Chapter XIII: Part II (3)

“The King himself deigned to make frequent inquiry into the state
of the business; and when his Majesty knew that the publication
was retarded only by the engravers, he desired to see the loose
and unbound sheets of the work, which he perused with so strong
an interest in their contents, that he drew up two critical notes
upon them, with so much perspicuity and justness, that Dr. Burney,
unwilling to lose their purport, yet not daring to presume to
insert them with the King’s name in any appendix, cancelled the
two sheets to which they had reference, and embodied their meaning
in his own text. At this he was certain the King could not be
displeased, as it was with his Majesty’s consent that they had been
communicated to the Doctor, by Mr. Nicolai [Nicolay], a page of the
Queen’s.

“Now, however, there seems to be no possible objection to giving
to the public these two notes from the original royal text, as
the unassuming tone of their advice cannot but afford a pleasing
reminiscence to those by whom that benevolent monarch was known;
while to those who are too young to recollect him, they may still
be a matter of laudable curiosity. And they will obviate, also, any
ignorant imputation of flattery, in the praise which is inserted in
the dedication of the work to the King; and which will be subjoined
to these original notes.

“_From the Hand-writing of his Majesty, George III._

“It seems but just, as well as natural, in mentioning the 4th
Hautbois Concerto, on the 4th day’s performance of Handel’s
Commemoration, to take notice of the exquisite taste and propriety
Mr. Fischer exhibited in the solo parts; which must convince his
hearers that his excellence does not exist alone in performing his
own composition; and that his tone perfectly filled the stupendous
building where this excellent concerto was performed.”

“_From the same._

“The performance of the Messiah.

“Dr. Burney seems to forget the great merit of the choral fugue,
‘He trusteth in God,’ by asserting that the words would admit of no
stroke of passion. Now the real truth is, that the words contain
a manifest presumption and impertinence, which Handel has, in the
most masterly manner, taken advantage of. And he was so conscious
of the moral merit of that movement, that, whenever he was desired
to sit down to the harpsichord, if not instantly inclined to play,
he used to take this subject; which ever set his imagination at
work, and made him produce wonderful capriccios.”

ON THE BASE VOICE.

(From _La Revue Musicale_.)

The base voice, whose powerful accents, combined with such tender and pathetic expression, produce at present such a wonderful effect, was little used in the serious Italian opera at the beginning of this century, and is almost unknown in the dramatic compositions of the early Italian school. _Tito_, _Idomeneo_, and _Orazio_ were written for tenor voices, contrary to all reason and to the received rules of good taste[53]. The part of the High Priest in _Gli Orazi_ was the first in which a base voice became conspicuous, sustaining so beautifully the trio in ~E~♭; but even this was added by Cimarosa long after the first production of his opera, the _trio_ being originally only a duet. It should seem as if the composer had not dared to avail himself of a quality of voice, in the more dignified characters of tragedy, which had hitherto been entirely appropriated to the buffo parts, such as Don Gruffo, &c. It must, however, be considered as the first triumph of the base voice, which has since run so glorious a career supported by such champions as _Pellegrini_, _Galli_, _Lablache_, and _Tamburini_. Indeed, who could have made Mozart, Paisiello, or Cimarosa, believe that their more fortunate successors would have had at their disposal, a voice deep and sonorous, which would be able to execute the rapid passages of the prima donna two octaves below; to modulate on a subject; or execute an andantino with the same facility as a tenor or a soprano? The appropriation of the higher parts of tragedy, and the more brilliant ones of comedy, by base singers, is scarcely of thirty years’ standing, since in _Tancredi_, one of the first, as well as one of the best of Rossini’s compositions, but modelled on the old Italian system, Orgirio is written for a high voice; while to the base is given a character of very little importance. Base singing is undoubtedly the triumph of the present age; and it was much wanted to supply, in the Italian Opera, the place of the male soprani, for which the female voice is but a poor substitute, and which it can never fully replace. The French dramatic style has gradually introduced itself into the Italian Opera; and it is to Rossini, wonderfully seconded by the flexible and fine toned base voices he has had to write for, that we owe such works as _Otello_, _La Gazza Ladra_, _Mosè_, &c., where scenic effect is happily blended with the charms of melody, and that of the orchestra with the rich tones of the human voice. The introduction of base voices into the serious opera, the execution of the bold and brilliant passages, written for them in comic parts, has regenerated the Italian Opera, which was simply a concert dramatized; while the Italian singers, feeling how much the effect of music may be aided by scenic illusion, have, for the most part, become excellent actors. In short, we may say, that to hear such an opera as _La Gazza Ladra_ performed by such singers as Rubini, Tamburini, Lablache, Graziani, Malibran, and Mariano, is the perfection of dramatic music.

REVIEW OF NEW MUSIC.

~A Biographical Sketch of Henry Purcell~, _from the best
Authorities. 44 pages in folio._ (J. A. Novello.) 1832.

This is the ‘Prefatory Number’ to a complete collection of Purcell’s Sacred Music, containing considerably more than a hundred of his compositions, which Mr. Novello has been publishing during the last three or four years, the early numbers whereof were sent to us, and noticed in our review as they appeared.

Purcell, take him for all in all, is the greatest musical genius that this country can boast; and our deliberate opinion is, that, from the earliest period in the history of music down to the moment of his death, Europe would in vain be searched to find his equal as a composer of secular vocal music. That he was to some extent indebted to Lulli, can hardly be denied by those who are well acquainted with the dramatic works of both; but that he far surpassed what, perhaps in compliment to our second Charles and to the fashion of the time, he occasionally took as his model, every impartial critic must admit. If, too, his cantatas--‘From rosy bowers,’ and ‘Mad Bess,’ for instance--be compared with compositions in a degree similar by Alessandro Scarlatti, which have been so highly praised and so long were vaunted, the vast superiority of the English musician, whether as relates to air, to harmony, to propriety of expression, or to beauty of effect, will never be disputed by unbiassed judges. Purcell’s great fame is, as we have before remarked, and now fearlessly repeat, founded on his productions for the theatre and the chamber: in his compositions for the church, he met with equals in his own country and superiors abroad; and when his anthems are compared with those of his successors,--those of Clark, Croft, Green, and Boyce,--though the science displayed in many of them, and the study which some have cost, will readily be granted, yet in melody, in pleasing combinations, and above all, in that judgment which dictates how sounds should be adapted to sense, it will be in vain that his admirers attempt to rank him with such of his followers as we have named, and who possessed advantages that seemed to have been denied to composers at the close of the seventeenth century.

