Chapter XIX: Part I: of this work consists of ‘Practical Rules,’ &c., which are (3)

Tones of simple melody seem to float, like soft and delicate whispers, through the shadows of night. It seems as though something mystic were approaching, from the distance shrouded in darkness, which suddenly settles like a gleam of moonshine on the desired spot. Now gentle and vigorous sounds alternate, as though a power of both those characters, veiled in the misty clouds, were at hand; and in a chord of silvery softness, Titania beckons her fairy followers, who, forthwith forming in couples, wind through the silent wood in fantastic twirling dances. Here, detaching themselves from their companions, a diminutive elfin couple creep into a polished acorn-cup, and sing in delicate fairy strains to the elegant movements of the rest. Pea-blossom, Mustard-seed, Moth, and Cobweb, are there among the busy revellers in the moonshine; and there is such a twirling and flirting, and rustling and glitter, that one would fain be present at the nuptial revels of the bright-helmed Theseus, were it even in the capacity of a tinker. Anon somebody trips in with a prying look, softly and slyly, as though he were plotting mischief; and this personage is no other than Friend Oberon, attended by his roguish Puck, projecting a little spell to punish his refractory consort. And lo! on a sudden, matters become coarsely real and corporeal. The ‘rude mechanicals’ are about to rehearse their ‘most lamentable comedy’ in the wood; and the lovers are eloping, because the cruel father will not let his daughter marry him she loves. The night is as busy and full of life as though it were open day, and a legato cantabile, keeping up the character of the scene, expresses the impassioned prayer of the maiden, exhausted by her flight, imploring that she may be allowed to slumber undisturbed on the mossy rock. In the foreground beneath the trees the mechanics are rehearsing their drama, each according to his part; Oberon surveys unseen the strange performance, and gives his commands to the sly Puck. The scene is now one of wonderful bustle and confusion; mortals rehearse and elves dance, Oberon smiles, and Puck, ever frolicsome and mischievous, returning, dives through the dewy atmosphere and presents to his radiant master the magic floweret, Love in idleness, whose penetrating juice changes the wise to stupid and the stupid into wise. This is, between ourselves, the very flower which, among other things, is the cause that the most shallow effusions thus metamorphosed are the most assiduously read and strummed. Dip them in the water, their element, and Puck’s observation is perfectly legible upon their hairy foreheads--

‘Churl, upon thy eyes I throw
All the power this charm doth owe.’

It is only a pity that the wag should always mistake his man, and, instead of the right, invariably hit upon the wrong! But for the rest, this is after all of little consequence; for in a genuine Midsummer Night’s Dream it is proper that all things should be at cross purposes, and yet so clearly defined, that in the confusion we may distinguish the forms of the beings composing it. And here the great charm is that this is just the case in this instance. Oh! what a delightful thing is a merry dream! Suddenly the chord of the diminished seventh, that pliant and accommodating harmony, accompanied by rumbling bases, resounds through the busy scene, and one may fancy Quince exclaiming, ‘Bless thee, Bottom, bless thee, thou art translated!’ No matter! it is rather a piece of good fortune for Bottom. Although the scared artisans run off at the sight of his monstrous head, the slumbering Titania, being also under the spell of the magic floweret, on awaking beholds the transformed wight; and oh! how beautiful and intellectual does she find the agreeable beast! how lovingly does she caress him! The sprightly elves are ordered to dance to her long-eared darling, and Pea-blossom to scratch his lovely little head. Theseus now approaches with his queen of the Amazons and train of huntsmen to the sound of the horns and the barking of dogs. Things now begin to assume a clearer aspect; Bottom too is disenchanted, and it seems as if the clowns were playing Pyramus and Thisbe at the wedding. Bottom roars so that the duke says, ‘Let him roar again!’ Lysander has returned to his love; and matters end so much to our satisfaction that one cannot help exclaiming with Bottom, ‘I have had a most rare vision--I have had a dream past the wit of man to say what dream it was. Man is but an ass, if he go about to expound this dream.’ In short, the beauty of the thing is, that in its true sense, the beginning is the end and the end the beginning.

Now let the reader, who in this account may here and there have observed something of a flowery description, first of all read the Midsummer Night’s Dream; then let him take the two-handed arrangement, or the duet, as he pleases, (they are both beautiful and good; but the arrangement for four hands is the better--a circumstance, however, which ought by no means to imply a defect as regards the two-handed arrangement, for the simple reason that two is not four,) and he will be delighted with it and feel the import of the lines,

Thus have I, Wall, my part discharged so,
And, being done, thus Wall away doth go.

