Chapter XIV: Part II (4)

‘Sanctus and Benedictus,’ Mass No. 2 ~Hummel.~

Leaders--Part I. Mr. Seymour--Part II. Mr. Patey.

The movement from Hummel’s concerto was very neatly played by Master Johnson; but the most complete and gratifying performance was that of young Bennett, whose composition would have conferred honour on any established master, and his execution of it was really surprising, not merely for its correctness and brilliancy, but for the feeling he manifested, which, if he proceed as he has begun, must, in a few years, place him very high in his profession.

We were glad to meet with a Madrigal, and one of the finest extant, in this concert: hitherto the pupils have been allowed to indulge too much in fashionable music, half of which, moderately estimated, is downright trash, while they have been kept too ignorant of the really great masters.

Whoever is teacher of Handel’s vocal music in this academy, should himself get some further instruction. He is quite at fault in his notion of the true style, if we may draw any inference from the manner in which the pupils generally perform it.

The Motet possesses a good deal of merit, but has been much over-rated. The Quartet Concertante was exceedingly well played: we wish it were possible truly to say that ‘Oh Stelle!’ was as well sung.

The room was very fully attended.

SOCIETA ARMONICA.

The illness of a gentleman on whom we relied for some account of these concerts, has prevented our bestowing that attention on them which, we learn from many quarters, they have merited. We have heard of the performance of Beethoven’s Mass in ~C~, which had never before been given in this country with full orchestral accompaniments, and applaud the spirit that prompted its introduction. Though according to all accounts it might have been executed in a better manner, the attempt is praiseworthy, and perseverance leads to perfection. The subscription, it must be considered, is low, and does not afford the managers the means of obtaining all the assistance which otherwise they would, we are disposed to believe, be willing to procure.

AN OFFICIAL NOTE.

THE Editor of the _Harmonicon_ presents his compliments to the Editor of _La Revue Musicale_, and is happy to find that anything contained in an English publication has been thought worthy of being transferred to the pages of a French one.

Though the Editor of _La Revue Musicale_ manifestly entertains no great partiality for the British nation, yet that good-breeding so common to all his countrymen, and of which he doubtless partakes in an eminent degree, would certainly have prompted him to acknowledge from what source he obtained the air by Keiser, inserted in his work last March, had he been aware of the quarter whence it proceeded; the Editor of the _Harmonicon_, therefore, fully persuaded that the Editor of _La Revue Musicale_ will feel most happy in being correctly informed on the subject, has the honour to acquaint him, that the composition in question was published--for the first time since the year 1701, it is supposed--in the _Harmonicon_ for February last; that the German copy afforded only a melody and base, consequently that the accompaniment, good, or bad, is attributable to the Editor of the _Harmonicon_ only; and that the English words set to it are not a translation from the German, nor do they even imitate the original, but were selected because the general sentiment they express is not at variance with the music, and because the metre very exactly suits the notes.

The Editor of _La Revue Musicale_, in having caused the English verses of Miss Seward to be translated into French, has done her great honour, though he has not mentioned her name; and has conferred a no less flattering distinction on the Editor of the _Harmonicon_ in adopting his accompaniment, and by giving it the additional advantage of appearing to have proceeded from the able pen of the learned French Editor.

The Editor of the _Harmonicon_ has in his pages often availed himself of the labours of the Editor of _La Revue Musicale_, and never intentionally failed to acknowledge his obligations. He now begs the Editor of the French Review to accept his thanks generally, together with his assurances of high consideration.

EXTRACTS FROM THE DIARY OF A DILETTANTE.

[Resumed from page 89.]

(_The three following Notices were omitted by our Printer in last Number._)

_3d_ (_of March_). I find the following sensible critical remarks among my papers; they were copied from a weekly work (the _Court Magazine_, I think) some months ago, and have since escaped my notice. The opinions are worthy of being widely extended.

‘Melody is of two kinds; one which is affected by the prevailing taste or fashion, and is made up of the particular graces and embellishments of the day; and the other, broad, flowing, majestic, bearing the stamp of no particular period, and without ornament; but composed principally of long notes, upon which the sentiment is encrusted and cannot be mistaken--adorned with all the vigour and effect of striking and appropriate harmony and instrumentation. The latter is the real classic melody: classic, because it is imperishable, as being the noble and unsophisticated expression of never-varying truth. It is like those pictures of the old masters which will be relished in all ages, because they represent that which must be understood by all generations of men. Handel, the immortal Handel, whose works will never perish, produced much of the first kind of melody, which is now overlooked and forgotten: but his rich and pure streams of the second kind flow freely, to delight and refresh with their beauties the present generation, as they will the remotest generations to come. Cimarosa has very little of the first kind; Mozart and Beethoven none; Meyerbeer a great deal in his Italian operas, but none in his German and French. All these masters have written for posterity.’

* * * * *

_10th_ (_of March_). The Halifax Guardian states that ‘the fifty-third performance of the Halifax Quarterly Choral Society took place, in the Old Assembly Room, Talbot Inn, on Tuesday evening last. The music consisted of a selection from _The Seasons_ of Haydn, and the whole of Beethoven’s _Mount of Olives_. There was a full attendance of performers, vocal and instrumental; the orchestra was led by Mr. White of Leeds, under whose able guidance the above sublime and beautiful compositions were performed with a degree of precision and spirit which is frequently wanting in concerts of much higher pretensions. Miss Milnes, the principal _soprano_, has not only a beautiful voice, but much execution and a pure taste; and Mr. Carter, the principal tenor, is also entitled to very high praise. The style and expression with which he sang the deeply pathetic recitative and air that open _The Mount of Olives_, were admirable. The other solo parts were exceedingly well performed; and we only regret that our limits do not allow us, on the present occasion, to do the singers justice. The choruses were given with great correctness, and the _ensemble_ was excellent: the points were taken up with a decision that showed how much at home the singers were in their parts. The effect, in particular, of the grand choral fugue, which concludes _The Mount of Olives_, was magnificent. It is very gratifying to see this society so spiritedly conducted. It is of such standing that it may be considered in the vigour of manhood. May it be long before it shall betray any of the infirmities of old age!’

