Chapter XI: Part II (1)

10. Quartet and Chorus from a Mass, No 2. ~Hummel.~
(Miss George, Spencer, Bennett, and Chapman)

11. {Rec. ‘First and chief.’ _Il pensieroso_ } ~Handel.~
{Air, ‘Sweet bird’ (Miss Stephens) }

12. Glee, ‘Say, mighty Love.’ (Goulden, Horncastle, ~Evans.~
Fitzwilliam, and Sale)

13. Quartet and Coro, ‘Ogni speranza.’ (Mrs. ~C. M. von
Bishop, Miss Masson, Horncastle, and Parry) Weber.~

14. Ballad, ‘John Anderson my jo.’

15. Madrigal, ‘All creatures now.’ (1601) ~Benett.~

16. Duetto, ‘Bella imago.’ _Semiramide._ (Miss ~Rossini.~
Masson and Mr. Phillips)

17. Glee, ‘Great Apollo.’ (Masters Howe and ~Webbe.~
Hopkins, Vaughan and Bellamy)

18. God save the King.

The sixth and concluding concert of the series having now taken place, we may fairly offer our congratulations to the Society on the patronage and success which it has met with. The attempt was, in every point of view, commendable; and the ardour and zeal with which it has been followed up, such as, while it deserved success, we have every reason to believe has abundantly experienced it. We take for granted that these concerts will be continued another season, and therefore proceed briefly to review what has, as also what has _not_ been done; which may not be altogether without advantage to future arrangements.

In the _Prospectus_ issued by the Vocal Society, it is stated that ‘the compositions of native musicians are nearly banished from the concerts of the metropolis; the glees of _Webbe_, _Callcott_, _Cooke_, and _Battishill_, as well as those of their living successors, being superseded by the productions of foreign composers;’ and further, ‘the intention of the Vocal Society is to present, _as its principal feature_, the vocal music of the English school, both ancient and modern, including that of the church, the chamber, and the theatre.’ Taking the four names above mentioned--and they are names that claim the highest rank in the department of glee writing--it is somewhat remarkable that only _three_ of Webbe’s have been produced, which, with an ode and a catch, form the catalogue of his compositions; of Callcott, _one_ glee and one catch only; of Dr. Cooke, who in sterling merit we should scarcely hesitate to place at the top of the list, _one_ glee only; and of Battishill, of whose elegant melodies and sound harmonies it were impossible to speak too highly, _not a single glee_ has been done. We might go on to mention the names of _Danby_, _Robert Cooke_, and other charming English composers, known but to few; but whose music would infallibly delight and captivate an audience brought together to enjoy compositions of superlative excellence. Of the Madrigals introduced, the effect has exceeded our previously formed anticipations; they were executed generally with correctness and precision highly creditable to all parties; and the manner in which they were received by the audience was a sufficient hint how acceptable they were. Of English church music, the portion given has been very scanty. Part of an anthem of _Battishill’s_, part or one by _Orlando Gibbons_, and one by _Dr. Greene_, comprise the whole. Of theatrical music, not a note, with the exception of Mr. Bishop’s, has been heard. Of _Henry Purcell_, the pride and ornament of the English school, _one_ piece has been given[48], and _that_, one of his most hackneyed compositions, brought forward on frequent occasions, as offering a test to try the merits of young musical aspirants, who in their adventurous flight have too often met the fate of _Icarus_, by thus soaring too high. In regard to the works of _living_ writers, the committee of managers must have felt great difficulty: and this feeling by no means lessened, we conceive, owing to the circumstance of some of its members being _themselves_ composers. So strongly, indeed, are we impressed with this idea, that, if it should form part of the Society’s plan to change the committee from year to year, we would venture to hint at the propriety of excluding composers from being elected; not from any apprehension of their abusing their trust, but solely with the view of securing independence and impartiality in the execution of a duty requiring both delicacy and firmness.

In regard to the foreign music which has been performed, when it is considered that the _principal feature_ of these concerts was stated to be ‘_to present the vocal music of the English school_,’ it would appear as if this intention had been materially departed from, in the number of Italian and German compositions which are to be found. Without detracting in the slightest degree from the merit of these, we still entertain great doubt as to the policy of the measure: take, for instance, _Mozart_, one of the most admirable writers of either ancient or modern date, whose music, whether for ‘_the church_, _the chamber_, _or the theatre_,’ was never more in fashion than in the present day, and may be constantly heard in all parties, both public and private. We observe _three_, and sometimes _four_ pieces of Mozart in the same evening, and not one of the six concerts _without_ his music. With all our high respect for this eminent man, we could have wished to hear less of him, in order to have made room for composers who would have done honour to the Society, and given the highest gratification to the audience; and, strictly speaking, would have been more in accordance with the scope and design put forth in the Prospectus. We allude to Palestrina, Pergolesi, Bononcini, with many others, whose names are not to be found in the concerts of the past season. Of _Haydn_ we have had a small portion compared with Mozart, nor have the selections from him been happily chosen; an English dress does not become him; and we must own, that of _translations_ and adaptations generally, there are very few that do not materially interfere with the beauty and spirit of the original. One other point we must just touch upon before we conclude, of which the managers do not seem to have taken the same view, with regard to its importance, that we do. We have already dwelt upon the propriety of throwing in a certain portion of _relief_ in the composition of these concerts: many a half-suppressed yawn we have witnessed in the room, during the performance of some very good music, which would gladly have been exchanged for something less fine, but more pleasing, and doubtless more intelligible to the majority of the audience. The simple ballad, sung with much expression by Mr. Broadhurst in the first concert, ‘My ain fire-side,’ was _encored_ with enthusiasm, while the terzetto of Beethoven, which followed soon after, was heard with comparative indifference. A catch of _Webbe’s_ was introduced in the first, and one of _Callcott’s_ in the second evening’s performance, but none since, although both were _encored_. If the future managers choose to exert themselves, they will be at no loss to find many cheerful, and even humorous compositions, where the words are altogether unexceptionable, and the music excellent. We strongly recommend attention to this.

