‘If guiltless Blood,’ Miss Turner. ~Handel.~
(_Susanna_)
Motet, ‘O Lord who dwellest;’ composed for, and ~Lucas.~
performed at, St. George’s Chapel, Windsor
~Part II.~
Concerto (MS.) Grand Piano-Forte, composed and ~Bennett.~
played by Master Bennett, Pupil of Mr. Potter
‘Qui tollis,’ from Mass No. 2, Solo, Mr. G. Le Jeune ~Haydn.~
Aria, ‘Ah qual giorno,’ Miss Birch. ~Rossini.~
(_Semiramide_).
Quartet Concertante, for four Violins ~Maurer.~
Duo, ‘Ebben per mia Memoria’ (_Gazza Ladra_) ~Rossini.~
‘Sanctus and Benedictus,’ Mass No. 2 ~Hummel.~
Leaders--Part I. Mr. Seymour--Part II. Mr. Patey.
The movement from Hummel’s concerto was very neatly played by Master
Johnson; but the most complete and gratifying performance was that of
young Bennett, whose composition would have conferred honour on any
established master, and his execution of it was really surprising,
not merely for its correctness and brilliancy, but for the feeling he
manifested, which, if he proceed as he has begun, must, in a few years,
place him very high in his profession.
We were glad to meet with a Madrigal, and one of the finest extant, in
this concert: hitherto the pupils have been allowed to indulge too much
in fashionable music, half of which, moderately estimated, is downright
trash, while they have been kept too ignorant of the really great
masters.
Whoever is teacher of Handel’s vocal music in this academy, should
himself get some further instruction. He is quite at fault in his
notion of the true style, if we may draw any inference from the manner
in which the pupils generally perform it.
The Motet possesses a good deal of merit, but has been much over-rated.
The Quartet Concertante was exceedingly well played: we wish it were
possible truly to say that ‘Oh Stelle!’ was as well sung.
The room was very fully attended.
SOCIETA ARMONICA.
The illness of a gentleman on whom we relied for some account of these
concerts, has prevented our bestowing that attention on them which,
we learn from many quarters, they have merited. We have heard of the
performance of Beethoven’s Mass in ~C~, which had never before been
given in this country with full orchestral accompaniments, and applaud
the spirit that prompted its introduction. Though according to all
accounts it might have been executed in a better manner, the attempt is
praiseworthy, and perseverance leads to perfection. The subscription,
it must be considered, is low, and does not afford the managers the
means of obtaining all the assistance which otherwise they would, we
are disposed to believe, be willing to procure.
AN OFFICIAL NOTE.
THE Editor of the _Harmonicon_ presents his compliments to the Editor
of _La Revue Musicale_, and is happy to find that anything contained in
an English publication has been thought worthy of being transferred to
the pages of a French one.
Though the Editor of _La Revue Musicale_ manifestly entertains no great
partiality for the British nation, yet that good-breeding so common to
all his countrymen, and of which he doubtless partakes in an eminent
degree, would certainly have prompted him to acknowledge from what
source he obtained the air by Keiser, inserted in his work last March,
had he been aware of the quarter whence it proceeded; the Editor of
the _Harmonicon_, therefore, fully persuaded that the Editor of _La
Revue Musicale_ will feel most happy in being correctly informed on
the subject, has the honour to acquaint him, that the composition in
question was published--for the first time since the year 1701, it is
supposed--in the _Harmonicon_ for February last; that the German copy
afforded only a melody and base, consequently that the accompaniment,
good, or bad, is attributable to the Editor of the _Harmonicon_ only;
and that the English words set to it are not a translation from the
German, nor do they even imitate the original, but were selected
because the general sentiment they express is not at variance with the
music, and because the metre very exactly suits the notes.
The Editor of _La Revue Musicale_, in having caused the English verses
of Miss Seward to be translated into French, has done her great
honour, though he has not mentioned her name; and has conferred a
no less flattering distinction on the Editor of the _Harmonicon_ in
adopting his accompaniment, and by giving it the additional advantage
of appearing to have proceeded from the able pen of the learned French
Editor.