* * * * *

_19th_ (_of March_). It has just been determined, by the most influential gentlemen of Liverpool, to have a grand musical festival in that town early in October. Let us hope that this will encourage other enterprises of the kind and raise the drooping spirits of our orchestral performers, whose time lay unprofitably on their hands during the whole of the last summer and autumn.

* * * * *

_April 6th._ One of those paragraphs which the dealer in small wares furnishes to the ‘Morning Chronicle,’ tells us, this day, that ‘Poor Giovanni, many years stage manager at the Italian Opera-House, is, we regret to hear, in the work-house. He was, in his position at the theatre, a man of modest, unassuming manners, and a great favourite behind the scenes. It is to be lamented that foreigners, who are so liberally paid by the public for the exertion of their talents in the London theatres, do not institute a fund for the support of their indigent brethren.’ Now true as it may be that Signor di Giovanni has been obliged to seek such a refuge, it was not at all necessary to add a pang to his misery by publishing it to all the world. Had the writer recommended a subscription to be opened for the relief of this unfortunate servant of the fashionable portion of the public, he might have done some good; none could arise from a mere gossiping paragraph. Di Giovanni was not at any time stage-manager; he never arrived at any higher office than that of deputy. Other parts of the article are not less incorrect. As to a fund, it was once begun, and a per centage on the salaries of the performers raised something to commence with. This was never heard of after the retreat of Mr. Waters to Calais.

* * * * *

_10th._ In an account of the Rev. Robert Hall, by Olinthus Gregory, recently published, is the following anecdote, or, indeed, two-fold anecdote, which adds further testimony to the effect produced by the music in Westminster Abbey at the far-famed Commemoration:--

‘Robert Hall,’ it is stated, ‘was at the Commemoration of Handel in 1784, and present at that extraordinary scene when George III. stood up at one part of the performance with tears in his eyes.’ Nothing ever affected him more strongly; ‘It seemed,’ he said, ‘like a great act of national assent to the fundamental truths of religion.’

It was at one of the grand performances in the same venerable building, a few years after, that Haydn was observed sitting in a corner under a side gallery, weeping like a child, and he declared that he had never before been so powerfully affected by music.

* * * * *

_15th._ The _influences_ of the _Influenza_ were strikingly evinced at the Philharmonic Concert this evening. More than a third of the subscribers were absent; and of those present, one half at least, judging from the symptoms they exhibited, would have been better at home. The orchestra, too, lost some of its best performers.

* * * * *

_15th._ At the rehearsal of the Ancient Concert this morning, Signor Rubini, keeping his seat, and with his hat on, began to sing an aria. Lord Burghersh, the director, hinted that it was usual to treat so many subscribing auditors as were present with rather more respect. The Signor then contrived to rise; but a gentle intimation from the same quarter, that the Signor would be heard to greater advantage without his hat, received no attention whatever. Now this really should not be wondered at in a country where every thing has a money value. Signor Rubini is making 6000_l._ or 7000_l._ per annum by his engagements, to which we sensible English largely contribute. Such an income is superior to that of most baronets, nay, of many lords; Signor R.’s rank here, consequently, is equal or superior to theirs, according to the money difference; _ergo_ he has a right, in his Britannic Majesty’s dominions, where wealth is every thing, to rehearse seated, and with his beaver firmly fixed on a head from which issues a voice that commands (_O mores!_) a revenue which many an English nobleman, many a German prince, will hear of with astonishment and envy.

* * * * *

_16th._ The daily press is beginning to manifest some reasonable dissatisfaction at the sordid propensities of the _Baron of the Single-string_. Had it decried his absurdities (absurdities, however, well calculated for the meridian of London) two years ago, it might have prevented his proving ungrateful, and caused a great deal of money to reach the pockets of English performers, who wanted it, instead of flowing into the coffers of a stranger who had no real occasion for it, and did not deserve one-tenth of what he received. The _Globe_ of this evening tells us that ‘the munificent support which M. Paganini met with in London does not appear to have softened his heart towards English artists. He was applied to a short time since to lend the aid of his talents, in union with all the French and Italian performers of eminence in Paris, to support a benefit advertised by Miss Smithson, in the hope of retrieving some of the losses arising from the failure of her speculation there, and her unfortunate accident, which still confines her to her bed. He refused, on the plea of ill-health. This was very well. The benefit was comparatively a failure, being only sufficient to pay one-fifth of the debts due by Miss Smithson to the English actors, who have been in a state little short of starvation, and are even unable to return to England. Another benefit, in which Mars, Duchesnois, and all the other artists came forward in the handsomest manner, is announced for to-morrow. Paganini, who is well enough to play to-morrow night at the Opera [the _French_ Opera] for himself, has been again applied to, and now refuses flatly, saying, that the failure of Miss Smithson’s speculation is nothing to him. This should not be forgotten when he re-visits London.’

