I
As Love, one summer eve, was straying, Who should he see, at that soft hour, But young Minerva, gravely playing Her flute within an olive bower. I need not say, ’tis Love’s opinion That, grave or merry, good or ill, The sex all bow to his dominion, As woman will be woman still.
II
Though seldom, yet the boy hath given To learned dames his smiles or sighs; So handsome Pallas look’d, that even Love quite forgot the maid was wise. Besides, a youth of his discerning Knew well that, by a shady rill, At sunset hour--whate’er her learning-- A woman will be woman still.
III
Her flute he prais’d in terms extatic, Wishing it dumb--nor car’d how soon-- For Wisdom’s notes, howe’er chromatic, To Love seem always out of tune. But long as he found face to flatter, The nymph found breath to shake and thrill; As, weak or wise--it doth not matter-- Woman, at heart, is woman still.
IV
Love chang’d his plan, with warmth exclaiming, ‘How brilliant was her lips’ soft dye!’ And much that flute, the sly rogue, blaming, For twisting lips so sweet awry. The nymph look’d down--beheld her features Reflected in the passing rill, And started, shock’d--for, oh, ye creatures! Ev’n when divine, you’re woman still.
V
Quick from the lips it made so odious, That graceless flute the goddess took, And, while yet fill’d with breath melodious, Flung it into the glassy brook; Where, as its vocal life was fleeting Adown the current, faint and thrill, At distance long ’twas heard repeating, ‘Woman, alas, vain woman still!’
The music to this is ‘French.’ Why should not the composer have been named? We have a mortal dislike to generalities in such cases; they are unjust, and may create surmises. The next song, ‘Who comes so gracefully,’ a waltz-like and very pretty melody, is described as a ‘foreign air.’ Now, what would the editor of these volumes say, if, when enjoying his friend’s choice bottle, he were to ask the name of the most precious juice, and to be answered, ‘’Tis foreign wine,’ would he not suspect that some sinister motive lurked in such a reply?
But now uprises a
‘----nymph with anxious eye.
* * * * *
----joy is in her glance! the wing Of a white bird is seen above.’
It is, in homely prose, a carrier-pigeon, who, of course, brings her the wished-for billet; and this calls upon her for a song, ‘Welcome, sweet bird,’ which does no little credit to Mr. E. Shulz, the composer, who has here shown much taste and greet feeling, if not equal fertility of invention.
The party grows gay, and some of the elders of the company sing a Bacchanalian trio, ‘Up with the sparkling brimmer!’ which claims, it appears, Bohemia as its country, though the parent is not much honoured by this her progeny; any clime, or any pen, might have produced it.
A warrior now gives breath to a martial air, ‘March! nor heed those arms that hold thee;’ another of ‘Bohemian’ origin, but spirited and very well adapted to the words.
The assembly, however, having once tasted the ‘Zacynthian juice,’ loudly call for the cup again; then gratefully extol the source of their pleasures, in a rapturous eulogium on the tree that bears the wit-inspiring grape,--that is to say, in a trio, ‘’Tis the vine! ’tis the vine!’ in which the ladies join; we fear, therefore, that they, for want of something better, have pressed the sparkling chalice too often to their ruby lips, they chaunt the encomiastic strain so like true Bacchantes. This is by an anonymous composer, but the author need not have concealed his name, if fear of criticism alone led him to withhold it, for it is one of the best pieces in the volumes,--a pleasing air, good harmony, marked rhythm, the words are very appropriately set, and the accentuation perfect.
We have thus at very considerable length entered into this work, for the standing and reputation of the poet and his coadjutor entitle them to more than common notice. The poetical part, though a little obscure in its unfinished state, exhibits all Mr. Moore’s glowing fancy, but without the slightest approach to that warmth of language so characteristic of some of his works; and abounds in richness of imagery. The musical portion has had the benefit of Mr. Bishop’s talent and experience, which are fully displayed in the accompaniments to the songs, the taste and fitness of which admit of no question.
* * * * *
PIANO-FORTE.
1. ~Introduction, Grandes Variations~, et ~Polonaise Brillante~, sur la Sentinelle, composées par ~J. H. Worzischek~. Op. 6. (Wessel and Co.)
2. ~Air de Ballet~, tiré de l’opera La Tentation, et arrangée en Rondeau, par ~J. Herz~. (Mori and Lavenu.)
The first of these is the tenth number of a work under the title of Album des Pianistes de première force, a publication which has often come under our notice, and is especially suited to amateurs who have very vacant minds and many vacant hours; and most powerfully co-operates with those who wish to render piano-forte music ridiculous and repulsive. The whole of this,--introduction, variations, and all,--consists of a collection of difficult, stupid passages, not one of them having the slightest pretence to novelty, or exhibiting the smallest trait of either taste or feeling. There is nothing here, from the first note to the last, that a dull, plodding, industrious key-thumper, armed with pen, ink and paper, might not have produced, and it contains no one bar that a musician--who really understands his art--who is a man of enlarged mind--would not blush to avow. We have often warned professional men of the danger of encouraging such music, whether by using it, or by applauding it when performed in public. Their recommendation and affected approbation of it can only be placed to the account of ignorance or quackery. Ignorance in those who have not understanding enough to discriminate between good and bad in their art;--quackery in such as wish their own agility of fingers to be inferred from their admiration of it in others. But our warning has not been taken: a fact which too many know, to their cost.
* * * * *
No. 2, which is called La Galopade, though it consists of an introduction and allegretto, as well as the dance, is the companion to La Romeca, noticed in our last; but while it is lively and exhibits no absurdities, it is not altogether equal to the first, arranged by the same. We must, however, admit that its vivacity will please many who do not enter into merits of a more sterling kind.
* * * * *
1. ~Rondo Pastoral~, composées par ~Frederic Kulau~. (Duff.)
2. ~Brilliant Rondo~, from ~Bellini’s~ Straniera, arranged by ~Wilhelm Hunten~. Op. 30. (Mori and Lavenu.)
The Pastoral of Kulau is an elegant composition, and being neither too slight in structure to be unworthy the notice of first-rate amateurs, nor too elaborately formed for moderately good ones--a very numerous class--is likely to have a considerable circulation. The key is C; the time, we need hardly say, is six-eight; and the movement allegro non tanto:--troppo, we presume, is meant.
* * * * *
The second is ill named, it has more of the pastoral character than the brilliant: six-eight time, allegretto, and a predominance of quavers, do not altogether authorize such an epithet. The subject is a barren one, therefore it is not a wonder that M. Hünten has made little of it. Luckily it is not long, and a rather moderate price is fixed on it.
* * * * *
1. ~Beauties~, sung by ~Mad. Cinti Damoreau~, for the Piano-forte, selected from the Operas of ~Mozart~, ~Rossini~, ~Meyerbeer~, ~Auber~, &c., with the Embellishments of the above vocalist, arranged as ~Fantasias~, by ~Adolphe Adam~, Book 1. (Mori and Lavenu.)
2. Do. Book 2.
This is certainly a comical title, however it be pointed or read; but M. Adam, who we conclude knows as much of our language as of our contingent remainders, is not responsible for its construction, we, therefore, look only to his selection and arrangement, both of which show that he has more judgment than his scribe. The compositions chosen for the first fantasia are ‘Sento un interno voce,’ and ‘O Matutini Albori,’ by Rossini; Mozart’s ‘Giovinette;’ and ‘Voici venir,’ with ‘Povera Signora,’ by Auber.
* * * * *
The second is composed of ‘Voyez que cette marche est belle,’ by Auber; Mozart’s ‘Batti, batti;’ a Swiss song, by Meyerbeer; ‘Ah! se tolto,’ by Rossini; ‘a song composed by Mad. Cinti;’ and almost the only praiseworthy air in La Cenerentola, ‘Non piu mesta.’ These are well amplified and combined; and if they display no extraordinary talent or vigour in the adapter, they at least prove him to be a rational being, not one of the note-splitters, who, having no brains themselves, wish to addle those of other people. These fantasias are far from difficult, and though many will find them rather too long, will prove generally acceptable.
* * * * *
1. ~Le Rossignol Waltz~, with Introduction and Variations, by ~S. Gödbe~. (Collard and Collard.)
2. ~Introduction~ and ~Rondo~, on the Song, ‘I will not chide,’ composed by ~E. Solis~. (Collard and Collard.)
3. Les Paysannes, a first Set of ~Quadrilles~, by a ~Lady~. (Banff Lithographic Press.)
No. 1 is a pretty, easy trifle; but it is quite clear that the composer either never heard the nightingale, or meant to ridicule imitations, for such notes as he has given to the ‘love-sick bird’ never yet were formed in its melancholy throat. But people will not be very scrupulous on a matter of fact of this kind, and will find this a pleasing bagatelle, of moderate length and price.
* * * * *
The title-page of No. 2 tells us that the song chosen is ‘an admired’ one. No doubt: every song published now-a-days is not only admired, but ‘enthusiastically applauded,’ wherever performed. But, be it known, such songs are seldom heard anywhere but under the composer’s own roof, and it would, indeed, be cruel if his guests did not extravagantly praise his productions. For ourselves, we never before heard of ‘I will not chide,’ and are not now particularly anxious to become acquainted with it.
* * * * *
We have played over the first page of No. 3, and--(really it grieves us to utter what may sound ungallant)--and earnestly recommend the lady-composer not to publish again till she has gained a little more knowledge of composition; and advise her, when she does again venture into print, to direct the writer on stone either to copy accurately, or mend what he copies.
* * * * *
VOCAL.
1. ~Ballad~, ‘The kiss on the lips we love,’ the Words by ~John Imlah~, Esq., the Melody composed by Mrs. ~P. Millard~, the Accompaniment by ~Alfred Pettet~. (Woodward, Norwich.)
2. ~Hymn~ of the Polish Exiles, composed by the Author of Musical Illustrations of the Waverley Novels; the Words from The Charmed Sea, a Tale by ~Harriet Martineau~. (Novello, and Charles Fox.)
3. ~Air~, ‘I’ll meet thee on the mountain,’ written by Miss ~S. Wollaston~, composed by Miss ~Wollaston~ (Goulding and D’Almaine.)
4. The Red Rover’s Song, the Words by ~Edward Smith~, Esq., composed by the Chevalier ~Sigismund Neukomm~. (Goulding and Co.)
5. Love’s Review, the Poetry by ~W. B. Bernard~, Esq., composed by ~John Barnett~. (Collard and Collard.)
6. ~Ballad~, ‘Lady Love,’ the Poetry by ~W. F. Collard~, the Music by ~Alexander Lee~. (Collard and Collard.)
7. ~Ballad~, ‘My harp of happier days,’ written by ~Charles Jeffreys~, composed by ~S. Nelson~. (Chappell.)
8. ~Ballad~, ‘My love he gave me roses,’ _written by the Honourable_ ~Grantley Berkeley~, the Music composed by ~Alexander D. Roche~. (Aldridge)
9. ~Cavatina~, ‘The Flowers,’ the Poetry by Mrs. ~Charles Greville~; composed by ~Bianchi Taylor~. (Collard and Collard.)
10. ~Serenade~, ‘Oh! come to the bower,’ written by ~G. Macfarren~, Esq.; composed by ~G. A. Macfarren~. (Aldridge.)
No. 1 is an agreeable air, the marked rhythm of which makes it at once understood. The sixth bar of the symphony would be better and more correct if the 3rd, 4th, 5th, and 6th notes in the treble were altered to ~G~, ~B~, ~A~, and ~F~.
* * * * *
No. 2 expresses in verse and song the deep sympathy of two highly talented ladies for the brutally oppressed, expatriated Poles. This is a short composition in ~C~ minor, air and chorus, which speaks as strongly in favour of the good feeling as of the taste and knowledge of the fair composer.
* * * * *
No. 3 is a series of examples of the most erroneous accentuation, and as such may be recommended as beacons, to all students in composition.
* * * * *
When it is stated that No. 4 is an animated composition--we are sure that the composer must always be correct--as much is said of it as impartial criticism will permit. We do not trace in it any marks of that genius which appear in so many of M. Neükomm’s works.
* * * * *
No. 5 is a lively air, à la militaire, but doubtless owes much of the rapturous applause,--of which the title-page, vulgarly enough, boasts,--to the exertion and popularity of Madame Vestris. The words, however, are set with spirit, and correctly.
* * * * *
There is much gentleness and grace in No. 6, and the words are, in all respects, appropriately and correctly set. The whole, too, is easy.
* * * * *
Nos. 7 and 8 are wholly exempt from censure, though not entitled to any praise, except that of correctness.
* * * * *
No. 9 is a clever composition, full of melody and good passages,--one more especially, beginning at the fifth bar of the second page, which indicates the real musician. The composer also has read and understood the poetry, both as regards its meaning and measure.
* * * * *
No. 10 displays no inconsiderable talent. The guitar-like accompaniment is not only in good keeping--exactly what a serenade requires--but shows a taste and command in harmony. This is altogether a pleasing, easy vocal piece.
* * * * *
1. ~Arietta~, ‘Praticel di fiori adorno,’ composta dal M^o. ~Michele Costa~. (Mori and Lavenu.)
2. ~Aria~, ‘Dolce Calma, oh! Dio!’ introduced by Sig. Tamburini in ~Paer’s~ Agnese, composed and published as the preceding.
3. ~Arietta~, ‘Donzellette che presto volate,’ composed and published as the preceding.
No. 1 is a very sweet air, and not devoid of original passages. It is moderate in compass, and easy both to sing and accompany.
* * * * *
Nos. 2 and 3 are not equal to the preceding, but written in good taste.
* * * * *
HARP AND PIANO-FORTE.
1. ~Hummel’s Notturno~, op. 49, arranged as a ~Duet~, by ~N. C. Bochsa~. (Chappell.)
2. ~Overture~ to Zelmira, arranged by the same, with accompaniments for Flute and Violoncello. (Chappell.)
3. ‘Il soave e bel contento,’ Air, arranged by the same, for two performers on the Piano-forte, with Harp accompaniment. (Chappell.)
~Hummel’s~ Notturno in ~F~ is well known to most amateurs, and being one of his earlier productions, is lighter than most of his later works--less the result of study. It makes a duet exactly calculated for social circles, the difficulty not being great for either instrument, and the air as well as variations being in a familiar style.
* * * * *
The adaptor of No. 2 is not a very scrupulous person. There is no overture at all to Zelmira!--but as M. Bochsa is publishing arrangements of overtures, he at once changed the name of the Introduzione to this opera, and included it, under the new appellation, in his collection. It is in ~D~ minor, and one of Rossini’s best openings. The air and chorus which terminate the scene, are in the major key, and end the whole brilliantly.
* * * * *
The air, No. 3, certainly a popular one among lovers of modern Italian music, is converted into a trio, and makes an effective one. It is not long or difficult, but requires three correct, neat performers.
* * * * *
HARP.
1. Air de Ballet, as a ~brilliant Rondo~, the subject from ~Meyerbeer’s~ Robert le Diable, arranged by ~Theodore Labarre~. (Chappell.)
2. ~Four Airs~ from ~Rossini’s~ Aureliano in Palmira, arranged by ~N. C. Bochsa~. (Chappell.)
3. ~Andante~ à la Suisse, and Grande Valse in form of, &c., Rondo, from ~Hummel’s~ op. 72 and 103, arranged and published as the preceding.
4. ~The Alpine March~, arranged by ~G. Holst~. (Chappell.)
No. 1 is the Bacchanale from the 3rd act of Robert, arranged in an easy manner.
* * * * *
No. 2 is said to comprise the ‘favourite’ airs from Aureliano. We never before knew that this opera could boast of a single air that any person ever admired. We have here also a publication of the easy kind, and comparatively short. Had any of the four airs been long, they would have been intolerable.
* * * * *
No. 3 is an imitation of Swiss melody, followed by a rondo composed for the Harmonicon, and still our property, having paid, and liberally too, for it years ago! We, however, have applied for no injunction, nor do we intend; it has answered our purpose as a piano-forte piece, and we hope it will satisfy harp players as much as it did our own subscribers.
* * * * *
No. 4 is an easy arrangement of the Alpine March, or Alpensänger-Marsch, which is just now going the round of the different instruments.