We had proposed to say something on the merits of the performers individually, but our limits forbid. We will only observe, that a strong desire to please was evident throughout the season; and we doubt not that much satisfaction has been afforded to numbers, who will readily testify the fact, by renewing their subscription the following season; when the experience which has been gained during the past will enable the ~Vocal Society~ to resume its functions next year with improved effect; and we take our leave, with cordial wishes for its future success.

REVIEW OF NEW MUSIC.

SACRED MUSIC.

1. ~Solo Anthem,~ ‘Bow down thine ear,’ _composed by_ ~Thomas
Attwood~, Esq., _Composer to_ His Majesty’s Chapels Royal, &c. (A.
Novello.)

2. ~Christian Melodies~, _partly original, partly composed from the
sacred Works of the most eminent Masters_, and _adapted by_ ΩΜΕΓΑ.
(Seeley, Fleet Street.)

3. ~Sacred Music~, _consisting of an_ ~Anthem~, ~Psalms~, ~Chants~,
&c. _composed in Score for three and four Voices, with an
Accompaniment by_ ~William Dorrell~. (Duff.)

4. ~Four Sacred Melodies~, _the Words by_ ~Charles V. Incledon~;
_the Music by_ ~Raffaelle A. Wallis~. (Purday.)

Mr. Attwood’s anthem is, in the strictest sense of the word, devotional, and suited to the service of the church, though the melodies and accompaniments are cast in a modern mould. The school is that of Mozart, influenced by habits early acquired in an English Protestant choir: for the author laid the foundation of his musical knowledge in the King’s Chapel, and finished an education thus happily begun, under the great musician of Saltzburg.

This anthem comprises two short movements; the first a larghetto in ~F~, three-eight time; the second rather quicker, in common time, made up of verse and an alternating chorus for the usual voices. The whole composition is evidently the production of an accomplished musician, but the first movement will gain most suffrages; the clearness of the phraseology or rhythm, and the richness of the harmony--full, but not affectedly crowded--cannot fail to please all who possess a cultivated taste. Some, however, may perhaps think that words declaratory of so much wretchedness should have been set to sounds expressive of deeper distress; and we are willing to admit that the minor key, or some mixture of it, would have enforced the sentiment more strongly than an unbroken continuation of the major third. We likewise wish that the singer may always profit by the licence granted by the _ad libitum_, page 6, and reject the secular flourish set down in the small notes, which would not be quite in character in the chamber; most assuredly is unfitted for the church.

* * * * *

No. 2,--in a livery of fawn-coloured satin paper, on which are impressed, in glittering golden characters, the title and epigraph, surmounted by a blazing lyre and cross, the whole inclosed in a border of the same proud metal,--does not introduce itself with that humility, which, both in letter and spirit, the Christian religion inculcates: it proclaims a church superb, not simple, and addresses itself to the eye that loves gaud, rather than to the understanding which despises show. But we shall not quarrel with the author on account of his cover: anomalies in such things are too common to be matter of reproach. The richest clad book we ever opened was a Mazarin bible, and the text was nothing the worse for the magnificence of its clothing.

In a preface the author tells us that, ‘of all the liberal sciences, music is the most esteemed on earth, and is the only one that appears to have been admitted into heaven.’ This is comforting news for musicians, but not very consoling to geometricians, grammarians, &c. Ωμεγα (or _great O_, as Mr. Cobbett would translatingly call him) is more liberal of words than careful in the use of them; we, however, find some good sense mixed with a great deal of enthusiasm,--some valuable remarks amidst too much _verbiage_. Thus what he says in his introduction concerning the adaptation of sacred words to airs originally set to those of a ludicrous, nay sometimes of a loose kind, has our entire concurrence. ‘In a large collection of tunes designated as “Sacred Music,” appear sundry compositions dignified with the names of Handel, Mozart, &c.; and which consist of certain extracts from their _profane_ works most unscientifically selected, and united to other extracts to eke out the metre. In one of these “compositions” is recognized the Sancho Panza of the Zauberflöte, singing one of the songs of Zion to the air of “Das klinget so herlich!” If such “Sacred Music” be not an insult to ~Him~ in whose service it is designed to be employed, it is so to good sense and to right feeling,--it is so to the memory of the illustrious dead whose names it bears,--and it is so to that public upon whose credulity it would impose.’

This publication embraces between thirty and forty ‘Christian Melodies,’ as the compiler terms them, but they are, in fact, harmonies also for four voices, and originally so composed; for the ‘greater part were found in the oratorios, the masses, and other elaborate and similar works of their respective authors.’ Handel, Haydn, Mozart, Graun, and Hasse, are the composers chiefly selected from; and the editor has added a few of his own. Without having examined every one in the collection, but judging from those on which our attention has been carefully bestowed, we can venture to say that they have been made with a due regard to the fitness of the airs to the words, and that the harmonies, where they have been added, are correct and good.

This publication is rather novel in its appearance. The paper is extra-sized folio, and the whole fifty-two pages of music are printed from stone, the lithography having been executed by the editor’s own hand.

* * * * *

In No. 3, the Anthem has most claim to notice, both on account of extent and merit. It is for a soprano, and what is in choirs understood by the phrase, verse and chorus. The first movement is in ~F~, three-four time; the melody is charmingly natural, but not common, the accompaniment delicate and free from all pedantry. The choral parts are well introduced and harmonious. A recitative leads to a full chorus in common time, the whole in the fugue style, though not in regular fugue, and perhaps more vocally effective on this very account. The words are set with great judgment--no conceits, no false accentuation, every part manifests good plain sense and correct taste.

The Psalm tunes are much like other compositions of the kind; they show no extraordinary exertion. The base accompaniment of a 5th in the last bar of the second is not altogether judicious; the 3rd in such a case is far preferable. We need hardly mention the omission of a ~D~ in the accompaniment, a few bars before, because it is most likely the fault of the engraver. The note is in the tenor, and doubtless was meant to appear in the organ part.