But it will be forgotten: the English public have lost those patriotic feelings which once distinguished them, in so far as relates to foreign performers. The Signor, however, will not reap another rich harvest here, he may be assured. Though some futile attempt will be made to deny the truth of the foregoing statement, it will be made in vain; the _rage_ is over; our eyes as well as our ears are now opened; the pretended enthusiasts--for affectation has had much to do with the matter--will no longer be able to cry up the _Witches’ Dance_, the _Friars’ Hymn_, &c. as prodigies of art; they will not be listened to if they again endeavour to deafen us with the wonders of sounds almost inaudible, and nearly, if not quite, inappreciable: we are grown a little wiser, and have found out, that in proportion as two legs to a body are preferable to half the number, so four strings to a fiddle are better than one.

* * * * *

_22d._ In the Revue Musicale, M. Fétis lately, with much apparent justice, severely criticised a new Italian opera by a Sig. Ricci, called _Chiara di Rosemberg_: he even proceeded so far as to say, that music has declined in Italy, and that there is little hope of its revival in a country where such a work as Ricci’s could meet with success. This has brought upon him the vengeance of the editor of _L’ Eco_, an Italian literary journal published at Milan, who not very temperately exclaims: ‘It needed all the effrontery that is often met with in the French journals, to deny superiority in an art to a country which claims as its own a Rossini, a Bellini, a Mercadante, a Pacini, a Donizzetti, a Ricci, and many other composers; to a country which has a right to triumph in a Pasta, a Tosi, a Rubini, a Donzelli, a Lablache, a Tamburini, &c. Nothing, in truth, but the most stupid ignorance or the blackest malignity could assert of such a country of artists, that “the decline of music in Italy is complete.”’ M. Fétis has well answered the attack, and shown that the critic who can place Bellini, Mercadante, &c., by the side of Rossini--who can put Pasta on a level with Tosi, must be wholly incapable of discussing a question which requires some knowledge of music, and some power of judging between good and bad performers. The Milan editor may rave as he will, but he may be assured, that M. Fétis speaks the opinion of every real and unbiassed critic.

FOREIGN MUSICAL REPORT.

VIENNA.

The _Josephstädter Theater_ recently produced Donizetti’s _Anna Bolena_ with little success; the _Leopoldstädter Theater_, however, was more fortunate in the production of a new opera, _Die Liebe auf der Alm_ (Love on the Alm), the numerous performances of which were received with much applause. The music, by Riotti, is very melodious.

The concerts have been numerous; that of M. Benesch was very successful. He performed a concerto of his own composition, and Madame Benesch also distinguished herself, in a concerto of Kalkbrenner’s, as a finished pianiste. A new symphony by M. Joachim Hoffman, a composition of great merit, was performed at that gentleman’s concert. A concert has also been given by the Koutski family. Anton, the pianist, infused much expression into his play, which is more remarkable for solidity than brilliancy. Carl, the violinist, excited astonishment by a spirited performance, and the singer, Eugenie, delighted the audience with an agreeable, well cultivated voice, and very chaste style. Demoiselle Fanny Sallamon has also given a concert, at which her exquisite performances on the piano-forte were, as usual, enthusiastically applauded. Besides the above, there have been four very excellent concerts given by the Society of Musicians.

BERLIN.

_Königstadt Theater._ On the 4th February Demoiselle Caroline Schechner, a sister of the celebrated singer of the same name, made her debut here as _Emmeline_ in _Die Schweizerfamilie_. Her voice is clear and sweet, she sings with much taste and expression, and altogether gives great promise of future excellence. On the 26th, a new opera, _Melusina_, was brought out under the direction of the composer, Conradin Kreutzer. The music is very pleasing, being light and flowing.

M. Felix Mendelssohn has given two very brilliant concerts, particularly the last, which were fully attended. In these was performed a Symphony by Louis Berger, full of fine thoughts, clear in style, and very original. M. Mendelssohn played a capriccio of his own, a concerto in ~D~ minor of Sebastian Bach, and a sonata in ~C~ sharp minor by Beethoven. He is now on his road to London.

A grand concert has been given by M. Hubert Ries, consisting solely of classical compositions, which was well attended. He played a new violin concerto by Spohr, with uncommon precision, grandeur, and depth of feeling, and some compositions of Beethoven with M. Felix Mendelssohn and M. Ganz. Three concerts have been given by the Dutch virtuosi, MM. Brugt and Franco Mendez, and Madame Schmidt. The former is a distinguished singer, with a sweet, though not particularly strong voice, and great powers of execution. M. Mendez played some variations on the violoncello with neatness and good taste, but his tone on the lower notes is thin, and Madame Schmidt displayed more flexibility of voice than taste.

On the 26th February the Vocal Academy performed the Passion Music of St. John the Evangelist.

M. Möser’s second series of concerts has commenced. The first concert introduced a well conceived overture by Taubert, and the second, the overture to King Stephen, by Beethoven.

At the last meeting of this season, which was to celebrate the anniversary of Beethoven’s death, we heard for the first time his Fest-Ouvertüre, ‘Zur Weihe des Hauses,’ a masterpiece in the fugue style, or rather an ancient theme, full of original ideas, such as could only occur to Beethoven. His piano-forte concerto in ~E~ flat major was performed by a Scotch virtuoso, Mr. R. Müller, who has lately been playing with great success at the courts of Denmark and Sweden. In his style, Mr. Müller distinguishes himself more by his conception and delivery of the intrinsic beauties of the composition, than by imitation of the popular pianists of the day. He shows the highest degree of his ability in the sonatas of Beethoven, in which the most difficult passages, when played by him, appear not as passages merely, but real musical ideas. If we were allowed to express a wish, it would be that Mr. Müller should perform on a solid English instrument to which he has been accustomed, and which under his finger would truly express all the delicate degrees of light and shade. Mr. Müller, as far as we remember, is the first pianist of Great Britain who has performed publicly on the continent; and it gives us the more pleasure to admire in him the talents of one of Old England’s artists, because our own German artists have always found in that country the most flattering reception.

