Chapter XVII: Part I: of this work consists of ‘Practical Rules,’ &c., which are (1)

clearly delivered and satisfactorily illustrated. Part II. is a continuation of the first, therefore it was hardly necessary to separate it. This includes a few good examples, and a very useful table, calculated on divisions into tenths, eighths, sixths, &c. of the fourth open string, and showing in notes, the harmonics resulting from the string when touched at any of those points of division.

* * * * *

No. 2 is chiefly made up of materials furnished by the author of No. 1. The latter, however, finding that what he supplied had been published in an incorrect, incomplete manner, determined on printing his own system, or that which we have above noticed.

* * * * *

The titles of Nos. 3 and 4 fully describe the nature of the two publications, which, we will add, display great industry and no little ingenuity.

ANCIENT CONCERTS.

SEVENTH CONCERT,

_Under the Direction of the Duke of Cumberland, Wednesday,_

_May 1, 1833._

~Act I.~

Introduction. Chorus. ‘O come, let us sing.’ ~Handel.~
(_Anthem._)

Air, ‘O come, let us worship.’ Mr. Vaughan. Chorus, ~Handel.~
‘Glory and worship.’

Frost Scene, ‘What ho!’ (_King Arthur._) ~Purcell.~

Concerto 5th. (_Grand._) ~Handel.~

Cantata, ‘From silent shades.’ Miss Stephens ~Purcell.~

Madrigal, ‘Let me, careless.’ ~Linley.~

Song, ‘Sorprender mi vorresti.’ Mad. Cinti Damoreau. ~Hasse.~

Chorus, ‘When his loud voice.’ (_Jephtha._) ~Handel.~

~Act II.~

Overture. (_Samson._) ~Handel.~

Song, ‘How willing my paternal love.’ Mr. Parry. ~Handel.~
(_Samson._)

Glee, ‘O’er desert plains.’ ~H. Waelrent.~

Recit, ‘Ye sacred priests.’ Song, ‘Farewell, ye ~Handel.~
limpid.’ Mrs. Knyvett. (_Jephtha._)

Madrigal, ‘Now is the month of Maying.’ ~Morley.~

Recit. ‘My prayers are heard.’ Song, ‘Tears such ~Handel.~
as tender.’ Mr. Phillips. (_Deborah._)

Chorus, ‘Fall’n is the foe.’ (_Judas Macc._) ~Handel.~

Song, ‘Confusa, abbandonata.’ Mad. Cinti Damoreau ~Bach.~

Chorus, ‘The many rend.’ (_Alexander’s Feast._) ~Handel.~

Vain the search after the name of Haydn or Mozart in a concert selected by his Highness of Cumberland! And as to Beethoven’s, the mere sound of it in the royal director’s ear would be as the piercing, the threatening din of the revolutionary tocsin. The illustrious Duke is perhaps quite right--we, possibly, quite wrong; but it seems to us that a discreet mixture of modern music (not by _living_ composers) with that of older date, would be highly to the advantage of both, particularly in a programme consisting of from eighteen to twenty pieces--a number which almost unavoidably must be felt oppressive, unless that variety, which can only be found in composers of widely-distant periods, is as much an object of attention as contrast in the species, sentiment, and keys of the pieces brought together.

But though there was a want of a due admixture of schools in the present concert, the music was the choicest of its kind. The Anthem composed for the Duke of Chandos (Pope’s Timon) is one of Handel’s best, the only weak part being the overture. The lovely air, ‘O come, let us worship,’ is rather beyond Mr. Vaughan’s voice, as it now is: with a note or two more in compass, and a small increase of strength, he would have rendered it more effective. We felt some regret that the melodious fugue, ‘Tell it out among the heathen,’ and the gentle, the charming air, ‘O magnify the Lord,’ so well adapted to Mrs. Knyvett’s powers, were not included. The vocal parts of the Frost scene were taken rather too slow: and a little more point, more emphasis, in the chiding air, ‘Thou doating fool!’ would much have improved it, otherwise this fine specimen of the great English master’s dramatic music was very successfully performed. The Concerto was executed in a manner peculiar to the Ancient Concert band, the conductor and leader of which, and a few others among its members, possess the true tradition of the author’s times and style. We would not exchange one bar of the largo in ~B~ minor, as played by F. Cramer, for all the _Friars’ Chants_ and _Witches’ Dances_ that adroit charlatanerie can produce, or good-humoured credulity applaud. _Mad Bess_ pleased us much, both as part of the present concert and by exciting agreeable recollections: we admire Miss Stephens as she is and remember, with unalloyed satisfaction, what she was. The piano-forte accompaniment, too, deserves honourable mention,--so modest, so judicious! The Madrigal is a _chef d’œuvre_; it was sung by Mrs. Knyvett, Messrs. Terrail, Vaughan, Phillips, and Sale, in the chastest and most perfect manner. Warm as we are in our admiration of the madrigalists of the sixteenth and seventeenth centuries, we still must acknowledge that this lovely work of the elder Linley, by surpassing all that preceded it, proves the advance of the art; though, unfortunately, the kind of composition not having been encouraged, little has been gained by the exertion of his genius.

Hasse’s fine Bravura was sung with a neatness of execution which none ever yet exceeded. The most difficult passages proved mere playwork to Mad. Cinti, and she added to them others of her own,--very appropriate ones though,--to show how much more than equal she is to the task assigned to her. Her strength is not great, but the flexibility of her voice is surprising; and her knowledge, not merely of her own part, but of the whole of the score, is apparent in whatever she performs.

The Chorus from _Jephtha_ wanted more support from the trebles. We advise the conductor in future to break through the trammels of custom, and accompany the point of the fugue, ‘They now contract,’ with the diapasons and principals only; that is, to spare us the mixture stops, which scream most abominably when only covered by a few sopranos.