The Chants cannot boast of more new features than the Psalms; but, as a matter of taste, would not the ~C~ in the ninth bar of the first have been improved by a sharp? It now stands thus:--

The modulation is into ~D~ minor, and surely ~C~ would have sounded better had it been sharpened.

The rounds are not entitled to much notice; and that the canon is flat and unprofitable, only proves that the composer has, fortunately for himself, no talent for dulness.

* * * * *

The Melodies, No. 4, display a goodly disposition both for air and graceful expression, but also show a great want of the creative power, and of experience. We recommend Mr. Wallis to go on writing for a while, but to destroy as fast as he writes. Practice may do much for him. If, too, the poet who is joined in this publication were to employ his thoughts more, and his pen less, for some time to come, he might, perhaps, produce something rather superior to the verses to which he here gives his name.

PIANO-FORTE.

1. ~Introduction~ _et_ ~Grand Rondeau Brillant~, (_en_ ~A~)
_composés par_ ~J. N. Hummel~,. Op. 56. (Wessel and Co.)

2. ~Rondoletto Brillante~, _composto da_ ~F. Schoberlechner~. Op.
36. (Chappell.)

The first of the above is the eleventh book of the _Album des Pianistes de première force_, and by far the most rational of the collection that has come under our notice, for it is only a new edition of the rondo, justly a favourite one, which has been, and long ago we believe, reviewed in our work. M. Hummel has frequently played it in public, and most of our readers are well acquainted with the composition.

* * * * *

It is not clear to us why the composer of No. 2 should have added a diminutive to his rondo, implying either brevity or ease, whereas it is of the ordinary length, and difficult. A short introduction, adagio, promises well for the following allegretto scherzando, the chief movement; but the latter disappoints us; it is in the skittish Mayseder style, and the passages are far from uncommon; though it certainly will be found lively if well played, and comes under the description of brilliant music, by which is understood whatever is quick, showy, and exhilarating.

* * * * *

1. ‘L’Or est une Chimère,’ _from_ ~Meyerbeer’s~ _Robert le Diable,
arranged with Variations by_ ~C. Czerny~. (Chappell.)

2. ~The Tournament March~, do. do. do.

3. ~The Gamester Chorus~, _from do. arranged as a_ ~Rondo~ by ~J.
Herz~. (Chappell.)

4. ~The Final Chorus~, do. do. do.

The introduction to No. 1 has not cost M. Czerny much thought, and his variations on this very popular air are not remarkable for originality, but are devoid of all those absurdities of which we have so often to complain, and are also within the reach of those who do not think it advisable to dedicate half their time to the labour of practising.

No. 2 has an introduction in ~A~ flat, which enables a moderate player to make a considerable display, provided his left hand can conveniently reach tenths. The March in ~C~ is short and simple, and what we have said of the variations to the preceding applies to the present; but these are much easier for the performer.

* * * * *

No. 3 takes the _Chœur des Joueurs_ as an introductory movement; the rest of the piece is the same air as No. 1, in ~F~, protracted to sixteen pages in the form of a rondo, but is executed with ability, and the passages are all of a reasonable kind; for it is to be observed, that we have not Henri Herz before us, but his brother.

* * * * *

No. 4 is a very pleasing rondo in ~E~; the melody is agreeable and new, and Mad. Cinti’s cavatina, being embodied in the piece, imparts much variety to it. This is by no means so easy for the performer as the foregoing; and some reiterated semiquavers--fit enough for a violin, but not calculated for the piano-forte--are unnecessarily introduced; yet, on the whole, this is a clever arrangement, and such as is likely to be approved very generally.

* * * * *

1. ~Gems of Scottish Melody~, _a Selection of the most popular_
Airs of Scotland, _arranged with a Variation to each, by_ ~J. M.
Muller~, No, 1. (_Edinburgh_, Paterson and Co.)

2. Ditto No. 2, ditto.

3. Ditto No. 3, ditto.

4. Ditto No. 4, ditto.

In every one of these numbers are eight airs, each of which, with the single variation, fills one page only. Now much as we disapprove the numerous variations, or the interminably long ones, which so frequently appear, yet two or three, of moderate length, are desirable, for the sake of that variety which the term implies, and, if moderately good, can never be thought tedious. This is all we have to object to in the present publication, which are of a very useful kind, the melodies being chosen with taste, and arranged with judgment for rather juvenile students. But in truth, really good players need not be ashamed to bestow two or three minutes upon any one of them, for we do not find a single melody among the thirty-two that is not worthy of being listened to by any lover of national music; such music, too, as that of Caledonia.

* * * * *

1. Délassemens de l’Etude, 25 ~Favourite Airs~, _arranged and
fingered by_ ~François Hünten~. Book I. (Chappell.)

2. Ditto. Book II.

We have here another publication that will prove of great utility: it is a collection of the most popular modern airs from foreign operas, or by foreign composers--by Mozart, Beethoven, Rossini, Weber, Meyerbeer, &c.,--arranged and fingered for the use of learners almost of the youngest class, and in a manner which justifies M. Hünten in affixing his name to the work, for he has evidently bestowed an attention on it which proves that he knows the importance of putting only what is correct, and likely to form a good ear, into the hands of children.

DUETS PIANO-FORTE.

1. Les Deux Amis, _composed by_ ~J. N. Hummel~. Op. 117. (Cramer,
Addison, and Beale.)

2. The Archduke Rudolph’s ~Triumphal March~, König Stephan,
_composed by_ ~L. Van Beethoven~; arranged by ~C. A. de Winkhler~.
(Wessel and Co.)

3. ~Mehul’s Overture~ to Une Folie, _arranged with Accompaniments_
(ad lib.) for _Flute, Violin, and Violoncello_, by ~S. F.
Rimbault~. (Purday.)