MUNICH.

The Philharmonic Society, founded here by M. Schönche, is going on flourishingly. It was established for the education of pupils in every branch of the art, who have invariably had artists of eminence to look up to as models; in the list of these have recently appeared the names of M. and Madame Bohrer, Bärmann, Dusshek, &c.

M. Küstner is expected to be appointed manager of the Royal Court Theatre, and Baron Von Poissl director of the court music. M. Mentor, the violoncellist, has been recalled from Hechingen to Munich.

LEIPZIG.

The principal novelties produced at the subscription concerts were, an overture by M. Hartknoch, of original conception, and clever in point of instrumentation, and a symphony by Richard Wagner, scarcely twenty years of age, which was much and deservedly applauded. The solo players, M. Maurer, from Hanover, and his son, on the violin; M. Gros, on the violoncello; Demoiselle Clara Wieck, on the piano-forte; M. Kressner, on the flute; and M. Rückner on the oboe, delighted the audiences with their performances on their respective instruments. Nor were the efforts of the singers less attractive. Demoiselle H. Grabau’s singing was exquisite, and Demoiselle Livia Gerhard appeared to have improved, not only in execution, but also in the tone of her voice. The male singers were MM. Otto, Pögner, and Bode.

DRESDEN.

A new opera seria, by Baron Boromäus Von Miltetz, is expected to be produced here shortly, under the title of _Saul King in Israel_. It is generally supposed that the Baron will be appointed director-general of the theatre and the chapel.

FRANKFORT.

The repertoire of this theatre has been considerably enriched of late. The principal new productions, besides _Der Templer und die Jüdin_, which particularly delighted the Jews, have been _Die Fremde_ (La Straniera), of Bellini, _Der Vampyr_, of Marschner, and _Zampa_, of Herold. _Robert de Diable_ too has been given; but not by the theatrical direction. Kapellmeister Guhr produced it at his concert, and it was not much admired.

The Cecilian Society, under the able direction of M. Schelble, has recently given the first of four concerts for the season, at which the overture and introduction to _Eliza_, by Cherubini, and the overture to _Idomeneo_, were played by a considerably augmented and improved orchestra; and it redounds highly to the credit of the members of the opera, that they should have assisted the efforts of the Society with their vocal contributions.

Madame Filipowicz has performed here three times on the violin with extraordinary success. Her shake in particular is exquisitely brilliant, and her bowing equally powerful and graceful. After displaying her talents in various other German towns, Madame Filipowicz intends to proceed through France to England.

MANHEIM.

The opera of _Valeria_, composed by M. Aloys Schmidt, long known as a distinguished pianist, was produced for the first time on the 2d December, under the direction of the composer. It went off most brilliantly; every piece from the overture to the very conclusion, being received with bursts of applause. After the fall of the curtain, M. Schmidt was enthusiastically called forward. Its reception, when performed again on the 16th December, was no less gratifying.

WÜRTZBURG.

Joseph Dietz, aged fourteen, a violin player, and pupil of Professor Fröhlich, has been well received at a grand vocal and instrumental concert here. Among other concertos excellently performed, he played Rode’s last concerto, No. 12, with great execution, neatness, and purity of tone.

WEIMAR.

The opera of _Robert der Teufel_ was given here for the first time on the 6th December. On the first performance, the house was crowded; on the third, nearly empty; the singers, however, did their utmost to support the opera, and the orchestra was very effective.

HAMBURGH.

The same opera, _Robert der Teufel_, was produced here for the first time on the 20th December, and its reception was enthusiastic. The finale of each act, indeed almost every piece in the opera, called forth the warmest applause. Full justice was done to the composition by all the singers.

Some very interesting concerts have lately been given here, at which M. W. P. de C. Vrugt, from Amsterdam, and M. Lafont, particularly distinguished themselves. The former sang, for the first time, at the concert of M. Leopold Lindenau, a violoncello player of great ability. His style is chaste, and his shake masterly; and he sings chromatic passages in ascent and descent with delicacy and pureness of intonation. His voice, which is of extensive compass, is rich and mellow, particularly in the upper notes. The delightful performances of M. Lafont were received with the applause which they merited.

MERSEBURG.

On the 15th February, M. Amme gave a concert here. Among the selection were the overtures to _Die Felsenmühle_ by Reissiger, and to _Die Stumme_; a concertante by Iwan Müller for two clarionets, played by MM. Amme and Kunze with sweetness and expression; a concertino by Meyer, for the basset horn, by M. Queiser of Leipzig; a duet for violin and violoncello by MM. Ullrich and Grabau; and a duet by Reichel for two trumpets by M. Queiser and a pupil of his, worthy of such a master.

HEIDELBERG.

M. Schmidt, of Darmstadt, professor of the violin, gave a concert on the 12th December in the saloon of the Museum, and was received with the encouragement to which his talents justly entitled him. The selection of the pieces was as judicious as their performance was meritorious.

DÜSSELDORF.