Hence we are by no means sure that a collection of _all_ Purcell’s sacred compositions was a publication to be desired, for we feel pretty certain that several of them would never with his concurrence have appeared in print. Composers are liable to be called upon, either in the performance of fixed duties, or to answer some temporary purpose, to write when ‘the muse is _not_ on them,’ and all that can be expected under such circumstances is, that they acquit themselves so as to escape the censure of those immediately concerned with them,--of their contemporaries. It is rather hard for an author to be exposed, at the end of a century and a half, to the chance of being criticised for works on which he most probably set no value, and which he very likely hoped might never be heard of, after the immediate purpose which called them forth had been answered. Still we are most willing to give Mr. Novello every possible credit for research, activity, and zeal, and only wish that he had confined his views within narrower bounds: his collection would then have done still more honour to the author, have been more accessible to many, and not less useful to all. The anthems of Purcell in Boyce’s collection, those published by Goodison, and the six in the _Harmonia Sacra_ printed by Walsh, are in few hands, and without an organ accompaniment: their republication, therefore, was almost called for, and in them are beauties which are as much the object of our admiration, as their defects are of our regret. These, with about half a dozen more, and the services, would have formed a collection that most would have wished to possess. But it is time to look at the biography.

It was not to be expected that any new facts remained to be collected concerning Purcell, and Mr. Novello does not profess to offer any: he has very diligently extracted every thing relating to him that is to be found in Hawkins and Burney, and not only all which is immediately connected with the subject of his memoir, but likewise accounts of those necessarily mentioned in the history of the principal, together with an abundance of other not absolutely necessary matter; thus producing a volume of forty-four very large folio pages, printed closely in small type, which might easily have been swelled out into as many more, or indeed to an unlimited extent, by the same ramifying process. Nevertheless, those who are fond of such discursive biography, and have not read the histories of Hawkins or Burney, will be informed and amused by Mr. Novello’s numerous and copious extracts.

Mr. Novello does not strive to impress us with any very favourable notion of Purcell’s morals: he gives, apparently as his own, Hawkins’s observations on this subject, and, by omitting the usual marks of quotation, makes himself responsible for the slurs cast by another. But as he thus adopts so unfavourable an opinion of the musician’s private character, he should have been more guarded in speaking of Mrs. Purcell, and not have applied to her epithets which no facts that we are acquainted with can at all justify. It was Purcell’s failing, it seems, to associate with objectionable persons, and to pass late hours with a profligate character in haunts of by no means a reputable kind. Sir John Hawkins states this without any reserve; and also relates, on _hearsay_, that Purcell, coming home late one night, heated with wine, was refused admittance by his wife, and by being kept a considerable time in the street, caught cold, and died in consequence. But the historian does not give credit to this story,--the only one alleged against the, most likely, neglected wife: and even if true, it would hardly authorize such terms as ‘arrogant,’--‘low-minded and termagant woman,’--‘ill-tempered and hypocritical termagant,’ &c. bestowed on her by her husband’s present biographer. Where are we to find any facts to warrant such language,--or, indeed, to warrant any reproaches at all?

Mr. Novello has in this ‘Prefatory Number’ inserted whatever he could find or gather concerning the composer of the works he has edited. He has deemed it advisable to reprint Dr. Burney’s article, ‘Purcell,’ from the Cyclopædia of Rees; extracts from the Encyclopædia Britannica, and from the Encyclopædia Metropolitana; from the Harmonicon; several from the Atlas; from Crotch’s Lectures, &c.; also communications from many of his musical friends, in the nature of _commendatory letters_. Likewise a statement of the origin of his present publication, with the original prospectus, and an interesting account of a highly talented and learned lady, ‘unknown to fame,’ a Mrs. Hurst, daughter of the late Mr. White, well remembered as the early friend of Mr. Bartleman, and the auctioneer who sold all the fine musical libraries that were brought to the hammer from nearly the end of the last century till about the year 1824. These are followed by seven pages of ‘Preliminary Remarks,’ condensed from the ‘Quarterly Review, and from various other sources of information.’ They contain short biographical notices of all our church composers, with many notes, comprising several curious and entertaining anecdotes. This he concludes with a statement which we, in common with all those who wish his indefatigable zeal and industry had experienced more encouragement, regret having been called for.--He says, ‘The Editor of this work has endeavoured to contribute his share towards these efforts, by bringing forward this collection of sterling compositions for the church service. Hitherto his endeavours have been but very little assisted or encouraged by the clergy who have the control in choirs, where these anthems would be found most useful:--for out of the forty-two cathedral and collegiate establishments in England, which were endowed with funds for the support of no fewer than three hundred and sixty-eight choristers, only _three_ choirs have come forward to give the least support to this collection of Purcell’s sacred music: viz. St. Paul’s Cathedral, Westminster Abbey, and Durham, which have each subscribed to the work, but for _one_ copy only.’

‘The clergy,’ he continues, ‘will probably soon find that it will be for _their own interest_ to alter the system of tasteless apathy, careless indifference, and avaricious meanness, which have so long characterized the behaviour of the generality of them, in what relates to the musical department of the service, as well as their shabby, grasping conduct respecting the funds, which ought to be appropriated to the remuneration of the members of the choirs that have been subjected to their management. The slothful and useless drones amongst the clerical body, who have hitherto been allowed to enjoy such valuable benefices and large incomes for doing little or nothing themselves, will perhaps find it advisable, for their own sakes, to consider whether the public, who have been so much enlightened lately upon certain matters, will consent much longer to pay so high a price, or _any price at all_, for the meagre and uninteresting musical service which is provided for them by these selfish and niggardly, but impolitic and short-sighted persons. It is not very likely that, after the improvement which has taken place in the general taste for good music, the people will continue to be attracted by such common-place, insipid compositions and performances, as those which are but too frequently heard in our rich church establishments, which have already wasted, and still continue to swallow up annually such large sums of the public money. Unless some decided and extensive change for the better should speedily take place, the probability is, that these enormous funds will not only be considerably reduced, so as to be placed upon a more rational and just footing of proportion between the sum _paid_, and what is _received_ by the public in return for it; but the funds themselves will most likely be transferred to the hands of other persons, who will make a more conscientious appropriation of them to the purposes for which they were really intended; who will have the sagacity to perceive, and the good sense to act according to the demands of the increased intelligence, the improved taste, and the more liberal spirit of the age.’--p. 43.