4. My Delight, _Twelve short and melodious Pieces_, _composed by_
~Ant. Diabelli~. 2 Books. (Wessel and Co.)

The opening adagio in B minor of No. 1, is of the expressive kind, and if played with much nicety and great feeling, will be effective; though we trust that all persons who wish to discourage whatever tends to vitiate musical taste will at once cut out the run of thirds in semitones forming part of the cadenza, which, like all passages of the sort, only serves to remind us of that half-suppressed cry which a fit of the tooth-ache, or colic, sometimes extorts from the most patient sufferer. But the author seems to have exhausted himself in this movement; the second, molto vivace, in ~D~, though, in some respects, clever, and exhibiting very bold modulation, will never have any attraction for those who think that air and grace are essential in musical composition. This is not an easy work; but we must add that the notation--the avoidance of apparently short notes--is a proof of M. Hummel’s clear understanding. Composers, in general, are not aware of the difference, in point of difficulty, which may be made by mere notation. Writing demisemiquavers and shorter notes is, commonly, either mere pedantry or sheer ignorance. Sometimes, we grant, they are necessary, but in nine cases out of ten they may be avoided, as in the present instance, by words indicating great rapidity; or by putting a bar through the C marking common time. But the metronome (which M. Hummel, like a man of sense, always uses) is the surest and best guide.

* * * * *

Mehul’s overture is a great favourite in French theatres, and not devoid of something like dramatic effect, but as a piano-forte duet, as drawing-room music, it is very jejune indeed.

* * * * *

If Beethoven had never written but in the style of the Archduke’s march, his name would not have been heard beyond the confines of day-schools or Margate libraries. This is an easy, common-place affair; but, perhaps, quite good enough for the triumphs of the illustrious Rudolph, whoever he may be. What is meant by ‘König Stephan’ we pretend not to guess. _Our_ King Stephen thought his unmentionables too expensive at a crown: we hold that his namesake’s march is much dearer at half the sum. We will not, however, imitate the son of the conqueror, and call the vendor by foul names.

* * * * *

M. Diabelli’s ‘Delight’--(what can be meant by so nonsensical a title?)--is, if we may judge from No. 4, to make babies play in duo. These very little pieces keep the hands in one position, being limited to the compass of five notes: so far they may answer a good purpose, and they are not disagreeable.

VOCAL.

1. ~Duet~, ‘Now like a Monarch,’ _composed by_ ~A. De Beauplan~.
(Chappell.)

2. ~Ballad~, ‘The Kiss on the Lips we love,’ _the Words by_ ~J.
Imlah~, Esq., _the Melody by_ Mrs. ~P. Millard~. (_Norwich_,
Woodward.)

3. Mignon’s Song, or ‘A foreign Sky above,’ _by the Author of_
~Musical Illustrations of the Waverley Novels~. (Novello.)

4. The Sea Rover, _the Poetry by_ ~J. S. Foster~, Esq., _the Music
by the_ ~Chevalier Sigismund Neukomm~.

5. A Parting Song, _the Poetry by_ Mrs. ~Hemans~, _the Music by
the_ ~Chev. Neukomm~. (Cramer and Co.)

6. ~Song~, ‘So we’ll go no more a roving,’ _written by_ ~Lord
Byron~, _composed by_ ~John Lodge~, Esq. (Chappell.)

7. ~Chansonnette~, ‘Were a Wizard to say unto me,’ _written and
composed by_ ~J. Augustine Wade~, Esq. (Chappell.)

8. ~Air~, ‘I will think of thee,’ _composed by_ ~Henry R. Bishop~.
(Chappell.)

9. ~Ballad~, ‘She grew on Earth a summer Flower,’ _composed by_
~John Daniel~. (_Edinburgh_, Wood and Co.)

10. ~Ballad~, ‘He came to her with gentle Words,’ _written by_ Miss
~Rennie~, _composed by_ ~T. S. Ray~. (Goulding and Co.)

11. ~Ballad~, ‘My Rose,’ _the Poetry by_ Mrs. ~Charles Greville~,
_composed by_ ~Bianchi Taylor~. (Collard and Co.)

12. ~Song~, ‘I met him in the lonely Dell,’ _written by_ ~G.
Vanderhoff~, Esq., _composed by_ ~B. Hime~. (Collard and Co.)

The Duet, No. 1, possesses just that kind of silly prettiness which probably will sell it.

* * * * *

No. 2 is a very pleasing, easy melody, well accompanied.

* * * * *

No. 3 exhibits all the independence, the originality, and feeling, which are so conspicuous in this Lady’s ‘Illustrations.’ The words are Goethe’s, but we conjecture that the composer intends them to apply to the expatriated Poles, whose miseries have excited her strongest sympathy. There is all the enthusiasm of genius in this, but no want of method. We do not, however, see why the whole should not have been written in three-crotchet time.

* * * * *

No. 4 is a very spirited air, with a well-judged accompaniment, but it will inevitably be compared with the author’s ‘Sea,’ and thereby suffer, for the task would be no easy one to produce any thing at all equal to that brilliant composition. Let the present be judged by its own merits, and it will be generally approved. It is short, not difficult to sing, and suited to a tenor or a soprano voice.

* * * * *

No. 5 is, in fact, a ballad of four stanzas, the melody short, but repeated. It is gentle and elegant, rather à la Haydn, and would be easy, but for a double sharp or two, at which singers who accompany themselves are apt to start. Let us, however, recommend them not to be dismayed; the song is full of feeling, and will repay their trouble.

* * * * *

No. 6 is a very sweet melody, in the rondeau style, with an agreeable Scottish tinge, and accompanied in a lighter manner than is usual with Mr. Lodge; though there are glimpses of harmony here and them that show his inclination, which, however, he has not indulged to any great extent, but has afforded every possible facility to both singer and accompanist.

* * * * *

The words of No. 7 ought to sell the song. The reasons why a young maiden should not agree to be metamorphosed into a star, a flower, or a fish, are quite cogent and reasonable. The air is light, as it should be, and very simple.