The Editor of the _Harmonicon_ has in his pages often availed himself
of the labours of the Editor of _La Revue Musicale_, and never
intentionally failed to acknowledge his obligations. He now begs the
Editor of the French Review to accept his thanks generally, together
with his assurances of high consideration.
EXTRACTS FROM THE DIARY OF A DILETTANTE.
[Resumed from page 89.]
(_The three following Notices were omitted by our Printer in last
Number._)
_3d_ (_of March_). I find the following sensible critical remarks among
my papers; they were copied from a weekly work (the _Court Magazine_, I
think) some months ago, and have since escaped my notice. The opinions
are worthy of being widely extended.
‘Melody is of two kinds; one which is affected by the prevailing taste
or fashion, and is made up of the particular graces and embellishments
of the day; and the other, broad, flowing, majestic, bearing the
stamp of no particular period, and without ornament; but composed
principally of long notes, upon which the sentiment is encrusted and
cannot be mistaken--adorned with all the vigour and effect of striking
and appropriate harmony and instrumentation. The latter is the real
classic melody: classic, because it is imperishable, as being the noble
and unsophisticated expression of never-varying truth. It is like
those pictures of the old masters which will be relished in all ages,
because they represent that which must be understood by all generations
of men. Handel, the immortal Handel, whose works will never perish,
produced much of the first kind of melody, which is now overlooked
and forgotten: but his rich and pure streams of the second kind
flow freely, to delight and refresh with their beauties the present
generation, as they will the remotest generations to come. Cimarosa has
very little of the first kind; Mozart and Beethoven none; Meyerbeer a
great deal in his Italian operas, but none in his German and French.
All these masters have written for posterity.’
* * * * *
_10th_ (_of March_). The Halifax Guardian states that ‘the fifty-third
performance of the Halifax Quarterly Choral Society took place, in
the Old Assembly Room, Talbot Inn, on Tuesday evening last. The music
consisted of a selection from _The Seasons_ of Haydn, and the whole
of Beethoven’s _Mount of Olives_. There was a full attendance of
performers, vocal and instrumental; the orchestra was led by Mr. White
of Leeds, under whose able guidance the above sublime and beautiful
compositions were performed with a degree of precision and spirit which
is frequently wanting in concerts of much higher pretensions. Miss
Milnes, the principal _soprano_, has not only a beautiful voice, but
much execution and a pure taste; and Mr. Carter, the principal tenor,
is also entitled to very high praise. The style and expression with
which he sang the deeply pathetic recitative and air that open _The
Mount of Olives_, were admirable. The other solo parts were exceedingly
well performed; and we only regret that our limits do not allow us,
on the present occasion, to do the singers justice. The choruses were
given with great correctness, and the _ensemble_ was excellent: the
points were taken up with a decision that showed how much at home the
singers were in their parts. The effect, in particular, of the grand
choral fugue, which concludes _The Mount of Olives_, was magnificent.
It is very gratifying to see this society so spiritedly conducted. It
is of such standing that it may be considered in the vigour of manhood.
May it be long before it shall betray any of the infirmities of old
age!’
* * * * *
_19th_ (_of March_). It has just been determined, by the most
influential gentlemen of Liverpool, to have a grand musical festival
in that town early in October. Let us hope that this will encourage
other enterprises of the kind and raise the drooping spirits of our
orchestral performers, whose time lay unprofitably on their hands
during the whole of the last summer and autumn.
* * * * *
_April 6th._ One of those paragraphs which the dealer in small wares
furnishes to the ‘Morning Chronicle,’ tells us, this day, that ‘Poor
Giovanni, many years stage manager at the Italian Opera-House, is,
we regret to hear, in the work-house. He was, in his position at the
theatre, a man of modest, unassuming manners, and a great favourite
behind the scenes. It is to be lamented that foreigners, who are so
liberally paid by the public for the exertion of their talents in the
London theatres, do not institute a fund for the support of their
indigent brethren.’ Now true as it may be that Signor di Giovanni has
been obliged to seek such a refuge, it was not at all necessary to
add a pang to his misery by publishing it to all the world. Had the
writer recommended a subscription to be opened for the relief of this
unfortunate servant of the fashionable portion of the public, he might
have done some good; none could arise from a mere gossiping paragraph.