* * * * *

~Original Compositions~, _in Prose and Verse, illustrated with
Lithographic Drawings, to which is added_ some ~Vocal~ _and_
~Instrumental~ _Music_. 4to. (Lloyd, Harley Street). 1833.

This is a volume got up ‘for the benefit of a family in reduced circumstances,’ and contains fourteen prose and poetical pieces, with ten short musical compositions, the whole gratuitously contributed. We, of course, direct our attention to the latter part only.

1. The first is a song by the Chevalier Neukomm, ‘I call’d on the hopes of the years that are past,’ in two movements, is full of pathos, and, considered as a simple, unlaboured effusion, is one of his most pleasing and successful productions.

2. Mr. J. B. Cramer has contributed a very brief, easy air for the piano-forte, in the few bars of which his peculiar style is easily traced.

3. A German air, ‘Gruss,’ the poetry by H. Heine, composed by M. Mendelssohn Bartholdy, the whole comprised in fifteen bars, contains much in a very small compass.

4. A march, by Frederic Arthur Gore Ouseley, a child six years old when he composed it, is one of the most marvellous productions of this age of musical wonders, and as such we have added it to the music in our present number. We can speak of the extraordinary, the unexampled genius of this little boy--now only seven years and a half old--on the authority of a gentleman, in whose report we place the most implicit confidence. He has received no instructions in music, and though taught by himself to play with considerable skill on the piano-forte, does not know his notes on paper, and trusts to his sisters for writing down what he composes. He improvises entire scenes, singing to his own accompaniment, the latter often exhibiting harmony the most recherchée, chords that an experienced musician only uses with caution; but these are always introduced and resolved in a strictly regular manner, not by rule, for he has learnt no rules, but by the aid of a very surprising ear, and of some faculty, which, for want of a better term, we will call intuition. His organ of hearing is so fine, that, with his eyes closed, he instantly names any musical sound produced; and so discriminating is this sense in the child, that, when a note is struck on an instrument, tuned either above or below the usual pitch, he immediately discovers and accurately states in what the deviation consists. A chord of four notes being sounded, he named each note exactly, though at some distance from the instrument, and with his back turned to it. When five years of age he suffered during some weeks from a continued fever, and on his recovery composed a piece of music descriptive of the commencement of the disease, its progress, crisis, and abatement, intending it as a present to his physician for the care and attention he had bestowed on him. Though an abundance of lively fancy is displayed in this, there is nothing in it at all extravagant or ridiculous; on the contrary, it is strictly _en règle_, and expresses, as well as inarticulate sounds are capable of expressing sensations, all the variety of feeling which would be experienced in the course of a long fever. This precocious genius is the son of the Right Honourable Sir Gore Ouseley, Bart., G.C.H., whose learning and high acquirements are well known in all parts of the civilized world: and under a French governess and a tutor for Latin, his education is proceeding in the usual manner, music forming no part of it. His intellects are quick, and declare themselves in a countenance remarkable for intelligence and beauty. His habits and amusements are suited to his age, and the activity of his mind does not appear to have operated unfavourably on his general health, which seems to be good, and as well established as is usual with children of his years.

No. 5 is a short expressive air in ~A~ flat, by the same gifted child. This is his favourite key; and ~A~ flat with the minor third is the mode which he prefers when he has occasion to use the minor key.

No. 6 is a Polonaise by Giornovichi, not endowed with much meaning.

No. 7 is a pleasing song, ‘Go, gentle breeze,’ by--Barker, Esq.

No. 8 is a waltz, not very new, but written in good taste, by E. Mammet.

No. 9 is a _Minne-Lied_, by C. Klingemann, in ~A~, nine-eighth time, in which much character is exhibited, and an air of no common kind.

No. 10 is a _Tyrolienne_, a lively piece of three short pages, by the Honourable Miss Jervis, but, though agreeable, does not show any of those original traits which sometimes characterize this lady’s compositions.

* * * * *

PIANO-FORTE.

1. ~Premiere Fantaisie Elegante~, _sur des motifs de l’Opéra_ Fra
Diavolo, _composée par_ ~C. Czerny~. (Chappell.)

2. _Souvenir de_ Fra Diavolo, _a_ ~Melange~ _of favourite subjects
from that Opera, composed by_ ~Adolphe Adam~. (Chappell.)

Lo! here we have the _Fra Diavolo_ again! There is nothing like wearing a thing thoroughly out, so getting rid of it speedily, composers seem to think. But is this not as bad as cutting up the bird that produced such valuable eggs? A good opera is a rarity, so is a good song; and no sooner do we obtain either, than we set about the means of surfeiting everybody with it.

M. Czerny has intended well in choosing subjects from Auber’s opera that are not so common as many others, but he has thus selected the least pleasing. Our readers may perhaps call us unreasonable, and say, that we object to the popular airs because they are worn out, and to those less worn because not popular. Our reply is, that M. Czerny was not driven to an alternative, and should have selected neither the one nor the other, but directed his attention elsewhere. He has here produced a very common-place, dull affair--a _fantaisie_, in which there is no fancy, and a continual drumming on the high notes, till the auditor is quite fatigued with such an unbroken succession of ear-piercing sounds. Whoever invented the additional keys _above_ ought to be declared guilty of a misdemeanour.

* * * * *

M. Adolphe Adam has gone into the other extreme, and chosen subjects that every one knows by heart. These, however, he has managed gracefully, and produced a divertimento at once easy and pleasing.

* * * * *

1. ~Air de Ballet~ _from_ ~Auber’s~ _Opera_, La Bayadère, _arranged
as a_ ~Rondo~ _by_ ~Henry Herz~. No. 1. (Chappell.)

2. Ditto No. 2.

3. Ditto No. 3.

_La Bayadère_ is now performing at Drury Lane, under the title of _The Maid of Cashmere_, where its success depends much more on the dancing than the music. There is a vivacity in the first and second of the above which will procure them attention, though, except that skittish kind of liveliness which marks M. Auber’s latter productions, they possess nothing out of the very common way. The third, however, is more original, and will be effective in almost any form; as a stage piece it is particularly so. M. Herz has arranged these all in a more rational manner than is customary with him, though he is as fond of the additional notes as M. Czerny, and others of the tinkling school.