* * * * *

No. 8 shows a strong effort to produce new harmonic effects: the modulation in the very first two bars from ~C~ to ~A~ flat is rather sudden, and somewhat startling--_e. g._

but anything is better than triteness. The air is free and agreeable, with an accompaniment in the guitar manner. We cannot, however, add that the words go quite smoothly and well to the melody.

* * * * *

The composer of No. 9 writes with much feeling, and his air is pleasing and appropriate, but he has injudiciously separated some of the words, and not very accurately accented others.

* * * * *

No. 10 certainly does not rise above mediocrity, either in music or words.

* * * * *

No. 11 is correct and graceful, rather than striking or new.

* * * * *

On No. 12 we really can bestow no praise, however qualified; the words and music are nearly on a par with the lithographed vignette, but of the three, the music is least obnoxious to criticism.

HARP.

1. Air de Ballet, _as a_ ~Brilliant Rondo~, _the subject from_
~Meyerbeer’s~ Robert le Diable, _arranged by_ ~Theodore Labarre~.
No. 2. (Chappell.)

2. Ditto No. 3.

3. Ditto No. 4.

The first of the above is the _Pas de Cinq_, the second the _Valse des Démons_, and the third the _Chœur Dansé_, from the opera now performing in all parts of Europe, though certainly with variable success. But the pieces selected by M. Labarre are universally admired, whatever may be, according to different tastes, thought of the work in its entire state. These are all arranged with a view to general use; all unnecessary difficulty, therefore, is avoided, but not at the expense of the author’s intended effects, which are as carefully preserved as the means afforded by a single instrument render possible.

HARP AND PIANO-FORTE.

~Six Waltzes~, _composed by_ ~Hummel~, _arranged by_ ~N. C.
Bochsa~. (Chappell.)

These are the well-known waltzes, Op. 91, written by Hummel for the piano-forte only, and now converted, with considerable address, into very effective, yet perfectly easy duets for the two drawing-room instruments.

MADRIGAL SOCIETY.

The anniversary of this society, on Thursday the 21st of February, proved, past all doubt, that the taste for the species of music cultivated by its members is anything but on the decline. A more brilliant meeting has not for many years been known, as the subjoined list of music performed, of members present, and of visitors, will amply testify; and it was by all agreed, that the various compositions were never heard to greater advantage.

There are cycles in music as well as in other heavenly things; the madrigal is come round again, and probably will, in two or three years, again disappear, except to the present society, who have never lost sight of it, and to whom (as also, indeed, to the Ancient Concerts) we are perhaps indebted, for having preserved it from final occultation. We shall not be surprised soon to find it visible in our most fashionable drawing-rooms, and to hear that the revived taste for it in this country has drawn the attention of our continental neighbours to a kind of harmony which those who profess any knowledge of the art, either from study, or merely listening to and enjoying it, cannot but admire.

After the cloth was removed, and the youthful choristers of the King’s Chapel and St. Paul’s Cathedral were admitted, the following madrigals were performed, nearly all present taking a part:--

Voices. Composers.

All creatures now are merry-minded. 5 ~J. Bennet.~

Arise, awake 5 ~Thos. Morley.~

Basti fin qui le pene 10 ~Luca Marenzio.~

Cynthia, thy song and chanting 5 ~Giov. Croce.~

Dainty fine sweet Nymph 5 ~Thos. Morley.~

Fire, fire, my heart 5 ~Thos. Morley.~

I will sing of thy power 5 ~Dr. M. Greene.~

Kyrie eleison 5 ~Clari.~

Lo! where with flow’ry head 5 ~Thos. Morley.~

Lord, for thy tender mercy’s sake 4 ~R. Farrant.~

Lady, your eye my love enforc’d 5 ~Thos. Weelkes.~

Miserere mei 4 ~J. P. Palestrina.~

Now, O now, I needs must part 4 ~J. Dowland.~

Oft have I vow’d 5 ~J. Wilbye.~

Sweet honey-sucking bees 5 ~J. Wilbye.~

Fal lal la (The Waits) 4 ~J. Saville.~

Among the members present were, Messrs. W. Linley, (Chairman), W. Hawes (Music Director), C. Baumer, T. Pinto (Stewards), J. P. Street (Librarian), Tho. Oliphant (Secretary), E. Bates, R. Taylor, J. Capel, J. T. Cooper, J. Barwise, Sir A. Barnard, K.C.B., Rev. J. Hall, J. P. Salomons, E. Fitzwilliam, J. N. Macleod, Lord Saltoun, J. Calkin, C. Hancock, H. Hancock. C. Comerford, J. Dillon, G. Cooper, W. Taylor, Tho. Gladstone, M.P., E. Taylor.

The non-professional visiters were, Duke of Argyle, Admiral Taylor, Sir R. Simeon, Hon. A. Macdonald, Dr. Penrose, Messrs. Boldero, Gray, Nyren, Seviers, (2.) Hall, Spyring, Cox, Bond, M’Donald, Bedford, Campbell, Mozer, Rich, Pears, Bates, jun., Luttrell, Barnard, Spencer, S. Cartwright, Street, jun., S. J. Arnold, H. Surman, H. Sanford, J. Silver.

The professional visiters included Messrs. Vaughan, Sale, Spencer, Leete, Blackbourne, Horncastle, Ella, Horsley, Hawkins, Walmisley, C. Evans, C. Taylor, Howell, James Elliott, Goss, Goulden, Jolley.

EXTRACTS FROM THE DIARY OF A DILETTANTE.

[Resumed from page 64.]

_Feb. 28th._ _Tait’s Magazine_ for this month has the following remark concerning the concerts at Edinburgh:--‘Mrs. Wood has shown on how much the human voice, and Mr. Boschsa how little the harp, can do to entrance the soul in musical delight.’ This is sensible criticism, in no far as it extends to the singing and playing of the individuals named: but the harp, when in the hands of those who best know how to use it--who seek not to astonish by what is called execution, which is only another name for murder, but study its pathetic and romantic character, and attempt nothing out of this--is an instrument that, in some shape or other, has charmed in all ages, and will continue to be admired wherever a taste for music is at all cultivated. Those among as who remember having heard Mad. Krumpholtz, and, more especially, the Vicomte de Marin, well know what the harp can do when properly touched.

