Chapter I: Part THE FIRST: Essays, Criticisms, and Miscellanies (1)

CONTENTS.

I. BIOGRAPHICAL MEMOIRS.

Page

Ayrton, Edmund, Mus. D. 142
Batten, Adrian 117
Blake, William, D.D. 118
Danby, John 186
Dupuis, Thomas S., Mus. D. 142
Garcia, Manuel del P. V. 21
Hayes, William. Mus. D. 141
Herold, Louis J. F. 69
King, Charles, M.B. 118
Kircher, Anastasius 161
Mersenne, Marin 161
Metastasio, (Pietro Trapassi) 93
Paxton, Stephen 186
Righini, Vincenzo 1
Rubini, Gian B. 23
Smith, John Stafford 186
Spofforth, Reginald 186
Stevens, Richard James Samuel 186
Tamburini, Antonio 125
Travers, John 141
Tudway, Thomas 117
Webbe, Samuel 185
Weldon, John 117
Zelter, Carl Friedrich 45

II. MISCELLANEOUS ESSAYS, CORRESPONDENCE,
NOTICES, &c.

Amateur’s Musical Party, at the Freemason’s Tavern 97
Ancient Concerts, the Leader of the 172
Anders, M., historical notices relative to the Violin, by 169

Barnett, (Mr.) and the Philharmonic Society 120
Base Voice, on the 100
Beethoven, a theoretical work, by 6
Beethoven’s Opinion of Contemporary Composers 46
Beethoven on Canon 47
Beethoven, Characteristic Traits and Anecdotes of 25
Belgium, on the actual state of music in 191
Bellini’s last Opera 193
Birmingham Musical Festival 63
Burney, (Dr.) Memoirs of, by Mad. D’Arblay 52, 75, 99, 121
Cambridge Commencement 167
Canon, on, by Beethoven 47
Castel-Blaze, (M.) notice of Tamburini, by 125
Cathedral Service and Lord Henley 56
Characteristic Anecdotes and Traits of Beethoven 25
Choirs, Ecclesiastical, of Great Britain and
Ireland--Armagh--Canterbury 50
Commemoration of Sir Thomas Gresham 180
Concerts, Memoirs of the Metropolitan 4
Concerts at Oxford, and on the State of Music at both
Universities 73
Composers, contemporary, Beethoven’s opinion of 46
Compositions of Handel, on some 29
Critique, a German 146

D’Arblay, (Mad.) Memoirs of Dr. Burney, by 52, 75, 99, 121

Ecclesiastical Choirs of Great Britain and
Ireland--Armagh--Canterbury 50

Fallacies of some Writers on Music 2
Fashionable Music, rules for composing 187
Fétis, (M.) an Official Note to 109
_Fortunatus_, the new German Opera of 7

German Opera, _Fortunatus_, a new 7
Glasgow Amateur Society 188
Glee Club, the Manchester Gentlemen’s 30
Glees, on Prizes for 126
Gresham Prize Medal for 1832 29
Gresham, Sir Thomas, Commemoration of 180

Handel, on some compositions of 29
Harmonics of the Violin 143
Hints to Leaders and Conductors 95

Leader of the Ancient Concerts 172
Leaders and Conductors, hints to 95
Lindley’s (Mr. G.) Answer to Mr. Gödbé 4
Liverpool Amateur Society 168
Lord Henley and the Cathedral Service 56
Lyre, on the re-introduction of 124

‘Mad Tom of Bedlam,’ the Song of 58, 74
Maelzel’s new Metronome 96
Manchester Gentlemen’s Glee Club 30
Melody, a treatise on 118
Melody and Harmony, Mr. D. Walker on 145
Memoirs of Dr. Burney, by Mad. D’Arblay 52, 75, 99, 121
Metropolitan Concerts, Memoirs of the 4
Millard, (Mrs.) letter from 72
Millard’s, (Mrs.) Letter, reply of Mr. Purday to 98
Moscheles, (M.) at Leipzig 9
Music, fallacies of some Writers on 2
Music, actual state of, in Belgium 191
Music, state of, in the Provinces 71
Music, state of, at both Universities 73
Music, on Thoughts or Ideas in 186
Music, utility of to Sailors 171
Musical Festival, Worcester 170
Musical Metronomes 192
Musical Party, Amateur’s, at the Freemason’s Tavern 97

Norwich Festival 191
Note, an official, to M. Fétis 109

Obituary--Herold--Nozzari--Deville 30
‘Old English Gentleman,’ song of the 172, 190
Opera Department, state of our Theatres chiefly as
relates to the 27
Otto. M., on the Violin 162
Oxford, Concerts at 73, 165
---- Commemoration Concerts 165

Philharmonic Society and Mr. Barnett 120
Prize Medal for 1832, the Gresham 29
Prizes for Glees, on 126
Provinces, state of Music in the 71
Purday’s (Mr.) Reply to Mrs. Millard’s Letter 98
---- reply to Mr. H. Phillips 190

Rules for composing Fashionable Music 187

Sailors, utility of Music to 171
State of our Theatres, on the, chiefly as relates to the
Opera Department 27
Swan, song of the 26

Thoughts or Ideas in Music 188
Treatise on Melody, a 118

Voice, on the base 100
Violin, Harmonics of 143
---- M. Otto, on the 163
---- M. Anders’, historical notice of the 169

Walker, (Mr. Donald) on the re-introduction of the lyre 124
---- on Melody and Harmony 145
Worcester Musical Festival 170
Work, a theoretical, by Beethoven 6

III. REVIEW of NEW MUSIC, with Extracts and
Illustrations--New Operas--Sacred Works--Arrangements
for various Instruments--Vocal--Elementary
Books, &c. 10, 31, 59, 85, 101,
127, 148, 173, 194

IV. EXTRACTS from the DIARY of a DILETTANTE,
(in which the prevailing Topics connected
with Music are noticed) 16, 36, 64, 89, 109,
135, 178, 199

V. LONDON CONCERTS.

Ancient, the 79, 106, 131, 152
Benefit, of the Season 155
Madrigal Society 8, 88, 177
Metropolitan, Memoirs of the 4
Philharmonic, the 81, 107, 134, 154
Royal Academy of Music 108
Società Armonica 108
Vocal Society 35, 55, 83

VI. THE DRAMA.

Covent Garden Theatre 20, 43, 60, 67, 115, 160, 183
Drury Lane Theatre 19, 43, 66, 91, 115, 139, 160
English Opera House 43, 115, 184
German Opera 91
King’s Theatre 43, 66, 91, 139, 159, 183, 205