Mr. Parry’s song from _Samson_ was quietly and delicately sung. The glee, ‘O’er desert plains,’ could not have had more justice done it, but this really is little better than a psalm-tune. What a pity that the beautiful verses of Shenstone have never yet been wedded to more congenial music! The Recitative, ‘Ye sacred priests,’ was delivered with great judgment, and the following air, ‘Farewell!’ could not have been more delicately sung: it were, however, to be wished that the shakes, transmitted from one singer to another, could be lessened in number as they pass. And the cadence, another incumbrance, had better be at once repudiated; it is an ancient abomination, which now the English alone practise. Morley’s Madrigal is, both in melody and harmony, free as air--all hilarity, and not a glimpse of pedantry. The chorus should have repeated _each_ stanza, and not, as on the present occasion, have been employed only in the last. Mr. Phillips, in the song from _Deborah_, was very nearly perfect. Bartleman in this was perfection itself; and so will our excellent living singer be, when he has acquired the deep pathos, the experience of his predecessor. In voice he has a manifest advantage; and this is not his only superiority. The aria, a bravura of _John Christian_ Bach, (the Christian names should have been added,) has all the prettiness, and not a little of the weakness, of the composer, who, of the many sons of John Sebastian Bach, is least worthy of the name. It was executed with the utmost neatness, but not sung _con amore_. In fact, it has nothing in it to excite any ardour in a singer possessing Mad. Cinti’s knowledge and taste.

EIGHTH CONCERT,

_Under the Direction of the Earl Fortescue, Wednesday,_

_May 8, 1833._

~Act I.~

Overture. (_Esther._) ~Handel.~

Madrigal, ‘The silver swan.’ ~Gibbons.~

Recit., ‘Be comforted.’ Song, ‘The Lord.’ (_Judas ~Handel.~
Maccabeus._)

Concerto 2nd. ~Corelli.~

Recit., ‘If I give thee.’ Song, ‘Let me wander.’ ~Handel.~
Chorus, ‘And young and old.’ (_L’Allegro._)

Quartet, ‘Sing unto God.’ Chorus, ‘Cry aloud.’ ~Croft and
Greatorex.~

Glee, ‘As now the shades.’ ~Dr. Cooke.~

Double Chorus, ‘Immortal Lord.’ (_Deborah._) ~Handel.~

~Act II.~

Chaconne and Requiem ~Jomelli.~

Recit., ‘No more in Sion.’ Song, ‘Wise men, ~Handel.~
flatt’ring.’ (_Judas Maccabeus._)

Madrigal. ‘Dissi all’ amata mia.’ ~Luca
Marenzio.~

Chorus, ‘Let none despair.’ (_Hercules._) ~Handel.~

Concerto in ~G~. Avison.

Quartet and Chorus, ‘Then round about the starry ~Handel.~
throne.’ (_Samson._)

Recit., ‘Justly these evils.’ Song, ‘Why does the ~Handel.~
God.’ (_Samson._)

Chorus, ‘Sing unto God.’ (_Judas Maccabeus._) ~Handel.~

The overture to _Esther_ and Corelli’s concerto belong to a school which has always been protected and exhibited to the best advantage in these concerts; both were now performed in their true spirit. The _immortal_ chorus from _Deborah_ is a composition which can only receive justice in this orchestra: the great number of vocal performers collected at our grand provincial meetings certainly give more force to it, but are unable to perform it with that precision, that nicety, on which its effect so mainly depends. We never hear the passage where the voices take up the point, ‘to swift perdition,’ accurately executed but at the Ancient Concerts. The song from _Judas Maccabeus_ is generally considered to be one of Handel’s happiest thoughts; but it rolls and rumbles so much, and the base instruments are so continually in unison with the voice--a defect not peculiar to this composer, but to the period in which he wrote--that the only pleasure which it affords us is entirely attributable to the singer, provided that singer be Phillips. Dr. Cooke’s lovely and most masterly glee was a decided failure: it is not at all suited to Mrs. Bishop; her school is of a totally different kind. To Mrs. W. Knyvett this should have been assigned.

The ‘Requiem’ and ‘Agnus Dei’ of Jomelli did not find the choral performers quite at home in their parts, although their occasional want of confidence was only discernible to very experienced and close observers. How ingenious, how effective, and yet how simple, the whole of the base accompaniment to the first movement, the Requiem! Not less admirable, but in another style, is the ‘Agnus Dei,’ and full of original melody, which is still new, because, fortunately, never yet imitated. The fugue, too, at ‘Lux æterna,’ is of that kind which, while its musical learning is as indisputable as great, possesses the superior merit of being pleasing. Mrs. Bishop is not yet familiar with Handel; her ‘Wise men, flatt’ring’ was not what it doubtless will be when she is become more accustomed to this music--though it was far from displeasing. It is much to be wished that the singer would have the courage to get rid of about two-thirds of the shakes which the composer himself, we admit, has written. We are certainly bound by the author’s text, which is permanent, but not by his embellishments, which belonged only to the age that produced them. A singer in the present day who should venture to introduce the _double relish_ and the _back-fall_ of the seventeenth century,--both of which, as well as other ‘graceless graces,’ are constantly found in the old writers,--would be laughed at for his scrupulous adherence to the original. The madrigal of Luca Marenzio is still fresh, and exceedingly elegant; its only fault is want of modulation. The performance of this did great credit to the singers. The fine chorus from _Hercules_ was executed in a most perfect manner. So was the charming quartet from _Samson_. Here science is turned to the best account: none but a great musician could have worked out such effects, yet the whole is free from every thing that smells of the lamp. It is the true offspring of genius highly cultivated. We are old-fashioned enough in our taste to be pleased with Avison’s concerto, the _soli_ parts in which were nicely played by Mori, (in the absence of F. Cramer,) who was ably seconded by the band, and most judiciously supported by the organ, which Mr. W. Knyvett always manages with taste and discretion. The song from _Samson_ is beyond Mr. Horncastle’s physical powers, and only fit for such a voice and such energy as Braham possesses. Indeed, we so little like its incessant divisions, and especially the puerile attempt to give expression to the word ‘thunder,’ that we should not repine were we never to hear it again.