* * * * *

_March 7th._ The King’s band of musicians was an imitation of the band of Louis XIV. In Evelyn’s Diary, dated 21st of December, 1662, is the following account of its first performance. This able and honest statesman and excellent naturalist possessed a fine taste for the arts, in which he took very considerable interest. He evidently felt very indignant at the musical innovation made by the heartless Charles, whose education was finished in the profligate French court, and thus expresses himself:--

‘One of his Majesty’s chaplains preached at the King’s Chapel, after which, instead of the ancient, grave, and solemn wind music accompanying the organ, was introduced a concert of twenty-four violins between every pause, after the French fantastical light way, better suiting a tavern or a play-house, than a church. This was the first time of change, and now we no more heard the cornet which gave life to the organ, that instrument quite left off, in which the English were so skilful. I dined at Mr. Povey’s, where I talked with Cromer, a great musician.’

* * * * *

--This morning Mr. Guynemer gave--(literally gave, for profit was not his object)--a ‘Matinée Musicale’ at the Opera Concert Room, chiefly for the purpose of performing some selections from a Mass recently composed by him. He, of course, had a very full audience, among whom were the most distinguished amateurs and professors at present in London. The Mass, or at least such of it as was introduced, possesses considerable claims to notice; and if it does not show much fancy, much original conception, proves the author to be a man of knowledge and taste. His band was select, and led by Messrs. Spagnoletti and Mori; himself and Mr. Novello acting as conductors.

* * * * *

_10th._ A weekly paper, in whose well-delivered musical opinions I generally concur, has attacked in rather strong language the first Ancient Concert of this season, and in pretty plain terms accused the directors of imitating the new Vocal Concert, by the introduction of madrigals. Surely the writer has not carefully looked over the books of the Ancient Concert, or made himself acquainted with the fact that, at its very first institution, nearly sixty years ago, madrigals were among its most important features, and have, more or less often, continued to be performed up to the present time. I myself heard two of them last season, though not present at more than three or four of the concerts. The efforts made by the Madrigal Society during late years have slowly, but surely, drawn attention to this fine species of music, and the Vocal Concert happily seized the moment for bringing it before a larger and more mixed audience, and certainly in a very inviting form; but let not the Ancient Concert, the finest school in Europe for the music of the great old masters, and which has preserved the best models from being trampled into dust--which has stood for years as the bulwark against the whims of fashion, and steadily resisted the greedy appetite for whatever is new, however contemptible--let not this be abused as the servile imitator of an infant establishment which has only re-produced compositions that have been heard by three generations at a concert to which--though often mismanaged, and too frequently a sufferer from prejudice--our country is so much indebted for its musical taste, and on which, I am persuaded, the preservation of good music in England yet so mainly depends.

* * * * *

_16th._ We are certainly to be honoured by another visit from Signor Paganini after Easter, as I last year predicted; though the French papers, and of course the English, stated positively, that he had resolved to appear in public no more, but had ‘determined to retire and enjoy _otium cum dignitate_.’ It was to me a matter of certainty, demonstrable upon moral principles, that while any thing is to be got in this country, the hero of one string will be drawn to our shores by metallic attraction. Of his continued success, however, I have my doubts; the _fit_ was on the decline last season; our senses are beginning to return: but if reason should not influence us, the state of the country will. It is really ‘too bad’ to be lavishing thousands, tens of thousands, upon a foreigner, who is more admired for his tricks than for his real excellences, while many of our best performers--some of whom are more than his equal in the legitimate use of the instrument--are neglected, and suffering from want of protection.

* * * * *

_20th._ Every letter from Italy, coming from any source to be relied on, concurs in stating, that music is at the lowest ebb in that country: from the northern to the southern extremity, from Milan to Naples, nothing new is brought forward but the vilest trash, and even Rossini is no longer the idol. This, however, ought not to excite surprise, considering how unmercifully he has been hacked. It seems that, after Easter, we are to have thrust down our throats,--or rather crammed into our ears--Bellini’s _Norma_, and also _Beatrice Tenda_, both, it is said, the feeblest of modern weaknesses, the first especially, which all but Italians agree in admitting to be the veriest rubbish that ever disgraced the lyric stage. We are also to have the _Montecchi e Capuletti_ of the same composer, which I can, from my own knowledge, say, is as wretched stuff as any that our Italian theatre has produced during the last five or six years. I cannot say more.

FOREIGN MUSICAL REPORT.

VIENNA.

The _Josephstadt Theatre_, under its very able direction, ever anxious to delight the public with novelties, has produced Bellini’s _Die Capulets und die Montagues_, which, however, was but indifferently received, notwithstanding the laudable exertions of the singers. Rossini’s _Semiramis_, also, has lately afforded evidence of the industry and efficiency of the company of this theatre. M. Pock, as _Assur_, excited enthusiasm in his audience, and Demlle. Kratky as _Arsaz_, and Mad. Zimmer as _Semiramis_, were overwhelmed with applause; in fact, all the singers received ample testimony of the delight which they afforded, and the whole representation could not but have given satisfaction to the most severe critic.

On the 4th January, a new operetta by Caché, _Das Küchenregiment_ (the Kitchen Government), was produced at the _Hofoperntheater_. M. Caché himself played the principal character (_Vatel_), and was twice called forward.

BERLIN.

_Königstadt Theater._ A romantic comic opera in three acts, called _Des Adlers Horst_ (the Eagle’s Eyry), composed by Kapellmeister Gläser, was produced here on the 29th December. The music is lively and melodic, bearing, however, at times, perhaps, too close a resemblance to the _Freyschütz_. The parts were allotted to Demlles. Hälmel, Felsenheim, and Franchetti, and MM. Holzmiller, Greiner, Fischer, and Beckmann. On the 4th January, Dlle. Schneider, the daughter of Kapellmeister Schneider, having previously sung at her father’s concert, appeared for the first time on the Berlin boards, as _Rosina_ in the _Barbier von Sevilla_, and was very successful.

