On Monday evening, June 2, 1783, one of the most extraordinary attempts
to prove the power of music, that ever yet has been made in this
kingdom, was exhibited, in the style, and under the title of a concert,
at the Assembly room, King Street, St. James’s, Westminster.
The idea was that of representing the martial music, din, and horrors
of an embattled army, so that the tones of the different instruments
should cause the ear to believe a reality of the action, whilst the eye
was convinced of the inimitable deception.
The entertainment commenced with a grand overture, composed for two
orchestras, and divided into _allegro_, _andante_, and _presto_ parts,
as a prologue to the battle.
The call to arms followed; and several random cannon and musket shots,
interchanged between the two orchestras, were so distinctly imitated in
music, that we were led to imagine the actual presence of the bursting
powder, and the real noise of the whistling ball. These gradually
increased, as the armies were supposed to near their distance, until an
_allegro moderato_ gave the thunder of the artillery, the regular fire
of the platoons, the press from one army on the redoubt of the other,
the final attack upon the first line with musketry, and then carrying
the redoubt by storm. Here followed a representation of a tempest,
attended with thunder and lightning, which afforded a temporary rest to
the two orchestran armies.
A recitative, with accompaniments, expressed a council of war, after
which the signal was given for the cavalry of the conquering army to
attack; then, a most perfect and harmonious imitation of the galloping
and trotting of the horses, the discharge of the carbines and pistols,
and the clashing of swords, followed.
Here the supposition of a defeat gave further scope to the inventive
faculties of the designer, and proved the executive powers of the band
to imitate the total rout of the conquered army, the sound of the
retreat, the signal to pursue, with the bustle, noise, and clamour,
naturally attending, until the victorious troops beat a halt, in
consequence of the brave resistance of that division, which covered the
retreat of the vanquished army.
The straggling shots in the pursuit conveyed a most beautiful harmony
in the corresponding music from one orchestra to the other; which,
with the plaintive tones of the wounded, and the lamentations of the
expiring soldier, so naturally expressed, had a most powerful effect on
the auditors.
The whole concluded with a lively and spirited allegory, three times
repeated by the victors, in which was introduced a _feu de joye_,
imitating artillery and musketry.
The invention, we understand, is due to Mr. Kloeffler, a professor
of music, and musical director to the reigning Prince Bentheim,
Steinfurth, &c., and the bands were under the direction of Messrs.
Cramer and Solomon.
There were upwards of three hundred persons present, mostly of the
first rank, among whom were the foreign ambassadors. The company
expressed the highest satisfaction, and retired perfectly delighted
with their evening’s entertainment.