It has often struck us forcibly that the science of melo-dramatic music has
been hitherto very imperfectly understood amongst us. The art of making
"the sound an echo of the sense"--of expressing, by orchestral effects, the
business of the drama, and of forming a chromatic commentary to the
emotions of the soul and the motions of the body, has been shamefully
neglected on the English stage. Ignorant composers and ignoble fiddlers
have attempted to develop the dark mysteries and intricate horrors of the
melo-drama; but unable to cope with the grandeur of their subject, they
have been betrayed into the grossest absurdities. What, for instance, could
be more preposterous than to assign the same music for "storming a fort,"
and "stabbing a virtuous father!" Equally ridiculous would it be to express
"the breaking of the sun through a fog," and "a breach of promise of
marriage;" or the "rising of a ghost," and the "entrance of a lady's maid,"
in the same keys.
The adaptation of the different instruments in the orchestra to the
circumstance of the drama, is also a matter of extreme importance. How
often has the effect of a highly-interesting suicide been destroyed by an
injudicious use of the trombone; and a scene of domestic distress been
rendered ludicrous by the intervention of the double-drum!
If our musical composers would attend more closely than they have been in
the habit of doing, to the minutiæ of the scene which is intrusted to them
to illustrate, and study the delicate lights and shades of human nature, as
we behold it nightly on the Surrey stage, we might confidently hope, at no
very distant period, to see melo-drama take the lofty position it deserves
in the histrionic literature of this country. We feel that there is a wide
field here laid open for the exercise of British talent, and have
therefore, made a few desultory mems. on the subject, which we subjoin;
intended as modest hints for the guidance of composers of melodramatic
music. The situations we have selected from the most popular Melos. of the
day; the music to be employed in each instance, we have endeavoured to
describe in such a manner as to render it intelligible to all our readers.
Music for the entrance of a brigand in the dark, should be slow and
mysterious, with an effective double _bass_ in it.
Ditto, for taking wine--an allegro, movement, with _da capo_ for the second
glass.
Ditto, for taking porter, beer, or any other inferior swipes--a similar
movement, but not _con spirito_.
Ditto, for the entrance of an attorney--a _coda_ in one sharp, 6-8 time. If
accompanied by a client, an accidental _flat_ may be introduced.
Ditto, for discovering a lost babby--a simply _affettuoso_ strain, in a
_minor_ key.
Ditto, for recognising a disguised count--a flourish of trumpets, and three
bars rest, to allow time for the countess to faint in his arms.
Ditto, for concealing a lover in a closet, and the sudden appearance of the
father, guardian, or husband, as the case may be--a _prestissimo_ movement,
with an agitated _cadenza_.
Ditto, for taking an oath or affidavit--slow, solemn music, with a marked
emphasis when the deponent kisses the book.
Ditto, for a lover's vow--a tender, broken _adagio_.
Ditto, for kicking a low comedy man--a brisk rapid _stoccato_ passage, with
a running accompaniment on the kettle-drums.
The examples we have given above will sufficiently explain our views; but
there are a vast number of dramatic situations that we have not noticed,
which might be expressed by harmonious sounds, such as music for the
appearance of a dun or a devil--music for paying a tailor--music for
serving a writ--music for an affectionate embrace--music for ditto, very
warm--music for fainting--music for coming-to--music for the death of a
villain, with a confession of bigamy; and many others "too numerous to
mention;" but we trust from what we have said, that the subject will not be
lost sight of by those interested in the elevation of our national drama.
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