VII. FOREIGN MUSICAL REPORT.

Attenburg 138
Bergamo 42, 65
Berlin 18, 40, 90, 111, 137, 158, 181, 203
Bernburg 138
Bologna 41, 182
Breslau 19, 204
Bremen 158, 204
Brunswick 138
Brussels 182
Carlsruhe 65, 204
Cassel 138
Constantinople 41, 159
Copenhagen 158
Dessau 158
Douay 42
Dresden 40, 112, 158, 181
Dusseldorf 112, 158
Frankfort 112, 138, 158, 182
Greifswald 113
Hamburg 112
Jena 158
Königsberg 19, 182
Leghorn 19
Leipzig 18, 112, 137, 182
Madrid 159
Manheim 112
Merseburg 112
Milan 40, 65, 182
Munich 40, 90, 111, 137, 181
Naples 41, 182
New York 113
Novara 41
Paris 19, 42, 65, 90, 183
Pesth 40, 112
Prague 90, 138, 181, 203
Rome 41, 65
Schwaz 113
Strasburg 137, 182
Stuttgart 40
St. Petersburg 159, 182
Toulouse 183
Trieste 113
Turin 41
Utrecht 159
Venice 65, 90
Vienna 18, 39, 90, 111, 136, 158, 180, 202
Warsaw 19
Würtzburg 112
Weimar 112, 138, 182

VIII. OBSERVATIONS on the MUSIC given in
each Number 20, 43, 68, 92, 116,
140, 160, 184, 206

[Sidenote: ~January, 1833.~]

THE HARMONICON.

1833.

MEMOIR OF VINCENZO RIGHINI[1].

It has not unfrequently happened that the works of very superior composers have remained a long time unknown, except in the country where they were produced. We hardly need say that Mozart’s operas never reached London or Paris till twenty and more years after his death. His chef-d’œuvre, _Don Giovanni_, was performed for the first time in England in 1817, no less than thirty years after it was first produced! Handel is now only beginning to be known on the continent! We do not mean to place the subject of this brief memoir on anything like a footing with either of those great masters, but he wrote many operas that deserve notice, some of which will, we are persuaded, ere long be thought worthy of being heard at the King’s Theatre, if being far superior in all respects to five out of every six lately brought out there, entitles them to be made known to a British audience.

* * * * *

~Vincenzo Righini~ was born at Bologna about the year 1758, where also he laid the foundation of his musical acquirements, under the direction of the very celebrated, and at that time still vigorous, Padre Martini. After having completed his vocal studies, he left Bologna about the year 1776 for Prague, where he contracted an engagement as a singer for the Italian Opera-buffa, under the management of M. Bustelli, which enabled him not only to cultivate his talents for vocal composition, but also to bring on the stage several operas and scenas, which were performed with success. And this is one of the many instances on record of Italian _Maestri di Capella_, previously mere virtuosi, becoming profound and distinguished musicians and composers, through their connexion with German musical chapels and orchestras.

After he had passed three years in Prague in so profitable and creditable a manner, he repaired to Vienna, where he had the good fortune to be chosen, by the Emperor Joseph II., singing-master to the beautiful Princess Elizabeth, of Würtemberg, and was appointed, at the same time, kapellmeister and composer to the Italian opera.

About the year 1788 he went to Mentz, whither he had been invited by the archbishop and elector, whose service he entered as kapellmeister. Here again he wrote much for the theatre, and a grand mass for the church. During his stay in that city the fame of his delicate and pleasing music procured for him the honourable commission from the elector of Treves, one of the most distinguished musical connoisseurs among the German princes of his time, to set to music the drama _Alcide al Bivio_, which was subsequently performed at Coblentz with the success it merited, under his own direction, in the presence of the court.

Lastly, he was called to Berlin by Frederich Wilhelm II., to write the opera seria, _Enea nel Lazio_, for the great opera-house there, which being favourably received by the king, he was appointed, in April, 1793, Master of the Royal Chapel, in the room of Alessandri, with a salary of 4000 thalers. Here, enjoying the favour of the sovereign, and the esteem of the public, and proud of his excellent orchestra, he married, in the year 1794, the young and handsome Madlle. Kneisel, with whom he had become acquainted as the favourite singer of the Frankfort Theatre, at Mentz. As, at the decease of the king (which took place in 1798) Righini was in the most honourable manner confirmed in his dignities by the new monarch, and remained, after his return from Hamburg--whither he, during that year, accompanied Mad. Righini for a short time--permanently fixed at Berlin until the year 1804, when, with the sanction of his court, he visited Italy in company with the youthful Madlle. Fischer, his pupil. He died at Bologna on the 19th of August, 1812, where he had arrived in the spring, in the hope of being relieved from a disease that had before afflicted him, and of which he had been once cured by an operation performed by an eminent professor in that place. The second attempt, however, of the same surgeon, proved fatal.

In his manner of composing Righini was entirely devoid of pretension, and remarkably pleasing; and with regard to his vocal abilities, every ear was charmed when he sang, with his soft and subdued voice, scenas from his own scores, accompanied by himself on the piano-forte.

His compositions are, 1. _La Vedora Scaltra_; Op. Buffa, (his first opera,) at Prague. 2. _La Bottega del Caffé_; Op. Buffa, ditto. 3. _Don Giovanni, o sia il Convitato di Pietra_; Op. Buffa, ditto. 4. Several scenes, duets, &c. for introduction in serious operas performed there. 5. _La Sorpresa amorosa, Cantata à tre voci_, with full orchestra, written at Vienna for three of his pupils. 6. _Il natale d’Apollo_, a grand Cantata, with full orchestra, ditto. 7. Grand Serenade, with full orchestra, ditto. 8. _L’Incontro inaspettato_; Op. Buffa, 1785. 9. _Le Demogorgone, o sia il Filosofo confuso_; Op. Buffa, ditto. 10. Several scenas and rondeaus, introduced in various operas produced at the Vienna theatre. 11. The scena _Berenice, Che fai?_ from Metastasio’s opera, _Antigono_. 12. The scena _Se cerca, se dice_, from Metastasio’s _Olimpiade_. 13. _Armida_; Op. Seria; first performed at Aschaffenburg. 14. _Alcide al Bivio_; Op. Seria; produced at Coblentz, 1789. 15. A grand solemn mass, performed at the election of the Emperor Joseph II. 16. _Enea nel Lazio_; Op. Seria; composed for the theatre at Berlin. In this Righini himself sang, and made his first appearance on the stage of the great Opera-house in January, 1793. 17. _Il Trionfo d’Arianne_; Op. Seria, 1793. 18. _Atalanta e Meleagro, Festa teatrale che introduce ad un ballo allegorico_, performed at the Opera-house at Berlin, on 15th February, 1797, on the occasion of the marriage of the princess. 19. _Armida_; Op. Seria; the text remodelled by Filistri; the music almost entirely re-composed, 1799; published at Leipzig in 1805. 20. _Tigrane_; Op. Seria; Berlin, for the Carnival, 1799, 1800; score published 1810. 21. _Gierusalemme Liberata_; Op. Seria. 1802. 22. Various detached compositions for the church. 23. _Der Zauberwald_ (La Selva incantata), an opera published at Leipzig.