A musical society, consisting of 500 effective members, flourishing here for some years, has been gradually falling into decline, the management having come into the hands of some amateurs not possessed of sufficient musical knowledge to conduct it. The fragments of this society now consist of a very few lovers of the art; and they have applied to M. Anton Schindler, to undertake the task of restoring it, if possible, to its former eminence.

PESTH.

CANINE CONNOISSEUR.

At a most respectable house at Pesth, where a great deal of music is played, there is a dog, who, unlike his brother dogs, has a great fancy for music. But the most singular part of the story is, that this animal delights only in listening to the performance of Mozart’s, Haydn’s, Weber’s, or Spohr’s music. If such a piece is played, he lays his head upon his two fore paws, listens attentively, and now and then suffers a sigh of emotion to escape him. But when he hears a composition by Rossini, Auber, Herold, &c., he whines and howls most pitifully, as any other dog would on hearing music.--_From the Allgemeiner Musikalischer Anzeiger._

GREIFSWALD.

M. Amadeus Abel, scarcely sixteen years old, a pupil of Spohr, lately gave a concert here, and performed a concerto of Spohr’s, and variations of Mayseder’s, with great applause; he also played on the piano-forte, a fantasia of Kalliwoda without accompaniments, with great execution and expression.

SCHWAZ.

On St. Cecilia’s day, the oratorio of _Paradise Lost_, by Frederick Schneider, was given for the benefit of the poor of this place, in a manner highly creditable to all connected with the performance.

TRIESTE.

The son of the singer Bonoldi, a young composer brought up in the Conservatorio at Milan, wrote the opera with which the Carnival Season was opened in this town. It is his _coup d’essai_, and called _Il Mauro di Calisto Bassi_. On the first night the young composer was unfortunate. Nobody knew his part except Bonoldi, the father; and he was so overcome by interest for his son, that he lost his voice and was obliged to omit much. In fact, the theatre was closed two nights; but after that Bonoldi recovered his powers, the opera was reproduced with applause, and the maestro and singers called forward at the close of the performance.

NEW YORK.

The second night of _Il Pirata_, Bellini’s serious opera, found us at the Richmond-hill theatre. The first representation of all musical pieces we consider as little more than a last rehearsal; for the singers are generally nervous, and the band over cautious. Critics ought to take such a state of things into consideration, and prefer the second night for the exercise of their vocation. In a country as young in music as America, it may be a matter of doubt whether the omission of some of the earlier authors be wise on the part of the manager; and whether, in leaping over the heads of Cimarosa, Mozart, and Rossini, and fixing upon Mercadante and Bellini, he does not resemble a school-master placing Sallust and Terence in the hands of a boy who has not completed Cæsar and Cornelius Nepos; or rather, are we not likely to fall into the error of a sapient critic who discovered, when he saw Kean, that he was an imitator of Booth?--Now there are many juvenile amateurs in this city, who, to our knowledge, have never heard _La Gazza Ladra_; but who have heard _Elise e Claudio_; and unless they pay good attention to chronology, they may make a discovery, that Rossini has borrowed numerous passages from Mercadante, because one of those authors decidedly has borrowed from the other. Another observation we shall address to the _direttore_ of the concern: instead of learned and dry operas, which afford delight to professional persons only, let him diligently seek works with lively melodious music, interesting and clear plots, and fine scenery. He has in the public but an infant to nurse, and it will take honey in preference to olives. Allowing that the inhabitants of New York are as fond of music as those of London, which we fully believe, let it be remembered that very few of the higher classes of society in the latter city would be tied down to sit night after night in public boxes, to hear the same opera throughout, overture and all. By no means would they submit to it; they enjoy the luxury of private boxes which are so many _boudoirs_, in which society is received: nor do we know any more agreeable lounge than the Italian Opera House in London, where individuals, who have a taste for music without understanding it as a science, can drop in at any particular hour for the sake of hearing a particular _morceau_ by Pasta, Sontag, Malibran, or any other star; and can, either previous to its commencement or after its performance, while away the time in conversation with friends, without disturbing those professionals and amateurs who are riveted to every note. This cannot take place in public boxes. There is, likewise, the addition of a ballet in London; and a number of persons, particularly male bipeds, find it the sole attraction. We think that the above is sufficient cause for advising the management of the Italian opera, (in the absence of _ballet_ and _converzatione_,) to render their performance as pleasing and light as possible to their subscribers; for, be it remembered, that the Italians themselves not only talk and see dancers caper at their opera houses, but actually sup in their boxes; and, when it is considered that they can understand every word that is sung, and feel the sentiment as well as hear the harmony and melody of the music, surely some little compassion ought to be taken on Brother Jonathan, who drinks in sweet sounds, and has to guess at their meaning equally with Brother Bull.