* * * * *
BIRMINGHAM MUSICAL FESTIVAL.
It has been generally supposed and expected, that the Musical Festival at Birmingham would take place during the ensuing autumn, in the newly erected Town Hall, and which (when finished) we are assured will be one of the finest rooms in Europe. We are, however, authorized to state that, in order to carry the various and necessary preparations into effect, and that the arrangements in every department may be as complete and as perfect as possible, the committee of management have, under these considerations, come to a determination to postpone their Grand Musical Festival (for the benefit of the General Hospital) until the autumn of 1834, when we have every reason to believe it will take place under the most favourable auspices, and be carried into effect with a degree of splendour unequalled on any previous and similar occasions, either in this or any other country.
* * * * *
EXTRACTS FROM THE DIARY OF A DILETTANTE.
[Resumed from page 36.]
January 31st. The magnificent band of the Philharmonic Society met privately at the Hanover-square Rooms, to try some new compositions, written with a view to their being performed at the concerts; among which were symphonies by Mr. W. Griesbach, Mr. Cipriani Potter, (a remarkably clever work,) and M. Rousselot; also an overture, by Mr. S. B. Wesley.
In order to try the effect of the enlargement and alterations in the orchestra, the business of the evening commenced with the overture to the Zauberflöte; and all agreed that the effect of the band was nearly doubled in consequence of the improvements. From being the worst, it has become the best music-room in London.
Feb. 5th. Poor Herold, the French dramatic composer, has been honoured by an apotheosis, or something like one, at Paris. After the performance of his Pré aux Clercs at the Opéra Comique, a fortnight back, a funeral urn covered with black crape, and ornamented with a wreath of Everlastings, was brought on the stage, surrounded by the whole company in deep mourning; when Pouchard delivered a poetical oration, in which the departed composer was decreed a seat in heaven, between Weber and Cimarosa, the whole audience sanctioning the judgment.
11th. A meeting of Mr. T. Mason’s creditors took place this day, when Signora Tosi again claimed the sum of 28,000 francs, which was resisted on the ground of her having refused to perform in male attire. The commissioner, waiting for further information as to the practice of other Italian theatres, deferred judgment.
From the balance-sheet of the theatre, it appeared that the debts due amount to 17,417_l._; to meet which, it was stated, that there are debts recoverable, together with the properties at the theatre, amounting to 6,154_l._ What the recoverable debts are I cannot exactly state, though I believe they do not amount to 1500_l._; and as to the ‘properties,’ whoever values them at 200_l._, estimates liberally.
Mr. Mason’s receipts during the season were--
For Italian opera £38,583 18 6 French do. 3,522 10 0 German do. 10,555 12 0 Miscellaneous 2,227 19 4 -------------- Total 54,929 19 11
His expenses were--
For French and Italian opera 17,660 9 9 German do. 6,358 1 0 Ballet 8,269 19 3 Orchestra 6,448 0 2 Rent 16,050 0 0 Miscellaneous 11,470 0 4 -------------- Total 66,256 0 0
The loss, therefore, amounts to 11,317_l._ according to the balance-sheet: but of the debts, &c., said to be recoverable, it may fairly be assumed that not much will ever be received--4000_l._ therefore, at least, may be added to the loss, making a total of 15,317_l._
* * * * *
14th. An account of a ‘Recent Voyage to the South Seas,’ states the following as the effect of European music on the natives:--‘In the midst of the shouting (at Nuka-hiva, one of the Washington Islands) and apparent importunity for us to land, Captain Finch ordered the music on deck, and the moment its full and animated strains reached the shore, the effect on them was evident; they instantly crouched to the ground in perfect silence, as if under the influence of a charm. Nothing of the kind, it is probable, ever broke upon their ears before, and well might there have been a mingling of superstition in their minds with the sudden swelling on the breeze of sounds new and seemingly unearthly.’ It might have been said, that they--
--------wondering on their faces fell To worship the celestial sound. Less than a god they thought there could not dwell Within the hollow of that shell, That spoke so sweetly and so well.
We have only to imagine a guitar instead of flutes, violins, &c. and Dryden’s lines would well apply to the scene.
* * * * *
21st. Madame Mara, once the idol of the British nation, died at Revel on the 20th of January last, in the eighty-fourth year of her age. She lost the whole of her property by the great conflagration at Moscow during the invasion of Bonaparte, and has ever since depended on the kindness of a friend who knew her when she was high in public favour, and afterwards when she had retired to Russia, in prosperous circumstances. An interesting memoir of her, from the German, is contained in the Harmonicon for the year 1828.
* * * * *
24th. Paganini has been created a Baron and Commander of Westphalia; the title to be hereditary, descending to his male heirs. If, says the Nouvelliste--whence I obtain this information--nobility will not ensure talent, this elevation proves at least that talent will sometimes ensure nobility. No doubt many will smile at such a creation; but let such look at our house of Peers, and see how many have been sent there with no recommendation whatever, except the possession of wealth, and the will to misapply it.
FOREIGN MUSICAL REPORT.
MILAN.
The Scala opened for the season on the 26th Dec. with a musical drama by Donizetti, entitled Fausta, new to this city, but which had been already brought out at Naples with but doubtful success. Its fate here has not been much better; the story of the opera did not please the habitués of the Scala; and the music was considered inferior to the later compositions of Donizetti, more particularly to his Anna Bolena, of which many traces and reminiscences are continually occurring in the Fausta. Nevertheless, Madame Tosi gave all the support of her talents, both as a singer and an actress, to the piece. The tenor Pedrazzi is also much praised; but the début of Zucchelli was much less favourable; his voice was considered feeble, and his manner wanting in energy and warmth. When he left Paris his voice was already growing weak, and consequently not calculated for the Scala, the size of which theatre demands power.
The Teatro Carcano opened with Bellini’s Capuletti e Montecchi, the part of Juliet by Madame Roser Balfe, Romeo by Mdlle. Michell, and Tebaldo (the tenor) by Bonfigli. Though this opera is far from being a novelty in Milan, it still retains a great share of popularity.
Mercadante has been very unfortunate this season; his Gabriella di Vergi met with but middling success, in spite of the talents of Madame Ungher, and although the music is said not to be without merit, particularly Madame Ungher’s cavatina, a trio between that lady, Cartagenova, and Winger, and a duet in the second act. It appears, therefore, that the subject of the libretto must have injured the exertions of the composer. He met with another check at Genoa, where his Ipermnestra (an opera written by him at Lisbon, when he was manager of the theatre there) was very coolly received, though well performed by Madame Schutz, Mdlle. Cesari, and the tenor Binaghi.
ROME.
A new opera has been performed at the Teatro Valle, called Il Furioso all’ isola di S. Domingo, the libretto by Ferretti, and the music by Donizetti. The music secured the success of the piece. It is said to be full of effect and novelty. From the introduction to the final rondeau, every piece was listened to with enthusiasm and applauded con furore. The execution was worthy of the composition. Mdlle. Elisa Orlandi, and the tenor Ronconi, who performed il Furioso, were particularly applauded. This is by far the most successful performance that has been produced at any Italian theatre for a long time.
BERGAMO.
Ricci’s Clara Rosemberg has been produced here with the most brilliant success. Mdlle. Edwige, the prima donna, does infinite credit to the instructions of Garcia; her voice is fine, her execution rapid, and she has good expression. She was applauded in all her pieces, and several times called forward by the audience. Belloli is a good first musico; the tenor Domenico Furlani is rather weak, but the first bass, Baroilhet, is excellent. The second opera will be Mercadante’s Normanni a Parigi. Ricci’s Clara Rosemberg has been selected as the opening piece of the season in several other towns besides this; amongst them, Brescia and Vicenza. At Verona the theatre opened with the Pirata, in which the principal characters were supported by Gennero and Madame Fischer.
CARLSRUHE.
A young composer, named Charles Augustus Weber, professor of music in the Lyceum at Radstadt, near Baden, has elicited much attention by the merit of his writings. At the third concert of the Museum an overture of his, full of happy thoughts, was performed, displaying in the instrumentation very many new and well-imagined effects. Four choruses of his composition, for soprano, mezzo soprano, tenor, and bass, produced considerable effect. M. Weber is a distinguished performer on the violin; and already known as the author of several songs, piano-forte pieces, and violist quartetts.
VENICE.
Notwithstanding all the efforts of Bellini’s friends, who are very numerous in this city, his Norma has not had better success at the Fenice than attended its production at the Scala. In fact, had not the principal character been performed by Pasta, its failure would have been inevitable and complete. This great actress has not sunk in Venice below the exalted station to which her talents have elevated her in every other part of Europe. The second opera of the season is to be Eufemio di Messina, by Maestro Persiani; then will be brought out the Otello for Madame Pasta; and, lastly, a new opera of Bellini’s, of which the title is to be Beatrice Tenda.
At the Theatre S. Giovanni Crisostomo, Pavesi’s opera, Marcantonio, was very coolly received. The company of singers contains no individuals of known talent; and, whatever the journals may say, neither obtained nor deserved much success. Donizetti’s Zingara is to be the next piece, and to be followed by two new operas, one composed by Domenico Barocci principal tenor of the company, and the other by a Signor Bonaccini, who may be a very clever composer, but who has never yet been even heard of.
In the course of the season there is to be a series of performances at the Theatre S. Samuel; the principal singers, who are coming from Padua, are to be the Persioni prima donna, who has some talent; Zilioti, tenor, Ladetti, basso cantante, and Zambelli, first buffo. It is to be feared this company will not be worth much; but, at all events, it cannot be denied there will be variety enough.
At Padua Maestro Pietro Bresciana has brought out a new opera, called I Promessi Sposi; both the music and performance are very well spoken of.
PARIS.
Théâtre Italien.--After being postponed for some time, on account of the illness of Rubini, Bellini’s Capuletti e Montecchi was at length brought out; the hero and heroine represented by the sisters Grisi, and Tebaldo by Rubini. Few of Bellini’s operas have enjoyed so great a share of popularity in Italy as this; which, however, was written without premeditation, and begun and finished in fifteen days, at the urgent request of the Venetian managers, to fill up a gap in their performances occasioned by the complete condemnation of some other pieces. Bellini, himself, appears to be partial to it, for he has dedicated the printed copy to his fellow-citizens in Catania; but even considered as a work of Bellini’s, it bears evident marks of the haste in which it was got up. It was tolerably successful, however. The last movement of the finale to the first act, in which Romeo and Julietta sing an impassioned melody in unison, accompanied by the other voices and chorus in arpeggioed staccato notes, was particularly applauded, and in fact decided the fate of the opera.
Bellini’s opera was followed by the revival of Mozart’s Don Juan, which was very nearly a failure. Nothing can render Mozart’s operas old; their triumph over both time and fashion was sufficiently proved by the crowds which the announcement of his chef d’œuvre drew to the theatre: but the best music, to produce its effect, most be well and spiritedly performed, and it is but too true that the great majority of the Italian singers neither like, nor understand, nor can sing Mozart’s music. It is too foreign to their habits, they find no hooks left in it for them to hang their fiorituri on,--and persuade themselves, therefore, that it precludes them from all opportunity of showing off their talents.
Tamburini looked Don Juan well, and was encored in the rondeau Fin ch’han dal vino; but he spoiled the air by introducing into it a long pause and holding note on the ~E~♭ towards the close, when the whole spirit and effect of the composition consists in the rapid and uninterrupted movement the author has given it. The women were all out of their places, and felt so; Mlle. Grisi has too tall and commanding a figure and too loud a voice for Zerlina. Mad. Tadolini is totally unfit for Elvira, and Mlle. Karl, who performed Donna Anna, is unfortunately no favourite with the public, which is too frequently as capricious in its dislikes as in its favoritisms. Rubini alone seemed in his element; his Il mio tesoro was, as usual, a finished morceau.
A very successful début has lately been made at the Opéra Comique, by a M. Hebert, a young man with a very fine bass voice. He appeared in Jean de Paris. It is said that he wished to select the Maitre de Chapelle, but the composer objected; if so, and the same composer heard M. Hebert, he must have felt some regret at his refusal. The débutant possesses superior taste; and a certain elegance and facility in his delivery; to which he adds a good figure, self-possession, and intelligence, qualities which practice, and the habit of appearing before the public, will no doubt develope and improve.
THE DRAMA.
~King’s Theatre.~
This theatre has passed, as we predicted, out of the hands of the be-puffed Mr. Mason, into those of the be-praised M. Laporte, and opened on Saturday the 16th of February, with nearly the weakest of Rossini’s operas, therefore one of the greatest favourites with Italian singers, La Cenerentola. In this appeared for the first time in England, Madame ~Boccabadati~, who recently was presented to Parisian audience, but with no very flattering result; she therefore was not extremely reluctant to accept an engagement at our Italian Opera House, where anything is tolerated, provided the manager is a Frenchman, and the boxes are let at the moderate price of 300 guineas for about fifty nights.
Madame Boccabadati possesses a soprano voice, of that kind which makes its way into the house, though it sometimes forces people to make their way out. This potent quality is a piercing thinness, and, as commonly happens with a vocal organ of such description, is accompanied by an apparently total absence of all feeling. As counterbalances, however, her intonation is good, and she sings with that firmness, that self-confidence, which leads one to suppose that she understands music,--at least the modern opera music, for the chances are that this lady never sang, never dreamt of, any other. In person Madame B. is much shorter than her name, but what is wanting in height is made up in breadth. As to age, a well-bred critic would guess her at half of that allotted by the Psalmist to man: the less polite manager of an office for insuring lives, would add seven or ten years to this, and be much nearer the mark.
With the exception of ~Donzelli~ as Ramiro, and perhaps ~De Begnis~ as the Magnifico, the opera was got up in a manner highly gratifying to those who wish to see this kind of amusement put down by force of public opinion. If a Puritan by any unaccountable accident found himself in the house, he most have chuckled exceedingly at the performance. But what he would say to the theatre remaining open till nearly three o’clock on Sunday morning, we can hardly guess.
What is the prelate of London about?--What the magistrates of Middlesex, who, if they hear a fiddle or a fife in a public-house after the eleventh hour, go crazy with the fear that law and religion are rapidly approaching their final overthrow?
~Drury-lane Theatre.~
On Tuesday the 5th ult. Mozart’s chef-d’œuvre, under the English name of Don Juan, was produced at this theatre, cast as follows:--
Don Juan ~Mr. Braham.~ Don Ottavio ~Mr. Templeton.~ Don Pedro ~Mr. Bedford.~ Leporello ~Mr. H. Phillips.~ Masetto ~Mr. Seguin.~ Donna Anna ~Mad. De Meric.~ Donna Elvira ~Miss Betts.~ Zerlina ~Mrs. Wood.~
Never was foreign music produced with more success on our national stage than in the present instance, and the vast trouble and expense bestowed in getting it up have been amply repaid by the most unequivocal sign of public approbation--large receipts.
The dialogue seems to have been taken from the English version made in 1817, and is adapted for the present purpose by Mr. Beazley. It departs in no way from that translation, except in a few merely verbal alterations. The music is said in the advertisements to include all that was originally written by Mozart; but this is not exactly correct, for the manager has, and very wisely, omitted the last scene, which, splendid as is the concluding chorus, is injurious to the effect of the opera as a whole. But the pieces published in the appendix to the German editions of the music have now been all introduced, and embodied in the opera, an alteration certainly well meant, but by no means to be approved, for they add to the length of the drama, and diminish its interest. It is worth while, in the case of so important a work--the glory of the lyric stage--to have this matter properly understood.
In a catalogue of Mozart’s compositions, in his own hand-writing, in the possession M. André of Offenbach, a copy of which is now before us, is the following entry:--‘28ten October, 1787; in Prag. Il Dissoluto Punito, o, il Don Giovanni, Opera buffa, in 2 Atti. Pezzi di Musica, 24.’ Now, by looking at the list of pieces in the original edition of the music, it will be seen that these are exactly 24, exclusive of the few bars sung by the Statue in the cemetery, and that the airs, &c. in the appendix are not included among these; they, in fact, never formed any part of the opera as at first performed, but were added from time to time, afterwards, to gratify particular performers, and to induce them to accept characters, which, in their vanity, they thought not good enough, not sufficiently important, without some augmentation. Accordingly we find, in the very same catalogue, a memorandum made on the 24th of April, 1788, in the following words:--‘Aria zur Oper Don Giovanni, in G dur, Mr. Morella, Dalla sua pace, etc.’ On the 28th of the same month and year, the duet ‘Per queste tue Manine,’ is entered as composed for Madame Mombelli and Mr. Benucci; and on the 30th is a notice of the scena, ‘In quali Eccessi,’ and aria, ‘Mi tradi quell’ alma ingrata,’ introduced for Madlle. Cavallieri. There is no record of ‘Hò capito,’ which, doubtless, the great composer either forgot, or thought unworthy of notice, as it really is.