NINTH CONCERT,

_Under the Direction of Lord Burghersh, for the Archbishop of York,_

_Wednesday, May 15, 1833._

~Act I.~

Anthem, ‘O sing unto the Lord.’ (_Sixth._) ~Handel.~

Recit., ‘When he is in his wrath.’ Song, ‘When ~Handel.~
storms the proud.’ Chorus, ‘O Judah, boast.’
(_Athalia._)

Quartetto, ‘Come! ohimè!’ (_Nina._) ~Paisiello.~

Concerto 4th. (_Oboe._) ~Handel.~

Recit., ‘Tranquillo io son.’ Song, ‘Ombra adorata.’ ~Zingarelli.~
(_Romeo e Giul._)

Ode, ‘Hence, all ye vain delights.’ ~Webbe.~

Duetto, ‘Son io desto.’ (_Nina._) ~Paisiello.~

Chorus, ‘Kyrie eleison.’ ~Beethoven.~

~Act II.~

Overture. (_Idomeneo._) ~Mozart.~

Recit., ‘Crudele!’ Song, ‘Ho perduto.’ ~Paisiello.~

Glee, ‘Bird of the wilderness.’ ~Clarke and
Greatorex.~

Recit., ‘’Tis done!’ Song, ‘Heart, the seat.’ (_Acis ~Handel.~
and Galatea._)

Magnificat. ~Mozart.~

Song, ‘Amor se nume,’ ~Scarlatti.~

Double Chorus, ‘From the censer.’ ~Handel.~

This was a very fine concert, for the music was well chosen, both as regards diversity of school and contrast in style. An infusion of Mozart and Beethoven as moderns, of Paisiello and Zingarelli who may be said to belong to the middle age, and of Handel and Scarlatti as of the ancient class, produced a mixture that suited every taste, and presented a fair prospect of great amelioration in the system by which these concerts are regulated.

The selection from Handel’s anthem made an excellent beginning; we should have been glad to hear the whole of it, for it is one of his best. The scene from _Athalia_ is a good specimen of that fine but comparatively little known oratorio, the magnificent air in which, ‘When storms the proud,’ is exactly suited to Mr. Phillips, who sang it admirably. Paisiello’s delicate quartet was not very thoroughly understood by all the parties engaged in it, nevertheless it proved very satisfactory to the audience. Madame Pasta, who made her first appearance here this season, was as great as usual in the calmly impressive scena from _Romeo_; and in the air, ‘Ho perduto,’ gave every advantage to the work of a composer who ought again to be brought forward. The song, as it is called, of _Alessandro_ Scarlatti produced quite a surprise. Who ever supposed that an air of so much beauty could have remained thus long unknown in a concert established for the preservation of ancient music? Who ever imagined that a composition upwards of a century old could exhibit so many of the best features of the modern school, that it might be mistaken for the work of Haydn or Mozart? To Signor Rubini we are, it is said, indebted for the introduction of this antique gem, and he placed it in a highly favourable light by his manner of performing it, which, for him, was remarkably chaste.

The _Ode_ (a much better term for it than _glee_) to Melancholy is one of Webbe’s _chefs-d’œuvre_, and shows how well that great composer understood the words. It was most perfectly sung by Miss Stephens, Mrs. Knyvett, Messrs. Terrail, Vaughan, Elliot, and Sale. Miss Stephens, in the song from _Acis and Galatea_, pleased as usual by her captivating simplicity. The Magnificat of Mozart was well performed, and a very grand work it is. The concerto of Handel, every part of which abounds in beautiful melody, and not less masterly, though not extraneous harmony, was most ably executed. The two fugues in this prove how possible it is to unite the learned and the agreeable. The andante of it is delicious, and here the oboe is rendered almost vocal; as is the bassoon in the last movement. The _Kyrie_ of Beethoven wanted rather more rehearsing; and the overture to _Idomeneo_ required the immense power of the Philharmonic band; nevertheless it produced considerable effect. But the stupendous chorus from _Solomon_ was perfect, though wasted as a finale.

TENTH CONCERT,

_Under the Direction of the Earl of Cawdor, Wednesday,_ _May 22, 1833._

~Act I.~

Overture. (_Ariadne._) ~Handel.~

Recit., ‘Brethren and friends.’ Recit., acc. ‘O thou ~Handel.~
bright orb.’ Chorus, ‘Behold the listening.’
(_Joshua._)

Song, ‘Tyrants would.’ Chorus, ‘Tyrants, ye in vain.’ ~Handel.~
(_Athalia._)

Recit., ‘Now strike.’ Chorus, ‘Break his bands.’ ~Handel.~
Recit., ‘Hark! hark!’ Song, ‘Revenge! revenge!’
(_Alex. Feast._)

Concerto 11th. ~Handel.~

Song, ‘Di quel sublime.’ ~Gluck.~

Glee, ‘See the chariot.’ ~Horsley.~

Recit, ‘Chi per pietà.’ Song, ‘Deh! parlate.’ ~Cimarosa.~

Chorus, ‘Gird on thy sword.’ (_Saul._) ~Handel.~

~Act II.~

Symphony. (_Jupiter._) ~Mozart.~

Recit., ‘Ecco il punto.’ Song, ‘Non più di fiori.’ ~Mozart.~
(_La Clemenza di Tito._)

Glee, ‘Chi mai d’ iniqua stella.’ ~Bononcini.~

Movement from the Lessons. ~Handel.~

Recit., ‘’Tis greater far.’ Song, ‘Pluck root and ~Handel.~
branch.’ Recit., ‘Our souls.’ Chorus, ‘Shall we
the God.’ (_Esther._)

Song and Quartet, ‘Fairest isle.’ ~Purcell.~

Anthem, ‘My heart is inditing.’ ~Handel.~

The overture to _Ariadne_ owes its chief attraction to the graceful minuet with which it concludes, and this we cannot but think is commonly played too slow at the Ancient Concert. _Andante_ in Handel’s time was a term indicating greater quickness than it is now understood to imply. The recitative, ‘O, thou bright orb!’ contains that risible attempt to describe the arrest of the sun’s course by a long holding note. The chorus, however, is a masterly work, but the voices were not now very firm in it. Mrs. Bishop succeeded well in the air from _Athalia_. The accompanied recitative, ‘Hark! the horrid sound!’ was delivered in Mr. Braham’s energetic manner; and the following song, one of the most striking proofs of the composer’s genius, is foremost among Mr. Phillips’s triumphs. The air of Gluck was a novelty, and of no ordinary merit. Set to the same words that afterwards exercised the genius of Mozart,--in _La Clemenza di Tito_--it not only bears a comparison with an admired air of the latter, but in our opinion was superior to it. Mr. Braham, at whose recommendation we believe it was introduced, entered thoroughly into the composer’s design, and gave the true effect to this. But, having an unquenchable antipathy to concerted cadences, we would willingly have spared the two, between the voice and trumpet, added on this occasion. The glee, ‘See the chariot at hand,’ was sung with great correctness. Madame Malibran’s scena and aria of Cimarosa was a most unequal performance: some parts were beyond all praise; others proved the uncertainty of her judgment. Her semitonic passages, neither to be found in the author nor in any way in keeping with his style, were a most unhappy evidence of her occasional want of taste and discrimination; and the _broderies_ she introduced, though not so abundant as is common with her, were misplaced: but her recitative was admirable, and, with the exceptions we have mentioned, the aria was not less splendidly sung. We have heard ‘Gird on thy sword’ better executed: there was a want of shortness in the staccato passages; and in some others the whole band seemed deficient in confidence. The concerto of Handel--a composition which might furnish ample materials for half a dozen of modern growth--was the most perfect performance of the kind we ever heard. This is in fact a violin concerto, and Mori (who led for F. Cramer) played it in a manner that words cannot describe or do justice to. His two cadences, of modest length,--in one of which was an arpeggio, that Paganini, whose chief excellence is in _arpeggiando_, could not surpass--moved even this audience to a general expression of applause.