* * * * *

Besides the above works, Righini’s minor productions, vocal and instrumental, but chiefly the former, are very numerous. He was a ready man, of most industrious habits, and his taste and judgment, the result of great experience, could be relied on. Hence he was resorted to when occasion demanded the prompt exertion of a composer’s talent. But it follows as almost a necessary consequence, that most of what was thus suddenly called for and brought forth, was calculated for an immediate purpose--not written with any hope that it would add much to his reputation. His fame he well knew would rest on his operas[2].

FALLACIES OF SOME WRITERS ON MUSIC.

_To the_ ~Editor~ _of the_ ~Harmonicon~.

~Sir~,

As you have considered my first paper admissible, I beg leave to continue my remarks on what I conceive to be the fallacies of some writers on music, and proceed with those of Dr. Browne, whose fifth charge against Handel is contained in the following words:--

‘Choirs (or choruses) sometimes (though seldom) calculated more for the display of the composer’s art, in the construction of figures and canons, than for a natural expression of the subject.’ The writer, then, is evidently no admirer of the fugue style; and such choruses as the “Amen” (_Messiah_), “He led them through the deep” (_Israel in Egypt_), and many others, were, to his ears, nothing more than musical exercises!

On the subject of fugue, which obliges the various voices to sing different words at the same time, thereby producing confusion in the sense, argument for and against has been nearly exhausted by some of the first literary and musical writers of the present and past age. In the _Harmonicon_, a few months back, some excellent remarks, I think, appeared on both sides. Vocal composers, from the time of Palestrina, have all augmented their fame by their fugues, the variety which such style of writing imparts to the subject often rendering a simple, nay, even a meagre one, interesting. But it must be allowed that it is highly necessary that he who would enjoy such composition should be somewhat of an educated musician, or he will never enter into the true meaning and spirit of it.

This, perhaps it may be said, only proves a prejudice, engendered by education and habit. But if so, every subject on which men have dissented is liable to the same objection. Different advances in civilized life and education are attended by more or less of such prejudices; and in search of truth a man must be endowed with almost superhuman powers who can divest himself wholly of the influence of early impressions. As a striking proof of this, it is enough to state that, up to the present hour, our two universities cannot agree concerning the pronunciation of the Latin A; it is, therefore, clear that one of these great emporiums of learning must be labouring under a prejudice.

But, to return to the subject immediately before us:--if the objection which obtains so much among literary men (who are not musicians by education) against fugue writing, _viz._ “the confusion of words” produced by it, is valid, then to the same objection many other high classes of composition become equally obnoxious. Madrigals teem with this alleged error, and superadded to it are the most barbarous faults in accent. All, or nearly all, glees have similar failings to atone for. If we look at the works of the great continental writers, in their masses and motetts, the same confusion of words is conspicuous; and what is more to my purpose here, even the _duetts_ of Steffani, Handel, Clari, and Travers,--and, in our time, of Jackson, Bishop, Neukomm, &c. &c. are equally guilty in this respect. If the authority of names is of any weight, we have on our side the opinion of the greatest poet England ever produced, Milton, who, in his Paradise Lost, book 11, speaks not in a very contemptuous manner of the fugue.

The sound
Of instruments that made melodious chime
Was heard, of harp and organ; and who moved
Their stops and chords was seen; his volant touch
Instinct through all proportions, low and high,
Fled and pursued transverse the resonant fugue.

But the truth is--and here I must confess the fact--that composers must be allowed to mix the words, under certain limitations, in chamber and oratorio music; it is a licence absolutely necessary to musical effect, and equally allowable in the dramatic composer when he has five or six characters on the stage, all influenced by different feelings, to make them utter not only various words, but each, at the same moment, his own sentiment of rage, joy, despair, triumph, love, and revenge. I am no advocate for the mixture of words when it can be avoided, which might often be done, did composers bestow proper attention on the subject.

I now pass on to the sixth charge against Handel. ‘The choir, in many instances (and the single song in some) not sudden enough in its intervention, being generally prepared by a correspondent symphony of instrumental music, which creates expectation and presentiment, destroys surprise, and thus lessens the impression and effect.’

Dr. B. allows that Handel’s defects proceeded ‘not so much from himself, as from the period in which he lived.’ This sixth charge is a remarkable proof of it; for, by observing the compositions of Handel’s contemporaries, we constantly find the symphony; let the sentiment be ever so sudden or violent, still the everlasting symphony is present, to ‘destroy surprise and lessen effect.’

Haydn’s genius, at a more advanced stage in the practice of music, enabled him to break through the trammels of these _chaperoning_ symphonies, and, had he been only a vocal writer, would, no doubt, have done more. Beethoven, too, whose mighty powers of mind were not so fully appreciated in his own time as now, sets another example--in his trio ‘Tremati,’ for instance--of the non-intervention of symphonies. And in the dramatic music of many other modern writers, a custom so injurious to both stage and musical effect, is generally laid aside. Even instrumental writers are beginning to feel the tediousness of introductory symphonies. In the beautiful concerto of Mendelssohn, which he played last season at the Philharmonic, how did he delight his audience by the bold spirit with which he rushed at once into the principal solo subject, instead of following the old daudling practice of tiring expectation by four or five pages of tedious, and often irrelevant, symphony![3] I therefore agree with Dr. Brown on this point, so far as his principle goes. At page 189 is a striking fallacy and extraordinary contradiction of himself by this critical writer. Speaking of Sternhold’s version of the Psalms, he says, ‘There are few stanzas which do not present expressions to excite the ridicule of some part of every congregation. This version might well be abolished, as it exposeth one of the noblest parts of divine service to contempt; especially as there is another version already privileged, which, though not excellent, is, however, not intolerable. The parochial music seems to need no reform.’ The opinion, that what is only not intolerable needs no reform, will find but few abettors in the present times. I have thought, ever since my attention was turned to the subject, that nothing in the whole range of musical performance requires so much reform and improvement as our parochial Psalmody. There are in London, certainly, instances of its being in a very respectable state, but in the majority of churches and chapels, no one with a tolerable ear and the slightest devotional feeling can say, that the squalling of dozens of children, untaught (at least not properly taught), all straining their voices to the utmost, produces anything but unmodified disgust.