In 1817, when Don Giovanni was first made known to this country, ‘Dalla sua pace’ was introduced, in order to strengthen the part of Don Ottavio for Signor Crivelli, the first Italian tenor then in Europe, and so lovely an air was gladly received, and being short, very little retarded the progress of the drama. The scena of Donna Elvira is, unquestionably, a very fine composition, but that the author himself never meant it to form a permanent part of the opera is clear. Equally obvious are his intentions respecting the duet, ‘Per queste tue Manine.’
Besides these, a scene is interpolated, (where Leporello is blind-folded,) which is all too much, and ought certainly never to have been admitted.
Though Mrs. ~Wood~ insisted on singing the duet ‘La ci darem,’ (we forget the English words,) and the air ‘Vedrai, Carino,’ rather too slow, and dragged the time of both, yet she performed the character very charmingly: in the concerted pieces her knowledge and power were fully displayed. Mad. ~De Meric~ makes an excellent Donna Anna, and with Mesdames ~Camporese~ and ~Ronzi de Begnis~ fresh in our memory, we yet were perfectly satisfied with the new representative of the character. Miss ~Betts~ did more justice to the part of Donna Elvira than it has commonly received at the King’s Theatre. Great praise is due to her for her share in the opera.
Mr. ~Braham’s~ Don Juan much surpassed the expectations of those who have been in the habit of viewing him as a singer, and nothing else, on the stage, and fully realized the hopes of those who have recently learnt that he can act as well as sing. The whole performance was spirited, easy, and gentlemanlike: in his scenes with Zerlina there was exactly enough of that warmth, that empressement, which forms the just medium. His serenade, ‘Deh, vieni alla Finestra,’ proved very delightful; his share of the duet, ‘La ci darem,’ admirable. Mr. ~H. Phillips~ sang all that is allotted to Leporello in a most perfect manner, particularly ‘Madamina,’ or the list of Juan’s conquests; but he wanted a little more of that comic humour, of that archness, which the character requires. Mr. ~Seguin’s~ Masetto did him great credit, though it was evident that the intrusive air, ‘Hò capito,’ was not introduced by his wish. Mr. ~Bedford~ made a very good Don Pedro. As the statue, both equestrian and pedestrian, his voice, figure, and firmness, told surprisingly well.
The orchestra, in order to do justice to such a work, was augmented by the principal instruments of the King’s Theatre and Philharmonic band, whose assistance was very sensibly felt, and contributed much to the brilliant success which attended the whole performance. Mr. Bishop acted as conductor, and Mr. T. Cooke led the band, who, we believe, undertakes this duty only on extraordinary occasions. The scenery throughout is good; that of the cemetery by moonlight, perfect; but the last scene, borrowed from Martin’s Pandemonium, is most magnificent, and was not lost on the spectators. Indeed the whole was received with acclamations, continues to draws full houses, and promises to reimburse the manager for the great expense he has incurred, and is incurring, in the performance of such an opera.
Mr. ~H. Phillips’s~ engagement having terminated shortly after the production of this piece, his part has been taken by a gentleman quite new to the London stage, named ~Martin~, a pupil of Mr. ~T. Cooke~, who, with a good base voice, correct intonation, and an unaffected manner, promises to supply the want of such a performer, which has long been felt at our theatres, Mr. Phillips not being gifted with ubiquity, though evidently very locomotive.
~Covent-Garden Theatre.~
A project often talked of, but never before listened to by the Lord Chamberlain, was, on the 15th of last month, the first Friday in Lent, carried into execution by ~M. Laporte~, namely, the performance of something like an oratorio in action, on the stage, with scenery, dresses, &c. For this experiment Rossini’s sacred opera, Mosè in Egitto, was chosen, which, with a chorus and a few scraps from Handel, was announced as The Israelites in Egypt, or the Passage of the Red Sea, the music ‘selected from the works of ~Handel~ and ~Rossini~,’ a most extraordinary union, it must be confessed, had the mixture been equal; but, luckily, the ‘Hailstone chorus’ was the only entire piece of the former composer introduced, the rest having been neither more nor less than the Italian opera with English words. The Jewish lawgiver was represented by Mr. ~H. Phillips~, who had just stepped out of the character of pimp to the Spanish grandee: and Mr. ~Seguin~, who, the night before and the night after, was the Masetto, or bumpkin, in Don Giovanni, personated the obstinate autocrat of Egypt. Mr. ~Wilson~ represented the brother of Moses, the chief priest named by divine authority; and the character of the first of the ‘first-born of Egypt,’ Pharaoh’s son, sustained by Mr. ~Wood~. Mrs. ~Wood~, Miss ~H. Cawse~, and Miss ~Sherriff~, were the ladies on the occasion; the first, a Hebrew captive, the two last the wife of Egypt’s king, and the sister of Aaron.
All, or nearly all, the music in Mosè is preserved, the name of Handel being a palpable deception. The grand chorus of ‘The Horse and his Rider’ is cut down to a few bars, though ‘Sing ye to the Lord’ is retained in compliment, doubtless, to Mrs. Wood. The ‘Hailstone’ chorus is, we have before stated, performed entire. Some of the pieces of the opera--for opera it is, however disguised the name--were well executed; others as badly. Mrs. ~Wood~ and ~Phillips~ of course bore the chief weight. The band, led by ~Mori~, was reinforced by some of the best performers from the King’s Theatre, and this department was extremely well filled. Mr. ~Rophino Lacy~, who has the merit of having contrived this strange mixture, gives Moses a snow-white beard, while he bestows on the elder brother of the lawgiver a remarkably black bushy one. There were a few other absurdities committed, but none worth notice. The house was very thinly attended, and we doubt whether the speculation will answer. Though we are persuaded that something of the kind, well considered and managed, would succeed.
THE MUSIC OF THE PRESENT NUMBER.
Before Haydn composed his twelve grand symphonies for Salomon, he had produced a vast number of others, of which but few are now in use, or even known, for many are in fact trifling, and were not written with any view to fame. But of those which are occasionally performed, some possess every merit that this very superior kind of composition can boast, and among them is his symphony in ~C~, for a full orchestra, beginning of which we have given the finale, the movement that has taken the title of La Danse des Ours, the subject having, it is said, been suggested to the composer by the bag-pipe music of a bear-leader in the streets of Vienna. The hilarity, the beauty, and the ingenuity of this, have induced us to print Stegmann’s arrangement of it; more especially as it is not published in a separate form in England or, we believe, anywhere else.
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The aria of Zelter is from a MS. scena in our possession, beginning ‘Oh Dio! se in questo istante,’ and entirely unknown in this country. We may venture to any that there is no second copy of it in London. The air now given is but a small portion of the whole, which would have been too long for insertion; and indeed, without orchestral accompaniments, much of its effect is lost. Concerning the author, we refer to the memoir in the present number.
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The two movements of Scarlatti were once the admiration of harpsichord players. The brilliancy of the first will still be admitted, and if we do not deceive ourselves, will lead many to open a work, of which very few, even of professional players, have the least knowledge. We have slightly altered the notation of some bars, but without making any change in the composer’s music. An account of Domenico Scarlatti will be found in the fifth volume of the Harmonicon.
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‘The Mansion of Peace,’ written for and sung by Harrison, was, like all that is excellent in music, repeated so often when in fashion, that delight was soon followed by satiety. It was first produced at least forty years ago, by one of the few whom we may call classical glee-writers--by the composer of ‘When winds breathe soft;’ and we feel convinced that it will be perfectly new to most of our readers. It has never, to our knowledge, before been published with a separate accompaniment.
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Beethoven’s Canon is spoken of at large in the letter-press of the present number. He gives it without any words: we have, to make it vocal--and it will be found extremely pleasing in effect--adapted a ‘Hallelujah, amen’ to the notes.
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The amanuensis of Handel, Christopher Smith, set the whole of the Tempest, as altered by Dryden, to music, and there are some compositions of much merit in his work, of which ‘Full fathom five’ is decidedly the best. This was for many years performed at the Ancient Concert, being preferred to that set by Purcell to the same words. However, there is nothing else in Smith’s Tempest to be compared to the work of our great English composer. Of Smith very little is recorded. He composed three or four oratorios, and some Suites of lessons, in imitation of Handel, none of which are now known.
* * * * *
For the quartet, ‘Now the Moonbeam’s lustre,’ we are indebted to the Spectator newspaper. Of the composer we have no information, and we never met with his name before. The present may very properly be denominated a glee, and as such will be more effective if sung by what are called equal voices.--i. e. men’s voices.
[Sidenote: ~April~, 1833.]
MEMOIR OF M. HEROLD.
(From La Revue Musicale.)
Thirty years ago the French school was rich in composers of remarkable merit; Mehul, Lesuer, Berton, Devienne, Della-Maria, Kreutzer, Catel, Boïeldieu, Gaveaux, produced numerous compositions, and the reputation of their success redounded to the honour of their country. Since then death has cut off some of these artists in their youth, others in the very vigour of their talents, while the muses of others again have sunk into silence. It was a grievous loss when an individual of such a party was consigned to the tomb; but there was consolation in contemplating the survivors. What a difference now! How deep must be our regret when we see one of the most celebrated musicians of the day ravished from us by a premature death! Herold is gone--I look around and can only indulge in the hope of something that futurity may bring forth; one, and one only, of his compeers is left to us.
Louis James Ferdinand Herold was born in Paris, the 28th of November, 1791. His father, who was a pianist of some merit, and a respected professor, notwithstanding the early and decided proofs of a musical genius which the son evinced, had no intention of bringing him up to the profession. At ten years old he was placed at one of the best boarding-schools of the time, where he made a brilliant progress in his general studies, which had afterwards no doubt its effect on his career as an artist. The author of this notice, at that time a scholar of the Conservatorio, resided in the some house as teacher of the solfeggio. Herold, as well as his fellow pupils, attended the lessons, but his progress was much more rapid than that of any of the other scholars; nature had made him a musician; he learned, or rather seemed intuitively to imbibe, the principles of the art as a matter almost of play, without appearing to suspect his own strong determination towards it.
The early death of his father made a sudden change in young Herold’s destination in life and in his studies, music being by that circumstance rendered his profession. Already a good musician, he entered the Conservatoire in October, 1806, as a student of the piano-forte in the class of M. Adam. His hands were well formed for the instrument he had selected; the lessons of the able master who directed his studies so made him a distinguished performer. Under the instructions of Catel, he prosecuted with success the study of harmony, and placed himself under Mehul to learn the art of expressing on paper the musical ideas which already began to present themselves to his imagination. The lessons of this great artist, and, perhaps, still more his conversation, always piquant, and full of ingenious and acute reasoning, had the most happy effect in developing the faculties of young Herold: his progress was that of a man born to be an artist; one year and a half’s study qualified him to enter into competition for, and obtain also the grand prize for composition given by the institute in August, 1812. The cantata which he composed for this occasion (Madame la Valliere) does not perhaps quite indicate the exalted talent he was destined one day to exhibit; but it cannot be denied that it contained sufficient proofs of a very happy disposition for his art.
In November of the same year, Herold set off for Rome as a pensioned student of the government. Most of the scholars who are fortunate enough to obtain that great object of their ambition, the first prize in composition, still look upon the time which the rules of the institute oblige them to pass in Italy, and particularly at Rome, as little better than a kind of exile. This was not the case with Herold; he had long sighed after Italy, the country which seemed in his imagination to teem with musical inspirations. Often has he declared that the time he passed in the capital of the Christian world formed the happiest epoch of his life. After three years of labour and study he quitted this classic land of antiquity, and went to Naples: here he appeared to live quite another life. The cloudless sky, the pure, vivifying, and elastic air, the beauty of the views, the natural enthusiasm of the natives, all conspired to work him up to that feverish anxiety to compose which is no where else felt with a like intensity. He was tormented with a wish to write for the theatre, and it was not long before the opportunity of gratifying his wish occurred. Soon after his arrival in Naples, he succeeded in bringing out an opera in two acts, entitled ‘La Groventù di Enrico quinto.’ Herold has not suffered the music of this piece to be seen by his own countrymen; all that is known of it is, that the Neapolitans found it to their taste, and that it was performed several nights with undisputed success. This is the more remarkable, as at the time Herold thus brought out his opera, the whole of Italy, and the Neapolitans in particular, had an invincible prejudice against all musicians of the French school. A composer born on the banks of the Seine writing an opera for the Teatro Fondo, and the Neapolitans not only listening to, but applauding his music, was a novelty of which there was no previous example.
M. Herold returned to France towards the end of 1815: he had not been long in Paris before he had an opportunity of trying his force upon the French stage. Boïeldieu, who had observed the germs of a fine composer in the young artist, determined to assist him over this first step, always so difficult to surmount, owing to the bad management of the theatres. He associated him with himself in the composition of a little opera de circonstance, called Charles of France, on which he was then engaged. This opera, which was performed in 1816, introduced Herold to the public in a favourable manner, and in consequence the libretto of Les Rosieres was intrusted to him. A three-act opera will always afford the composer some good opportunities of displaying his powers; Herold availed himself of his opportunities, and produced some morceaux which proved he was no ordinary musician. The inexperience of a young writer was to be traced in the work, but there were seen here and there some flashes of fancy, which showed that the author had been doing violence to himself, in order to bring his writing down to the level of the style to which the frequenters of the Théâtre Feydeau were at that time accustomed. Yet, notwithstanding this kind of wavering uncertainty of manner, which is to be found in the score of Les Rosieres, there are no doubt many points in it which deserved more admiration than they received. At the end of 1816, this piece was performed at the Opéra Comique with a success which had its effect on all the future life of the author.
La Clochette, an opera in three acts, followed soon after Les Rosieres. In this opera M. Herold displayed much more passion and dramatic force than in his former production, and it was plainly evident that he had made great progress in the art of writing for the stage. The graceful and piquant little air, ‘Me voilà, me voilà,’ a duet in the second act, and several charming phrases scattered through other parts of the opera, proved that the author had the power of inventing melodies; while the finale of the first act, and several passages in the second and third, show the hand of a dramatic composer of no low class. There were besides in the instrumentation many new effects; but not a little of all this was understood by the audience. The piece was successful indeed; but its success was much more owing to the scenery and spectacle than to the merit of the music.
Nearly eighteen months elapsed before Herold obtained another opera to compose. This interval he employed in writing fantasias, and other pieces of that kind; a style in which he produced many pretty things that hardly met with the degree of encouragement they deserved. His taste led him determinately towards writing for the theatre, and he was sometimes irritated at the injustice which rendered it so difficult for him to get within the doors. Tired at last with waiting for the good libretto he was so constantly wishing for, he consented to write music to a three act comedy called ‘Premier venu.’ This piece was witty, but cold, and the most unfit possible for being turned into an opera; it had not even the merit of being new, on the contrary it had been a long time a stock piece at the Théâtre Louvois, from whence Vial took it to the Opéra Comique. Nothing could be more unfavourable to the display of Herold’s warmth of manner than this comedy; he could infuse no fire into it, and perhaps its coldness communicated itself to the unfortunate composer; however, as a man of real talent cannot compose three acts without giving some proofs of his genius, the Premier venu contains an excellent trio between three men who pretend to be sleeping.