At the _Opernhaus, Robert der Teufel_ has again been brought forward; and on the 20th January, _Figaro_ was given with a very strong cast of characters: Mad. Pirscher as the _Countess_, Demlle. Grünbaum the _Page_, Mad. Seidler _Susanna_, M. Hammermeister the _Count_, and M. Devrient as _Figaro_; it was in every respect a most excellent representation of the opera.

M. Felix Mendelssohn has given his second and third concerts, in aid of the fund for the widows of the members of the orchestra, which proved very attractive. The musical soirées of the Brothers Ganz have commenced; those of M. Möser are going on successfully.

MUNICH.

M. Spitzeder, who made his debut here on the 30th September, and was incapacitated from appearing afterwards by illness, died on the 14th December. Mad. Spitzeder has appeared as _Myrrha_, as _Ninetta_ in _Die Diebische Elster_ (La Gazza Ladra), _Zerlina_ in _Fra Diavolo_, and various other characters with her usual success.

PRAGUE.

_Das Fräulein am See_ (La Donna del Lago) has been given here for the benefit of Demlle. Emmering, who personated _Malcolm_. On this occasion Demlle. Lutzer made her first appearance in the part of _Helene_. Her voice, the higher and middle notes of which are very sweet, is rather weak for so large a theatre; but by regular and well-directed practice, it will no doubt soon acquire greater strength. M. Podhorsky was _Roderich_, M. Strataky _Douglas_.

VENICE.

The opera _Eufemio di Messina_, by Maestro Persiani, has been performed here at the Fenico, but not with the success it obtained at the fair of Padua. All the efforts of the singers, Dell Serre soprano, La Carobbi contralto, Curioni tenor, and Crespi bass, could not save it. The music, that of the second act especially, was throughout considered monotonous and tiresome.

Recci’s _Chiara di Rosenberg_ is at this time playing in six towns in Italy, and is everywhere received with enthusiasm.(!)

PARIS.

For a long time it has been evident to every one who has the slightest taste or feeling for music, that the downfall of this art in Italy is complete; but nothing, perhaps, could give so just an idea of the state of absolute degradation into which the Italian taste has fallen, as the popularity which an opera called _Chiara di Rosenberg_, which was played lately at the Théâtre Italien, has obtained and still enjoys in that country. At all times, even when the Italian school was in the height of its vigour and splendour, bad operas were written, but they were received as they deserved, and the hisses of the public consigned them to their merited fate. At the present time this is no longer the case; the production of a boy makes a _furore_ on its first production, is twice revived with plaudits at Milan, and is now playing everywhere. What does all this indicate, but that nothing better is to be hoped for from a country where the public taste has fallen so low?

An ill-constructed overture, made up of incoherent phrases clumsily put together, followed by an introduction still more flat and feeble, cast a cold chill over the audience; however they waited with very laudable patience for some piece that might interest them, but in vain; the same mediocrity reigned throughout. A trio for three basses, which had been much talked about, was looked for with great expectation, but turned out just as bad as the rest. The success of this trio, in Italy, arises from one of the characters using a broad provincial dialect, which is changed according to the city in which the piece is performed; in Naples it is the Neapolitan, in Venice the Venetian, in Milan the Milanese, and so on: this makes the audiences laugh there, but in a foreign country the comic effect is wholly lost, and there is nothing in the music to compensate for it. The most supportable pieces in the opera are a chorus and duet between Tamburini and Santini. There is not in the whole opera one phrase of melody that has either novelty or any other merit; the harmony is flat and incorrect; the rhythm totally devoid of character, and eternally broken in upon; and to close all, the instrumentation is that of a school-boy who had not even the good sense to study the scores of his contemporaries.

Tired of singing such stuff, Tamburini introduced an air from the _Inganno Felice_ of Rossini, and never did a base voice give so splendid a specimen of ease, taste, and execution; the audience, without considering the fatigue of the singer, encored it; Tamburini repeated it with more spirit than at first, and then the audience took their hats and left the rest of _Chiara di Rosenberg_ to be performed to empty benches.

THE DRAMA.

~King’s Theatre.~

On Tuesday, the 26th of February, Madame ~Schiasetti~ was introduced to the public for the first time in this country, as _Malcolm_, in ~Rossini’s~ _Donna del Lago_. This lady is an old stager. Many years ago she sang in Paris, and there again very recently, but with doubtful success. In the interim she appeared at Dresden, but how she was received there we cannot tell. Her voice is a mezzo-soprano, which she wishes to force down to the contralto compass, but betrays her natural scale in spite of all her efforts. Her high notes are hard and unmusical, and she is not always pure in intonation. In form, Mad. ~Schiasetti~ rather inclines to the masculine, and shows more muscular than vocal strength. The opera was got up in a manner that almost defies description; parts left out, others put in, transpositions, interpolations, and, in short, nearly every thing that able management would have forbidden was witnessed; except the character of _Roderick Dhu_, which ~Donzelli~ performed _à merveille_.

Mad. ~Boccabadati~ has appeared in _Matilde di Shabran_, one of ~Rossini’s~ least interesting operas; and the papers, most of them, have been as lavish in their praise of her as if her powers were of the most unrivalled kind. She undoubtedly improved after her debut, which was a very unfavourable one, and exhibited talents superior to those which were displayed on her first appearance. But she can only rank as a prima donna in second-rate theatres. As a seconda, or as an occasional substitute for the first, Mad. B. may be rendered exceedingly useful and agreeable.