Di Giovanni was not at any time stage-manager; he never arrived at any
higher office than that of deputy. Other parts of the article are not
less incorrect. As to a fund, it was once begun, and a per centage on
the salaries of the performers raised something to commence with. This
was never heard of after the retreat of Mr. Waters to Calais.
* * * * *
_10th._ In an account of the Rev. Robert Hall, by Olinthus Gregory,
recently published, is the following anecdote, or, indeed, two-fold
anecdote, which adds further testimony to the effect produced by the
music in Westminster Abbey at the far-famed Commemoration:--
‘Robert Hall,’ it is stated, ‘was at the Commemoration of Handel in
1784, and present at that extraordinary scene when George III. stood
up at one part of the performance with tears in his eyes.’ Nothing ever
affected him more strongly; ‘It seemed,’ he said, ‘like a great act of
national assent to the fundamental truths of religion.’
It was at one of the grand performances in the same venerable building,
a few years after, that Haydn was observed sitting in a corner under a
side gallery, weeping like a child, and he declared that he had never
before been so powerfully affected by music.
* * * * *
_15th._ The _influences_ of the _Influenza_ were strikingly evinced
at the Philharmonic Concert this evening. More than a third of the
subscribers were absent; and of those present, one half at least,
judging from the symptoms they exhibited, would have been better at
home. The orchestra, too, lost some of its best performers.
* * * * *
_15th._ At the rehearsal of the Ancient Concert this morning, Signor
Rubini, keeping his seat, and with his hat on, began to sing an aria.
Lord Burghersh, the director, hinted that it was usual to treat so many
subscribing auditors as were present with rather more respect. The
Signor then contrived to rise; but a gentle intimation from the same
quarter, that the Signor would be heard to greater advantage without
his hat, received no attention whatever. Now this really should not be
wondered at in a country where every thing has a money value. Signor
Rubini is making 6000_l._ or 7000_l._ per annum by his engagements,
to which we sensible English largely contribute. Such an income is
superior to that of most baronets, nay, of many lords; Signor R.’s rank
here, consequently, is equal or superior to theirs, according to the
money difference; _ergo_ he has a right, in his Britannic Majesty’s
dominions, where wealth is every thing, to rehearse seated, and with
his beaver firmly fixed on a head from which issues a voice that
commands (_O mores!_) a revenue which many an English nobleman, many a
German prince, will hear of with astonishment and envy.
* * * * *
_16th._ The daily press is beginning to manifest some reasonable
dissatisfaction at the sordid propensities of the _Baron of the
Single-string_. Had it decried his absurdities (absurdities, however,
well calculated for the meridian of London) two years ago, it might
have prevented his proving ungrateful, and caused a great deal of money
to reach the pockets of English performers, who wanted it, instead of
flowing into the coffers of a stranger who had no real occasion for
it, and did not deserve one-tenth of what he received. The _Globe_ of
this evening tells us that ‘the munificent support which M. Paganini
met with in London does not appear to have softened his heart towards
English artists. He was applied to a short time since to lend the aid
of his talents, in union with all the French and Italian performers of
eminence in Paris, to support a benefit advertised by Miss Smithson,
in the hope of retrieving some of the losses arising from the failure
of her speculation there, and her unfortunate accident, which still
confines her to her bed. He refused, on the plea of ill-health. This
was very well. The benefit was comparatively a failure, being only
sufficient to pay one-fifth of the debts due by Miss Smithson to the
English actors, who have been in a state little short of starvation,
and are even unable to return to England. Another benefit, in which
Mars, Duchesnois, and all the other artists came forward in the
handsomest manner, is announced for to-morrow. Paganini, who is well
enough to play to-morrow night at the Opera [the _French_ Opera] for
himself, has been again applied to, and now refuses flatly, saying,
that the failure of Miss Smithson’s speculation is nothing to him. This
should not be forgotten when he re-visits London.’