The desire of writing for the theatre tormented Herold incessantly, but the means were as constantly wanting; authors appeared not to have sufficient confidence in his talents to confide their poems to him. This state of abandonment determined him at length to take up another old comic opera in one act called Les Troqueurs, and write new music to it. It was performed in 1819; the exertions and talents of the actors supported it through a few nights; but the piece (which was the first of the kind ever written in Paris) no longer suited the taste of the times, and it fell to rise no more. A sort of fatality seemed at this time to attend all the efforts of one whose first appearance on the stage had given promise of so brilliant a career. An opera in one act, called L’Amour Platonique, was given him in 1819 to compose; the music was required with the utmost rapidity, and sent as soon as written to the performers to study. At the general rehearsal some charming passages were remarked; but the libretto turned out to be feeble in the extreme, so much so that the author left the theatre before it was concluded. In 1820, M. Planard intrusted him with a pretty comedy of his called ‘L’auteur mort et vivant;’ unfortunately, this piece again contained no situations in which a composer could have an opportunity of doing justice to his own talents, and the very cold reception it met with during a few representations, added nothing to M. Herold’s reputation. This last disappointment appears for the time to have completely discouraged him from making any more efforts in a line which had proved so unfortunate; for during the next three years he wrote nothing, but seemed to have entirely abandoned the theatre.
During this interval the part of accompanyist at the piano-forte in the Italian Opera became vacant; Herold applied for and obtained it. From this period the duties of his situation took up the greatest part of his time; and he employed the rest in writing a great number of pieces for the piano-forte. Thus did this artist, in the flower of his age and full vigour of his talents, find himself in some degree repulsed and driven from the theatre for which he had been born. Such phases of bad fortune occur in the lives of most men of merit.
The silence of three years to which Herold had been condemned, gave way to a renewed desire of writing for the theatre, of that ardent character which is commonly a forerunner of success. His first production after so long rest was Le Muletier, performed at the Opéra Comique in 1823. The success of this was at first doubtful, but at length it was established in the public favour, entirely on account of the merits of the composer. The music of Le Muletier is highly coloured, dramatic, and full of happy thoughts and new effects. Lasthenie followed, a composition of a graceful character, and which had only one fault: viz. that the story was taken from the Greek at a time when Greek stories happened to be entirely out of fashion. Consequently, this production made little impression on the public, though it ran through a certain number of nights, and, at all events, the connoisseurs did justice to the talents of the composer. The success of the French armies in Spain in 1823, gave occasion to the writing an opera entitled Vendome en Espagne, in the composition of which Herold was associated with Auber. The pieces which he wrote off-hand for this score contained some happy thoughts, which he afterwards worked up and employed with success in his future productions.
In 1824, Herold was again charged by the managers of the Opéra Comique with the composition of a little piece de circonstance, (which however outlived the occasion for which it was written,) called ‘Le Roi René.’ The following year he composed for the same theatre another one act opera entitled Le Lapin Blanc, but nothing could be less fit for music; in fact words and music were equally feeble.
In this part of the narrative it becomes necessary to state, that during his three years of retreat, a great change had taken place in Herold. A constant witness of the success of Rossini’s compositions, which he had been accompanying almost without intermission at the Théâtre Italien, he persuaded himself that the only means of obtaining the public favour was by imitating more or less the musical forms that were in vogue. Many others partook of his error, who did not partake of his talent; for him it was a deplorable mistake, as it withheld him some time from following the route his own genius, left to itself, would have pointed out.
Marie, an opera in three acts played at the Opéra Comique in 1826, marked the return of M. Herold to the style which suited him; it was at once the best and the most successful piece he had till then produced; in it he gave wider scope to his sensibility than he had been able to do before, and all the pieces obtained a degree of popularity and fashion which none of his former compositions had ever enjoyed. The moment was favourable, and probably Herold would have at once taken the rank among composers of which he was worthy, if his engagement at the opera as conductor of the singers had not deprived him of the leisure necessary to profit by the tardy justice the public seemed at length disposed to do to his merits. Two years before he had quitted his situation of accompanyist at the Italian Theatre for that of conductor of the chorusses, and in 1827, he accepted the post above mentioned. From that time fatigued with a thousand occupations totally incompatible with the repose and freedom necessary for achieving works of imagination, he found it out of his power to take advantage of the favourable tide of circumstances, and at once put the seal on his reputation. The little leisure he had was given up to writing the music for a few ballets; in 1827 he wrote for the Opera the ballets of Astolphe et Joconde, and La Somnambule, both in three acts; in 1828, Lydia, a ballet in one act, and Cendrillon, a ballet in three: about the same period he also produced the overture, chorusses, &c. in the drama of Missolonghi, performed at the Odeon.
In 1829, three years after the production of his opera of Marie, he brought out a one act operetta full of charming passages, entitled L’Illusion. The music was of a melancholy and impassioned cast: for the overture he adopted the one he had some years before written for L’Amour Platonique. In the same year the king conferred the decoration of the legion of honour upon him, a distinction to which he was justly entitled. Emmeline, an opera in three acts, which he brought out in 1830, was unsuccessful; but he took a splendid revenge the next year, by producing his Zampa, a work worthy of the first masters, and which ranked Herold at once amongst the most celebrated composers of France. Abundance of fine subjects, characteristic expression of the passions, dramatic power, a deep genius for harmony and instrumentation, all are to be found in this work, the success of which has been as brilliant in Germany as it was in France. A short time after, M. Herold contributed with numerous other composers towards the music of the Marquise de Brinvilliers.
Whether it was occasioned by the weight of his labours at the Opera, or the fatigue occasioned by his recent return to the pen, or whatever was the cause, about this time M. Herold found his health give way. Still young he might have arrested the course of disease, if he would have had recourse to entire repose and a change of climate; but nothing could persuade him to quit the theatre of his success, or to cease from his labours. In spite of all the remonstrances of his friends, he continued to follow the line of life he had laid out for himself, and it was not until the insidious malady had fatally undermined his constitution, that he himself became conscious of alarm. The new management of the Opéra Comique were in want of new operas, which it was necessary also should be ready in a short time; Herold had in his portfolio the score of the ‘Pré aux Clercs,’ but to furnish it for bringing before the public required a degree of time, study, and preparation, which the situation of the theatre would not allow. Herold wrote off-hand an operetta in one act, which, though a trifle, shows the hand of a master. This last production preceded a short time the production of his Pré aux Clercs, a work of a softer character than his Zampa, but not less happily conceived.
It was the song of the swan. The pulmonary complaint which had been undermining his life, now made every day the most alarming progress. The agitation attending the casting and bringing out of his opera hastened the catastrophe, and in less than a month from his last triumph, the artist was in his tomb, his friends, and all who knew the man, were plunged in profound grief, and even those who had no knowledge of him but from his works, sincerely and sorely regretted that his career should have been so suddenly and prematurely closed.
STATE OF MUSIC IN THE PROVINCES.
The inhabitants of the Metropolis, we believe, are not aware of the progress making by music in the provinces. In Lancashire, Yorkshire, and Derbyshire, in particular, there is a diffusion of musical knowledge that almost admits a comparison with that in Germany. Manchester, Liverpool, York, Leeds, Sheffield, Derby, Halifax, contain numbers of able amateurs, who cultivate the art with enthusiasm, and have wealth and spirit for its encouragement. In those towns, and many smaller ones, are choral societies, similar to such as are found in every part of Germany; several of them of long standing, and all judiciously conducted. They are liberally supported by annual subscriptions; their orchestras are led by, and partly composed of, the ablest professors of the place and neighbourhood, the complement being made up by very efficient amateurs; not wholly gentlemen-amateurs, for a number of them are young men and women belonging to what is now called the operative class, who are encouraged by their employers to cultivate an art which has so favourable an effect on their character and habits. Out of this class are formed, not only the chorus-singers, whose reputation has long since spread all over England, but the solo-singers; and even the habitués of the London concerts, with whatever metropolitan disdain they might enter a meeting of one of these societies, would, spite of their prepossessions, be delighted with the knowledge, feeling, and even style, frequently exhibited by these country singers. As to the choruses, they would be constrained to admit that they seldom have the good fortune to hear anything like them in London.
These observations have been suggested by a performance which took place at the end of February, in the church of the little town of Belper, in Derbyshire. The Chevalier Neukomm has been residing for some time with his friend, Mr. John Strutt, of Belper, and occupied in completing the great oratorio which he engaged to write for the Birmingham Festival of this year. M. Neukomm, as is well known, is always ready to exercise his talents in the cause of benevolence, and the performance we now mention was got up under his direction, in aid of the funds for erecting and establishing an infant school in the town of Belper.
Great public interest was excited on this occasion, as it was understood not only that some pieces fresh from the pen of that highly-gifted composer would be executed, but that he himself would perform on the Expressive Organ, an instrument hardly yet known in England; and families were attracted from Yorkshire, Staffordshire, and other distant places. The orchestra, vocal and instrumental, consisted of a select portion of the Derby Choral Society, combined with the choir of Mr. Strutt; and the talented young violin performer, Mr. Mawkes, gave his assistance. The performance produced for the charity the sum of 160_l._ ‘It is no easy task,’ says the Derby Reporter, ‘to point out any parts of the vocal performances as being more eminently entitled than others to our praise. We cannot avoid, however, noticing some pieces with which we were more particularly delighted; among which were the grand Epinicion, or Song of Triumph, from the oratorio of Saul; the magnificent Hallelujah of the immortal Handel; a quartett of Haydn, “Lo, my Shepherd is divine;” the splendid “Second Advent” of Neukomm; Mozart’s Motet, “O God, when thou appearest;” and four truly sublime and devotional choruses, selected from one of the Chevalier’s compositions, The Hymn of the Night, a work hitherto unknown in this country. This composition was published at Paris several years since in French and German, and has been publicly performed at Copenhagen, in presence of the Royal Family of Denmark, with universal approbation. This circumstance, we believe, has led to the recent translation of the original words into English; and we have no doubt, from the specimens which were yesterday heard of its excellence, that it will eventually become a great favourite with the British public.’ In this opinion of the Derby critic, we are enabled, from an attentive examination of the score of the Hymn of the Night, to express our entire concurrence. The writer concludes with a glowing description of the Chevalier Neukomm’s extemporaneous playing, with which many of our metropolitan readers are acquainted, and to which the Harmonicon has frequently endeavoured to do justice. The instrument employed by him on this occasion (the Expressive Organ) was well calculated for the display of his genius. In size it hardly exceeds a cottage piano-forte; but it has much power as well as delicacy, gives every gradation of piano and forte by a mere pressure of the finger, and produces the effects of almost every species of wind instrument. We are surprised that our fabricans have not yet set about making it.
Mr. Strutt, of Belper, encourages music from a much higher view than that of ministering to his own gratification. He is one of the greatest manufacturers in the kingdom, and his immense establishments give employment and support to a numerous population, to whose comfort and welfare he pays unwearied attention. It is in pursuit of this philosopher-like object that he promotes the cultivation of music among them. At a great sacrifice, both of time and money, he encourages its practice among his male and female operatives, who show a disposition for it; and engages a music-master from Derby, twice or thrice a week, to give them lessons. Among these people he truly finds that music ‘emollit mores, nec sinit esse feros;’ and it is earnestly to be wished that such an example were generally followed in establishments where great numbers of people are employed. Wherever the working classes are taught to prefer the pleasures of intellect, and even of taste, to the gratification of sense, a great and favourable change takes place in their character and manners. They are no longer driven by mere vacuity of mind to the beer-shop; and a pastime which opens their minds to the impressions produced by the strains of Handel and Haydn, combined with the inspired poetry of the Scriptures, becomes something infinitely better than the amusement of an idle hour. Sentiments are awakened which make them love their families and their homes; their wages are not squandered in intemperance, and they become happier as well as better.
H.
LETTER FROM MRS. MILLARD.
To the ~Editor~ of the ~Harmonicon~.
~Sir~, North Walsham, Norfolk, March 8th, 1833.
As I wish to avoid all communications with Mr. Z. T. Purday, music-publisher; and any further with Mr. J. H. Cross, music-arranger, (having written one letter to that gentleman, to which he has given no reply,) I shall deem it a great favour if you will give this a place in your Harmonicon.
About eighteen months since, in consequence of some unintentional offence I gave Mr. Purday, (the particulars of which are not worth relating,) that gentleman sent me word he could prove my melody of ‘Alice Gray’ to be borrowed from other compositions. This message, with some accompanying impertinence, I had nearly forgotten, till, on the cover of the Harmonicon of January last, appeared the following notice: ‘Just published, by Z. T. Purday, &c. &c., a French air, on which is founded the popular ballad of Alice Gray, &c. &c.’
Through some mistake of my publisher, I did not receive a copy of this French air till yesterday, otherwise I should have taken the liberty of addressing you earlier on the subject.
A copy of the French air in question will accompany this, from which you will see that the theme is truly ‘a French air,’ being no other than that of Rode’s, modified in different passages, to render the accidental resemblance between it and my melody the greater. You will also perceive that the variations have not such an appellation for nothing, as they have little to do with the theme; but are as clearly and entirely formed on the melody of my ballad, as those of Mr. Knapton’s or Mr. Valentine’s. These facts need no comment, as they must speak for themselves much more than will be desirable, either to the arranger or publisher. Before I conclude, I beg leave to say, that at the time I composed my ballad, I had never (strange as it may appear) heard Rode’s melody, nor was I at all aware of the existence of any thing which bore any resemblance to mine.
I am, Sir,
Your obedient servant,
~Virtue Millard~.
CONCERTS AT OXFORD; AND ON THE STATE OF MUSIC AT BOTH UNIVERSITIES.
To the ~Editor~ of the ~Harmonicon~.
~Sir~, Oxford, March 5th, 1833.
In the pages of your agreeable and instructive miscellany, I invariably find some information as to the state of music upon the Continent. You inform me what new operas have been produced, which have succeeded, and which failed: you tell me where all the great and first-rate singers are at the time of your writing, and also state what new singers have made their début, and with what success: in fact, you make me perfectly acquainted with what is going on in the musical world at Rome, Naples, Milan, Vienna, Berlin, &c.; and in addition to all this you occasionally give an account of a concert at Birmingham, York, Liverpool, Manchester, and many other of our own large towns. Now, Sir, I have no doubt that very many of your constant readers will agree with me in saying all this is very amusing, and very acceptable. I have been, however, equally sorry and surprised at not having seen in the Harmonicon any article relating to music connected with our universities, or any account of a concert having been given either at Oxford or Cambridge for these three years past! This appeared to me very odd; surely, thought I, the omission cannot be for want of a correspondent, for at these places it may almost be said that ‘every man is a scribe by trade.’ To what cause then is this lack of intelligence owing? Being a resident at Oxford, I know, of course, what has been, and what is going on, concerning music, both in the university and the city; but being ignorant of what has been doing at Cambridge, I determined (for my own satisfaction, and being a great lover of music) to inquire, and the result of my inquiry (though I blush to record it) is, that there every thing connected with music has been for some years past, and still is, as dull and showing as little motion as the almost stagnate river that washes her college walls. It is really mortifying to think that Music receives less patronage from Granta’s learned and classical sons, than is bestowed on her by the manufacturers and tradesmen of Sheffield and Leeds!
Now, Sir, without meaning to triumph over the students and residents at the sister university, or to boast of our pleasant localities by comparing the verdant and flowery banks of the ‘silver Isis’ with the ‘lazy Cam,’ I am happy to state that it is not quite so bad with us. At Oxford, music, although not in a very flourishing state, yet is not totally neglected, and among those who have ever been most forward to promote its success and prosperity, I must not omit to notice the stewards of the music-room, who have continued regularly to give two concerts every term. It is true, indeed, that the success of the undertaking has not always been adequate to their wishes, or such as might reasonably have been expected from the acknowledged excellence of the performances, and the first rate talent that has been engaged. However, they are not discouraged, but cherishing a love for the art, and a desire to see it prosper in the university, they zealously persevere in the good old custom (established, I believe, by Dr. Hayes) of providing, every term, for the heads of houses and their families, the gownsmen, and the upper class of citizens, three hours of the most innocent enjoyment that any rational being can indulge in; thus gratifying their own passion for music, and at the same time promoting the interests of its professors.