On the 23d, ~Mozart’s~ _Nozze di Figaro_ made some change in the performances, which till then had been all ~Rossini~, and not the best of ~Rossini~. The part of the Countess was given to Mad. ~Boccabadati~, and Mad. ~Schiasetti~ took that of _Susanna!_ Mdlle. ~Nina Sontag~ personating _Cherubino_. To the first of these the music was perfectly strange, but, like a stranger, she did not give it welcome: however, she got through it better than we expected. Poor _Susanna_ has seldom had so inadequate a representative; and Mdlle. ~Nina~ made a page that ought not to have excited any doubts in the mind of _Almaviva_. This part, by-the-by, was transposed for ~Donzelli~, as was much for Mad. ~Schiasetti~; and, altogether, our history of this attempt at reviving a work of ~Mozart~ cannot be rendered favourable.

We now quit the Italian stage, and cast our view to the

~German Opera~,

which commenced at this house on Thursday, March 14th, with _Der Freischütz_, thus cast:--

_Max_ M. ~Binder~.
_Caspar_ M. ~Blume~.
_Cuno_ M. ~Kockert~.
_Kilian_ M. ~Ehlers~.
_Agatha_ Mad. ~Pircher~.
_Annchen_ Mdlle. ~Nina Sontag~.

No one of these must be ranked as a first-rate singer, but all are tolerably respectable. Mad. ~Pircher~ seems to find it necessary to strain her voice, which is not strong, which sometimes renders her intonation rather faulty. She, however, sings with feeling, and appears to understand what she is about. Madlle. ~Nina Sontag~ is just what she was,--inanimate, both in singing and acting, and inoffensive, unless great frigidity and slowness can offend.

M. ~Binder~ is the best of the party; he wants little of being a very good tenor. He was suffered to introduce a song, not one by Weber, for which the management is more censurable than the singer. We believe that it was one by that prince of modern composers, Pacini! M. ~Blume~, with a good base voice, is a respectable actor.

M. ~Hummel~ is the conductor of this corps; but, seated at the piano-forte, he appears to greater advantage than when flourishing the baton. His _times_ of the _Freischütz_ were all quicker than those of the composer, as he gave them at Covent Garden. Which of the two is most likely to be right, we leave our readers to determine. The choruses went off extremely well; but in other respects the German Opera this season is much inferior to that of last; nevertheless, M. ~Laporte’s~ terms of admission are increased. He has, however, already found out that one hundred at seven shillings are not quite so profitable as five hundred at a crown; yet the prices are not reduced. Up to the present moment the speculation has proved a very losing one, and we do not hear of any new opera being in readiness.

~Drury Lane Theatre.~

A new ballet-opera, a term quite new to our stage, was brought out at this house on the 16th ult., entitled _The Maid of Cashmere_, made up from _La Bayadère Amoureuse_, ~Scribe’s~ very popular piece; the music by ~Auber~.

The principal characters are--

_Brama_ Mr. ~Wood~.
_Olifour_, the _Grand Judge_ Mr. ~Seguin~.
_Leila_ Miss ~Betts~.
_Zelica_ Mdlle. ~Duvernay~.
_Fatima_ Mdlle. ~Augusta~.

The story may be told in the following words:--_Brama_ assumes mortality, and is under the necessity of enduring all the evils incident to the change, until he can find a young female who perfectly and purely loves him. Having been present at the preparations for executing an innocent man, he sets the intended victim free, therefore is proscribed by the authorities, and takes refuge in the city of Cashmere. He wanders about as _The Unknown_, while a price is set on his head by the Grand Vizier. He conceals himself near the palace of _Olifour_, and there remains while some dancing peasants, called _Bayadères_, exhibit before the grand judge, who falls desperately in love with _Zelica_, the _Maid of Cashmere_; but she rejects him, and shows a decided preference for _The Unknown_, who imprudently comes forward. Soon afterwards he is discovered, and is about to be seized, when _Zelica_ purchases his liberty by consenting to give her hand to the old judge. Presents she rejects, but consents to ride in a palanquin sent for her conveyance; and naturally enough, for _The Unknown_ had slipped into it, and, lying at the bottom, is effectually hidden. We next find the pair in the hut of the Bayadère, where she makes her love for _Brama_ pretty obvious. To try the strength and truth of her attachment, he makes _Zelica_ jealous, by paying undue attention first to a singing Bayadère, _Leila_, and subsequently to another dancing Bayadère, _Fatima_. She is of course very uneasy, and before long her truth is put to the test, for the judge and his troops enter in search of _The Unknown_, who escapes through a trap-door into a cellar,--a very undignified exit for a god, by the way. As _The Unknown_ is not to be found, the guards seize _Zelica_, and, raising a pile in her own cottage, proceed to perform the inconvenient ceremony of burning her. She patiently awaits her doom,--the flames are fast approaching her--when _Brama_ is seen rising behind her, restored to his divine state. He exalts the Bayadère into the clouds, and the scene suddenly changes to the celestial abode of the God. Thus ends the Opera-ballet, or Ballet-opera.

The strength of this is all in the ballet; the music is light and frothy, with the exception of a pretty good trio near the end of the first act. Indeed, as dancing would clearly be the attractive part of this piece, ~M. Auber~ was fully justified in not wasting much force on it, and acted prudently in writing nothing of a solid kind, and in trusting wholly to a pleasing gaiety of style.

_Don Juan_ continues to fill the house in every part: nay it draws persons into the public boxes, who, on any other occasion, would have been shocked at a proposal to visit the theatre without the consolation of a more private and exclusive retreat.

~Covent Garden Theatre.~

The dramatic oratorio, contrary to expectation, has been eminently successful. After the first night it improved very much in representation, and still more so in the audiences. It has drawn crowds ever since.

On the _23rd_ of last month, an opera, altered from the French, under the name of _The Coiners_, or _the Soldier’s Oath_, the music by ~Auber~, was produced here; but we were at Drury Lane on that evening, and have not since had an opportunity of seeing this new production; on which we shall report next month, should the piece survive, which, according to what we hear, is somewhat doubtful.

THE MUSIC OF THE PRESENT NUMBER.