In the scena from Mozart’s _Tito_, Madame Malibran again exhibited her vast powers and unrestrained confidence in her own opinion. The declamatory part of this was superb, though a little hurried; and the immense compass of her voice gave an effect to the air, that, we are almost inclined to say, has never been equalled. But though the conductor took care that the latter opened in the exact time, the singer thought fit to change the movement, and most injudiciously to convert a _larghetto_ (as marked) into an _andante_. Mr. Knyvett should have shown his independence by checking this, and his respect for the author by insisting on maintaining the time in which he set out. Who, in the name of reason, metamorphosed the _round_ for three voices, ‘Chi mai d’ iniqua stella,’ into a _glee_ for four? This should, of course, be sung by equal voices, one coming in after the other, as the author intended, or else the original design is entirely defeated. The ‘Movement from the Lessons’ is a charming orchestral arrangement of Handel’s lovely air in ~E~, (vulgarly called _The Harmonious Blacksmith_,) made in excellent taste by the late Mr. Greatorex. The selection from _Esther_ was not interesting, and the remainder of the concert demands no further observation. The room was much fuller than it has hitherto been during the present season.

PHILHARMONIC CONCERTS.

FIFTH CONCERT, Monday, April 29, 1833.

~Act I.~

Sinfonia, No. 3 ~Spohr.~

Aria, ‘Per questa belle mano.’ (Mr. Parry, jun.) ~Mozart.~

Concerto Harp. (Mr. T. Wright.) ~Hummel.~

Duetto, ‘Che al mio bene.’ (Mrs. Wood and Mr. ~Mayer.~
Braham.)

Overture. (_Der Freischütz._) ~C. M. von
Weber.~

~Act II.~

Sinfonia, No. 2. ~Beethoven.~

Scena, ‘Per pietà.’ (Mr. Braham.) ~Beethoven.~

Concerto Violoncello. (Herr Knoop.) ~Kummer.~

Scena, ‘Sì lo sento.’ (Mrs. Wood.) _Faust._ ~Spohr.~

Overture. (_Zaira._) ~Winter.~

Leader, Mr. Loder.--Conductor, Mr. T. Cooke.

Spohr’s symphony in ~E~ flat is richer in melody and more free from that complication which smells so much of the lamp--from that labour which fatigues the hearer as much as it did the composer, than any one of his instrumental works. His designs are here clearly expressed and readily understood, and we listen to the whole with pleasure, without feeling that any part of it has been too long. It was most accurately performed, as was also Beethoven’s, in ~D~, one of his clearest and most beautiful orchestral productions, sparkling with genius from beginning to end. The calmly grand opening induces us to hope for much, nevertheless the exquisite larghetto surpasses all that had been anticipated. Nor are the scherzo and trio less striking in another style. The overture to the _Freischütz_ went off admirably. The last, Winter’s, we did not hear.

Mr. Wright played Hummel’s celebrated piano-forte concerto in ~E~, arranged for the harp, and executed it in an able manner. Herr Knoop comes from the city of our queen, Meiningen, and was recommended to the notice of the society by his majesty. To do extraordinary things seems to be the object of his ambition, and that to which his labours have chiefly been directed; he therefore can run thirds and octaves with vast celerity and neatness, and play with his left hand close to the bridge, bringing out sounds too high for even a rational violinist to attempt. But this is to please, or at least to surprise, the mob of gentlemen who hear but cannot judge. His tone, the first consideration, is nasal in what we call the legitimate notes of the instrument, and hard in the highest. His taste is not bad, but he has very little of it; and in expression, the vivifying principle of music, he is quite deficient. In short, execution appears to be the god of his idolatry, at whose altar he has sacrificed--if we may judge from a single hearing--nearly all that we consider valuable in the art. The composition he played has been extolled: in our opinion it has very little merit, except of a negative kind. We, however, were very glad to hear him; so we believe were all present, for he was new; and moreover, he has not thrown our own Lindley into shade, but, on the contrary, taught us to value him more highly.

The vocal part of this concert did not prove very successful. Mr. Parry, jun. sang Mozart’s aria very well, but it did not excite much interest. The duet of Mayer has not strength enough for these concerts, and Mr. Braham was not in good voice, the influenza had just commenced an attack on him, by which he was afterwards confined. This state of health of course operated in the scena of Beethoven, much of which, we may also add, is hardly vocal, especially the cacophonous run of semitones. The company were so exhausted by the unreasonable length of _Herr_ Knoop’s concerto, that they left Mrs. Wood to sing the fine scena from _Faust_ to few more than the orchestra by which she was accompanied. Upon the whole, then, it must be confessed that the present performance was not of the most brilliant kind.

SIXTH CONCERT, Monday, May 13, 1833.

~Act I.~

Sinfonia, No. VII. ~Haydn.~

Aria, Signor Rubini, ‘O cara immagine.’ (_Il Flauto ~Mozart.~
Magico_)

Concerto, Piano-forte (in ~D~ minor), Mr. ~Mozart.~
Mendelssohn Bartholdy

Aria, Madame Cinti Damoreau, ‘Deh vieni, non ~Mozart.~
tardar,’ (_Le Nozze di Figaro_)

Overture, _Bibiana_ ~Pixis.~

~Act II.~

Sinfonia, MS., composed expressly for this Society, ~F. Mendelssohn
and first time of performance Bartholdy.~

Duetto, Madame Cinti Damoreau and Signor Rubini, ~Rossini.~
‘Ricciardo che veggo!’ (_Ricciardo e Zoraide_)

Concerto Violin, M. De Beriot ~De Beriot.~

Aria, Madame Cinti Damoreau, ‘En vain j’espère’ ~Meyerbeer.~
(_Robert le Diable_)

Jubilee Overture ~C. M. von
Weber.~

Leader, Mr. Weichsel.--Conductor, Mr. Mendelssohn Bartholdy.