Having said so much, Mr. Editor, I will venture to add an account of the two last concerts given by the before-mentioned stewards on the evenings of Thursday and Friday, the 14th and 15th of February last. The vocal performers originally engaged were Miss Shirreff, of Covent Garden Theatre, Miss C. Lyon, a promising young débutante, and Signor Donzelli. I have said originally engaged, because ‘thereby hangs a tale.’ Report says, and I have no doubt truly, that Signor Donzelli was not only engaged a month previous to the concerts, but that he himself, with the knowledge and consent of Mr. Laporte, fixed on Thursday and Friday, the 14th and 15th of February, and his name was, of course, placarded and announced throughout the county in every possible manner. Now mark, Sir:--on the Tuesday preceding the concerts, or, in other words, about eight-and-forty hours before he was to sing his first song, Signor Donzelli sent a notice that the Opera was to open on the Thursday, and that he could not go to Oxford! All who have had any experience in the getting up of a concert, will easily imagine what trouble and consternation this intelligence occasioned. It appears it was impossible, for many reasons, to put off the concerts. In this dilemma, Mr. T. Welsh (being the master or instructor both of Miss Shirreff and Miss C. Lyon) was applied to, and at this very short notice agreed to go. He did so, and attended a rehearsal with the ladies, on the Thursday morning for the concert in the evening.
Now, Mr. Editor, if you have been surprised at what I have already related, I think you will be still more so when I tell you, that between four and five o’clock the same afternoon, Signor Donzelli (whom the good people at Oxford had been informed by hand-bills a few hours before was prevented from attending) came into the town by one of the coaches, and, after all the bustle and confusion he had occasioned, very coolly declared that the Opera would not open as expected, and that he was come to fulfil his engagement! After this, let us talk no more of the glorious uncertainty of the law, for it is nothing, Sir, compared to the caprice of an Italian opera singer, and a French manager.
The great reputation which Signor Donzelli has acquired in all the principal towns in Italy, as well as Paris and London, must, consequently, render his name attractive whenever and wherever it appears in a provincial concert bill;--and, indeed, so it ought; for, if I have been correctly informed, the sum he demanded for coming to Oxford, clearly proves that if he knows how to sing, he knows equally well how to charge. But the strangest part of this strange story is, that one-third of the sum he received is pocketed by M. Laporte. Can this be true?
Having announced our hero’s unexpected arrival at Oxford, let me now introduce you to him at the music-room. The songs, duets, &c. selected for Signor Donzelli were, of course, Italian; those for our fair countrywomen being in our own language; so that the lovers of English music, and the patrons of native talent, as well as the more fashionable admirers of the Italian school, were equally gratified. The whole of the selection appeared to me to have been made with judgment, and the English and Italian pieces were judiciously intermingled. In the first concert we had two charming Italian duets, ‘Amor, possente nome,’ (Rossini) and ‘Come ti piace imponi,’ (Mozart) both of which were well sung by Miss Shirreff and Signor Donzelli. A pleasing ballad, ‘Light up the gay and festive Hall,’ (Hodson) was chastely given by Miss C. Lyon. In the song ‘Bright flattering days,’ (being English words adapted to the aria ‘Bel l’ Raggio,’ from Rossini’s Semiramide) Miss Shirreff had a fair opportunity of exhibiting her powers, and very much pleased our Oxford audience; and in a ballad, ‘The Arab Maid,’ she displayed the versatility of her talent by accompanying herself on the piano-forte.
This being Signor Donzelli’s first appearance at Oxford, I paid him, whilst he was singing, all the attention that might be naturally expected from an amateur, who was listening to so celebrated a singer for the first time. He is, undoubtedly, a man of great talent, yet if I were sure, Mr. Editor, that you would not censure my temerity, I should say that he lacks judgment in the management of his splendid voice, and that in the two arias ‘Pria che spunti,’ (Cimarosa) and ‘Ah! se forse,’ from Mozart’s Clemenza di Tito, he appeared to me to have forgotten that he was singing in a small concert-room at Oxford, and not on the stage at the King’s Theatre. I was still more confirmed in my opinion when, on the second night, I heard him sing with Miss Shirreff, the lovely duet ‘Ah! perdona,’ and I could not help thinking that compositions like this, where tender elegance is the leading feature, are not so well adapted to his manner, as music of a boisterously impassioned character; and this, to my mind, was clearly exemplified when I heard him later in the evening sing with the same lady the magnificent duet ‘Fuggi! crudele, fuggi!’ from Don Giovanni. In this I thought him great. The cavatina ‘Ah! si per voi già sento,’ (from Rossini’s ‘Otello,’ and which was never, I believe, heard at Oxford before,) he also executed admirably; and sorry I am that I cannot, conscientiously, bestow the same commendation on the aria (a great favourite of mine) ‘Il mio tesoro,’ which I have heard sung with much more feeling and expression than Signor Donzelli imparted to it, though certainly not with so splendid a voice. And here, Sir, I must take leave of the Signor, at least for the present.
Miss C. Lyon had the good sense to introduce Handel’s ‘Hush ye pretty warbling Choir,’ which, I may say, (without meaning to play on the word,) she ‘warbled prettily.’ Miss Shirreff’s ‘Trifler, forbear,’ by Bishop, afforded another proof that we have among us English men who can compose, and English women who can sing.
It would be unjust not to mention that, in the course of the second concert, Mr. T. Welsh introduced Purcell’s ‘Mad Tom,’ which he sung (accompanying himself on the piano-forte) with great effect. The beauties of this composition were not lost upon the audience, and Mr. Welsh’s performance was, very deservedly, much applauded.
I am, Mr. Editor, Your very obedient servant, ~A Lover of Music~.
P.S.--If Signor Donzelli should receive an application to sing at Oxford again, I would, for his own sake, strongly recommend that, before he accepts it, he will not only finally make up his own mind on the subject, and firmly abide by it, but also ascertain, whether, after being promised leave of absence from the Opera, he may safely rely on M. Laporte’s honourably keeping his word; that is, in case it should so chance that M. Laporte should be the manager of the Italian Opera twelve months hence.
THE SONG OF ‘MAD TOM OF BEDLAM.’
To the ~Editor~ of the ~Harmonicon~.
~Sir~,
It would be difficult, perhaps, now to ascertain at what time, and by whom the song of ‘Mad Tom’ was first ascribed to Purcell; but that it was not always given to him is evident, from its having been inserted in a collection of songs published during his life, and these attributed to another composer, Henry Lawes; and though the claim of the latter may be doubted, from the dissimilarity of its style from that of his other compositions, yet having been published as his by Playford, it is a strong presumptive proof in favour of Lawes, for Playford was a musician of some eminence, and may be supposed to have lived on terms of intimacy with the professors of his day, and therefore well acquainted with their compositions.
With respect to the air which I sent you having been the basis on which the song was made, it may, I think, be inferred from the title that the song was the original, and that being popular, it was in consequence adapted as an air for the Virginals, the title of it, ‘The Man in the Moon,’ being the first line of one of the stanzas in the song: ‘The man in the moon drinks claret.’ The inaccuracies in this air, whatever they may be, must be imputed to the original transcriber, mine being a faithful copy from his book, the date of which, being about twenty years before the birth of Purcell, renders it impossible that he should have been the composer of the song in question.
The latter part of the song, from ‘In my triumphant chariot,’ I have seen printed as a single song, with Haydn’s name to it as the composer.
Can you furnish we with any information respecting the music to which the various songs in the plays of Shakspeare were originally sung, the whole now performed, except the fragments sung by Ophelia, being of modern date?
I remain, &c. ~An old Member of the Pump-Room Band, Bath.~
MEMOIRS OF DR. BURNEY, BY HIS DAUGHTER MAD. D’ARBLAY.
[Continued from page 54.]
We resume our specimens of these volumes with an extract from a letter, giving the authoress’s account of Agujari, who is, by the common consent of contemporary musicians, allowed to have possessed the most wonderful voice that any woman was ever gifted with, (reaching to ~B~♭ in altissimo); and to have been the most talented and splendid singer of her day; but who, being excluded by lameness from the stage, and confined entirely to the church or the concert-room, is less remembered than many theatrical singers who were not possessed of half her merit.
“She came with the Signor Maestro Colla, very early, to tea.
“I cannot deign to mention our party,--but it was small and good:--though by no means bright enough to be enumerated in the same page with Agujari.
“She frightened us a little, at first, by complaining of the cold. How we looked at one another! Mr. Burney was called upon to begin; which he did with even more than his usual spirit; and then--without waiting for a petition--which nobody, not even my dear father, had yet gathered courage to make, Agujari, the Bastardella, arose, voluntarily arose, to sing!
“We all rose too! we seemed all ear. There was no occasion for any other part to our persons. Had a fan,--for I won’t again give you a pin,--fallen, I suppose we should have taken it for at least a thunder-clap. All was hushed and rapt attention.
“Signor Colla accompanied her. She began with what she called a little minuet of his composition.
“Her cold was not affected, for her voice, at first, was not quite clear! but she acquitted herself charmingly. And, little as she called this minuet, it contained difficulties which I firmly believe no other singer in the world could have executed.
“But her great talents, and our great astonishment, were reserved for her second song, which was taken from Metastasio’s opera of Didone, set by Colla, ‘Non hai ragione, ingrato!’
“As this was an aria parlante, she first, in a voice softly melodious, read us the words, that we might comprehend what she had to express.
“It is nobly set; nobly! ‘Bravo, il Signor Maestro!’ cried my father, two or three times. She began with a fulness and power of voice that amazed us beyond all our possible expectations. She then lowered it to the most expressive softness--in short, my dear Mr. Crisp, she was sublime! I can use no other word without degrading her.
“This, and a second great song from the same opera, Son Regina, and Son Amante, she sang in a style to which my ears have hitherto been strangers. She unites, to her surprising and incomparable powers of execution, and luxuriant facility and compass of voice, an expression still more delicate--and, I had almost said, equally feeling with that of my darling Millico, who first opened my sensations to the melting and boundless delights of vocal melody.[43] In fact, in Millico, it was his own sensibility that excited that of his hearers; it was so genuine, so touching! It seemed never to want any spur from admiration, but always to owe its excellence to its own resistless pathos.
“Yet with all its vast compass, and these stupendous sonorous sounds, the voice of Agujari has a mellowness, a sweetness, that are quite vanquishing. One can hardly help falling at her feet while one listens! Her shake, too, is no plump, so true, act open! and, to display her various abilities to my father, she sang in twenty styles--if twenty there may be; for nothing is beyond her reach. In songs of execution, her divisions were so rapid, and so brilliant, they almost made one dizzy from breathless admiration: her cantabiles were so fine, so rich, so moving, that we could hardly keep the tears from our eyes. Then she gave us some accompanied recitative, with a nobleness of accent, that made every one of us stand erect out of respect! Then, how fascinately she condescended to indulge us with a rondeau! though she holds that simplicity of melody beneath her; and therefore rose from it to chant some church music, of the Pope’s Chapel, in a style so nobly simple, so grandly unadorned, that it penetrated to the inmost sense. She is just what she will: she has the highest taste, with an expression the most pathetic; and she executes difficulties the most wild, the most varied, the most incredible, with just as much ease and facility as I can say--my dear Mr. Crisp!
“Now don’t you die to come and hear her? I hope you do. O, she is indescribable!
“Assure yourself my father joins in all this, though perhaps, if he had time to write for himself, he might do it more Lady Grace like, ‘soberly.’ I hope she will fill up at least half a volume of his history. I wish he would call her The Heroine of Music!
“We could not help regretting that her engagement was at the Pantheon, as her evidently fine ideas of acting are thrown away at a mere concert.
“At this, she made faces of such scorn and derision against the managers, for not putting her upon the stage, that they altered her handsome countenance almost to ugliness; and, snatching up a music book, and opening it, and holding it full broad in her hands, she dropt a formal courtesy, to take herself off at the Pantheon, and said; ‘Oui! j’y suis là comme une statue! comme une petite ecolière!’ And afterwards she contemptuously added: ‘Mais, on n’aime guere ici que les rondeaux!--Moi--j’abhorre ces miseres là!’
“One objection, however, and a rather serious one, against her walking the stage, is that she limps.”
Two following letters of the authoress refer, first to disappointment in going to the Opera, when Gabrielli was advertised but did not sing; and secondly, to disappointment when she did sing. The next letter, giving an account of a concert at Dr. Burney’s house, immediately after the appearance of Gabrielli, we insert entire, as a fair medium specimen of the authoress’s style and talent in that species of writing. The concerts held at Dr. Burney’s appear to have been honoured by the presence of some very high company, though the performances appear to have been confined to the pianoforte, and a little singing, and the performers limited to the Doctor’s family and a few amateurs of rank. Not even a flute or violin is heard of, nor a single professional musician (out of the family) once mentioned as present:--
“You reproach me, my dear Mr. Crisp, for not sending you an account of our last two concerts. But the fact is, I have not anything new to tell you. The music has always been the same: the matrimonial duets are so much à la mode, that no other thing in our house is now demanded.
“But if I can write you nothing new about music--you want, I well know you will say, to hear some conversations.
“My dear Mr. Crisp, there is at this moment, no such thing as conversation. There is only one question asked, meet whom you may, namely; ‘How do you like Gabrielli?’ and only two modes, contradictory to be sure, but very steady, of reply: either, ‘Of all things upon earth!’ or, ‘Not the least bit in the whole world!’
“Well, now I will present you with a specimen, beginning with our last concert but one, and arranging the persons of the drama in the order of their actual appearance.
“But, imprimis, I should tell you, that the motive to this concert was a particular request to my father from Dr. King, our old friend, and the chaplain to the British--something--at St. Petersburgh, that he would give a little music to a certain mighty personage, who, somehow or other how, must needs take, transiently at least, a front place in future history,--namely, the famed favourite of the Empress Catherine of Russia, Prince Orloff.
“There, my dear Mr. Crisp! what say you to seeing such a doughty personage as that in a private house, at a private party, of a private individual, fresh imported from the Czarina of all the Russias,--to sip a cup of tea in St. Martin’s street?
“I wonder whether future historians will happen to mention this circumstance? I am thinking of sending it to all the keepers of records.
“But I see your rising eyebrow at this name--your start--your disgust--yet big curiosity.
“Well, suppose the family assembled, its honoured chief in the midst--and Tat, tat, tat, tat, at the door.
Enter ~Dr. Ogle, Dean of Winchester~.
“Dr. Burney, after the usual ceremonies.--‘Did you hear the Gabrielli last night, Mr. Dean?’
“The Dean.--‘No, Doctor, I made the attempt, but soon retreated; for I hate a crowd,--as much as the ladies love it!--I beg pardon!’ bowing with a sort of civil sneer at the Fair Sex.
“My mother was entering upon a spirited defence, when--Tat, tat, tat.
“Enter ~Dr. King~.
“He brought the compliments of Prince Orloff, with his Highness’s apologies for being so late, but he was obliged to dine at Lord Buckingham’s, and thence, to show himself at Lady Harrington’s.
“As nobody thought of inquiring into Dr. King’s opinion of La Gabrielli, conversation was at a stand, till--Tat, tat, tat, tat, too, and
“Enter ~Lady Edgcumbe~.
“We were all introduced to her, and she was very chatty, courteous, and entertaining.
“Dr. Burney.--‘Your Ladyship was certainly at the Opera last night?’
“Lady Edgcumbe.--‘O yes!--but I have not heard the Gabrielli! I cannot allow that I have yet heard her.’
“Dr. Burney.--‘Your Ladyship expected a more powerful voice?’
“Lady Edgcumbe.--‘Why, n-o--not much. The shadow can tell what the substance must be; but she cannot have acquired this great reputation throughout Europe for nothing. I therefore repeat that I have not yet heard her. She must have had a cold.--But for me--I have heard Mingotti!--I have heard Montecelli!--I have heard Mansuoli!--and I shall never hear them again!’
“The Dean.--‘But, Lady Edgcumbe, may not Gabrielli have great powers, and yet have too weak a voice for so large a theatre?’
“Lady Edgcumbe.--‘Our theatre, Mr. Dean, is of no size to what she had been accustomed to abroad. But,--Dr. Burney, I have also heard the Agujari!’
“Hettina, Fanny, Susanna.--‘Oh! Agujari!’ (All three speaking with clasped hands.)
“Dr. Burney (laughing).--‘Your ladyship darts into all their hearts by naming Agujari! However, I have hopes you will hear her again.’
“Lady Edgcumbe.--‘O, Dr. Burney! bring her but to the Opera,--and I shall grow crazy!’