But it will be forgotten: the English public have lost those patriotic
feelings which once distinguished them, in so far as relates to foreign
performers. The Signor, however, will not reap another rich harvest
here, he may be assured. Though some futile attempt will be made to
deny the truth of the foregoing statement, it will be made in vain;
the _rage_ is over; our eyes as well as our ears are now opened; the
pretended enthusiasts--for affectation has had much to do with the
matter--will no longer be able to cry up the _Witches’ Dance_, the
_Friars’ Hymn_, &c. as prodigies of art; they will not be listened to
if they again endeavour to deafen us with the wonders of sounds almost
inaudible, and nearly, if not quite, inappreciable: we are grown a
little wiser, and have found out, that in proportion as two legs to a
body are preferable to half the number, so four strings to a fiddle are
better than one.
* * * * *
_22d._ In the Revue Musicale, M. Fétis lately, with much apparent
justice, severely criticised a new Italian opera by a Sig. Ricci,
called _Chiara di Rosemberg_: he even proceeded so far as to say,
that music has declined in Italy, and that there is little hope of
its revival in a country where such a work as Ricci’s could meet with
success. This has brought upon him the vengeance of the editor of _L’
Eco_, an Italian literary journal published at Milan, who not very
temperately exclaims: ‘It needed all the effrontery that is often met
with in the French journals, to deny superiority in an art to a country
which claims as its own a Rossini, a Bellini, a Mercadante, a Pacini, a
Donizzetti, a Ricci, and many other composers; to a country which has a
right to triumph in a Pasta, a Tosi, a Rubini, a Donzelli, a Lablache,
a Tamburini, &c. Nothing, in truth, but the most stupid ignorance or
the blackest malignity could assert of such a country of artists,
that “the decline of music in Italy is complete.”’ M. Fétis has well
answered the attack, and shown that the critic who can place Bellini,
Mercadante, &c., by the side of Rossini--who can put Pasta on a level
with Tosi, must be wholly incapable of discussing a question which
requires some knowledge of music, and some power of judging between
good and bad performers. The Milan editor may rave as he will, but he
may be assured, that M. Fétis speaks the opinion of every real and
unbiassed critic.
FOREIGN MUSICAL REPORT.
VIENNA.
The _Josephstädter Theater_ recently produced Donizetti’s _Anna Bolena_
with little success; the _Leopoldstädter Theater_, however, was more
fortunate in the production of a new opera, _Die Liebe auf der Alm_
(Love on the Alm), the numerous performances of which were received
with much applause. The music, by Riotti, is very melodious.
The concerts have been numerous; that of M. Benesch was very
successful. He performed a concerto of his own composition, and Madame
Benesch also distinguished herself, in a concerto of Kalkbrenner’s,
as a finished pianiste. A new symphony by M. Joachim Hoffman, a
composition of great merit, was performed at that gentleman’s
concert. A concert has also been given by the Koutski family. Anton,
the pianist, infused much expression into his play, which is more
remarkable for solidity than brilliancy. Carl, the violinist, excited
astonishment by a spirited performance, and the singer, Eugenie,
delighted the audience with an agreeable, well cultivated voice, and
very chaste style. Demoiselle Fanny Sallamon has also given a concert,
at which her exquisite performances on the piano-forte were, as usual,
enthusiastically applauded. Besides the above, there have been four
very excellent concerts given by the Society of Musicians.
BERLIN.
_Königstadt Theater._ On the 4th February Demoiselle Caroline
Schechner, a sister of the celebrated singer of the same name, made her
debut here as _Emmeline_ in _Die Schweizerfamilie_. Her voice is clear
and sweet, she sings with much taste and expression, and altogether
gives great promise of future excellence. On the 26th, a new opera,
_Melusina_, was brought out under the direction of the composer,
Conradin Kreutzer. The music is very pleasing, being light and flowing.
M. Felix Mendelssohn has given two very brilliant concerts,
particularly the last, which were fully attended. In these was
performed a Symphony by Louis Berger, full of fine thoughts, clear in
style, and very original. M. Mendelssohn played a capriccio of his own,
a concerto in ~D~ minor of Sebastian Bach, and a sonata in ~C~ sharp
minor by Beethoven. He is now on his road to London.