Whatever defects were apparent in the fifth Concert, were fully atoned for by the sixth, in which the most fastidious critic could find only one piece of a doubtful kind, and but one that was not performed in a perfect manner.

Haydn’s symphony, in ~D~, is too generally known and admired to need any remark. M. Mendelssohn’s, composed in pursuance of a resolution of this Society, by which he was requested to write a symphony, overture, and vocal piece, on liberal terms, is a composition that will endure for ages, if we may presume to judge such a work on a single performance. The first movement, an allegro vivace, in ~A~, without any slow opening, speaks at once the highly excited state of the author’s imagination, and the fine flow of his animal spirits, when he wrote it: so full of brilliant conceptions is this, and so rapid their succession, that it would be a hopeless attempt to analyse it without either having heard it several times, or having the score to refer to. We may say the same of the finale, which has this peculiarity--that it is in the minor of the key in which the symphony commences. The slow movement in ~D~ minor is not less distinguished by ingenuity of a very rare description, and beauty of the most discernible kind, than by its undisputed, unquestionable originality: this was loudly encored. The scherzo, in ~A~, and trio, in ~E~, shew genius of a high order in every bar. And, to be brief, the manner in which the whole work was received, by the most critical, the best qualified audience that London (now full of eminent foreign musicians) could assemble, bears us out in what we have said, and would justify us were we to add still more in praise of this masterly production.

The Overture by M. Pixis, now performed for the first time here, begins in a promising manner, with some good harmony, well distributed among the wind instruments; but as it proceeds, it falls off most lamentably, and the greater part of the composition is nothing but noise without design or order, and really seemed to us as if written for that fair which is annually held on the site of Smithfield market.

The performance of Mozart’s Concerto by M. Mendelssohn was perfect. The scrupulous exactness with which he gave the author’s text, without a single addition or _new reading_ of his own, the precision in his time, together with the extraordinary accuracy of his execution, excited the admiration of all present; and this was increased, almost to rapture, by his two extemporaneous cadences, in which he _adverted_ with great address to the subjects of the concerto, and wrought up his audience almost to the same pitch of enthusiasm which he himself had arrived at. The whole of this concerto he played from memory.

A not less admirable performance was M. De Beriot’s on the violin. As a composition, his concerto, in ~B~ minor, is entitled to high and unqualified praise; his subjects are new, pleasing, and skilfully treated, and his instrumentation, the orchestral parts of his work, prove him to be a most able musician: but his execution of this indeed ‘beggars description.’ Words cannot convey a just notion of the fulness and beauty of his tone, the certainty of his double, his triple, stops, the truth of his harmonics,--which, useless as they are, he introduced, we conclude, merely to show his power--the brilliancy of his execution, and the delicacy of his taste. We certainly never heard the violin so played, and the only fault we have to find with M. de Beriot is, that he condescended to introduce once, it not twice, certain _pizzicato_ notes, and thus seemed to sanction a piece of quackery which he must despise. The room rung with the plaudits he drew forth, and it is said to be the intention of the directors to engage M. de Beriot for the eighth concert, being the last.

Signor Rubini refrained, as much as with him is possible, from roulades in the aria of Mozart, and his alternations of fortissimo and pianissimo were more moderate; indeed, he pretty nearly equalized his tones; but this is the only commendation we can bestow on his performance of ‘O Cara Immagine.’ In his duet with Mad. Cinti, his passionate style told better; and here again he spared us those bursts by which he caricatures so much of what is assigned to him. Mad. Cinti was delightful in the aria from _Figaro_. A universal encore of this proved how completely she had charmed her audience. She was not less excellent in the air of Meyerbeer, though this did not tell so well as the other. In fact the concert was long, and many people were moving off to evening parties.

EXTRACTS FROM THE DIARY OF A DILETTANTE.

[Resumed from page 109.]

_April 28th._ One of the greatest _prôneurs_ of Signor Paganini has been the editor of _La Revue Musicale_; but in his last number, speaking of this artist’s recent performance in Paris, he says, Paganini was not on the present occasion equal to what he has been, and it appeared to us that he was not quite satisfied with himself. Is it not more likely that the fit of enthusiasm, excited by novelty, or by a well got up exhibition, is giving way to dispassionate observation and cool criticism?

* * * * *

_May 6th._ England is about to possess one of the finest rooms, and the largest and most powerful organ in Europe. What the other qualities of the latter will be, remains to be proved. But the metropolis of the kingdom will not have to boast of these advantages, the credit of them will belong to a provincial town, to Birmingham, where a townhall is nearly finished, the interior of which is 140 feet long, 65 wide, and 65 high. In this is to be placed--chiefly for the use of the musical festivals there to be held for the benefit of the General Hospital--the organ alluded to, the following description of which accompanies a lithographic print of the gigantic instrument now building.

The organ case will be forty feet wide and forty-five feet high. The largest metal diapason pipe is to be five feet three inches in circumference, and thirty-five feet in height. The largest wood diapason pipe will measure in the interior upwards of two hundred cubic feet. In the full organ are to be ten open diapasons, and all the other parts must be in calculated proportion to this. There will be sixty draw-stops, and five sets of keys. To supply so stupendous an instrument with wind will require many sets of bellows, the whole superficial measure of which will exceed three hundred and eighty feet. And to give, if it can be fairly estimated, some further idea of the magnitude of this organ, it may be stated, that its weight will amount to upwards of forty tons.

It was intended to open this grand hall, and still grander organ, in the autumn of the present year; but to prevent any injurious haste in the completion of the building and of the instrument, the grand musical festival, which will prove to the county of Warwick that it possesses one of the most splendid rooms, and the most magnificent organ in the world, is deferred till October, 1834.