“I assure you, my dear Mr. Crisp, we all longed to embrace her ladyship. And she met our sympathy with a good humour full of pleasure. My father added, that we all doated upon Agujari.
“Lady Edgcumbe.--‘O! she is incomparable!--Mark but the difference, Dr. Burney; by Gabrielli, Rauzzini seems to have a greet voice;--by Agujari, he seemed to have that of a child.’--
“Tat, tat, tat, tat, too.
“Enter The Hon. ~Mr.~ and ~Mrs. Brudenel~,
“Mr. Brudenel,[44] commonly called ‘His Honour,’ from high birth, I suppose, without title, or from some quaint old cause that nobody knows who has let me into its secret, is tall and stiff, and strongly in the ton of the present day; which is anything rather than macaroniism; for it consists of unbounded freedom and ease, with a short, abrupt, dry manner of speech; and in taking the liberty to ask any question that occurs upon other peoples affairs and opinions; even upon their incomes and expenses;--nay, even upon their age!
“Did you ever hear of anything so shocking?
“I do not much mind it now; but, when I grow older, I intend recommending to have this part of their code abolished.
“Mrs. Brudenel is very obliging and pleasing; and of as great fame as a lady-singer, as Lady Edgcumbe is as a first rate lady-player.
“The usual question being asked of La Gabrielli;
“Mrs. Brudenel.--‘O, Lady Edgcumbe and I are entirely of the same opinion; we agree that we have not yet heard her.’
“Lady Edgcumbe.--‘The ceremony of her quitting the theatre after the Opera is over, is extremely curious. First goes a man in livery to clear the way; then follows the sister; then the Gabrielli herself. Then, a little foot-page, to bear her train; and, lastly, another man, who carries her muff, in which is her lap-dog.’
“Mr. Brudenel.--‘But where is Lord March all this time?’
“Lady Edgcumbe (laughing).--‘Lord March? O,---- he, you know, is first Lord of the Bedchamber!’--
“Tat, tat, tat, tat.
“Enter M. le ~Baron de Demidoff~.
“He is a Russian nobleman, who travels with Prince Orloff; and he preceded his Highness with fresh apologies, and a desire that the concert might not wait, as he would only show himself at Lady Harrington’s, and hasten hither.
“My father then attended Lady Edgcumbe to the Library, and Mr. Burney took his place at the harpsichord.
“We all followed. He was extremely admired; but I have nothing new to tell you upon that subject.
“Then enter Mr. Chamier. Then followed several others; and then
“Enter ~Mr. Harris~, of Salisbury.
“Susan and I quite delighted in his sight, he is so amiable to talk with, and so benevolent to look at. Lady Edgcumbe rose to meet him, saying he was her particular old friend. He then placed himself by Susan and me, and renewed acquaintance in the most pleasing manner possible. I told him we were all afraid he would be tired to death of so much of one thing, for we had nothing to offer him but again the duet. ‘That is the very reason I solicited to come,’ he answered; ‘I was so much charmed the last time, that I begged Dr. Burney to give me a repetition of the same pleasure.’
“‘Then--of course, the Opera? The Gabrielli?’
“Mr. Harris declared himself her partisan.
“Lady Edgcumbe warmed up ardently for Agujari.
“Mr. Dean.--‘But pray, Dr. Burney, why should not these two melodious signoras sing together, that we might judge them fairly?’
“Dr. Burney.--‘Oh! the rivalry would be too strong. It would create a musical ear. It would be Cæsar and Pompey.’
“Lady Edgcumbe.--‘Pompey the Little, then, I am sure would be la Gabrielli!’
“Enter ~Lord Bruce~.
“He is a younger brother not only of the Duke of Montagu, but of his Honour Brudenel. How the titles came to be so awkwardly arranged in this family is no affair of mine; so you will excuse my sending you to the Herald’s Office, if you went that information, my dear Mr. Crisp; though as you are one of the rare personages who are skilled in everything yourself,--at least so says my father;--and he is a Doctor, you know!--I dare say you will genealogize the matter to me at once, when next I come to dear Chesington.
“He is tall, thin, and plain, but remarkably sensible, agreeable, and polite: as, I believe, are very generally all those keen-looking Scotchmen; for Scotch, not from his accent, but his name, I conclude him of course. Can Bruce be other than Scotch? They are far more entertaining, I think, as well as informing, taken in the common run, than we silentious English; who, taken en masse, are tolerably dull.
“The Opera?--the Gabrielli?--were now again brought forward. Lady Edgcumbe, who is delightfully music mad, was so animated, that she was quite the life of the company.
“At length--Tat, tat, tat, tat, tat, tat, tat, tat, too!
“Enter ~His Highness Prince Orloff~.
“Have you heard the dreadful story of the thumb, by which this terrible Prince is said to have throttled the late emperor of Russia, Peter, by suddenly pressing his windpipe while he was drinking? I hope it is not true; and Dr. King, of whom, while he resided in Russia, Prince Orloff was the patron, denies the charge. Nevertheless, it is so currently reported, that neither Susan nor I could keep it one moment from our thoughts; and we both shrunk from him with secret horror, heartily wishing him in his own Black Sea.
“His sight, however, produced a strong sensation, both in those who believed, and those who discredited this disgusting barbarity; for another story, not perhaps, of less real, though less sanguinary guilt, is not a tale of rumour, but a crime of certainty; namely, that he is the first favourite of the cruel inhuman Empress--if it be true that she connived at this horrible murder.
“His Highness was immediately preceded by another Russian nobleman, whose name I have forgot; and followed by a noble Hessian, General Bawr.
“Prince Orloff is of stupendous stature, something resembling Mr. Bruce. He is handsome, tall, fat, upright, magnificent. His dress was superb. Besides the blue garter, he had a star of diamonds of prodigious brilliancy, a shoulder-knot of the same lustre and value, and a picture of the Empress hung about his neck, set round with diamonds of such brightness and magnitude, that, when near the light, they were too dazzling for the eye. His jewels, Dr. King says, are estimated at one hundred thousand pounds sterling.
“His air and address are showy, striking, and assiduously courteous. He had a look that frequently seemed to say, ‘I hope you observe that I come from a polished court?--I hope you take note that I am no Cossack?’--Yet, with all this display of commanding affability, he seems, from his native taste and humour, ‘agreeably addicted to pleasantry.’ He speaks very little English, but knows French perfectly.
“His introduction to my father, in which Dr. King pompously figured, passed in the drawing-room. The library was so crowded, that he could only show himself at the door, which was barely high enough not to discompose his prodigious toupee.
“He bowed to Mr. Chamier, then my next neighbour, whom he had somewhere met; but I was so impressed by the shocking rumours of his horrible actions, that involuntarily I drew back even from a bow of vicinity; murmuring to Mr. Chamier, ‘He looks so potent and mighty. I do not like to be near him!’
“‘He has been less unfortunate,’ answered Mr. Chamier, archly, ‘elsewhere; such objection has not been made to him by all ladies!’
“Lord Bruce, who knew, immediately rose to make way for him, and moved to another end of the room. The Prince instantly held out his vast hand, in which, if he had also held a cambric handkerchief, it must have looked like a white flag on the top of a mast,--so much higher than the most tip-top height of every head in the room was his spread-out arm, as he exclaimed, ‘Ah! milord me fuit!’
“His Honour, then, rising also, with a profound reverence, offered his seat to his Highness; but he positively refused to accept it, and declared that if Mr. Brudenel would not be seated, he would himself retire; and seeing Mr. Brudenel demur, still begging his Highness to take the chair, he cried with a laugh, but very peremptorily, ‘Non, non, Monsieur! Je ne le veux pas! Je suis opiniatre, moi; un peu comme Messieurs les Anglais!’
“Mr. Brudenel then reseated himself: and the corner of a form appearing to be vacant, from the pains taken by poor Susan to shrink away from Mr. Orloff, his Highness suddenly dropped down upon it his immense weight, with a force--notwithstanding a palpable and studied endeavour to avoid doing mischief--that threatened his gigantic person with plumping upon the floor; and terrified all on the opposite side of the form with the danger of visiting the ceiling.
“Perceiving Susan strive, though vainly, from want of space, to glide farther off from him, and struck, perhaps, by her sweet countenance, ‘Ah. ha!’ he cried, ‘Je tiens ici, je vois, une petite Prisonnière!’
“Charlotte, blooming like a budding little Hebe, actually stole into a corner, from affright at the whispered history of his thumb ferocity.
“Mr. Chamier, who now probably had developed what passed in my mind, contrived, very comically, to disclose his similar sentiment; for, making a quiet way to my ear, he said, in a low voice, ‘I wish Dr. Burney had invited Omiah here tonight, instead of Prince Orloff!’ Meaning, no doubt, of the two exotics, he should have preferred the most innocent!
“The grand duet of Müthel was now called for, and played. But I can tell you nothing extra of the admiration it excited. Your Hettina looked remarkably pretty; and, added to the applause given to the music, every body had something to observe upon the singularity of the performers being husband and wife. Prince Orloff was witty quite to facetiousness; sarcastically marking something beyond what he said, by a certain ogling, half cynical, half amorous cast of his eyes; and declaring he should take care to initiate all the foreign academies of natural philosophy in the secret of the harmony that might be produced by such nuptial concord.
“The Russian nobleman who accompanied Prince Orloff, and who knew English, they told us, so well that he was the best interpreter for his Highness in his visits, gave us now a specimen of his proficiency; for, clapping his forefinger upon a superfine snuff-box, he exclaimed, when the duet was finished, ‘Ma foi, dis is so pretty as never I hear in my life!’
“General Bawr, also, to whom Mr. Harris directed my attention, was greatly charmed. He is tall, and of stern and martial aspect. ‘He is a man,’ said Mr. Harris, ‘to be looked at, from his courage, conduct, and success during the last Russian war; when, though a Hessian by birth, he was a Lieutenant General in the service of the Empress of Russia; and obtained the two military stars, which you now see him wear on each side, by his valour.’
“But the rapture of Lady Edgcumbe was more lively than that of any other. ‘Oh, Dr. Burney,’ she cried, ‘you have set me a madding! I would willingly practise night and day to be able to perform in such a manner. I vow I would rather hear that extraordinary duet played in that extraordinary manner, than twenty operas!’
“Her ladyship was now introduced to Prince Orloff, whom she had not happened to meet with before; and they struck up a most violent flirtation together. She invited him to her house, and begged leave to send him her card. He accepted the invitation, but begged leave to fetch the card in person. She should be most happy, she said, to receive him, for though she had but a small house, she had a great ambition. And so they went on, in gallant courtesie, till, once again, the question was brought back of the Opera, and the Gabrielli.
“The Prince declared that she had not by any means sung as well as at St. Petersburgh; and General Bawr protested that, had he shut his eyes, he should not again have known her.
“Then followed, to vary the entertainment, singing by Mrs. Brudenel.
“Prince Orloff inquired very particularly of Dr. King who we four young female Burneys were; for we were all dressed alike on account of our mourning; and when Dr. King answered, ‘Dr. Burney’s daughters,’ he was quite astonished; for he had not thought our dear father, he said, more than thirty years of age, if so much.
“Mr. Harris, in a whisper, told me he wished some of the ladies would desire to see the miniature of the Empress a little nearer, the monstrous height of the Prince putting it quite out of view to his old eyes and short figure; and being a man, he could not, he said, presume to ask such an indulgence as that of holding it in his own hands.
“Delighted to do any thing for this excellent Mr. Harris, and quite at my ease with poor prosing Dr. King, I told him the wish of Mr. Harris.
“Dr. King whispered the desire to M. de Demidoff; M. de Demidoff did the same to General de Bawr; and General de Bawr dauntlessly made the petition to the Prince, in the name of The Ladies.
“The Prince laughed, rather sardonically; yet with ready good humour complied; telling the General, pretty much sans ceremonie, to untie the ribbon round his neck, and give the picture into the possession of The Ladies.
“He was very gallant and debonnaire upon the occasion, entreating they would by no means hurry themselves; yet his smile, as his eye sharply followed the progress, from hand to hand, of the miniature, had a suspicious cast of investigating whether it would be worth his while to ask any favour of them in return! and through all the superb magnificence of his display of courtly manners, a little bit of the Cossack, methought, broke out, when he desired to know whether The Ladies wished for any thing else? declaring, with a smiling bow, and rolling, languishing, yet half contemptuous eyes, that, if The Ladies would issue their commands, they should strip him entirely!
“You may suppose, after that, nobody asked for a closer view of any more of his ornaments! The good, yet unaffectedly humorous philosopher of Salisbury, could not help laughing, even while actually blushing at it, that his own curiosity should have involved The Ladies in this supercilious sort of sarcastic homage.
“There was hardly any looking at the picture of the Empress for the glare of the diamonds. One of them, I really believe, was as big as a nutmeg: though I am somewhat ashamed to undignify my subject by so culinary a comparison.
“When we were all satisfied, the miniature was restored by General Bawr to the Prince, who took it with stately complacency; condescendingly making a smiling bow to each fair female who had had possession of it; and receiving from her in return a lowly courtesy.
“Mr. Harris, who was the most curious to see the Empress, because his son, Sir James[45], was, or is intended to be, minister at her court, had slily looked over every shoulder that held her; but would not venture, he archly whispered, to take the picture in his own hands, lest he should be included, by the Prince, amongst The Ladies, as an old woman!
“Have you had enough of this concert, my dear Mr. Crisp? I have given it in detail, for the humour of letting you see how absorbing of the public voice is La Gabrielli: and, also, for describing to you Prince Orloff; a man who, when time lets out facts, and drives in mysteries, must necessarily make a considerable figure, good or bad--but certainly not indifferent,--in European History. Besides, I want your opinion, whether there is not an odd and striking resemblance in general manners, as well as in Herculean strength and height, in this Siberian Prince and his Abyssinian Majesty?”--vol. ii. p. 43-60.
The authoress’s account of the publication of the first volume of Dr. Burney’s History of Music, and its presentation to the Queen, occupies three pages, but contains no new information whatever, except that the Doctor was so delighted by her Majesty’s condescension in receiving the presentation copy, that he thenceforward never omitted to attend the Court on the birth-days. The shortness of this musical article is, however, immediately and fully made up for by an episode of full fifty pages, about Streatham, the Thrales, Dr. Johnson, Piozzi, &c.; in which all that relates to Dr. Burney might be comprised in almost as many words. But the authoress must be forgiven; she evidently wrote these memoirs under at least a double influence, and over her pen
‘Divisum imperium cum Burney Johnson habet.’
The next episode which the authoress has introduced is one on which we would willingly be silent, and which we heartily wish, for her own sake, she had either omitted, or, at least, curtailed within one tenth the limits to which it is extended. It is the history of the origin, writing, printing, and anonymous publication of the authoress’s first novel, which every patron and patroness of a circulating library still knows is entitled ‘~Evelina~; or, a Young Lady’s Introduction into Life;’ together with the further history of the effect this anonymous novel made, first in the novel reading, and then in the literary world; then the discovery of the authoress, which, curiously enough, seems to have been first made by the Doctor himself; who, by the way, was in the secret of his daughter’s being an authoress; though ignorant whether her maiden production was a spelling book or a homily; then the anonymous triumphs achieved by Evelina over Dr. Johnson, Sir Joshua Reynolds, &c.; then the bashful, half-reluctant consent that Mrs. Thrale, if pleased by reading it, might be admitted into the secret; and, finally, the full meridian blaze of popularity with Honourables and Right Honourables, Doctors, M.P.’s, statesmen, Lords Chancellor, and bas bleus, sounding aloft its praises from one end of the English Parnassus to the other. All this occupies fifty goodly pages, closed by an extract from a memorandum book of the Doctor’s, which gives the pith of the story in two,--but in which, singularly enough, the Doctor, though penning a private memorandum, never hints at how or whence he came to the knowledge of the secret. But this is not the worst; the game once started is never allowed to rest,--throughout the remainder of the volume scarce a conversation is reported which does not contain some well-turned compliment (always from some leading character) to Evelina and its authoress. At a bas-bleu meeting Mr. Soame Jenyns stands up, and delivers a regular eulogium on Evelina and its authoress. Sir Joshua Reynolds gives a dinner, to introduce to each other (we hardly know which to place in the first rank of celebrity, so follow the rule of Plâce aux Dames) the Authoress of Evelina and the Right Honourable Edmund Burke. At this dinner the following remarks were made, and are detailed by the authoress herself:--
“There has been,” Mr. Burke then, smilingly, resumed, “an age for all excellence; we have had an age for statesmen; an age for heroes; an age for poets; an age for artists;--but This,” bowing down, with an air of obsequious gallantry, his head almost upon the table cloth, “This is the age for women!”