* * * * *

1. Inspirations à Pillnitz, ~Trois Rondeaux Mignons~, _composés
pendant son séjour à Pillnitz, par_ ~C. G. Reissiger~. Op. 58. No.
1. (Wessel and Co.)

2. Ditto No. 2.

3. Ditto No. 3.

4. Der Alpen Sänger, _the March as played by_ the Guards, _arranged
by_ ~S. Gödbe~. (Collard and Collard.)

The very grandiloquent word, ‘inspiration.’ led us to hope that we should find M. Reissiger under the immediate influence and auspices of Phœbus; that we should meet with flights of imagination, efforts of genius, such as can only be expected under favour of a god--or, at least, of a Muse; but on looking at these _darling rondos_, we soon perceived that neither Apollo nor any of the Nine had taken any trouble in the matter, and that the inspirations boasted of were at the best but mere dreams, brought about by the fumes of mum, or German beer. These, we grant, are pretty, unaffected, easy pieces, prudently short, and will make a little variety in the modern repertory, where, in truth, we find little else than opera airs in every form except a new one.

* * * * *

No. 4 is--what shall we say?--it is Mr. Gödbe’s version of a march now enjoying the full tide of military popularity. Of course, every publisher puts forth his own edition, and the present is a very easy one, with a page of appropriate introduction.

* * * * *

DUETS, PIANO-FORTE.

1. ~C. M. Weber’s~ _Grand_ ~Jubilee Overture~, _arranged by_
~Charles Czerny~. (Wessel and Co.)

2. ~Rondeau~, à 4 mains, _sur des Thêmes favoris, composé par_
~François Hünten~. Op. 55. No. 1. (Cramer, Addison, and Beale.)

3. Ditto No. 2.

The Jubilee Overture is well known to our readers as a grand military piece, a _réjouissance_, in which the clamourous shouts of joy are chiefly intended to be expressed, and what is called science, as being out of place, is not to be looked for. M. Czerny has done it justice in his arrangement, and not exacted too much from the performers, though he could not make the upper part easy; but he has rendered the whole effective, if placed in proper hands.

* * * * *

No. 2 is Carafa’s ‘Aure felici,’ and No. 3 is another air by the same, converted into very agreeable, short, and comparatively easy duets.

VOCAL.

1. ~Cheerful Glee~, Old May Morning, _for four voices; the Words
by_ ~Charles Cowden Clarke~; _the Music by_ ~Vincent Novello~. (J.
A. Novella.)

2. ~Cheerful Glee~, ‘Sweet Mirth,’ _for three voices, composed by_
~William Shore~. (J. A. Novello.)

3. ~Glee~, ‘Had we never met,’ _for four voices; the Poetry by_
~Burns~; _composed by_ ~W. Shore~. (J. A. Novello.)

The two first of these glees obtained the prizes given by the gentlemen of the Manchester Glee Club; Mr. Novello’s was successful last year, and Mr. Shore’s the year preceding.

Mr. Novello’s glee, in ~A~, six quavers in a bar, for four equal, or men’s voices, is in one movement, though the time is rather slackened at page 7, but intended, we presume, to be recovered after the pause, in which case the want of proper notice is an omission that may mislead. This is a composition which will gain the applause of the connoisseur as well as the mere admirer of vocal harmony; the words are set with great propriety, there is no want of pleasing melody, and the technical part is evidence of the author’s ability. The length of the glee, however, excites a wish for a little more modulation: by the frequent repetition of the subject, good as it is in the same key, the ear begins to grow rather impatient, and desires some decided change for the sake of that variety which in a long piece is so needful. But then comes in a holding base, operating like a charm, and a passage (page 9) where the lowest voice imitates the first tenor, introducing some of those syncopated notes so delightful to people of cultivated taste, reconciling us to what had begun to excite some slight degree of mental murmur. Mr. Novello has not spared the countertenor, who frequently is called upon to hold a ~C~ sharp, and the other parts demand from the performers more effort than glee-singers in general like to exert. The chances are that many of them will complain that this does not ‘sing well;’ but it is high time to rouse them; drowsy glees which have no merit except that of being ‘well written,’--for such is the phrase under which much dulness is attempted to be concealed,--will not much longer be listened to with that forbearance which has too often been extended to them.

* * * * *

Mr. Shore’s glee in ~D~ is for three equal voices, and in three movements, the first and last quick, the second rather slower. When we have said that this is not an unpleasing composition, and that it makes no pretence, we have bestowed as much praise on it as is at all allowable. It certainly has not the smallest claim to originality, either in design or execution, and must have been very fortunate in the kind of competitors it had to contend against.

* * * * *

No. 3 is a clear and pleasing melody, agreeably harmonized for soprano, alto, tenor, and bass, and the exceedingly touching words of Burns are set with taste and feeling.

* * * * *

1. ~Scena e Romanza~, _in the operetta of_ Amore e Psiche, _the
Poetry by_ ~S. E. Petronj~, Esq., _composed by_ ~G. Liverati~.
(Lonsdale and Mills.)

2. ~Recit. e Duetto~, do. do. do.

3. ~Three Italian Notturnos~, _composed by_ ~D. Crivelli~, _the
words by_ Sig. ~Caravita~. (Cramer and Co.)

4. ~Arietta~, ‘Calma ti pria ch’io parta,’ composed and published
as the preceding.

5. ~Cavatina~, ‘Gentil vaga Violetta,’ _nell’ opera_ La Violetta,
del Sig. ~M. Carafa~. (Chappell.)

6. ~Canzonet~, ‘Va! lusingando Amore,’ _composed by_ ~John
Barnett~. (Chappell.)

No. 1 is an accompanied recitative, with a long harp introduction. The romance which follows, in ~G~ minor,--a happy mixture of the Italian and German styles,--is full of passion and melodious effect.

* * * * *

The recitative to No. 2 is not very striking. The duet which follows opens in ~D~ flat, adagio, and passes into a moderato in ~B~ flat. Good as this is, it must not be concealed, that it is written decidedly in imitation of Rossini.