While I am on this subject, I must notice a proceeding which some parishes have adopted--namely, that of greatly reducing the salaries of their organists,--in some cases within my own knowledge--from 70_l._ to 40_l._ per annum! Now this is Church reform with a vengeance! but the vengeance falls on the already ill-rewarded organist. And here is a striking proof of the injudicious manner in which we Englishmen set about retrenchment. This is to degrade those who hold important situations in the church to about the rank of beadles or vergers, and, in the end, will only more effectually injure the establishment: for so soon as a man of talent feels himself in danger of losing his just remuneration, it is not likely that he will perform his duties with much zeal.

In Lord Henley’s much-read pamphlet on Church Reform (p. 35, 4th edition) is a passage recommending the entire abolition of what his lordship is pleased to call ‘such relics of popery as chanting anthems, solos, duets, voluntaries, &c.’ in our cathedral service, and advising the introduction of a simple mode of Psalmody. Is it not amazing that a man who is so learned in ecclesiastical law should forget that the Deans and Chapters of all the cathedrals throughout the United Kingdom hold their appointments on the _express condition_ of performing divine service in the manner now practiced? Does he mean by a side-wind, by a little law-cunning, to get rid of all deans and chapters?

I could accumulate the fallacious opinions of many writers till I had half filled your Journal, Sir; but for the present will only add one more, and an extraordinary one it is. In a copy of Sir John Hawkins’ History of Music, in the British Museum, containing MS. notes in his own hand-writing (vol. v. p. 16), is the following remark:--‘Singing follows so naturally the smallest degree of proficiency on any instrument, that the learning of both is unnecessary!’

I am, Sir, &c. &c.
~Honorius~.

MR. G. LINLEY’S ANSWER TO MR. GÖDBÉ.

_To the_ ~Editor~ _of the_ ~Harmonicon~.

_Bolton Cottage, Chelsea._

~Sir~,

Mr. ~Gödbé~, with all the adroitness of a posture-master, pirouettes from point to point, and assumes names and positions, as though he were accountable neither for words nor actions. I will, as briefly as possible, reply to those parts of his letter which seem worth my notice.

_He asserts._

1st. That ‘Under the Walnut-tree’ was originally written for Mr.
M’Keller, of Glasgow.

2nd. That the subject (his Title states _Melody_) of my Song is
only a slight modification of his Quartett.

3rd. That Mr. Pelzer positively declared that there could be no
doubt of my composition having been taken from his.

4th. That I proposed stating on my Song, that his Quartett had been
composed first.

5th. That Mr. Duff mentioned to me the name of a Song written by
him, but never published, called ‘Ladye Jane,’ _before_ I wrote one
bearing the same title; and inclines to the opinion, that he also
read to me another Song, entitled ‘The First Green Leaf.’

_I answer._

It was not.

He does not, by his own notation, show one entire Bar of my
composition to be like his. My Song has a totally different
Emphasis; and this is a fact not to be overlooked, Emphasis being,
I conceive, in Music, what punctuation is in parts of speech.

Mr. Pelzer denies that ever he made such a statement.

When accidentally appealed to, he admitted there was a slight
resemblance, but expressed his conviction that this was the effect
of accident, _not_ design. Mr. J. Addison and Mr. G. Herbert
Rodwell were similarly appealed to by Mr. Gödbé’s publisher. The
former gentleman allowed that parts of the 1st and 4th Bar had
some affinity, while the latter frankly confessed that he saw no
resemblance at all between the two compositions. The passages
that _do_ assimilate are common phrases used by everybody; and I
am aware of no patent which secures the right of such passages
exclusively to Mr. Gödbé.

I could not acknowledge a composition that I had never seen--a
thing unborn, that, for aught I knew, had no existence beyond the
author’s brain.

Mr. Duff never made mention to me of having written any such Song
as ‘Ladye Jane’ until _after_ the publication of mine; and declares
that he never read to me ‘The First Green Leaf;’ moreover, that Mr.
Gödbé has used Mr. Duff’s name without his consent or authority,
and that, too, after having been _assured_ by Mr. Duff that _no
such reading ever took place_.

So much for Mr. Samuel Gödbé’s veracity.

Touching the ‘Isle of Beauty,’ and his friends Messrs. Prowse and Purday, Mr. Gödbé does not condescend to name the ‘identical Song,’ or the ‘Country Music Seller,’ whose coffers were thus likely to overflow from so scrupulous a regard to the laws of copyright. I leave him, therefore, to the full enjoyment of his two City friends, whose testimony and opinion might have some weight, did the question hinge on a tureen of turtle, or pitcher of punch. I beseech him to cultivate the acquaintance of all such good fellows; he might do worse than press their vocal powers in behalf of his Quartett, where, with a ‘merry Christmas, and a happy new year,’ they might stand a chance of obtaining some praise, and a few pence. He never will, nor shall I, get fat by controversy; and taking your hint to be brief, I dismiss Mr. Gödbé and his ‘tangible elements of disputation,’ with a full conviction that he is ever more likely to succeed in finding fault with the works of others than in improving his own.

As was said of the critic may be said of him,--He has sifted a dunghill to find two cinders that tally, and bestowed a great deal of pains upon a dirty business.

I am, Sir,
Your obedient servant,
~George Linley~.

MEMOIRS OF THE METROPOLITAN CONCERTS.

[Continued from last Volume.]

Although the failure of public support occasioned the abandonment first of the professional concerts, and eventually rendered it matter of prudence even in Salomon to withdraw from the field, yet the impulse which these establishments had given to musical taste, both in the profession and amongst amateurs, continued to be felt long after the immediate cause was no more. The tone of concerts, both public and private, was materially improved, and some of the best pieces of modern instrumental music were performed in orchestras where nothing beyond the overtures and concerts of Handel or Corelli had been heard before. The music, which was found on the desk, and formed the amusement of amateurs, was much superior to any thing which a few years previous had been thought within their reach; they were no longer contented with the faded productions of a past age, but excited to keep pace with the discoveries and improvements of the times in which they lived. The City Amateur Concert, called the Harmonic (mentioned in the last of these articles), arose out of and continued to keep alive this feeling, but it required a more energetic effort and more comprehensive arrangements to give it full effect.