“A very happy modern improvement!” cried Sir Joshua, laughing; “don’t you think so, Miss Burney?--but that’s not a fair question to put to you; so we won’t make a point of your answering it. However,” continued the dear natural knight, “what Mr. Burke says is very true, now. The women begin to make a figure in every thing. Though I remember, when I first came into the world, it was thought but a poor compliment to say a person did a thing like a lady!”
“Ay, Sir Joshua,” cried my father, “but like Moliere’s physician, nous avons changé tout cela!”
“Very true, Dr. Burney,” replied the Knight; “but I remember the time--and so, I dare say, do you--when it was thought a slight, if not a sneer, to speak any thing of a lady’s performance: it was only in mockery to talk of painting like a lady; singing like a lady; playing like a lady--”
“But now,” interrupted Mr. Burke, warmly, “to talk of writing like a lady, is the greatest compliment that need be wished for by a man!”
Would you believe it, my daddy--every body now, himself and my father excepted, turned about, Sir Joshua leading the way--to make a little playful bow to--can you ever guess to whom?--vol. ii. pp. 236, 237.
We do not complain that this was originally confided to an old, a fraternal friend, in all the warm glow of surprise, raised pride, and gratified feelings; but we do think that a lapse of fifty years should have somewhat tempered that glow, if it did not even suggest something like a question whether all these hyperbolical compliments, bestowed at last upon a production of no higher class than a novel, could be quite sincere. But enough on this subject; we have been led further into it than we at first intended, and abandon it with much more satisfaction than we took it up.
[To be continued.]
ANCIENT CONCERTS.
Whatever hopes we might have been led to entertain, at the commencement of the last season, from the change of circumstances which had occurred, by which a nobleman of great musical reputation became a director, and a gentlemen of no mean acquirements was appointed conductor of these concerts; we must confess, that, as the season advanced, these hopes, like the girdle of the Lady of Avenel, gradually diminished, and at the termination of the series, we had nearly abandoned the expectation of their further continuance. We are, however, in this respect agreeably disappointed; we say agreeably, because from early associations and long-confirmed habits, we are disposed to cling to the wreck, whilst ‘a plank of the vessel’ remains. With all its faults, both of omission and commission, its ‘short-comings and mis-doings,’ the Ancient Concert is endeared to us by a thousand interesting reminiscences: it was an assemblage of the great and mighty of the land, and ‘king’s daughters were among her honourable women.’ Even at this distant period, we cannot recall to mind the exquisite strains of a Banti, a Mara, a Billington, a Bartleman, &c., without sensations that thrill through our very frame.
FIRST CONCERT OF ANCIENT MUSIC,
Under the Direction of his Royal Highness the Duke of Cumberland, Wednesday, March 6, 1833.
~Act I.~
1. Quartet, ‘When the ears heard,’ (Mrs. Knyvett, ~Handel.~ Terrail, Vaughan and Sale.) Chorus, ‘She delivered the poor.’ Funeral Anthem.
2. Madrigal, ‘Lady, when I behold’ ~Wilbye.~
3. Song, ‘Lascia Amor,’ (Mr. Phillips.) Orlando. ~Handel.~
4. Chorus, ‘Righteous Heaven.’ Susanna. ~Handel.~
5. Song, ‘Lord! to thee,’ (Miss Masson.) Theodore. ~Handel.~
6. Concerto, (First Grand.) ~Handel.~
7. Glee, ‘Once upon my cheek,’ (Miss ~Callcott.~ Stephens, Mrs. Knyvett, Vaughan, and Sale.)
8. Song, ‘There the brisk sparkling,’ (Mrs. ~Handel.~ Knyvett.) Choice of Hercules
9. Coronation Anthem, ‘Zadok the priest’ ~Handel.~
~Act II.~
10. Overture, Iphigenia ~Gluck.~
11. Recit, ‘To Heaven’s Almighty King,’ (Mr. Braham) ~Handel.~ Air, ‘O liberty.’ Judas Maccabeus
12. Chorus, ‘For this God.’ Quartet and Chorus, ‘And ~Marcello.~ he will be.’ (Mrs. Knyvett, Terrail, Vaughan, and Phillips)
13. Recit. ‘Alas! I find,’ (Miss Stephens.) Song, ‘If ~Handel.~ guiltless blood.’ Susanna
14. Duet, ‘Alma mia!’ (Vaughan and Phillips) ~Handel.~ Admetus
15. Madrigal, ‘Sweet honey-sucking bees’ ~Wilbye.~
16. Recit, ‘He measured the waters,’ (Mr. Machin.) ~Handel.~ Air, ‘He layeth the beams.’ Redemption
17. Chorus, ‘O, praise the Lord’ ~Leo.~
This concert is so much beyond the average quality of the Royal Duke’s ordinary selections, that we are inclined to believe that though his, nominally, yet that the conductor may have had the chief hand in it. ‘The voice is Jacob’s voice; but the hands are the hands of Esau.’ Be this, however, as it may, if we must listen to the same music over and over again, we had rather endure the repetition of that which is good, than of mere trash, none of which can be found in the present concert. At the rehearsal on Monday, ‘Zadok the priest’ was the opening piece, and the very fine chorus, ‘Let old Timotheus,’ concluded the first act; but this last was omitted on Wednesday night, to make room for the oft-repeated movement from the Funeral Anthem, a change considerably for the worse. Miss Masson, whose first appearance we noticed in the third concert of the season of 1831, sang the song allotted to her (No. 5) very respectably; the same huskiness of voice which we then observed is still perceptible; perhaps it is only the effect of a cold; some of her tones are exceedingly good, and her expression not without feeling. The novelty of the evening was the appearance of Mr. Machin, who possesses a fine bass voice, and seems to understand what he is about. He gave his recitative and song with great propriety; we shall be glad to hear him again. We defer for the present our sentiments respecting the Madrigals (No. 2 and 15), as our limits will not allow taking up the subject here; we propose noticing them in our account of the next concert. We cannot pass over the quartet and chorus from Marcello, without recording our approbation. We believe the late conductor, as well as the present, both arranged these movements from the forty-eighth psalm; to which of the two the merit belongs of this night’s performance, we cannot say; either might be justly proud of it, and thus ‘divide the crown.’
SECOND CONCERT OF ANCIENT MUSIC,
_Under the direction of Lord Burghersh, for His Royal Highness, the Duke of Cambridge, Wednesday, March 13, 1833._
~Act I.~
1. Overture. Chorus, ‘How excellent thy ~Handel.~ name.’ Saul
2. Song, ‘O Lord! have mercy,’ (Mr. Parry) ~Pergolesi.~
3. Madrigal, ‘Die not, fond man’ ~Ward.~
4. Song, ‘Non vi turbate.’ (Mrs. Bishop.) Chorus, ~Gluck.~ ‘Dal lieto Soggiorno.’ Alceste
5. Recit. ‘Bless’d be the Lord,’ (Mrs. Knyvett.) ~Handel.~ Song, ‘What though I trace.’ Solomon
6. Chorus, ‘Credo in unum Deum.’ Quartet, ‘Et ~Mozart.~ incarnatus est,’ (Mrs. Bishop, Terrail, Sale, and Donzelli.) Chorus, ‘Et resurrexit’
~Act II.~
7. Overture. Zauberflöte ~Mozart.~
8. Recit. ‘And God created man.’ Creation. Air, ~Haydn.~ ‘In native worth,’ (Mr. Bennett)
9. Madrigal, ‘Stay, Corydon’ ~Wilbye.~
10. Recit. ‘Lasciate!’ (Miss Masson.) Aria, ‘Morirò! ~Handel.~ ma vendicata.’ Teseo
11. Chorus, ‘Regina cœli, lætare’ ~Mozart.~
12. Glee, ‘Blow, blow, thou winter wind,’ (Mrs. ~Stevens.~ Knyvett, Terrail, Horncastle, and Bellamy)
13. Duet, ‘The Lord is a man of war.’ Israel in ~Handel.~ Egypt. (Mr. Phillips and Mr. Machin)
14. Recit. ‘Ah perfida.’ Aria, ‘Và dal furor,’ ~Jomelli.~ (Signor Donzelli)
15. Chorus, ‘The Gods, who chosen.’ Athalia ~Handel.~
For years past, the attempt to get up a madrigal at the Ancient Concerts was little more than a failure. Lord Fortescue was attached to this species of composition, and while his health permitted him to take an active share in the direction, madrigals were occasionally introduced, but without effect. The causes which led to this arose out of the defective system to which we have frequently alluded, and were sufficiently evident to any one possessing some experience in this style of music. In the preceding concert, two madrigals were performed, and also two in the present (Nos. 3 and 9). The conductor has adopted a new plan, which has succeeded well, thus far: there is yet ample room for improvement, which we do not despair of witnessing, if he persevere in his endeavours to accomplish. Instead of sitting before the instrument and thumping it, by way of marking the time, he quits the chair, and standing in front of the orchestra, with baton in hand, gives the time in a way to be seen by every performer. But he must not stop here: at present, the whole body of chorus-singers are employed--if, indeed, these singers were drilled in the same admirable mode that the German chorus, who performed at the Opera House last summer, were, then might a similar powerful effect be produced by the same attention to the piano and forte, the delightful crescendo and diminuendo, the beautiful precision, and the nice blending of the different voices, creating, as it were, an ensemble quite unrivalled. But as the Ancient Concert chorus is at a considerable distance from that just described, we are confident that if about four or five voices to each part were selected from the main body, comprising of course all the principal singers, the result would be highly beneficial. At present, the female singers appear to have no idea of what they are required to do; each seems determined to be heard, by singing as loud as possible, thus overpowering the other parts, the basses especially, and materially injuring the general effect. Among the altos and tenors also, there are some harsh discordant voices, which might be omitted in the selection with great advantage to the performance. We shall again revert to this subject.
Of the present concert we cannot but speak with respect; notwithstanding its containing much that has been repeated from year to year, yet no trash can be found to disfigure and degrade it. We protest, however, against the arbitrary and uncalled-for act, of curtailing the subscribers of a portion of their due, the effect of which is plainly visible in this selection. The book announces the Overture to Saul, but the band played only the first movement, omitting the other three; one of which (the third) is an obligato for the organ: this has always been omitted, owing, it used to be said, to the nervousness of the late conductor--is the present conductor equally nervous? we would fain hope the contrary, if only for the honour of the Ancient Concert, which has a sad lee-way in reputation to fetch up. Only one movement of the noble opening chorus was performed. We thoroughly dislike these un ancient mutilations, which we had hoped the influence of the new conductor would be exerted to remedy. Miss Masson sang a song from Handel’s opera of Teseo, which did her great credit: it is too good to be popular, though we had the pleasure of hearing her in the same song at the Philharmonic, and also at the Vocal Concert, and in both instances she received great applause. Mr. Parry made his first appearance here, and executed his song (No. 2) with judgment, by not attempting to introduce embellishments where they would be entirely misplaced. Mr. Bennett also made his first appearance at these concerts in the fine song in The Creation. (No. 8.) We shall have no objection to hear him again, which we could wish to do, before pronouncing an opinion--our impression, however, is favourable. Mr. Machin took the second bass in Handel’s noble duet (No. 13), and confirmed the view we took of his performance in the preceding concert. Mr. Phillips acquitted himself with great credit in the first bass; each party felt emulous to do his best, and both were successful. Stevens’s lovely glee (No. 12) was encored, a just compliment to its merits. We have been accustomed to hear it sung by two trebles, tenor and bass, which we consider to be more effective, than with one treble and an alto.
Signor Donzelli, in the quartet (No. 6), sadly overpowered his companions, producing an effect almost ludicrous; he has certainly a voice of amazing power; but we might apostrophise it in the language of the great bard:--
“Oh ’tis excellent To have a giant’s strength; but it is tyrannous To use it like a giant.”
In his song from Jomelli (No. 14), he was occasionally too flat; indeed, the same observation applies to his singing in the quartet, where he was by no means in strict tune throughout.
We omitted to notice, in our introductory remarks, the alteration which has taken place in the orchestra, by bringing it more forward into the room, and lowering it in front--it is a decided improvement--which we are informed we owe to the Philharmonic Society, whose concerts have been removed from the Opera House to these rooms.
THIRD CONCERT OF ANCIENT MUSIC,
Under the Direction of Lord Cawdor, Wednesday, March 20, 1833.
~Act I.~
‘God Save the King.’
1. Overture, Occasional Oratorio ~Handel.~
2. Recit. ‘It must be so,’ (Mr. Phillips.) Song, ~Handel.~ ‘Pour forth no more.’ Chorus, ‘No more to Ammon’s God.’ Jephtha
3. Recit. ‘Ye verdant plains,’ (Mrs. Knyvett.) Song, ~Handel.~ ‘Hush, ye pretty.’ Acis and Galatea
4. Madrigal, ‘When Thoralis delights’ ~Weelks.~
5. Concerto in G minor ~Martini.~
6. Song, ‘Odi grand’ ombra’ ~De Majo.~
7. Sextet, ‘Dominus a dextris,’ (Miss Clara Novello, ~Pergolesi.~ Mrs. Knyvett, Terrail, Vaughan, Sale, and Phillips.) Chorus. ‘Gloria Patri’
~Act II.~
8. Overture, La Clemenza di Tito ~Mozart.~
9. Chorus, ‘He gave them hailstones’ } {
10. Chorus, ‘He sent a thick darkness’ } {
11. Chorus, ‘He smote all the first born’ } _Israel {
12. Chorus, ‘But as for his people’ } in { ~Handel.~
13. Chorus, ‘He rebuked the Red Sea’ } Egypt._ {
14. Chorus, ‘He led them through’ } {
15. Chorus, ‘But the waters overwhelmed’ } {
16. Duet, ‘Cantando un. Di sedea,’ (Miss C. Novello ~Clari.~ and Mrs. Knyvett)
17. Glee, ‘Thy voice, O! Harmony,’ (Mrs. Knyvett, ~Webbe.~ Terrail, Vaughan and Bellamy)
18. Song, ‘Agnus Dei,’ (Mrs. Knyvett) ~Mozart.~
19. Chorus, ‘Hallelujah,’ Messiah ~Handel.~
The Queen was present at this concert, attended by the Marchioness of Westmeath, another lady, and Lord Denbigh, her Majesty’s Lord Chamberlain.
Having on former occasions given our opinion without reserve, on the propriety of receiving the Queen at the concert of Ancient Music, in the same way which has always been observed at the theatres, but which never was practised here, under the ancien régime, we shall merely remark, that we have heard the ‘National Anthem’ much better performed at the theatres, than it was done now, the solo parts more especially. The Occasional Overture was played extremely well; but the fugue was too slow, though in the same time in which the late conductor gave it. We are confident the effect would be improved, by performing the overtures of Handel generally a shade faster than is at present done. The charming concerto of Martini (No. 5) was indeed a treat. Mr. Cramer may be said to be identified with these beautiful compositions, which are unheeded and unknown, except at these concerts; and which a prurient taste for florid and over-loaded accompaniment has nearly put hors de combat.
The madrigal (No. 4) was very creditably done. Mr. Knyvett has succeeded in bringing about an essential improvement in the performance of this most interesting style of music; we trust to his judgment for further efforts towards perfection. There are few difficulties over which patience and perseverance will not obtain the mastery. Mr. Phillips sang his song (No. 2) with great spirit, and without rant; we do not recollect ever to have heard him with more effect. The chorus which succeeds went off equally well: it is an admirable specimen of the genius of its immortal author. The fine Sestet of Pergolesi (No. 7) was very fairly executed; it is a difficult piece to do well: every one must perform their part without flinching, as each must be considered as an obligato. To speak in terms of praise of the chorus which followed is superfluous; it ranks among the noblest of the many noble compositions of the same great musician. Ardently do we wish to hear from time to time more of his charming productions: his Stabat Mater, Grand Mass, Salve Regina, and other splendid writings, surely would afford ample materials from which to select, if those in authority were competent to the task. Hinc illæ lachrymæ.