* * * * *

Sig. Crivelli’s Notturnos will not be disapproved by those who encourage the Italian style of the age immediately preceding the present. They are less simple than the productions of the Venetian and Neapolitan schools, but have not much imagination or vigour. A few inaccuracies have eluded the eye of the composer, among which standing in great need of correction are, octaves between the second voice and the base, page 3, bar 2; and a ~D~ flat rising instead of falling, in last bar of page 8.

* * * * *

No. 4 is rather elegant, though far from new, and the words are well set.

* * * * *

No. 5 is one of those things which may be heard half a dozen times without leaving the slightest impression; and that might have been written by any one having sufficient technical skill to put the notes in right order. But the composer is a _maestro_. He is an instance of what fame may be acquired in the musical world by a single air.

* * * * *

No. 6 is far from a common melody; and but for certain harsh notes, arising from an over-strained though laudable attempt at originality, we should add, that the accompaniment is as masterly as it is bold. An ~A~ double-flat, page 3, is beyond our comprehension. Had it not occurred twice, we should have concluded that B double-flat was intended. This canzonet, however, considered altogether, is highly creditable in every may to Mr. Barnett.

* * * * *

~Ballet Opera~, The Maid of Cashmere, _or_ La Bayadère, _composed
by_ ~Auber~, _and adapted to the English stage by_ ~Henry R.
Bishop~. (Chappell.)

1. ~Duet~, ‘Ah! why, too lovely Bayadères?’

2. ~Notturno~, two voices, ‘O happy Banks of Ganges!’

3. ~Air~, ‘Charming Bayadère.’

4. ~Ballad~, ‘Beats there a heart on earth sincere?’

5. ~Air~, ‘Ne’er is the Cottager’s door.’

No. 1 (‘Comment, aimables Bayadères’) possesses one great charm, that of originality, and of a pleasing kind too, though we cannot add that the words are set in a manner corresponding with the sentiment or the scene. The second movement of this is an air that must soon become popular.

* * * * *

No. 2 (‘O bords heureux du Gange’) is exceedingly light, pretty, and novel: there are too many words for the notes, in both languages, and, as in the former case, the sound does not agree with the sentiment. Love is tender, not sportive: there is in this passion nothing of a comic kind to plead an apology for music of so very playful a description.

* * * * *

In No. 3 (‘Sois ma Bayadère’) the composer partly imitates himself, and partly Rossini. There is nothing worth a remark in this.

* * * * *

Nothing can be more common than No. 4; not a phrase, not a cadence, but what has been worn to tatters years and years past. We should have guessed this to be an English air, did not the title-page inform us otherwise.

* * * * *

No. 5 is a failure in English, whatever it may be in the original language. We have rarely met with words, both in signification and accent, so ill adapted to the music as are the present.

* * * * *

1. ~Duet~, ‘Our Hero Knights,’ _in_ Robert le Diable, _composed by_
~J. Meyerbeer~. (Chappell.)

2. ~Duet~ ‘The streams that wind amid the hills,’ the Poetry by G.
Darley, Esq.; the Music composed by ~Fanny Steers~. (Cocks and Co.)

3. ~Aria~, ‘Speed, ye softly-heaving billows,’ _composed by_ the
Chevalier ~Sigismond Neukomm~. (Chappell.)

4. ~Song~, ‘The Lark and the Nightingale,’ _composed by_ the
Chevalier ~Neukomm~. (Chappell.)

5. ~Song~, ‘Give me not music in the glare of day,’ _written and
composed by_ ~J. Augustine Wade~, Esq. (Chappell.)

6. The Song of the May Rose, ditto, ditto.

7. The Warrior’s Invocation, _written by_ Mrs. ~E. Smith~; _the
Music by_ ~Charles Smith~. (Cocks and Co.)

8. The Welsh Melody, _sung by_ Miss ~Kelly~ _in_ Dramatic
Recollections, written in Welsh and English, and adapted to ‘Llwyn
ou,’ _or the_ ‘Ash Grove,’ _by_ ~J. Parry~. (Chappell.)

9. ~Air Suisse~, ‘Je dois te fuir,’ _composé par_ ~F. Stockhausen~.
(Chappell.)

No. 1 is the magnificent duet for tenor and base, ‘Si j’aurai ce courage?’ of which we have spoken more than once.

* * * * *

No. 2 is not belonging to the uncommon order.

* * * * *

No. 3 is delicate and pleasing, though it does not seem to have cost the composer much effort.

* * * * *

No. 4 is more studied; and by four changes in the time broken into as many short movements, the last of which, in ~C~ minor, is the strain of the ‘most melancholy’ Philomel, an interesting air.

* * * * *

No. 5 is an ably imagined, well-written, and very pleasing song. No. 6 was favourably noticed by us long ago, as part of a volume entitled the _Songs of the Flowers_.

* * * * *

No. 7 is composed with taste, but laboured; it was not ‘struck out at a heat.’

* * * * *

The English words of No. 8 are well set to the Welsh air which furnished a melody, much more than a century ago, to Gay’s ‘Cease your funning.’ What success Mr. Parry has had with his Cambrian poetry in union with the melody, it is not in our power to say, we having no cunning in his native language.

* * * * *

No. 9 is as agreeable as most Swiss airs are, and so like many that all the world have heard, that, unless it had been sent to us as new, we should have believed it to be of three or four years’ standing at least. In fact, hear half a dozen of these Helvetic melodies, and you hear them all; there is a prodigious family likeness in them. M. Stockhausen is over-productive; he wants some musical Malthus to curb him.

* * * * *

PIANO-FORTE AND FLUTE.

1. ~Overture~ _to_ Fidelio, _arranged for two_ Flutes _and_ Piano,
_by_ ~J. Clinton~ _and_ ~A. Brand~. (Wessel and Co.)

2. ~Carafa’s Air~, ‘O cara Memoria,’ _with concertante Variations
by_ ~J. Czerny~. Op. 16. (Hill.)

3. ~Introduction~ _and_ ~Variations~ _on the Romance in_ ~Weber’s~
Euryanthe, _by_ ~F. Kuhlau~. (Hill.)

The first of the above is the overture in ~E~ _now_ played, not that originally written for the opera. Considered as arranged for the piano-forte, with accompaniments for two flutes, there is nothing ridiculous in this,--indeed the effect of it is good; but when called a trio, a smile is drawn from us:--the overture to _Fidelio_ as a trio for two flutes and piano!