* * * * *

_8th._ In the bill of the Ancient Concert this evening is an odd junction,--‘The _Chaconne_ and _Requiem_ of ~Jomelli~.’ It should have been _Overture_ only, this including the Chaconne; and neither have any connection whatever with the _Requiem_, though they make a very good introduction to it. In future, let us hope that the name of a ballet-tune will not be coupled with the _Missa pro defunctis_; unless it be intended to have a musical as well as graphic _Dance of Death_.

* * * * *

_11th._ The Glee Club this day decreed their prize for the best cheerful glee to Mr. Hawes. Last week, Mr. Goss obtained the prize for a serious glee.

* * * * *

---- This day died a singer, not unknown to fame in her day, Mrs. Dickons, who, at nearly the close of the last century, held rather a prominent station as a performer, both on the stage and in the concert-room. This lady manifested a decided talent for music at a very early age, and at eleven years of age, her father, Mr. Poole, placed her under Rauzzini. At thirteen, the Court Journal tells us, she appeared at Vauxhall; but no notice is taken of this in the account given of her in the Dictionary of Musicians, the heads of which were probably furnished by her direction. Afterwards, but at what exact time I am not aware, she was placed under Mr. John Ashley, jun., who instructed her generally in music, and through the interest of his father she was allowed to sing at the Ancient Concerts.

In 1793, she appeared for the first time on the stage, in the character of _Ophelia_, and afterwards, progressively, had many principal vocal parts assigned to her; for though her style of singing was far from refined, it was correct; and though her voice wanted fulness, and was reedy, yet her intonation was perfect, her knowledge of music gave her a firmness that few possessed, and she could be relied on both for ability and punctuality.

Miss Poole married a Mr. Dickons in 1800, and retired from the stage, finally, as she supposed, but her union did not prove so happy as she had reason to expect, and she returned to her public employment, and was engaged at the King’s Theatre, where she performed as second to Madame Catalani, who, in 1816, engaged her at the Théâtre Italién in Paris, (then on lease to Madame C.) as prima donna, where I heard her in two or three characters. Her success was such as a second-rate singer has a right to expect from a polite audience; she was listened to with much attention, some applause, but not, after her debut, by very numerous auditors. I was present at her first performance, and immediately discovered Madame C.’s design in engaging an English vocalist who could never be her rival. Mrs. D. only made a very few attempts in Paris, then retired. She was subsequently engaged at Venice, also at one or two other cities in Italy; and on her return to England, was engaged by Mr. Harris, at Covent Garden Theatre, where she made her appearance as _Rosina_, in Rossini’s _Barber of Seville_, adapted to English words. In 1818, she finally abandoned all public employment, and shortly after was attacked by a cancerous disease, from which she never recovered, though paralysis was the immediate cause of her death. Mrs. Dickons was much respected by the public, for she maintained a most irreproachable character, and was not less beloved by her friends for all those qualities which contribute so largely to social happiness.

* * * * *

_14th._ The premium of twenty pounds annually given by the noblemen and gentlemen of the Catch-club, for the best glee, was this day awarded to Mr. Walmisley. The candidates were but few, and the prize was decided by a majority of one vote only; Mr. Walmisley’s composition having nineteen in its favour, and Mr. T. Cooke’s eighteen. None are allowed to become candidates for this prize but the professional members of the club, the competition therefore is confined in a narrow sphere; an evil, certainly, but unavoidable, for were there no limit, more glees would be sent in than could by any possibility be tried without an expense both of time and money that no club could support.

* * * * *

_20th._ The Directors of the Ancient Concert have announced their determination respecting those performances in future; or at least for next season. The plan and conditions are as follow:--

‘That there be Eight Concerts, to take place every alternate Wednesday from the commencement of the season, with the exception of the usual recess during Passion and Easter weeks.

‘That the Subscription be Six Guineas for Subscribers retaining the privilege of attending Rehearsals; Five Guineas for those who do not.

‘That the transfer of tickets between Father and Sons, and between Brothers, also between Mother and Daughters, and between Sisters, be allowed.

‘That the Subscribers retain the same privilege, as during the present season, of recommending for single tickets for the evening.

‘In order to carry on the Concerts on the same scale as heretofore, and with the same vocal and instrumental power and excellence, it is necessary that the number of Subscribers should not be less than 500. The Directors therefore give notice, that if, on the 1st of February, 1834, the Subscribers reported to Messrs. ~Lonsdale~ and ~Mills~, of 140, New Bond Street, do not amount to that number, the Concerts will be discontinued.’

Let us hope that what is here proposed will be successful in upholding an institution on which the preservation of good music in this country no much depends. To the study of the ancient masters the great modern composers confessedly owed their knowledge; these introduced a new style in instrumental music, undoubtedly, and extended the limits of modulation, but the foundation was prepared for them, and no one has established a permanent reputation who has not built on this. In the words, therefore, of Fra Paoli, I pray for its continuation and prosperity:--_Esto perpetua!_

FOREIGN MUSICAL REPORT.

VIENNA.

_Hofoperntheater._--The opera _Ferdinand Cortez_ has been reproduced, with M. Wild as _Telasco_, Madame Ernst as _Amazily_, and M. Breiting as _Cortez_; the minor characters were also well sustained. Donizetti’s _Anna Bolena_ has also been given, and with even greater success than at the _Josephstadttheater_.

At the _Hofburgtheater_ a new oratorio by the organist Assmayr has been performed; it displays great ability, and the music is eminently expressive of the words; it was well received.

At the first and second of the _Concerts Spirituels_ have been given a symphony of Mozart composed for the Concerts Spirituels in Paris in the year 1778, Vogler’s overture to _Castor and Pollux_, a mass by Cherubini, symphony in ~C~ minor by Beethoven, chorus from _Jephtha_ by Handel, a new _Te Deum_, a sterling composition, by Tomascheck, &c. &c. For the third and fourth concerts were announced Beethoven’s symphony in ~B~, the ninth psalm of Fesca, Weber’s Jubilee overture, the Abbé Vogler’s Litany, Mozart’s symphony in ~E~♭, chorus and fugue from the oratorio _Der Tod Jesu_ by Graun, Beethoven’s festival overture, and the _Gloria_ from the second mass of Cherubini.

The annual concert at the Conservatory of Music, to display the progress of the pupils, took place a short time since, when their performance of Mozart’s symphony in ~D~, and the meritorious efforts of the vocalists, gave great satisfaction.