With much pleasure we notice the duet (No. 16), which we believe has never been done here before--certainly not for many years. The compositions of this elegant writer are comparatively unknown; but only require to be heard, in order to be duly appreciated by those who understand and value that which is of sterling quality. The young lady who took the upper part made her début this evening at these concerts; she appears very young, but her manner did not discover any of that embarras, usually so trying to young performers; she possesses considerable compass of voice, and sang with correctness. The musical public are under no small obligation to this young lady’s father, for having brought to light much excellent music, which his indefatigable industry and research drew from the dust and cobwebs, ‘the rust of ages,’ under which it had long slumbered ‘neglected and forgotten.’ One of the numerous instances of that slavish attention to precedent, that horror of departing from the old beaten track, which has mainly contributed to reduce the Ancient Concerts to their present standard, occurs in the second act, where the batch of choruses from Israel in Egypt are placed. Between Nos. 12 and 13, Handel has inserted a very fine one, a masterpiece of learning, yet smooth and flowing in its construction; this admirable chorus we never remember to have heard here, though the two, between which it stands, are done every season. We allude to ‘Egypt was glad when they departed.’ These are points, surely, to which the influence of the present conductor might extend, if he were so disposed.
The final chorus, which was to have been the magnificent ‘Cum Sancto Spiritu’ of Pergolesi, was exchanged for the one from the Messiah (No. 19): if this originated with the director of the night, we cannot compliment him upon his musical taste; perhaps, however, it was a suggestion from a quarter to which he could not but accede. We cannot consider it as an improvement.
PHILHARMONIC CONCERTS.
FIRST CONCERT, Monday, February 25, 1833.
~Act I.~
Sinfonia in E flat ~Mozart.~
Aria, Mr. Phillips, ‘Lascia Amor.’ (Orlando) ~Handel.~
Concerto, Clarinet, Mr. Willman ~Spohr.~
Aria, Signor Donzelli, ‘Pria che spunti.’ (Il ~Cimarosa.~ Matrimonio Segreto)
Overture, Oberon ~C. M. Von Weber.~
~Act II.~
Sinfonia, No. XI. ~Haydn.~
Aria, Mrs. Wood, ‘Ah che i giorni.’ ~Spohr.~ (Der Alchymist)
Quintetto, two Violins, two Violas, and Violoncello, ~Beethoven.~ Messrs. Mori, Watts, Moralt, Seymour, and Lindley
Duetto, Mrs. Wood and Mr. Phillips, ‘Come frenar.’ ~Rossini.~ (La Gazza Ladra)
Overture, Demophon ~Vogel.~
Leader, Mr. Spagnoletti.--Conductor, Mr. Cramer.
The Philharmonic Society celebrated its coming of age this year--the present being its twenty-first season--in a manner not at all unusual with those who attain their majority, namely, by changing its domicile, and has gained many important advantages by removing.
The great defect in the Hanover Square Rooms, as injudiciously altered many years ago, by the directors of the Ancient Concerts, was, the height of the orchestra from the floor, owing to which, sound seemed to be confined in a gallery,--was half lost before it reached the audience; not to mention the ill effect produced on it by striking the roof before sufficient space had been given for its expansion; and it actually passed over the heads of all those who sat near the performers.
The orchestra is now sloped down to within about four feet of the ground, and the front is consequently advanced a considerable distance further into the room, thus admitting a much greater number of performers, and bringing the singers, concerto-players, &c. nearly on a level with the company; that is, only so much elevated as to be seen in all parts of the saloon. The great and beneficial effect of this alteration was universally admitted, and rooms acknowledged to be the worst in London for music, are now confessedly become the best.
The two symphonies in this opening concert were executed in a manner that left no doubt on the minds of the audience as to the continued efficiency of the band. Indeed, we are not aware that any change has taken place in it since the former season; it was, and is, filled by the highest talent which this country can produce. Haydn’s 11th grand, though not of so imposing a nature as most of the twelve composed for Salomon, is full of originality and beauty, and not being so often heard as some of the others, has a freshness which increases its charms. The overture to Oberon was as perfect as its great composer himself could have wished. The Demophon very well answered the purpose of a finale.
The clarinet concerto of Spohr, in E flat, was by all felt to be too long: many bars, both in the first and last movement, which are nothing but unnecessary reiterations, might have been curtailed, much to the advantage of all parties,--composer, performer, and hearers. Had this discretion been shown, the adagio in ~A~ flat, a rich and lovely movement, would certainly have met with an encore. This was played in an exquisite manner, though Mr. Willman did not seem at his ease in the other parts; they evidently cost him great labour, but made no adequate return. Beethoven’s quintet, the first in C, op. 29, was executed in a very masterly style by Mori and his coadjutors; the slow movement was played in a remarkably fine manner; but though the whole abounds in genius, it has the defect of much modern music, is somewhat too long; and when before large mixed audiences, performers would act prudently in omitting the repeats.
The vocal pieces in this concert did not show much research or vigour in the selection of them. The two first arie, excellent as they are, have been heard till they pall on the ear; and Donzelli with his mighty voice, is resolved that at all times, and in every kind of music, its utmost power shall be displayed. Piano is a term unknown in his vocabulary; or else softness is despised by him, as an indication of effeminacy or idleness. This is the more to be regretted, because, had he a little light and shade in his singing, he would be the first Italian tenor in Europe. Mrs. Wood, in Spohr’s air, was admirable; and though a cadence to this was not only unnecessary, but ill-judged, yet, as a cadence, it was in exceedingly good keeping. The fine duet of Rossini is, like all his best music, worn to tatters, and, though well sung, was received with icy coldness.
The room was full from the very commencement.
SECOND CONCERT, Monday, March 11, 1833.
~Act I.~
Sinfonia, No. I. ~Spohr.~
Recit. ed Aria, Miss Masson, ‘Morirò! ma vendicata.’ ~Handel.~ (Teseo)
Quintetto, MS. (composed expressly for these Concerts, ~Cramer.~ and first time of performance) Piano-forte, Violin, Viola, Violoncello, and Contra Basso, Messrs. Cramer, F. Cramer, Moralt, Lindley, and Dragonetti
Duetto, Miss Masson and Mr. Horncastle, ‘Bella Ninfa.’ ~Spohr.~ (Jessonda)
Overture, Euryanthe ~C. M. Von Weber.~
~Act II.~
Sinfonia, No. VII. ~Beethoven.~
Aria, Madame de Meric, ‘Per pietà.’ (Così fan ~Mozart.~ tutte).
Concertino, Violin, Mr. Henry Wolff ~Wolff.~
Terzetto, Madame de Meric, Mr. Horncastle, and Mr. E. ~Beethoven.~ Taylor, ‘Tremate, empi, tremate.’ (Fidelio)
Overture, L’Hotellerie Portugaise ~Cherubini.~
Leader, Mr. F. Cramer.--Conductor, Sir George Smart.
Spohr’s symphony in ~D~, dedicated to this society, certainly improves upon acquaintance. Written as it is, and as most of this composer’s works are, after Mozart’s models, it still is not devoid of original traits: while in fulness of harmony, and that kind of finish which well-directed labour produces, it has never been surpassed. We have not heard Beethoven’s symphony in A better executed, hardly ever so well. The second movement[46],--to the merits of which we have often attempted to do justice--was, as usual, encored. The overture to Euryanthe received equal justice from the hands of this matchless band. This is one of those compositions which do not develope their beauties on a first or even a second hearing; but the fine imagination of Weber, his taste and artistic skill, are as fully displayed in this as in any of his better-known orchestral productions. Cherubini’s overture savours of mannerism; it is nearly made up of passages from his other works.
Mr. Cramer’s quintet--to compose which he was recently engaged by the society--aims at nothing grand, makes no attempt to surprise, either by eccentricity of melody or studied and far-fetched modulation; but a well-considered design is conspicuous in each movement, and the whole, particularly the slow movement, is marked by that elegance which is this author’s attribute. The first movement is an allegro in ~B~ flat; the second a largo in ~F~; and the last a rondo in six-quaver time. The performance of this was in Cramer’s well-known exquisite and unrivalled style,--for who like him knows how to touch the instrument!--and his efforts were met with that attention and applause which they so richly deserved[47].
Mr. Wolff, first a pupil of Spagnoletti, then of Mayseder, displayed considerable ability in his concerto. If his intonation was not always quite exact--if he sometimes attempted more than he could with great nicety perform, the occasional imperfections may possibly be imputed to the nervousness arising from a débût, and before such an audience. Wishing that he had more of his first master than of his second in his style--more of the solid and less of the glittering--we still think that there is great promise in this performer but are not so well convinced that the Philharmonic Concert was exactly the place for his first performance.
The scena and aria of Handel are worthy of the master, and pleased as novelties, for every part of the opera is totally unknown. Rage and revenge are here expressed, according to the fashion of the day, in long divisions; but these very divisions render the air unfit for Miss Masson’s voice, which has but little flexibility, and proved unequal to the many passages requiring quick and distinct articulation. Her shake too, a grace, if grace it must be called, is anything but perfect, and unfortunately was here frequently introduced, greatly to the regret of those who know how to appreciate this lady’s talents, which are of a high order, but in the present air much misemployed. The duet from Jessonda was chosen for her with much more judgment. Mozart’s aria, from the appendix to his Così fan tutte, is a fine composition, abounding in the riches both of melody and accompaniment, but Mad. de Meric had fatigued herself by previously singing at the theatre, and certainly did not make the most of what was now assigned to her. The terzetto--another hacknied piece--was correctly performed; but this wants the stage; in concert-room it ranks as a second-rate composition, whatever the through-thick-and-thin admirers of the author may say to the contrary.
VOCAL SOCIETY.
FIFTH VOCAL CONCERT, Monday, March 4, 1833.
~Part I.~
1. Full Anthem, ‘O clap your hands’ ~O. Gibbons.~
2. Glee, ‘Blest pair of Syrens.’ (Masters Howe and Hopkins, Spencer, Vaughan, and Bellamy) ~J. S. Smith.~
{Rec. ‘This image.’ MS. oratorio ‘Daniel } ~F. W.~ 3.{ the Prophet’ } Horncastle. {Air, ‘Lives there a mortal.’ (Mr. Phillips) }
4. Hymn, ‘O thou that read’st.’ (Miss C. ~Novello.~ Novello, Terrail, Vaughan and Chapman, and Chorus)
5. Duet, ‘Forsake me not.’ The Last ~Spohr.~ Judgment. (Miss Shirreff and Mr. Vaughan)
6. Madrigal, ‘Cynthia! thy song and chanting.’ ~G. Croce.~ (1560)
7. Air, ‘Dulcissimum convivium.’ (Mrs. G. ~Mozart.~ Wood)
8. Terzetto, ‘Mandina amabile.’ _La Villanella ~Mozart.~ Rapita._ (Miss C. Novello, Hawkins, and E. Taylor)
9. Glee, ‘The Shades of the Heroes.’ (Messrs. ~T. Cooke.~ Hawkins, Fitzwilliam, Horncastle, Phillips, and Atkins)
10. Fantasia, Flute. (Mr. Nicholson.)
~Part II.~
11. Chorus, ‘Viaticum in Domino,’ from a Litany. ~Mozart.~
12. Glee, ‘Now the blue fly’s gone to bed.’ ~W. Linley.~ (Messrs. Goulden, Horncastle, Vaughan, and Sale)
13. Cantata, ‘Mad Bess.’ (Miss Shirreff) ~Purcell.~
14. Witches’ Song and Chorus. (Solos by Master ~R. J. S. Howe, Goulden, Vaughan, Bellamy, and Stevens.~ Atkins)
15. Madrigal, ‘Fire, fire my heart.’ (1593). ~Morley.~
16. Aria, ‘Per questa bella.’ (Mr. Parry, Jun.) ~Mozart.~
17. Duetto from La Primavera Felice. ~Parr.~ (Messrs. Horncastle and Phillips)
18. Glee, ‘Come, Lucy, my love.’ (Master ~T. Jolly.~ Howe, King, Horncastle, and Sale)
19. Glee and Chorus, ‘Sons of Dian.’ (Messrs. ~E. Taylor.~ Hawkins, Vaughan, Fitzwilliam, and E. Taylor)
In the composition of a concert, as in that of a good picture, an attention to the chiaro scuro is of essential importance: some of the noblest efforts of the pencil owe no small degree of their merit and high reputation to the skilful management of the artist in a judicious blending of his light and shade. The same principle, applying in the one case to the organ of vision, is of equal force in reference to the organ of audition. The concert under present consideration affords an apt illustration of our meaning: in variety of authorship, and in intrinsic excellence, there is little room for objection; but it is very deficient in what the French term les nuances. A succession of elaborate pieces compose the first act, giving a sombre complexion to the whole, which might easily have been avoided by throwing in occasional relief. The opening piece, by being chorus throughout, did not produce anything like the effect of Battishill’s Anthem at the commencement of the second concert, where a charming verse for three voices, between the first and last chorus, affords the most agreeable relief to the musical ear: we are here speaking of effect, not intending any invidious comparison between Orlando Gibbons and Jonathan Battishill, who were both splendid writers; and we heartily wish we had heard much more of the works of these truly great musicians at the concerts of the Vocal Society. In a mixed audience, various tastes must, of course, be expected; and without departing from the dignity which ought never to be lost sight of in the conduct and management of such concerts as these, still we contend that music of a somewhat lighter character might be most advantageously introduced, to the general improvement of the evening’s performance; always remembering, that light music and trifling music are by no means synonymous.
As we shall probably, in our notice of the concluding concert, take a short retrospective view of the whole, we will not at present say more on this topic; but proceed to remark briefly on certain points immediately connected with this night’s performance. The two Madrigals, (Nos. 6 and 15,) though of unequal merit, were both encored, and were the only encores of the evening. We rejoice to witness the favour and acceptance which these compositions meet with; it is highly creditable to the musical feelings of the audience, and a satisfactory answer to those who affect to say that music of this description is entirely out of fashion. Miss Shirreff’s ‘Mad Bess’ wanted ease; she had evidently studied the part, but perhaps this very circumstance was too apparent, and gave the idea of a laboured performance: we must be permitted to express our surprise at the piano-forte accompaniment of Mr. T. Welsh, which we cannot but think his better judgment must disapprove; running up and down the keys may display the dexterity of the player, but it ought not to be at the expense of the composer, especially of such a composer as Henry Purcell. An elegant and pleasing glee (No. 12) of Mr. W. Linley’s was heard with great attention and evident satisfaction, and had it been done at an earlier period of the evening, would doubtless have been repeated. The Witches’ Song and Chorus (No. 14) of Mr. Stevens strongly reminds us of Purcell; it is a composition of great merit: the chorus should have been repeated. As an instance of the working of the system of admitting single tickets, we observed an individual in boots, and with an umbrella under his arm, walk up to the upper end of the room, where he stood in a very conspicuous situation during the whole of the concert. This is too bad.
SIXTH VOCAL CONCERT, Monday, March 18, 1833.
~Part I.~
1. Anthem, ‘I will sing of thy power’ ~Dr. Greene.~
2. Solo and Chorus, ‘By the dark rolling’ ~M’Murdie.~
3. {Rec. ‘Lo! here my love.’ (Mr. Hawkins) } ~Handel.~ {Air, ‘Love in her eyes.’ Acis and Galatea. }
4. Mass, ‘Gloria in excelsis,’ &c. ~Haydn.~
5. Madrigal, ‘So saith my fair.’ (1580) ~Luca Marenzio.~
6. {Rec. ‘Misera! dove son.’} (Mrs. Bishop) ~Mozart.~ {Aria, ‘Ah! non so io.’ }
7. Glee, ‘If o’er the cruel tyrant’ ~Arne & Greatorex.~
8. Hymn to the Creator, (Solo, Miss C. Novello, ~M. Chelard.~ and Chorus)
9. Fantasia, Oboe. (Mr. G. Cooke) ~G. Cooke.~