* * * * *

No. 2 makes a very charming duet, requiring two players of the better kind, whose execution is neat rather than brilliant. M. J. Czerny has put an Introduzione to this, and added five variations, all of which, the finale excepted, are in character with the air, and will not disappoint expectation.

* * * * *

In No. 3, M. Kuhlau has proved how difficult it is to avoid the snares of fashion. He here succumbed to the prevailing depravity of taste, and wrote what may be called clever variations to Weber’s Romance, but certainly not appropriate ones. The whole of this demands two expert performers, whose time may be much better employed than in overcoming obstacles that are not worth conquering.

* * * * *

FLUTE.

1. ~The Flutist’s Album~, containing Thirty National Melodies, with
Variations and Embellishments, composed by ~A. Nicol~. 1 Vol. 4to.
(_Glasgow_, M’Fadyen.)

2. _The favourite_ ~Airs~ _in_ ~Meyerbeer’s~ Robert le Diable,
_arranged by_ ~C. Saust~. (Chappell.)

No. 1 is a collection of airs, of all nations, that have been most popular during the last few years, each having two or more variations, in which the ease of the performers does not seem to have been a primary consideration. But the task, though somewhat severe for players in general, is not a long one, as one single page is the limit of each piece. This is a good selection, and the additions would be all of a commendable kind were they uniformly in keeping with the respective melodies; but all are brilliant, while many of the airs are quite different in character.

* * * * *

No. 2 is a small neat quarto publication of fourteen pages (upon which, by the by, a price any thing but reasonable is fixed), containing thirteen pieces from the opera, set in a studiously easy manner for the instrument.

* * * * *

VIOLONCELLO AND PIANO-FORTE.

~Select Italian Airs~ _from the most popular Operas_, arranged by
~F. W. Crouch~. Nos. 1 and 2. (Chappell.)

Mr. Crouch has here restored to an air by Paisiello, ‘Ah, mia cara,’ and one by Sacchini, ‘Più non ho la dolce speranza,’ both of which were doubtless once ‘popular,’ but before our time, and, we suspect, ere Mr. C. took much cognizance of these matters. However, we are pleased to meet with them; and convinced as we are that it will soon be expedient to resuscitate many good things by the same composers, we hail this as something of a beginning. Both the present are as short and easy as can be imagined, and are as graceful as brief.

* * * * *

GUITAR AND PIANO-FORTE.

‘L’or est une chimère,’ _from_ ~Meyerbeer’s~ Robert, _arranged by_
~W. Neuland~. Op. 12. (Chappell.)

These two instruments agree remarkably well together when the larger one uses its giant strength with moderation. The present is an excellent adaptation of an excellent air, and is so contrived that almost any two players may execute it, while the best need not blush to perform it. It is so short also, that it will bear an encore.

ANCIENT CONCERTS.

We waited till the latest moment for the usual communication from a friendly correspondent of the _Harmonicon_, who has, for three or four years past, favoured us with his criticisms on these concerts, but not hearing from him till too late to furnish what he has omitted to supply, we can only give our readers the programmes of the last three performances.

FOURTH CONCERT,

_Under the Direction of his Royal Highness the Duke of Cumberland,
Wednesday, March 27, 1833._

~Act I.~

Coronation Anthem, ‘The King.’ Quartet, ‘Exceeding ~Handel.~
glad.’ Chorus, ‘Thou hast prevented him.’

Recit, ‘Ye twice ten hundred.’ Song, ‘By the ~Purcell.~
croaking.’ (_Indian Queen._)

Madrigal, (Full Choir,) ‘Oh, that the learned.’ ~Gibbons.~

Song, ‘Holy! holy!’ (_Redemption._) ~Handel.~

Concerto in ~A~ minor ~Martini.~

Trio and Chorus, ‘Disdainful.’ (_Judas Macc._) ~Handel.~

Recit, ‘Berenice, dove sei?’ Song, ‘Ombra che ~Jomelli.~
pallida.’ (_Lucio Vero._)

Solo and Chorus, ‘Glory to God.’ (_Joshua._) ~Handel.~

~Act II.~

Overture, (_Ptolemy._) ~Handel.~

Recit, ‘The mighty.’ Song, ‘Softly sweet.’ ~Handel.~
(_Alexander’s Feast._)

The Music in Macbeth. ~Locke.~

Glee, ‘Cold is Cadwallo’s tongue.’ ~Horsley.~

Recit, ‘Sposa! Euridice!’ Song, ‘Che farò.’ ~Gluck.~
(_Orfeo._)

Double Chorus, ‘The horse.’ (_Israel in Egypt._) ~Handel.~

FIFTH CONCERT,

_Under the Direction of Lord Burghersh, Wednesday, April 17, 1833._

~Act I.~

Introduction and Cho., ‘Ye sons of Israel.’ ~Handel.~
(_Joshua._)

Recit., ‘And God said.’ Song, ‘Now heaven.’ ~Haydn.~
(_Creation._)

The Passions. (_Solomon._) ~Handel.~

Recit., ‘Sweep, sweep.’ Air and Chorus, ‘Music, spread
thy voice.’ Air and double Chorus, ‘Now a different.’
Recit. and Chorus, ‘Then at once.’ Recit., ‘Next
he tortur’d.’ Air and Chorus, ‘Thus rolling surges.’

Song, ‘Pious orgies.’ (_Judas Maccabeus._) ~Handel.~

Quartet, ‘Godiam la pace.’ (_Idomeneo._) ~Mozart.~

Concerto 12th. (_Grand._) ~Handel.~

Stabat Mater. ~Pergolesi.~

Chorus, ‘Glory to God.’ Quartet, ‘O Lord, have ~Beethoven.~
mercy.’ Grand Chorus, ‘The Lord is great.’