A concert of a brilliant character was recently given by the horn virtuoso, M. Lewy; he was assisted by Demlle. Heinefetter, and MM. Thalberg, Titze, Hürt, and Sachner.

Romberg is at present sojourning here, and has played on the violoncello at a concert in the _Kärntnerthor Theater_. Age seems to have produced no effect upon his mighty powers; his reception was enthusiastic in the extreme.

BERLIN.

Spontini’s opera _Alcidor_, after an undisturbed repose of many years, was lately reproduced here. Its success was but indifferent, notwithstanding the laudable exertions of the singers and the splendour of the scenery and decorations. Dlle. Gerwer is about to leave us; her place, however, will be supplied, for a short time at least, by Dlle. Heinefetter.

A. M. Liebrecht, aged thirteen years, a pupil of M. C. M. Möser, has given a concert here, showing the degree of perfection to which such a child may attain by assiduous and persevering application; he exhibited an extraordinary mastery over his instrument--the violin. Shortly afterwards M. Wagans gave a concert, at which he played a concerto on the trumpet with a degree of taste and brilliancy calculated to sustain the fame which he has already acquired. Other concerts have been--that of the three brothers Gabrielski, in which two of them distinguished themselves as clever flute players, and the other as an accomplished pianist; and one at the theatre, at which Dlle. Fürst, from Dresden, sang; her voice is rather powerful than sweet, and tolerably flexible.

At the Singing Academy the Passion music of St. Matthew the Evangelist, by Seb. Bach, was performed; and on Good Friday the annual performance of the oratorio _Der Tod Jesu_ took place before a very crowded audience; it was subsequently given in the Garrison Church under the direction of M. Hansmann.

MUNICH.

The performances during the present year have comprised the operas _Johann von Paris_, _Zauberflöte_, _Figaro_, _Fra Diavolo_, _Der Maurer and der Schlosser_, (Le Maçon) _Die beyden Füchse_, _Freyschütz_, _Der Schnee_, &c. The management of Baron von Poissl terminated on the 28th February, when he was succeeded by M. Küstner.

STRASBURG.

During the last year it was our good fortune to have a German company, under the direction of M. Carl Bode, exclusively devoted to the opera; and their productions were therefore comparatively of so perfect a nature, that the direction of the French theatre was quite unable to compete with them. They performed during the season, _Fidelio_, _Die Schweizer Familie_, _Freyschütz_, _Die Weisse Dame_, _Preziosa_, _Die Stumme von Portici_, _Don Juan_, _Koskiusko_, _Der Dorf Barbier_, (The Village Barber,) _Tancred_, _Oberon_, _Das Donauweibchen_, (The Nymph of the Danube,) _Wiener in Berlin_, _Der Kleiner Wilddiebe_, (the Little Poacher,) _Sargin_, _Zauberflöte_, _Wilhelm Tell_, and _Robert der Teufel_. Among the company, consisting of about forty members, the most distinguished were Madame Brauer Düringer, whose principal characters were _Fidelio_, _Donna Anna_ in _Die Weisse Frau_, _Elvira_ in _Die Stumme_ and in _Don Juan_, _Sophie_ in _Sargin_, _Mathilde_ in _Wilhelm Tell_, _Isabelle_ in _Robert der Teufel_, and _Tancred_. She has a powerful, rich voice, which is of extraordinary effect in the concerted pieces, and she sings with much taste. Madame Mayer, too, was delightful as _Annchen_ in _Der Freyschütz_; in fact, in all the characters which she sustained. Demlle. Liszevsky also called forth great admiration as _Emmeline_, _Agathe_, &c; but particularly as _Jemmy_ in _Wilhelm Tell_, and _Alice_ in _Robert der Teufel_. M. Wagner, from the Würtzburg Theatre, as principal tenor, was successful in all his efforts; he sang with equal skill and excellence the high part of _Sargin_ and the low one of _Don Juan_; as _Robert_ and as _Arnold_, he has few equals. M. Heisel, as second tenor, was not without merit. The other singers were MM. Popp, Netz, Krieg, Fischer, Kaibel, &c. Great credit is due to M. Bode for having by his judicious management cultivated the taste for classical productions.

With regard to the French theatre, as matters were not going on very prosperously, the direction was taken out of the hands of M. Deville, and the company continued to perform to the end of the season on their own account. Under these circumstances, many new operas were not to be expected; one only was given, Auber’s _Liebestrank_ (Le Philtre). The company consisted of Mesdames Lamotte, prima donna, possessing a rich voice, but often out of tune; Langlade, an agreeable second singer and excellent actress, Demouchi and Després; M. Vernet, principal tenor, with a flexible but thin voice. The rest were scarcely above mediocrity, and the wretched apologies for choruses were below criticism.

LEIPZIG.

Under the management of M. Friedrich Seb. Ringelhardt, the _Stadttheater_ has lately enjoyed much of the public favour and patronage; the music director, too, M. Stegmeyer, is an active young man and a thorough musician, and the Regisseur, M. Hauser, who is also a clever musician, is a very good bass singer. M. Eichberger, the tenor, is excellent. Of the female singers of the establishment Madame Steinert ranked first; then came, after the departure of Dlle. Nina Sontag, whose place she supplied, Dlle. Livia Gerhardt. If want of novelty in the productions has been a fault to be imputed to the management, for new operas have been scarce, those which we have had have been given in such a manner as to compensate for what might otherwise have been a matter of regret. For instance while Madame Schroeder was here we had _Fidelio_, _Don Juan_, in which she performed _Donna Anna_, and _Otello_; she was great in them all and efficiently supported.

Mendelssohn Bartholdy’s overture to Shakspeare’s Midsummer Night’s Dream, was played for the first time in Leipzig, at a concert for the benefit of the poor, and received with great applause; on the same occasion Beethoven’s symphony in A major was given, and M. Poland played a violin concerto by Pechatschek with delicacy and spirit.

The Euterpe, the season of which is now closed, has given various symphonies, overtures, and concertos. In the last selection were a new symphony of M. F. Kähler, Beethoven’s overture to _Egmont_, Weber’s overture to _Der Beherrscher der Geister_, &c.; M. Sipp placed a violin concerto of Rode, and M. Faulmann a concerto of Hummel on the Oboe.