The overture to this opera is beautiful and effective in a high degree. It commences with a spirited, dashing movement for a few bars, something after the style of Auber’s Masaniello; it is then followed by a more subdued movement, in which the basses are pizzicati; and here we remark that the only fault we could find with the overture was the want of bass. We once stated that a double bass and violoncello were not sufficient, and the increase of the band in other respects causes this fault to become more apparent; _ergo_, the pizzicato movement appeared feeble. The quick movement is a bold allegro, leading away in a minor mood, well worked up throughout. Altogether, the overture is original; and, to our thinking, the finest composition this band has yet performed. The orchestra contains, at present, twenty-six musicians; and we do not hesitate to state, that is now as good a band as was ever heard in America; and, if another double bass and violoncello are added, as we hear is in contemplation, it would be a fair orchestra in any part of Europe. The opening symphony and chorus, _Ciel, qual procella orribile_, during a storm and shipwreck, at once assured us that we were under the influence of a great and original master; and when we reflected that he was but twenty-four years old when the opera was composed, our admiration increased. Throughout there is a firm and leading bass, which progresses according to the old master’s style, more than we are accustomed to hear in modern compositions. The instrumentation is splendid, and the management of the wind instruments, particularly, reminds us strongly of Weber. Indeed we have the German school continually before us. Mr. Montresor has a part better suited to his voice than any we have yet heard him in. His first aria, _Nel furor delle tempeste_, was admirably led by a clarionet solo. Monsieur Guilleaud is an artist, and Mr. Montresor sang the aria well. We adhere to our original opinion, that he is the best instructed singer in the company. We must be excused from using the jargon now in fashion among the press. We cannot see why a company of Italians are to be called a _troupe_; nor why the ladies and gentlemen are to act _roles_. There is mystification enough to the generality of readers in the technicalities we are obliged to use, and which we address to well read amateurs and professional men alone, without hunting for French words to put in the place of plain English. The part of Imogene was acted beautifully by Pedrotti. Her singing was exceedingly good. Her voice is an organ of great power and good quality, and her forte is expression. Her _scena_ and _duetto_ with Fornasari were very finished. Her mad scena, in the last act, was highly creditable to her. Indeed we have very little fault to find. If we must point out any defect, it would be occasionally a clumsiness of execution, and a failure in the attempt at the chromatic scale; but who can do it? For one fault she has twenty beauties, particularly in her acting; and the use of her arms and hands is most easy and graceful. Fornasari is certainly a very good looking man, with a very fine voice; but there is a tremour about it continually, and his progression from note to note is imperfect. In certain passages we were delighted with him, in others greatly disappointed. In his principal song, and in several leading passages in the duet with Imogene, we really were at a loss to know what he intended to convey to the audience. He made a curious sound in his throat, in which two notes only were perceptible. It could not have been intended for a shake, we are tolerably sure; and we set it down as being meant for an active passage of some sort, in which he wished to show his _agilità_; but _vox faucibus hæsit_. This gentleman’s education as a vocalist has undoubtedly been neglected; but nature has been highly bountiful to him. The costume was well preserved. Fornasari’s second dress was a picture. The female chorus was weak, the male chorus good, but not correct. The _finale_ to the first act is a composition of very superior merit.

The scenery is excellent. The artist’s forte, we think, is architectural design; and we have noticed that Italian scene-painters generally excel in that department. This is an opera which will afford the professor profitable amusement, and the well-informed amateur delight; but we have an unpleasant, lurking suspicion, that it savours more of the olive than the honey; and, therefore, may not be so readily swallowed as some other operas; at least we fear that the ‘most respectable public,’ as the manager terms them, will prove our suspicion just, and we are sure that they ought not to do so. Mr. Lorenzo Daponte has got a very curious flourish in the books of the opera, in which he says: ‘we sigh no more for Malibran!’ and an enormous puff for the Italian artists in general, making some comparisons which had been better let alone. He says that the company procured by him shall merit the _gratitude_ of the public; that we must all learn Italian without delay; and that he has got a gentleman in the person of one Dr. Montresor, who will assist him in teaching us. Very well, if it must be so, anything to oblige him, and _viva la musica!_ We have omitted to mention a well imagined _trio_ between Pedrotti, Montresor, and Fornasari, which we believe to be composed by Mr. Bagioli, the conductor. It does him great credit, and gives us a high opinion of his musical talents. There is scarcely a more effective piece in the opera.

On Thursday, Miss Hughes took her benefit, and a new opera called Nadir and Zuleika was produced; the music partly selected, partly composed by Mr. Horn. Of course, the piece is of an eastern character. The music is light, pretty, and well suited to the sentiment. The plot is rather extravagant; turning upon no less than the opium day-dream of Nadir, a young gentleman who has expressed a wish to become acquainted with the lovely houris, or black-eyed beauties of Mahomet’s heaven; and this being overheard by Zuleika, a young lady who imagines that her charms are sufficient to ensure him a terrestrial paradise, she resents his conduct by dosing him and his servant with opium; and then gets up a scene during his bewilderment, which causes him to believe, that he really has thrown off ‘this mortal coil,’ and is in possession of his wish. A number of droll circumstances and situations arise, which we have not space to dwell on: suffice it to say, that it is a lively operetta of the Abon Hassan species; and, like that piece, has an admirable part for Placie, which he makes the most of; indeed, he is extremely droll, and kept the house in constant laughter. The overture is composed by Fétis, a person who stands high as a critic in Paris, and editor of a musical journal. Mr. Horn has likewise used the chorus _Tacete non temete_, by Mercadante, as found in his opera _Le Nonne de Gamache_. It is also introduced in _Elise e Claudio_. To this he has added a second subject skilfully, and, we think, has increased its effect. A ballad, founded on a Swiss air, sung by Miss Hughes, is a charming little gem; and was executed by her extremely well, and deservingly encored. She had likewise a _bravura_, with a _corno_ and _clarinette_ accompaniment. The former instrument was clumsily managed, the latter had not enough to do; but Herwig never fails in his part; and what he had to play was perfect. We do not admire this _bravura_; the divisions are common-place, and such as we have heard five hundred times with all the _clap-traps_ and _gallery-delights_ commonly used; but Horn has instrumented the song with his usual ability. Jones has two songs, both good; the last a very beautiful air, too chaste perhaps to please the multitude; but it comes in a bad situation, directly after the former noisy song. Another place should be found, or dialogue introduced between the two. The choruses are pleasing, and they sang, particularly the ladies, admirably. Richings sustained the character of Vivienne, a French officer brought into the east--we really forget for what purpose. He acted naturally, and there was nothing in the concerted music beyond his capability. After the opera, the excellent piece of ‘Ways and Means’ was performed; and between the acts the band played out of the book _number six_, which the house immediately recognized, and hissed most profoundly. Horn’s pretty ballad, the Mermaid’s Cave, followed, sung by Miss Hughes, and accompanied by himself; it was received with its usual _éclat_. The opera of John of Paris concluded the evening, which was done much more perfectly than before.--(_New York Mirror._)

THE DRAMA.