~Act II.~

Symphony. (_Surprise._) ~Haydn.~

Glee, ‘Jesse.’ ~Knyvett.~

Song, ‘Honour and arms.’ (_Samson._) ~Handel.~

Anthem and Cho., ‘Call to remembrance’ ~Battishill.~

Recit., ‘E il padre.’ Aria, ‘Gia la vittima fatale.’ ~Jomelli.~
(_Ifigenia._)

Chorus, ‘O voto tremendo.’ Dead march ~Mozart.~
(_Idomeneo._)

Recit., ‘O worse than death.’ Song, ‘Angels, ever ~Handel.~
bright.’ (_Theodora._)

Madrigal, full choir, ‘Fire! Fire!’ ~Morley.~

Aria, ‘Il mio tesore.’ (_Don Giovanni._) ~Mozart.~

Chorus, ‘Cum Sancto Spiritu.’ ~Pergolesi.~

SIXTH CONCERT,

_Under the Direction of the Earl of Cawdor, Wednesday, April 24, 1833._

~Act I.~

First, Second, and Fourth Movements. ~Handel.~
(_Dettingen Te Deum._)

Song, ‘Softly rise.’ Chorus, ‘Ye southern breezes.’ ~Boyce.~
(_Solomon._)

Glee, ‘Who comes so dark.’ ~Callcott.~

Song, ‘Dryads, Sylvans.’ Chorus, ‘Lo, we all attend.’ ~Handel.~
(_Time and Truth._)

Concerto 4th. ~Corelli.~

Song, ‘Non so d’onde vieni.’ ~Bach.~

Quartet, ‘Ave verum corpus.’ ~Mozart.~

Recit, ‘My cup is full.’ Song, ‘Shall I in Mamre’s.’ ~Handel.~
Chorus, ‘For all these mercies.’ (_Joshua._)

Recit, ‘Ma che giorno.’ Solo and Chorus, ‘Tu è ver.’ ~Mozart.~
(_La Clem. di Tito._)

~Act II.~

Symphony in ~E~ flat. ~Mozart.~

Chorus, ‘De profundis.’ ~Gluck.~

Song, ‘Vo Solcando.’ ~Vinci.~

Madrigal, ‘Flora gave me.’ ~Wilbye.~

Recit, ‘Ove son.’ Song, ‘Gelido in ogni vena.’ ~Bavanella.~

Chorus, ‘Avert these omens.’ (_Semele._) ~Handel.~

Recit, ‘Rejoice, my countrymen,’ Chorus, ‘Sing, O ~Handel.~
ye heavens.’ (_Belshazzar._)

PHILHARMONIC CONCERTS.

THIRD CONCERT, Monday, March 25, 1833.

~Act I.~

Sinfonia in D ~Mozart.~

Scene, Mr. Phillips, ‘The Last Man’ ~W. H.
Callcott.~

Fantasia, Flute, Mr. Nicholson ~Nicholson.~

Aria, Miss Clara Novello, ‘Per pietà’ ~Mozart.~

Overture, _The Matins of Wallersee_ ~Chelard.~

~Act II.~

Sinfonia, Pastorale ~Beethoven.~

Song, Mrs. W. Knyvett, ‘With verdure clad’ ~Haydn.~

Quartetto, two Violins, Viola, and Violoncello, ~Beethoven.~
Messrs. Spagnoletti, A. Griesbach, Moralt, and
Rousselot, No. 5

Terzetto, Miss Clara Novello, Mrs. W. Knyvett, and ~Mozart.~
Mr. Phillips, ‘Soave sia il vento.’ (_Così fan
tutte_)

Overture, _Prometheus_ ~Beethoven.~

Leader, Mr. Weichsel.--Conductor, Mr. Bishop.

The Symphony of Mozart, No. 3 of the scores, was played with great spirit and the utmost precision. This is one of the most animating of the composer’s works, and seems always to inspire the band as much as it excites the audience. The Pastoral Symphony was never better performed; every movement produced its due effect; even the andante, long as it is, was not felt tedious. Still we are persuaded, and experience confirms our opinion, that about a third of this might be omitted, with the most beneficial effect on the whole. Some of the passages are repeated over and over again; the reduction of these would hardly interfere with the author’s design, and, having been _twice_ heard, might be spared without at all being missed. At all events, it is better that an audience should wish for more than complain of redundancy.

The Overture of M. Chelard (director of the German company that performed at the King’s Theatre last year) was now produced for the first time. It is altogether descriptive, and as a novel attempt, we give his programme, or explanation of it:--

‘The knights of St. George, of Bavaria, returning from the Crusades, are bringing back to the castle of Wallersee the remains of the count, its former possessor, and the grand master of their order, accompanied by Everhart of Schœnfeld, the banneret knight and nephew of the count, and the betrothed of his daughter Iolanda, who is supposed to have perished when the castle was laid in ruins by the usurper, Rodolph of Trento. The overture opens with a funeral march of the knights, followed by the triumphal song of the apotheosis. It then returns to the march, and afterwards to the song of triumph. The dead march is repeated; and as the knights recount the deeds of the hero, the voices of departed spirits are supposed to be heard welcoming him to heaven. The knights separate; Everhart remains alone; he approaches the chapel, and while there, lost in meditation, is suddenly startled by the bell announcing the midnight hour; the voices of the nuns blending with the organ in the anthem for the dead--“_Dona pacem, sancte Deus clemens: audi preces nostras; Pater, miserere!_” Thunder is heard. He distinguishes among the voices one of a female repeating his name. She approaches, and he recognizes his lost Iolanda, who had here sought refuge from the usurper’s tyranny.’

It must immediately be evident that not one half, not one sixth of this, admits of description in musical sounds. The funeral march, the little bell on which the hour was actually struck, and the motet,--sung by four persons concealed from view,--were all understood well enough; but the connexion of these with the story must have remained an enigma which would have defied Œdipus himself, but for the printed plot insinuated into the room. The overture, however, is a clever work, and shows a great deal of imagination, as well as knowledge of orchestral effects. The descriptive parts are as successful in exciting images as the means employed would admit, and some very good, indeed new harmonies, are dispersed throughout the composition. The author undertook a work which most living composers would have rendered perfectly ridiculous; he has produced what some admired, many approved, and very few condemned, and has steered clear of any gross absurdity: he therefore is entitled to our thanks for the boldness of his enterprise, and to our applause for the manner in which he has carried into execution so hazardous an attempt.

The Overture to _Prometheus_, too good for a finale, delighted all who stayed to hear it.

Mr. Nicholson’s Fantasia was, we hardly need say, beautifully played; but is an air with variations fit for such a concert? The directors, however, we conclude, must sometimes give way, and, like other great men, be governed by existing circumstances. The Quartet--the 5th, in ~A~, the andante of which is the foundation of Carafa’s air ‘Aure felici,’--was most delicately executed.