This effort was at length made by the musical profession in London. In the early part of the year 1813, Messrs. Corri, J. B. Cramer, and Dance, met at the house of the last-named gentleman, and may be said to have laid at that meeting the foundation-stone of the ~Philharmonic Society~. To a subsequent meeting they invited twelve other professional gentlemen, and it was then determined forthwith to institute a concert for the performance, if not exclusively, chiefly, of instrumental music, in support of which the parties assembled, not only agreed to give the gratuitous aid of their united talents, but entered into a subscription to meet incidental expenses. They assumed the appellation of ~The Philharmonic Society~, and associated to themselves fifteen more of their professional brethren, thus augmenting their number to thirty, who were to be denominated ~MEMBERS~ of the society, and in whom alone the management of its funds, and the direction of its proceedings and concerns, were to be vested. The thirty original members of the society were--

Messrs. ~Attwood.~
~Ayrton.~
~C. Ashley.~
~Ashe.~
~Bartleman.~
~Berger.~
~Bishop.~
~Blake.~
~Clementi.~
~Cooke, Robert.~
~Corri.~
~J. B. Cramer.~
~F. Cramer.~
~Dance.~
~Graeff.~
~Griffin.~
~Hill.~
~Horsley.~
~W. Knyvett.~
~Moralt.~
~Neate.~
~Novello.~
~Potter.~
~Salomon.~
~Sherrington.~
~Shield.~
~Sir Geo. Smart.~
~Viotti.~
~S. Webbe.~
~Yaniewicz.~

Members of the musical profession were invited to join the society under the title of ~Associates~, but without having a vote, or any other participation, in the affairs or constitution of the establishment, or any privilege or advantage, except that their subscription was fixed at a lower sum than that of the public in general, and that, when any vacancies might occur in the list of ~Members~, they were to be filled up from the ~Associates~ by ballot. Of this class sixty-one inscribed their names in the first season. The subscription-list was filled up from the public at large; but in order to be admitted as a subscriber, it was necessary to be nominated by some member of the society, and as vacancies in the subscription-list took place, they were filled up in the same way; the number of vacancies being divided among the members, and each having an equal number of nominations to divide amongst such of his friends as were desirous of attending the performances of the society. Notwithstanding this restriction, so anxious were the amateurs to avail themselves of this opportunity of enjoying instrumental music of the first class, that the whole number the room could accommodate was nearly filled up before the first concert, and previous to the second performance many applications for subscriptions had been of necessity rejected.

The object and principle of the Philharmonic Society is thus set forth in its second fundamental law. The chief object ‘of the society is the performance, in the best style possible, of the most approved instrumental music, consisting of full pieces; concertantes for not less than three principal instruments; sestettos, quintettos, quartetts, and trios. No concerto solo or duet shall ever be performed at any of the society’s concerts; and if the directors shall think it expedient at any time to introduce vocal music with full orchestral accompaniments, it must be under the above limitations.’ Thus it appears that the performance of vocal music only entered conditionally into the original plan of the founders of the Philharmonic; nevertheless, they found it eventually advantageous, if not necessary, to admit some singing; but for several seasons it was strictly confined to the limits laid down by the above quoted law, and the performance of the singers was for the first two or three seasons gratuitous.

The direction of the concert for the first season was confided to Messrs. ~Ayrton~, ~Bishop~, ~Clementi~, ~Corri~, ~J. B. Cramer~, ~F. Cramer~, and ~Dance~, and its performances commenced on Monday the 13th March, 1813; a day that will be held memorable in the history of the art. So much talent of the very highest order had never before been assembled in the same orchestra; virtuosi who could appear elsewhere only as leaders, here took in their turns the subordinate stations of ripieni violins or tenors; and such masters of their art as ~F. Cramer~, ~Salomon~, ~Shield~, ~Spagnoletti~, ~Vaccari~, ~Viotti~, ~Yaniewicz~, &c., were to be seen vying with each other which should contribute most to the general effect of the performances. The result was such as might have been expected from the combination of such elements: yet when the orchestra was heard, its power, unity and force seemed to surprise even its projectors themselves; and if in the course of twenty years the Philharmonic Society has not appeared to improve, it is perhaps because its very first efforts were in themselves as near perfection as possible.

Every thing connected with this society is so interesting, and so united with the history of the art in England, that we feel certain it will be gratifying to our readers to peruse the bills of its performances. Those who were present at them will thank us for reviving the recollection of past pleasures, and those who were not must be interested in seeing from what sources the directors drew, and what description of music they naturalized, if they did not first introduce, in this country.

FIRST CONCERT, Monday, March 8th, 1813.

~Part I.~

Overture, _Anacreon_ ~Cherubini.~

Quartetto, Two Violins, Viola, and Violoncello, ~Mozart.~
Messrs. F. Cramer, Moralt, Sherrington, and Lindley

Quartetto and Chorus, ‘Nell’ orror,’ Mrs. Moralt, ~Sacchini.~
Messrs. Hawes, P. A. Corri, and Kellner

Serenade, Wind Instruments, Messrs. Mahon, Oliver, ~Mozart.~
Holmes, Tully, and the Petrides

Symphony ~Beethoven.~

~Part II.~

Symphony ~Haydn.~

Chorus, Mrs. Moralt, Miss Hughes, Messrs. P. A. ~Mozart.~
Corri, C. Smith, &c. ‘Placido è il mar’

Quintetto, Two Violins, Viola, and Two Violoncellos, ~Boccherini.~
Messrs. Salomon, Cudmore, Sherrington, Lindley,
and C. Ashley

Chaconne, Jomelli; and March ~Haydn.~

Leader, Mr. SALOMON.--Piano-forte, Mr. CLEMENTI.

SECOND CONCERT, Monday, March 15th, 1813.

~Part I.~

Overture, _Zauberflöte_ ~Mozart.~

Trio, Miss Hughes, Mrs. Moralt, and Mr. Kellner ~Salieri.~

Quartetto, Two Violins, Tenor, and Violoncello, ~Haydn.~
Messrs. Salomon, Mori, H. Gattie, and Lindley

Notturno, Wind Instruments, Messrs. Mahon, Oliver, ~Mozart.~
Griesbach, M. Sharp, Petrides, Holmes, and Tully

Symphony ~Haydn.~

~Part II.~

Symphony ~Beethoven~.

Sestetto, Miss Hughes, Mrs. Moralt, Miss Bolton, ~Mozart~.
Messrs. P. A. Corri, C. Smith, and Naldi, ‘Sola,
sola’

Concertante, Violin, Tenor, Oboe, and Violoncello ~Bach~.
Obligati, Messrs. F. Cramer, Sherrington,
Griesbach, and Lindley

Finale, _Zaira_ ~Winter~.

Leader, Mr. F. CRAMER.--Piano-forte, Mr. CRAMER.

THIRD CONCERT, Monday, April 19th, 1813.