~King’s Theatre.~

Of the Italian Opera we have literally nothing to report, except that, up to very nearly the end of April, it has been in a state of wretchedness never equalled in our time. The present month, May, is to give us Mesdames ~Pasta~, ~Cinti~, Signors ~Rubini~, ~Tamburini~, and ~Zuchelli~,--but will any operas be ready for them? will the new operas announced be worthy of this theatre? And, let it not be forgotten, that about two-thirds of the season are over, and that two out of the three hundred guineas paid for each box may be said to have been thrown away, even if the remainder of the season should be worth anything. An attempt has been made to cover the disgrace brought on the Italian stage, by the German opera, which, though far superior to the Italian, is yet very inferior to that of last year. _Fidelio_ has been performed, but Mad. ~Pirscher~ is not to be named with Mad. ~Devrient~; and as the weight of the opera falls on the female character, the difference between the two cannot be made up by any merit that the others may possess. Of this merit ~M. Blum~, as _Rocco_, has his share: he is a good singer and an excellent performer.

On the 18th was produced _Zampa_, a German opera, by ~Herold~, which has been much praised in the foreign journals, and perhaps may excite an interest in those to whom the language is familiar; but musically considered, we find in it very little indeed that can justify the encomiums bestowed on the work abroad. It is a kind of _Don Giovanni_ story, only the statue is of the female gender, and the profligate invites the marble lady, not to a supper, but to a wedding.

An air first heard in the overture, and afterwards sung by Mad. ~Pirscher~, the heroine, is effective; as is a trio in the same act. And to the third act M. ~Hummel~ has written a finale, which very much strengthens the opera, and displays his skill in dramatic composition, though it does not exhibit much originality.

~Drury Lane Theatre.~

Nothing of any importance has been presented here since our last. _The Maid of Cashmere_ continued to be performed till the parties engaged in it were dispersed. Mr. and Mrs. Wood, it seems, are preparing to depart for America. How the stage is to repair her loss we cannot guess. If we are to have only foreigners as first vocal women in our English theatres, her place may be filled certainly; but will the public long endure this? We believe they will, for they are grown apathetic.

The performers themselves, however, ought to be active; they should combine in their own defence, and open an English, a really English, theatre; the Lord Chamberlain would sanction them; and the town might be conciliated, if they would give good operas, demand moderate prices, and endeavour to keep offensive company of all kinds, not only women, but men, as much as possible out of the way.

~Covent Garden Theatre.~

_The Coiners_, an opera of Auber, produced at the latter end of March, we have now heard, and find it altogether unworthy of notice.

~English Opera House, Adelphi.~

Mr. Arnold opened this small house on Easter Monday, merely with a view to keeping his company together while his own theatre is rebuilding. A new opera, _Philip of Anjou_,--founded on a German story, of which a translation appeared some years ago in a collection of Tales by the Misses Corbet,--composed by the Mr. Martin who lately succeeded H. Phillips as _Leporello_, was performed for the first time with some success. Two or three old favourites have since been brought forward, apparently to the satisfaction of the town, for they have drawn numbers to the theatre; and new things are in preparation, which, we trust, will be ready by the time the blighting east wind leaves us, and takes in its train the universally-prevailing disease.

* * * * *

It is a fact, unparalleled in the modern history of the English stage, that about the middle and towards the end of last month,--the month of April, too, and after Easter--Drury Lane, Covent Garden, the King’s Theatre, and the Haymarket, were all closed for several nights! The illness of many of the performers was the ostensible cause; but we believe that the managers were too happy in being able to avail themselves of this excuse, and closed their doors merely because so few persons presented themselves for admittance.

* * * * *

Rumours are afloat that the two winter theatres are about to be virtually under one management, and that the artists are to be engaged with a condition that they shall perform at either house, as may be required. If they have any spirit, a monopoly of this novel kind may easily be defeated.

THE MUSIC OF THE PRESENT NUMBER.

Dussek’s works, ingenious, refined, and beautiful as they are, now are rarely heard. Perhaps the two specimens we have in the present Number given of his composition, may make his name known to some of the younger amateurs of the day, who are probably acquainted with no other music than arrangements of Rossini’s operas, a little of Mozart, _done into quadrilles_, and much of Herz and Czerny.

* * * * *

Handel’s _Musette_ (the word signifies a _bag-pipe_) is written for an orchestra, but of stringed instruments only. It is one of the lovely compositions of this great master which are only known to the frequenters of the Ancient Concerts.

* * * * *

The Romance of Hummel is from his heroi-comic opera, _Mathilde von Guise_. We have reprinted it from the original Leipzig edition, but omitted the German words. This is the most popular piece in the opera.