A grand concert has been given by M. Hubert Ries, consisting solely of
classical compositions, which was well attended. He played a new violin
concerto by Spohr, with uncommon precision, grandeur, and depth of
feeling, and some compositions of Beethoven with M. Felix Mendelssohn
and M. Ganz. Three concerts have been given by the Dutch virtuosi,
MM. Brugt and Franco Mendez, and Madame Schmidt. The former is a
distinguished singer, with a sweet, though not particularly strong
voice, and great powers of execution. M. Mendez played some variations
on the violoncello with neatness and good taste, but his tone on the
lower notes is thin, and Madame Schmidt displayed more flexibility of
voice than taste.
On the 26th February the Vocal Academy performed the Passion Music of
St. John the Evangelist.
M. Möser’s second series of concerts has commenced. The first concert
introduced a well conceived overture by Taubert, and the second, the
overture to King Stephen, by Beethoven.
At the last meeting of this season, which was to celebrate the
anniversary of Beethoven’s death, we heard for the first time his
Fest-Ouvertüre, ‘Zur Weihe des Hauses,’ a masterpiece in the fugue
style, or rather an ancient theme, full of original ideas, such as
could only occur to Beethoven. His piano-forte concerto in ~E~
flat major was performed by a Scotch virtuoso, Mr. R. Müller, who has
lately been playing with great success at the courts of Denmark and
Sweden. In his style, Mr. Müller distinguishes himself more by his
conception and delivery of the intrinsic beauties of the composition,
than by imitation of the popular pianists of the day. He shows the
highest degree of his ability in the sonatas of Beethoven, in which the
most difficult passages, when played by him, appear not as passages
merely, but real musical ideas. If we were allowed to express a
wish, it would be that Mr. Müller should perform on a solid English
instrument to which he has been accustomed, and which under his finger
would truly express all the delicate degrees of light and shade. Mr.
Müller, as far as we remember, is the first pianist of Great Britain
who has performed publicly on the continent; and it gives us the more
pleasure to admire in him the talents of one of Old England’s artists,
because our own German artists have always found in that country the
most flattering reception.
MUNICH.
The Philharmonic Society, founded here by M. Schönche, is going on
flourishingly. It was established for the education of pupils in every
branch of the art, who have invariably had artists of eminence to look
up to as models; in the list of these have recently appeared the names
of M. and Madame Bohrer, Bärmann, Dusshek, &c.
M. Küstner is expected to be appointed manager of the Royal Court
Theatre, and Baron Von Poissl director of the court music. M. Mentor,
the violoncellist, has been recalled from Hechingen to Munich.
LEIPZIG.
The principal novelties produced at the subscription concerts were,
an overture by M. Hartknoch, of original conception, and clever in
point of instrumentation, and a symphony by Richard Wagner, scarcely
twenty years of age, which was much and deservedly applauded. The
solo players, M. Maurer, from Hanover, and his son, on the violin; M.
Gros, on the violoncello; Demoiselle Clara Wieck, on the piano-forte;
M. Kressner, on the flute; and M. Rückner on the oboe, delighted the
audiences with their performances on their respective instruments. Nor
were the efforts of the singers less attractive. Demoiselle H. Grabau’s
singing was exquisite, and Demoiselle Livia Gerhard appeared to have
improved, not only in execution, but also in the tone of her voice. The
male singers were MM. Otto, Pögner, and Bode.
DRESDEN.
A new opera seria, by Baron Boromäus Von Miltetz, is expected to be
produced here shortly, under the title of _Saul King in Israel_. It is
generally supposed that the Baron will be appointed director-general of
the theatre and the chapel.
FRANKFORT.
The repertoire of this theatre has been considerably enriched of
late. The principal new productions, besides _Der Templer und die
Jüdin_, which particularly delighted the Jews, have been _Die Fremde_
(La Straniera), of Bellini, _Der Vampyr_, of Marschner, and _Zampa_,
of Herold. _Robert de Diable_ too has been given; but not by the
theatrical direction. Kapellmeister Guhr produced it at his concert,
and it was not much admired.