Mr. Phillips sang young Callcott’s fine Scene in a most impressive manner. Miss C. Novello did all that is to be done with Mozart’s Aria, a composition from his _Operngesaenge_ (opera songs, a collection of detached pieces), and is which, we can easily believe, the author did not take much pride. It is one of those written for a temporary occasion, and is unnoticed in his own catalogue. Mrs. Knyvett’s ‘With verdure clad’ was admired for its purity, though all wished that a less hackneyed air had been chosen. The same feeling was excited by the Terzetto, which, beautiful as it is, ought now to be laid by for a while. Moreover, it was not performed in the best possible manner.

FOURTH CONCERT, Monday, April 15, 1833.

~Act I.~

Sinfonia in C minor ~Beethoven.~

Aria, Mr. Bennett, ‘Il mio tesoro.’ (_Il Don ~Mozart.~
Giovanni_)

Grand Septetto, MS. composed expressly for these ~Moscheles.~
Concerts, and fist time of performance, Piano-Forte,
Violin, Viola, Clarinet, Horn, Violoncello, and
Contra Basso, Messrs. Moscheles, Mori, Moralt,
Willman, Platt, Lindley, and Dragonetti

Scena, Mrs. R. H. Bishop, ‘Ah! non so’ ~Mozart~

Overture, _Preciosa_ ~C. M. von
Weber.~

~Act II.~

Sinfonia, No. 2 ~Haydn.~

Aria, Miss Shirreff, ‘Deh! se piace mi vuoi.’ ~Mozart.~
(_Tito_)

Concertante, four Violins principal, Messrs. Mori, ~Maurer.~
Seymour, Patey, and Griesbach

Terzetto, Mrs. H. R. Bishop, Miss Shirreff, and Mr. ~Cimarosa.~
Bennett, ‘O dolce e caro istante.’ (_Gli Orazi_)

Overture, _La Clemenza di Tito_ ~Mozart.~

Leader, Mr. Mori.--Conductor, Mr. Moscheles.

The extent to which the epidemic, the Influenza, prevails, was visible enough in the thinned benches of the room this evening. Some few of the band, sufferers from the general malady, were also absent, but the others made up by their exertions for deficiency in numbers, for never did the ~C~ minor of Beethoven go better; and Haydn’s lovely Symphony, in ~D~, which, we hardly know why has been less used than most of the twelve grand, or Salomon’s, was performed with all the delicacy and spirit required to give due effect to it. And here we will observe _en passant_, that the last movement was rather too quick: the composer, it is true, marks it _Presto_, but moderates this by the caution ‘ma non troppo.’ His finales are now almost invariably hurried--an evil that was growing even in Salomon’s time, who in the last year of his life mentioned this to us in strong terms of reprobation. Unfortunately, when Haydn wrote nothing of the pendulum kind was in use, he therefore was only able to give his directions in the vague and often mistaken terms then and still employed in music.

The light and exceedingly pleasing overture to _Preciosa_ abounds in original traits, and shows the versatility of the composer’s genius, as well as his great sense of fitness. Whoever hears this, will, without any previous information, conclude that it was written for a pastoral or a simple opera. The overture to the _Freischütz_ at once announces the preternatural scenes, the magic, the _diablerie_, that are to follow. Thus he discriminated in his dramatic productions, which all, without a single exception that we are aware of, proved how much he thought, and how invariably to the purpose. The overture to _Tito_ went off with splendid effect.

The novelty of the evening was the Septet of Mr. Moscheles, one of the pieces composed for the society, and an incontrovertible evidence of the wisdom as well as liberality of the members in engaging this gentleman, among others, to exercise his talents in their service. It consists of an allegro in D; a scherzo and trio in ~D~ minor; an adagio in B flat; and a finale in the major key. Clear as is the first movement, it made less impression on us than any of what followed. The scherzo is strikingly original; the adagio, full of feeling and exquisite taste; and the finale bounding with vivacity and joy. A work like this ought to be seen, or to be heard more than once, to enter fairly into all its merits, but we may venture to say, that this alone would be sufficient to establish the author’s reputation as a composer of the highest order, had he produced nothing else. It is long, certainly, and we should recommend that either the first movement be abridged, or that it be played without the repeat.

The concertante went off remarkably well. It is an able work, but lengthy, the nature of the composition being considered. Mori, in this, exerted himself very kindly in support of his young coadjutors: indeed his labours during the evening--as leader, and taking the violin part in the septet--were of no ordinary kind, and required as much corporeal strength as professional ability.

The aria, ‘Il mio tesoro,’ was passable. The scena of Mozart, ‘Misera! dove son?’ and following aria in ~E~ flat, ‘Ah! non so ion’ the seventh of his _operngesaenge_, possess, at least, the recommendation of not having been often heard, and Mrs. Bishop was not sparing, in exertion to do them every possible justice. Of the remaining vocal pieces, the less said the better; though it is fair to state, that Miss Shirreff was called upon at a late hour to supply the place of Mad. de Méric, and sang without rehearsing.

ROYAL ACADEMY OF MUSIC.

The pupils of this institution had their first public concert for the season at the Hanover Square Rooms, on Saturday morning, March 30th, when the following pieces were performed by them exclusively:--

~Part I.~

Symphony, in D No. 4 ~Mozart.~

Introduction to Zauberflöte, ‘Oh Stelle!’ ~Mozart.~

Recit. ‘For behold;’ Song, ‘The People that walked ~Handel.~
in Darkness,’ Mr. Stretton. (_Messiah_)

Concerto, Grand Piano-Forte, First Movement only, ~Hummel.~
Master Johnson, [Pupil of Mr. J. B. Cramer]

Madrigal, ‘Sweet honey-sucking Bee.’ ~Wilbye.~

Song, ‘If guiltless Blood,’ Miss Turner. ~Handel.~
(_Susanna_)

Motet, ‘O Lord who dwellest;’ composed for, and ~Lucas.~
performed at, St. George’s Chapel, Windsor

~Part II.~

Concerto (MS.) Grand Piano-Forte, composed and ~Bennett.~
played by Master Bennett, Pupil of Mr. Potter

‘Qui tollis,’ from Mass No. 2, Solo, Mr. G. Le Jeune ~Haydn.~

Aria, ‘Ah qual giorno,’ Miss Birch. ~Rossini.~
(_Semiramide_).

Quartet Concertante, for four Violins ~Maurer.~

Duo, ‘Ebben per mia Memoria’ (_Gazza Ladra_) ~Rossini.~