* * * * *

The masterly Madrigal by Wilbye is from the edition published by Mr. Warren, editor of the celebrated collection of Glees, &c. Wilbye, Sir John Hawkins tells us, was ‘a teacher of music, who dwelt in Austin Friars, about the year 1598.’ His compositions are inferior to those of none of his contemporaries, and his madrigal for five voices, ‘Flora gave me fairest flowers,’ has hardly an equal in sweetness of melody, in rich unaffected harmony, and in admirable contrivance of the parts.

* * * * *

The air of Gluck immediately follows, or rather opens out of, the overture to _Iphigénie_, as an addition to which it is always performed at the Ancient Concerts, arranged for a full band by Mr. Greatorex. This charming melody has very recently been published in a collection (see _Harmonicon_ for March last, page 60,) as a ‘Bohemian air,’ and marked _allegretto!_

* * * * *

The song by Pelham Humphrey is melodiously plaintive, but the air certainly is not suited to the two cheerful verses, however well adapted to those that complain. Our accompaniment is drawn from inference, as we had only a treble and unfigured base to direct us. However, the composer’s intentions are pretty obvious. Humphrey was born in 1647, and brought up in the King’s Chapel, of which he was admitted a gentleman in 1666, and died in 1674.

* * * * *

Concerning the march and its author, we beg to refer the reader to our Review for the present month.

[Sidenote: June, 1833.]

BIOGRAPHICAL SKETCHES OF ADRIAN BATTEN, JOHN WELDON, THOMAS TUDWAY, ~Mus.~ D., WILLIAM BLAKE, D.D., ~and~ CHARLES KING, M.B.

We now proceed towards the conclusion of our notices of the most distinguished composers of English cathedral music, down to the end of the last century, which branch of musical biography will be completed in our next Number.

* * * * *

~Adrian Batten~ was organist of St. Paul’s Cathedral during the reigns of Charles I. and II. He is called by Sir John Hawkins, not in very courteous terms, a ‘singing man,’ and certainly appears on the books as a vicar-choral of the church, for then the duty at the organ was executed by one of that body; and the organist still draws most of his emoluments from his share in the property belonging to the vicars-choral. The name of this composer is even now well known in all our choirs, from his short full anthem, ‘Deliver us, O Lord,’ which has continued in use up to the present day. Batten was, says Burney, ‘merely a good harmonist of the old school, without adding any thing to the common stock of ideas in melody or modulation with which the art was furnished long before he was born. Nor did he correct any of the errors in accent with which former times abounded.’ It is, however, just to remark, that his anthem, ‘Hear my prayer,’ for five voices, is, in point of construction and effect, equal to most of the compositions of his time. He undoubtedly exhibited no great talent, and owes the transmission of his name more to the convenient brevity of the above-mentioned anthem, than to his musical genius.

* * * * *

~John Weldon~, born at Chichester, received his first musical instructions from John Walter, organist of Eton College, and afterwards became a disciple of Purcell. He was at an early age chosen organist of New College, Oxford. In 1701, he was appointed gentleman-extraordinary of the Royal Chapel; in 1708 he succeeded Dr. Blow, as organist thereof; and seven years after, upon a second composer being added to the establishment, he was named to that situation. He was a great pluralist; for while he held all these offices, he was also organist of St. Bride’s; and George I. having presented the parish of St Martin in the Fields with an organ, Mr. Weldon, perhaps in compliment to the king, Hawkins adds, was elected organist.[54]

Weldon’s compositions were chiefly confined to the service of the church; but he assisted in setting Congreve’s masque, _The Judgment of Paris_, to music, in which is the air ‘Let ambition fire thy mind,’ a lovely melody, and still as fresh as if the production of the present century. This was introduced by Arne in _Love in a Village_, and is known to all as ‘Hope, thou nurse of young Desire.’ Some of his songs are to be found in the _Mercurius Musicus_, and other collections. Among these are ‘From grave lessons and restraint,’ a very popular air, and as such remembered in Sir John Hawkins’s time, who has reprinted it in his fifth volume; and it would even now be occasionally sung by lovers of natural melody, but that the words partake of that pruriency which does not tell well for ‘the wisdom of our ancestors.’

The great and deserved fame of this composer is built on his anthems, ‘In thee, O Lord,’ and ‘Hear my crying,’ of which Hawkins very justly observes, ‘it is difficult to say whether the melody or the harmony of each be its greatest excellence.’ Dr. Burney speaks very slightingly of Weldon’s powers; and it seems to us that on this subject he was either prejudiced, or imperfectly acquainted with the works he criticised.

Weldon died in 1736, and was succeeded in the Chapel Royal by Dr. Boyce.

* * * * *

~Thomas Tudway~, Doctor in Music, was educated under Dr. Blow, with Turner and Purcell. Soon after quitting the Chapel Royal he was admitted into the choir at Windsor, as a tenor singer. Like his fellow-disciples, he endeavoured to distinguish himself early as a composer, and inserted in the collection of church music, which he selected and transcribed for Lord Harley, an anthem composed by himself in 1675, when he was only nineteen, with six more of his early productions for the church, of which, Dr. Burney tells us, the counterpoint is but ordinary and clumsy.

In 1681 he was admitted to the degree of Bachelor in Music, at Cambridge; and in 1705, when Queen Anne visited that place, he produced an anthem, ‘Thou, O God, hast heard my vows,’ which was performed as an exercise for a doctor’s degree. He then was appointed public professor of music in that university. As an acknowledgment for other anthems composed for the use of Queen Anne, he was appointed her organist and composer-extraordinary.