The Cecilian Society, under the able direction of M. Schelble, has
recently given the first of four concerts for the season, at which the
overture and introduction to _Eliza_, by Cherubini, and the overture
to _Idomeneo_, were played by a considerably augmented and improved
orchestra; and it redounds highly to the credit of the members of the
opera, that they should have assisted the efforts of the Society with
their vocal contributions.
Madame Filipowicz has performed here three times on the violin
with extraordinary success. Her shake in particular is exquisitely
brilliant, and her bowing equally powerful and graceful. After
displaying her talents in various other German towns, Madame Filipowicz
intends to proceed through France to England.
MANHEIM.
The opera of _Valeria_, composed by M. Aloys Schmidt, long known
as a distinguished pianist, was produced for the first time on the
2d December, under the direction of the composer. It went off most
brilliantly; every piece from the overture to the very conclusion,
being received with bursts of applause. After the fall of the curtain,
M. Schmidt was enthusiastically called forward. Its reception, when
performed again on the 16th December, was no less gratifying.
WÜRTZBURG.
Joseph Dietz, aged fourteen, a violin player, and pupil of Professor
Fröhlich, has been well received at a grand vocal and instrumental
concert here. Among other concertos excellently performed, he played
Rode’s last concerto, No. 12, with great execution, neatness, and
purity of tone.
WEIMAR.
The opera of _Robert der Teufel_ was given here for the first time on
the 6th December. On the first performance, the house was crowded; on
the third, nearly empty; the singers, however, did their utmost to
support the opera, and the orchestra was very effective.
HAMBURGH.
The same opera, _Robert der Teufel_, was produced here for the first
time on the 20th December, and its reception was enthusiastic. The
finale of each act, indeed almost every piece in the opera, called
forth the warmest applause. Full justice was done to the composition by
all the singers.
Some very interesting concerts have lately been given here, at which
M. W. P. de C. Vrugt, from Amsterdam, and M. Lafont, particularly
distinguished themselves. The former sang, for the first time, at
the concert of M. Leopold Lindenau, a violoncello player of great
ability. His style is chaste, and his shake masterly; and he sings
chromatic passages in ascent and descent with delicacy and pureness
of intonation. His voice, which is of extensive compass, is rich and
mellow, particularly in the upper notes. The delightful performances of
M. Lafont were received with the applause which they merited.
MERSEBURG.
On the 15th February, M. Amme gave a concert here. Among the selection
were the overtures to _Die Felsenmühle_ by Reissiger, and to _Die
Stumme_; a concertante by Iwan Müller for two clarionets, played by MM.
Amme and Kunze with sweetness and expression; a concertino by Meyer,
for the basset horn, by M. Queiser of Leipzig; a duet for violin and
violoncello by MM. Ullrich and Grabau; and a duet by Reichel for two
trumpets by M. Queiser and a pupil of his, worthy of such a master.
HEIDELBERG.
M. Schmidt, of Darmstadt, professor of the violin, gave a concert
on the 12th December in the saloon of the Museum, and was received
with the encouragement to which his talents justly entitled him. The
selection of the pieces was as judicious as their performance was
meritorious.
DÜSSELDORF.
A musical society, consisting of 500 effective members, flourishing
here for some years, has been gradually falling into decline, the
management having come into the hands of some amateurs not possessed
of sufficient musical knowledge to conduct it. The fragments of this
society now consist of a very few lovers of the art; and they have
applied to M. Anton Schindler, to undertake the task of restoring it,
if possible, to its former eminence.
PESTH.
CANINE CONNOISSEUR.
At a most respectable house at Pesth, where a great deal of music is
played, there is a dog, who, unlike his brother dogs, has a great fancy
for music. But the most singular part of the story is, that this animal
delights only in listening to the performance of Mozart’s, Haydn’s,
Weber’s, or Spohr’s music. If such a piece is played, he lays his head
upon his two fore paws, listens attentively, and now and then suffers
a sigh of emotion to escape him. But when he hears a composition by
Rossini, Auber, Herold, &c., he whines and howls most pitifully,
as any other dog would on hearing music.--_From the Allgemeiner
Musikalischer Anzeiger._
GREIFSWALD.