~Part I.~

Overture, _Les Deux Journées_ ~Cherubini.~

Septuor, Violin, Tenor, Violoncello, Double Bass, ~Beethoven.~
Horn, Clarinet, and Bassoon, Messrs. Spagnoletti,
Vaccari, Lindley, Hill, Petrides, Cramer,
Holmes

Quartett, Miss Hughes, Messrs. Hawes, Hobbes, and ~Haydn.~
Kellner, ‘Benedictus’

Symphony ~Pleyel.~

~Part II.~

Symphony, _Jupiter_ ~Mozart.~

Quartett, Mrs. Moralt, Messrs. P. A. Corri, Hobbes, ~Sarti.~
and C. Smith, ‘Dorina mia carina’

Quintett, Two Violins, Two Tenors, and Bass, Messrs. ~Romberg.~
Vaccari, Watts, Spagnoletti, Mountain, and
Lindley

Finale, _Tamerlane_ ~Winter.~

Leader, Mr. SPAGNOLETTI.--Piano-forte, Mr. CLEMENTI.

FOURTH CONCERT, Monday, May 3d, 1813.

~Part I.~

Overture, _Numa Pompilius_ ~Paer.~

Quintett, Two Violins, Two Tenors, and Violoncello, ~Beethoven.~
Messrs. Bridgtower, F. Cramer, Moralt, H. Gattie,
and Lindley

Terzetto, Mrs. Moralt, Messrs. Braham and Naldi, ‘Che ~Cherubini.~
ascoltai’

Quintett, Piano-forte, Violin, Tenor, Violoncello, ~Dussek.~
and Double Bass, Messrs. Neate, Salomon, Watts,
Lindley, and Hill

Symphony ~Mozart.~

~Part II.~

Symphony ~Clementi.~

Terzetto, Mrs. Moralt, Miss Rovedino, and Mr. ~Bach.~
Ledesma, ‘Tu mi dividi’

Concertante, Violin, Violoncello, Oboe, and Bassoon ~Haydn.~
Obligati, Messrs. Salomon, Lindley, Griesbach,
and Holmes

Finale, _Anacreon_ ~Cherubini.~

Leader, Mr. SALOMON.--Piano-forte, Mr. CRAMER.

FIFTH CONCERT, Monday, May 17th, 1813.

~Part I.~

Overture, _Demophoon_ ~Cherubini.~

Quartett, Mrs. Moralt, Messrs. C. Evans, Ledesma, ~Mozart.~
and C. Smith, ‘Benedictus’

Quartetto, Two Violins, Tenor, and Violoncello, ~Viotti.
Messrs. Viotti, Vaccari, Spagnoletti, and Crouch~

Overture, Double Orchestra ~Bach.~

~Part II.~

Symphony ~Haydn.~

Quartett, Mrs. Moralt, Messrs. Ledesma, C. Smith, ~Cherubini.~
and Naldi, ‘Cara da voi’

Quartetto, Two Violins, Tenor, and Violoncello, ~Beethoven.~
Messrs. Spagnoletti, Mori, Vaccari, and Neate

Finale, _Iphigenie in Aulide_ ~Gluck.~

Leader, Mr. VIOTTI.--Piano-forte, Mr. CLEMENTI.

SIXTH CONCERT, Monday, May 31st, 1813.

~Part I.~

Overture, _Lodoiska_ ~Cherubini.~

Quartetto, Two Violins, Tenor, and Violoncello, ~Mozart.~
Messrs. F. Cramer, Bridgtower, Moralt, and Lindley

Terzetto, Mrs. Ash, Messrs. Rosquellas, and C. Smith, ~Caruso~.
‘Parte vanne’

Full Piece, Piano-forte, Flute, Oboes, Clarinets, } ~Cramer~
Horns, and Bassoons Obligati, Messrs. Cramer, } and
Ashe, F. Griesbach, M. Sharp, Mahon, Oliver, } ~Mozart.~
Petrides, Holmes, and Tully }

Symphony ~A. Romberg.~

~Part II.~

Symphony ~Woelfl.~

Quartetto, Mrs. Vaughan, Messrs. Evans, Vaughan, ~Crotch.~
and Kellner, ‘Lo! Star-led Chiefs’

Quartett, Messrs. Yaniewicz, Watts, Spagnoletti, and ~Haydn.~
Lindley

Finale, _Men of Prometheus_ ~Beethoven.~

Leader, Mr. F. CRAMER.--Piano-forte, Mr. CRAMER.

SEVENTH CONCERT, Monday, June 14th, 1813.

~Part I.~

Overture, _Creation_ }
} ~Haydn.~
Introduction and Chorus, ‘The heavens are telling’ }

Quartetto, Piano-forte, Violin, Tenor, and ~Beethoven.~
Violoncello, Messrs. Berger, Yaniewicz, Watts,
and Neate

Symphony ~Clementi.~

~Part II.~

Symphony (No. 10) ~Haydn.~

Terzetto, Mad. Storace, Mrs. Ashe, and Mr. Braham, ~Cimarosa.~
‘O dolce e caro istante’

Quartetto, Two Violins, Tenor, and Violoncello, ~Beethoven.~
Messrs. Yaniewicz, Gattie, Moralt, and Lindley

Finale, _L’Hôtellerie Portugaise_ ~Cherubini.~

Leader, Mr. YANIEWICZ--Piano-forte, Mr. CLEMENTI.

EIGHTH CONCERT, Monday, June 21st, 1813.

~Part I.~

Overture, La Chasse, _Jeune Henri_ ~Mehul.~

Quartetto, Mrs. Bianchi Lacy, Miss Hughes, Mrs. ~Mozart.~
Moralt, and Mr. Ledesma, ‘Andrò Ramingo’

Quartetto, Two Violins, Tenor, and Violoncello, ~Romberg.~
Messrs. Vaccari, Watts, Moralt, and Lindley

Symphony ~Beethoven.~

~Part II.~

Symphony ~Mozart.~

Terzetto, Mrs. Moralt, Mrs. Bianchi Lacy, and Mr. ~Mozart.~
Ledesma, ‘Pria di partir’

Quartetto, Two Violins, Tenor, and Violoncello, ~Haydn.~
Messrs. Salomon, Watts, W. Griesbach, and Lindley

Finale, _Elvira_ ~Cherubini.~

Leader, Mr. VACCARI.--Piano-forte, Mr. CRAMER.

We shall continue the history of this society to the period when our own reports of it commenced, in 1823.

A THEORETICAL WORK BY BEETHOVEN.

The Leipzig Musical Gazette of a few weeks back, contains the annexed account of a publication which cannot but excite a strong interest in the whole musical world, and most likely will prove highly instructive. We are in daily expectation of a copy, and shall certainly lay portions of its contents before our readers. The title, as given in the German journal, is--_Ludwig van Beethoven’s Studies in Thorough Bass, Counterpoint, and the Theory of Composition, collected from his Autograph MSS. and edited by the Chevalier Ignaz von Seyfried_. Vienna. T. Haslinger. Price 2 th. 16 gr.