Dlle. Henr. Graban gave a concert on the 21st March to a brilliant audience. The selection was good; among the instrumental pieces was Marschner’s overture to _Hans Heiling_, which, it is said, will shortly be produced on our boards.

An interesting sacred performance lately took place in St. Peter’s church, conducted by the organist, C. F. Becker; the selection comprised a fugue by Handel, and fugues and choral subjects with variations by Sebastian Bach.

PRAGUE.

Gretry’s _Blaubart_ (Bluebeard) has been once more produced here for the benefit of M. Strataky, and experienced a favourable reception, notwithstanding the fact that the whole of the characters were not well sustained. Demlle. Lutzer however as _Maria_ was all that could be desired; her voice has acquired increased strength, and she may soon prove a dangerous rival to the gifted Madame Podhorsky. _Zampa_ has also been given again, and _Die Unbekannte_. The performance of the old opera, _Der Lustige Schuster_ (the Merry Cobbler), was attended with little success. Demlle. Lutzer has lately performed _Zerlina_ in _Fra Diavolo_, _Helena_ in _Das Fraulein am See_, _Desdemona_, _Semiramis_, _the Princess of Navarre_, and _Camilla_ in _Zampa_, in which latter opera she shone particularly.

There has been a concert given by the pianiste Dlle. Nina Trenkler; one by the pupils of the Conservatory of Music; and a third by M. J. B. Hüttner, the professor of that institution: they were all good and attractive.

FRANKFORT.

Aloys Schmidt’s opera, _Valeria_, was given here for the first time a few weeks ago. Although the opera displays some beautiful original ideas, it also abounds in reminiscences of Beethoven, Cherubini, Mozart, &c.; it was very successful.

CASSEL.

Motives of economy, and the state of affairs in the grand duchy of Hesse-Cassel, have occasioned the breaking up of the musical establishment of the chapel, and the closing of the court theatre. The consequence of this suppression is distressing to the artists, who were quite unprepared for such an event. Our celebrated composer, Spohr, is thus deprived of a very lucrative appointment. The greater part of the performers, instrumental and vocal, are dispersed, and endeavouring to find in the different German courts those resources which they are deprived of here. This is an unfortunate occurrence for the musical art, for the ducal chapel was one of the best-organised establishments in Germany.

WEIMAR.

The celebrated Hummel has just received the decoration of the order of the White Eagle from the hands of the Grand Duke. All Germany applauds this mark of distinction conferred on a great musician who is a living honour to his country. M. Hummel has just set out for London, where he is engaged to direct the German opera at the King’s Theatre. It is said that he is to receive a thousand pounds for his services, and his travelling expenses. [The Weimar editor is much misinformed on this subject.]

MEININGEN.

An opera in two acts by the Ducal music-director Nohr, under the title of _Die Wunderbaren Lichter_, founded upon a Thuringian tradition, was lately produced here. This is the second great effort of M. Nohr as a composer, and was received with well-merited applause; he was called forward at the conclusion.

BRUNSWICK.

M. Albert Methfessel has, since his appointment as Kapellmeister last year, strained every nerve to raise the opera to a degree of perfection to which we had hitherto been strangers. The prime donne of the grand opera are at present Mesdames Cornet and Franchetti, the former a most delightful and finished bravura singer. The principal tenor is M. Cornet, the idol of the frequenters of the opera, who is not less gifted and accomplished as an excellent dramatic singer than as a sterling good actor.

There is at present here a Dlle. Bertha Lewig, aged fifteen years, a pupil of M. Methfessel, who displays wonderful proficiency on the piano-forte.

BERNBURG.

A series of subscription concerts, which commenced here in December last, terminated on the 9th March; they were under the direction of M. Victor Klauss, a young and talented composer. The principal solo performers were MM. Probst and Fischer, on the violin; M. Wustenhagen, on the clarionet; M. Bosse, sen., on the oboe; M. Klotzsch, on the violoncello; and M. Bosse, jun., on the flute. M. Klauss, too, himself also delighted us with two very excellent performances on the piano-forte. Some overtures and symphonies of Mozart and Beethoven were not only faultless in their performance, but really presented a very rich source of musical enjoyment. The singers consisted of a few members of M. Atmer’s theatrical company, besides some dillettanti of great ability.

ATTENBURG.

The New Dessau Opera Company of M. Jul. Miller, commenced their performances here on the 10th March. The music director, M. Ed. Theile, a pupil of Fried. Schneider’s, is already known to the public as the author of some clever piano-forte composition.

THE DRAMA.

~King’s Theatre.~

After nearly a season has passed away, in which nothing but old, mostly feeble, operas, filled by second and third-rate performers, have been given to the subscribers--for the _public_ have been too wise to pay their money for nothing,--we all at once find the theatre so crowded with singers that they actually jostle each other in the lobby. When the house stood in need of attraction, when the best management, the utmost activity, would hardly have enabled the lessee to pay his expenses, he furnished neither opera nor singer, ballet nor dancer, that drew enough to meet the rent. When Easter was turned--when that season had arrived in which, if the doors are opened, the house is lighted, and a set of puppets are placed on the stage, multitudes will go to see them--at that season we find a double _troupe_, and fragments of different operas given on the same night, in order that the performers may have some employment, and not lose their voices for want of use!

On the 27th of April _La Cenerentola_, one of ~Rossini’s~ most insipid operas, was performed, Mad. ~Cinti~ as _Angelina_, whose musical and flexible though not strong voice, and refined taste, the result of a perfect knowledge of her art, imparted a charm to what was originally weak and has been hacked for years. ~Donzelli~ was _Ramiro_, ~Tamburini~ _Dandino_, and ~Zuchelli~ the _Magnifico_, all of whom sustained their parts well; but the two sisters very nearly spoiled the whole, by the contrast they formed with the rest, and ~Tamburini~ only reconciled us to his excessive flourishing by the beauty of his voice and intonation.

On Thursday the 2nd of May, Madame ~Pasta~ reappeared, after an absence of two seasons, in _Anna Bolena_, an opera indebted for its continued existence solely to her performance: in ordinary hands it could not have survived one night in London. This admirable performer is just what she was, in person, voice, and action; and we have only to refer our readers to the opinions we have formerly given on the subject, for those entertained by us now. She was received by a crowded house in the warm manner that her great and yet unabated talents gave her a right to expect.