M. Amadeus Abel, scarcely sixteen years old, a pupil of Spohr,
lately gave a concert here, and performed a concerto of Spohr’s, and
variations of Mayseder’s, with great applause; he also played on the
piano-forte, a fantasia of Kalliwoda without accompaniments, with great
execution and expression.
SCHWAZ.
On St. Cecilia’s day, the oratorio of _Paradise Lost_, by Frederick
Schneider, was given for the benefit of the poor of this place, in a
manner highly creditable to all connected with the performance.
TRIESTE.
The son of the singer Bonoldi, a young composer brought up in the
Conservatorio at Milan, wrote the opera with which the Carnival Season
was opened in this town. It is his _coup d’essai_, and called _Il
Mauro di Calisto Bassi_. On the first night the young composer was
unfortunate. Nobody knew his part except Bonoldi, the father; and he
was so overcome by interest for his son, that he lost his voice and was
obliged to omit much. In fact, the theatre was closed two nights; but
after that Bonoldi recovered his powers, the opera was reproduced with
applause, and the maestro and singers called forward at the close of
the performance.
NEW YORK.
The second night of _Il Pirata_, Bellini’s serious opera, found us at
the Richmond-hill theatre. The first representation of all musical
pieces we consider as little more than a last rehearsal; for the
singers are generally nervous, and the band over cautious. Critics
ought to take such a state of things into consideration, and prefer the
second night for the exercise of their vocation. In a country as young
in music as America, it may be a matter of doubt whether the omission
of some of the earlier authors be wise on the part of the manager;
and whether, in leaping over the heads of Cimarosa, Mozart, and
Rossini, and fixing upon Mercadante and Bellini, he does not resemble a
school-master placing Sallust and Terence in the hands of a boy who has
not completed Cæsar and Cornelius Nepos; or rather, are we not likely
to fall into the error of a sapient critic who discovered, when he saw
Kean, that he was an imitator of Booth?--Now there are many juvenile
amateurs in this city, who, to our knowledge, have never heard _La
Gazza Ladra_; but who have heard _Elise e Claudio_; and unless they pay
good attention to chronology, they may make a discovery, that Rossini
has borrowed numerous passages from Mercadante, because one of those
authors decidedly has borrowed from the other. Another observation we
shall address to the _direttore_ of the concern: instead of learned
and dry operas, which afford delight to professional persons only, let
him diligently seek works with lively melodious music, interesting and
clear plots, and fine scenery. He has in the public but an infant to
nurse, and it will take honey in preference to olives. Allowing that
the inhabitants of New York are as fond of music as those of London,
which we fully believe, let it be remembered that very few of the
higher classes of society in the latter city would be tied down to sit
night after night in public boxes, to hear the same opera throughout,
overture and all. By no means would they submit to it; they enjoy
the luxury of private boxes which are so many _boudoirs_, in which
society is received: nor do we know any more agreeable lounge than the
Italian Opera House in London, where individuals, who have a taste
for music without understanding it as a science, can drop in at any
particular hour for the sake of hearing a particular _morceau_ by
Pasta, Sontag, Malibran, or any other star; and can, either previous
to its commencement or after its performance, while away the time in
conversation with friends, without disturbing those professionals and
amateurs who are riveted to every note. This cannot take place in
public boxes. There is, likewise, the addition of a ballet in London;
and a number of persons, particularly male bipeds, find it the sole
attraction. We think that the above is sufficient cause for advising
the management of the Italian opera, (in the absence of _ballet_ and
_converzatione_,) to render their performance as pleasing and light as
possible to their subscribers; for, be it remembered, that the Italians
themselves not only talk and see dancers caper at their opera houses,
but actually sup in their boxes; and, when it is considered that they
can understand every word that is sung, and feel the sentiment as
well as hear the harmony and melody of the music, surely some little
compassion ought to be taken on Brother Jonathan, who drinks in sweet
sounds, and has to guess at their meaning equally with Brother Bull.