The anxiety, says the writer of the article, which prevailed among the numerous admirers of the great composer for the publication of this important work, is sufficiently apparent from the list of subscribers to it, the great number of whom enabled the publisher to adhere to the price originally fixed, although the book contained about ten sheets more than the first estimate allowed for it. The studies alone occupy 352 pages. We are then presented with a fac-simile of Beethoven’s writing, representing, in almost enigmatical characters, the first draft of the composition of his fine cantata _Adelaide_. After this are given prints of two medals in honour of him, the one struck at Vienna, the other at Paris. The appendix contains biographical notices, anecdotes, a transcript of the will, letters, an account of the obsequies, with the music, orations, poems, a drawing of his tombstone, and a systematic catalogue of all the original compositions of the great master. A very striking likeness of Beethoven precedes the whole. This slight sketch of the contents will at least have the effect of attracting to the work the attention of all those friends of the art who may, up to the present time, have remained in ignorance of its appearance. Who would not be anxious to observe for himself the manner in which our Beethoven formed his mind and cultivated his genius? It is not for us to say one word in recommendation of a work whose importance speaks for itself in the most forcible manner.

Much less occasion have we to criticise; for, in the present case, the question is not regarding the mode, but the substance, as it is presented to us, and the manner in which every one ought to avail himself of such a publication, and apply the conclusions which he may draw from it. We do not expect that, in our notice of the work, we can offer, except in a very few instances, any new views. However, it is to be supposed that a great number of those who would take an interest in the work are not yet in possession of it. For the benefit of such we here give the concise and appropriate preface of the editor, which adverts to most of what is necessary to be impressed on the mind in relation to the work itself:--

‘These studies of the great genius are to the whole musical world a valuable legacy, far too inestimable for any one to dare to risk the slightest alteration in them. I have, therefore, endeavoured with the utmost care to give every thing exact, and in the very order in which I found it. I have even, on most occasions, preserved the author’s own words and expressions. In those cases alone, however, where our persevering and indefatigable student had given numerous examples in illustration of one and the same rule, I considered myself at liberty to make an omission or abridgment, in order that the work might not be swelled out to an unnecessary bulk. [The information as to how many examples have been omitted, and in what part of the work, would have been acceptable to many.] What is here offered to the public cannot, by any means, serve as a systematic book of instruction, but is rather to be viewed as the course of study pursued by the great artist himself; and it affords incontrovertible proof, to those who have hitherto entertained doubts on the subject, that Beethoven dedicated the two last years of his musical education, with unwearying assiduity, to theoretical study, under the guidance of Albrechtsberger, his beloved mentor, and further, that he was master of the substance of all the rules, although in process of time his sublime genius cast off the slavish fetters; and his master-mind, soaring far beyond the standard of times past or present, disregarded so many which antiquity and invariable usage alone had hitherto entitled to religious observance as settled laws.’

It is certainly a very different thing when one man, who knows well what he is doing, advisedly, or with innate tact, occasionally transgresses a rule,--and when another, who has learned nothing, and is unwilling to learn anything, evinces his pretended originality in no other way than in the contempt of that of which he is actually ignorant. Were ignorance and presumption the only characteristics of genius, we should have no lack of it.

At the conclusion of the thorough-bass rules, page 74, is the following remark in a fac-simile of Beethoven’s hand-writing:--‘Dear friends, I took all these pains merely to be enabled to figure thorough-bass correctly, and hereafter to point out to others any faults they might commit: for myself, I hardly had occasion to learn this at any time; I had from my childhood so nice a feeling, that I observed all the established rules without knowing that what I did should be so or could well be otherwise.’

So important are these studies, and so attractive are the numerous but too few notices from his life, to which fact it is scarcely necessary for us to bear witness, that an adequate idea of its full value cannot be formed but from the work itself entire.

THE NEW GERMAN OPERA OF _FORTUNATUS_.

The Musical Gazette of Leipzig contains the following detailed account of a new opera lately produced in that city, which, if its merit be at all commensurate with the encomiums bestowed on it, cannot but be a work of uncommon ability. Granting that the writer had listened to this with very favouring ears--that he may have been biassed by partiality of some kind, yet if he is in any degree to be relied on--and we have no reason to doubt his general fidelity--the opera he thus praises in so almost unqualified a manner must possess many pieces of no ordinary excellence, and is worth being further inquired into by the managers of our theatres. The critique has the German defect of verbosity; we therefore have considerably abridged it. The writer accompanies his remarks with two airs as specimens of the melodies; the first of which will be found in the musical portion of our present number.

* * * * *

_Fortunat mit dem Säckel und Wunschhutlein_, (Fortunatus with the Purse and Wishing-cap,) an Opera composed by ~Schnyder~, of Wartensee; the Drama by ~Georg Doring~. Performed, for the first time, at Frankfort on the Maine.

M. Schnyder, of Wartensee, well known to the public by many valuable musical works, has here attempted dramatic composition with particular success, and charmed us by an abundance of very excellent music. He is a man rich in musical ideas; his productions are frequently original, always clear and melodious, and, at the same time, of a rare correctness. His airs are pleasing, and often very delicate; his choruses powerful and full of dramatic effect. Above all, the opera bears the stamp of considerable thought, (particularly as regards harmony,) and of cultivated taste and great judgment. It presents plan, unity, good keeping in the different characters, and displays poetic elevation of no ordinary description. His harmony, frequently peculiar to himself, is not to be termed mere accompaniment to the melody; it may be considered as exhibiting a manner particularly his own of enlarging the means of musical expression, or of employing the rich store of musical colouring.

In his instrumental pieces, the progressions unfold many entirely new ideas; he modulates with caution, but at the same time naturally, and a rude transition is nowhere to be met with. It is true that we sometimes encounter laboured, lengthy passages, and obsolete forms of melody; the latter, however, considered with reference to situation, probably not unintentionally introduced. An analytical review of the opera is subjoined, that it may be more justly estimated.

The overture begins with a characteristic subject, which is afterwards introduced whenever the Wishing-Cap is at work. To this succeeds a soft piece, in the choral style, for the wind instruments, (motivo of the chorus of the Genii attendant upon _Fortuna_,) in which the first subject is gradually interwoven into the parts assigned to the stringed instruments. After a novel progression of harmony--where the chord of the dominant seventh of E♭ major, breathed, as it were, pianissimo by the clarionets and bassoons alone, succeeds the chord of the dominant of C minor given fortissimo by the whole orchestra--the Allegro commences. A graceful, light theme, in contrast with the significant romantic introduction, gives notice that we are to expect a comic opera, in which the marvellous and fantastic spirit of a fairy-tale is blended with the humorous. A profusion of unlooked-for imitations, an attractive motivo, the interesting and striking management of the inner parts, together with an excellent employment of the brass instruments, distinguish this piece, and the introduction of three trombones towards the end imparts great force and life to the conclusion.

No. 1. Duet (as introduction) between the two lovers, _Fortunatus_ and _Alide_, daughter of _Claudio_, king of Cyprus. The melody, tender and affectionate; the accompaniment corresponding. In this, the passage where _Fortunatus_, accompanying himself on the guitar, sings the words[4], ‘Im Haine klagt’s,’ deserves particular mention--an excellent air, tender in melody, and of most beautiful effect. While Fortunatus is declaring his passion to Alide, they are surprised by the king, his cousin Agrippina, and her brother Pedro. The king threatens Fortunatus with death, and sends him to prison in the custody of Carlino, a courtier. The duet merges into a concerted piece of considerable importance, in which the characteristics of the different persons and their respective feelings are depicted with great dramatic effect. The lovers are doomed to separate, and the introduction appropriately closes with the lovely bars of the opening of the duet, expressing their hopes of seeing each other again.

No. 2. A Duet between the King and Pedro. The latter conceitedly enumerates his good qualities, which the king listens to with satisfaction. The boastings of Pedro are humorously expressed by some original trumpet passages, while the insignificance and frivolity of his majesty are happily marked by triplets.

A great contrast to this is shown in the Aria No. 4, which Fortunatus sings, under the impression that he is to languish his days in prison. This scene, together with the subsequent appearance of Fortuna, we consider the gem of the Opera. A solo for the violoncello is introduced here; the few bars of which, if entrusted to an able player, are calculated to express the bitterest anguish and the deepest despair. The sweet melody which follows is highly favourable for the display of the singers’ talent. Fortunatus expresses the grief of separation, but Hope whispers that he will be liberated by a superior power. The Sombre F minor gives way to the tranquil A♭ major, and the melancholy sounds of the violoncello are succeeded by the cheering tones of the violin, which now steps in with a solo. A gentle sleep, produced by magic, then steals on Fortunatus, and the chord of E major, softly breathed by the wind instruments, hints already the approach of Fortuna, who shortly afterwards appears with her genii, singing tender choruses; bestows on Fortunatus her gifts--the wishing-cap and ever-full purse--then disappears. As Fortunatus awakes, the key of E major suddenly changes again into A, and the transition gives to the whole situation a dream-like character. Fortunatus is now free, and the orchestra bursts out fortissimo, with all its brass instruments and drums, and seems to revel with the happy youth, who can scarcely calculate the extent of his good fortune. He now wishes himself in Famagusta’s rich market-place; the scene changes, and the dealers of all kinds sing a popular air, No. 5, extolling their wares. Carlino appears, banished from the court on the suspicion of being the cause of Fortunatus’s escape, and sings a song, No. 6[5].

No. 7. Finale is comic throughout. King Claudio appears with the two ladies, Pedro, and attendants. Fortunatus, recognized by Alide alone, attracts the attention of the king by the splendour of his dress. Pedro makes inquiries respecting him of Carlino, who has entered the service of Fortunatus. When the king is told that the stranger is Count Minian of Flanders, and that he is worth ten millions, his joy knows no bounds, and he invites him immediately to the palace. The music of the Finale is lively, dramatic, and well put together; the chorus at the conclusion, however, borders on the trivial. The scene in which Fortunatus is presented to the king by Pedro (tempo di minuetto) is highly diverting, the melody is in the antique stiff style, and at the end, four bars universal rest can scarcely fail to draw from the audience a burst of laughter.

Second Act.--Fortunatus has been victorious in the tournament. The king greets the rich Count of Flanders, in the presence of the whole court, as his intended son-in-law. Pedro, too, for his valour in the tournament, receives from the king a scarf. This forms the subject of the chorus No. 8, of which it may be said, that it is powerful and effectively written, and the solo parts are in true character. Fortunatus acquaints Alide with the properties of the magic gifts, and is overheard by Agrippina.

No. 9. A very beautiful duet between Fortunatus and Alide commences. The motivo is uncommonly sweet, and the whole piece is calculated for the display of vocal talent.

No. 10. Aria of Agrippina, almost in the bravura style. Agrippina has revealed everything to her brother, and they resolve to despoil Fortunatus of his magic gifts.

No. 11. Terzet between Agrippina, Pedro, and Fortunatus. This and the following aria of Alide are the weakest pieces in the opera; the colouring and inspiration, more or less conspicuous in the other pieces, are wanting here. It should, however, be remarked that the action of the drama begins to drag in the second act, and that no situation predominates that is deserving of distinguished musical treatment, except the finale, No. 13. Fortunatus, deprived of his talismans, and wandering about in a rocky glen, deplores his fate. He relates how Agrippina and Pedro bereft him of his magic gifts. To quench his thirst he plucks an apple from a tree, on the tasting of which he becomes as black as a negro. His good genius, however, directs him to pluck an apple from the opposite tree, the taste of which dissolves the spell. Upon this, he forms a plan for avenging himself, and recovering his lost treasures. The finale begins with an aria in C minor, in which Fortunatus expresses his eagerness for revenge. He plucks the apples which turn black such as taste them; but on gathering those which restore the original colour, and the effect of which is, therefore, just the reverse, the orchestra plays the same musical phrase reversed. The choruses of male and female gardeners are of a pastoral character. The awful passage of the horn solo when Fortunatus appears under the guise of a magic spirit, and which is introduced with great effect as a second melody, simultaneously with the peculiar subject which accompanies the plucking of the apples, forms a striking contrast to the chorus of the courtiers, who assent to the king’s remarks, and laugh at every stupid joke he utters. Agrippina and Pedro, tasting the apples, become black. General consternation ensues. The king curses the place, and the scene closes with a chorus.

No. 14. The commencement of the third act re-introduces the opening chorus of the first act. Fortunatus then appears as a Quack Doctor, and takes Carlino into his service as Punch. Pedro, understanding that the Doctor possesses unfailing remedies for diseases of the skin, is in hopes, through his means, to retrieve his lost colour.

Now begins No. 15, a terzet between Fortunatus, Carlino, and Pedro, during which the latter, by eating the healing apples, (the same musical phrase being played at the time which expressed the plucking of them,) recovers his complexion. The whole scene of the disenchantment is very original and dramatically written. Pedro hastens to his sister with Fortunatus to effect her cure also.

No. 16. Aria of Alide, who attempts to console her cousin Agrippina; full of melody, and concertante for the oboe, and of exquisite effect.