REVIEW OF NEW MUSIC.

~Six original English Glees~, _for three and four voices, including
the Glee which gained the Prize given by the_ Manchester Glee-Club,
1832, _and those performed at the_ Concentores Society, _composed
by_ ~H. R. Bishop~. _The Poetry by_ Mrs. ~Hemans~, ~Joanna
Baillie~, ~J. Wilson~, Esq., _and_ Dr. ~Johnson~. (Goulding and
D’Almaine.)

The Glee is our national music, is indigenous to these isles, and a beautiful species of composition however viewed; we should therefore be sorry to see it fall into anything like neglect, a danger which some few years ago seemed to be threatened, though now we trust is past, judging from the encouragement it has lately received from many associated bodies, and from its re-introduction to domestic parties, where it appears to be regaining that favour which its own merits, and the facility with which it may now be performed, ought always to command.

Mr. Bishop, though he pursued his professional studies under an Italian master, and has devoted his life chiefly to the theatre, has cultivated what in an English musician may almost be called a natural talent for glee-writing, to which, it is fair to a laudable institution to state, he has probably been partly induced by his connexion with the _Concentores Society_, a small club, whose sole object is the conservation of this kind of composition, and for the service of which three out of the present collection were produced.

The first glee in this volume, ‘Where shall we make her grave?’ in ~E~♭, for four equal voices, gained the _premium_--(a _Prize_ implies a medal, or cup; a far more gentlemanlike reward, by-the bye,)--given by a club at Manchester, and is a very impressive composition, the words set with judgment and feeling, and full of good, rich harmony. Being long, a more frequent and decided change of key would have increased the effect of this; though as it is in four different movements, the sameness which otherwise would have been felt, is much concealed. The melody at the words ‘where shower and singing-bird,’ is very charming; and the whole of pages 4 and 5, where the author modulates first into ~A~♭, then into ~D~♭, is set in a masterly, affecting manner.

The second, ‘Up! quit thy bower!’ a cheerful glee in ~F~, for two sopranos, tenor, and base, is lively and pleasing: the frequent use here of the diminished 7th is rather a novelty in a glee, and tends to a good purpose. The whole of this is full of agreeable melody, which is particularly striking at page 15, where the annexed passage occurs,--a successful departure from the usual habits of glee-writers:--

The lulling stream that sooth’d thy dream is dancing, &c.
The lulling stream that sooth’d thy dream is dancing, &c.
]

The third, ‘No more the morn with tepid rays,’ in ~D~, for four equal voices,--the words, Dr. Johnson’s Ode to Winter,--is in several movements, but the key is not so various, and the whole, though set with a due regard to the Poet’s sentiments, is rather monotonous and heavy. The following passage contains some clashing notes, though we allow that many of them are passing notes.--

congeal’d impetuous show’rs descend, congeal’d impetuous show’rs
congeal’d impetuous show’rs descend.
]

The composer’s design is obvious, but nothing in music can justify what is disagreeable to a cultivated ear.

The fourth, ‘Oh! Sky-lark!’ in ~F~, also for four equal voices, is throughout graceful, especially in melody; the repetition of certain pleasing phrases conduces here very much to effect.

The fifth, ‘In tears, the heart oppressed with grief,’ in ~E~, for soprano, tenor, and base, a single movement, is elegant and gentle, and the words are most judiciously set. Some chromatic notes in this will put glee-singers on the alert: they are, generally speaking, averse from trouble, but it is time to rouse them, and break through their ancient habits.

The sixth and last, ‘Come forth, sweet spirit!’ in ~F~, for four equal voices, in two movements, is a good composition, and quite irreproachable, yet not very captivating. It is best calculated to please those critics who judge music by the eye rather than the ear,--who deal largely in the phrases ‘fine writing,’ ‘parts well put together,’ &c., and seldom look beyond the mechanism of a composition.

We may pronounce this to be a successful work: the glees are all of the orthodox kind, deficient in nothing that good taste requires, or that the nature of the composition, by a prescriptive right, demands. No very hazardous attempts are made at novelty, but we meet with nothing common, and no pedantic show of mistaken learning. Mr. Bishop has written to please, not without a sufficient regard for his own reputation, and has not failed in his endeavour.

* * * * *

1. ~Songs of the Bower~, _composed by_ ~C. W. Manners~. (Goulding
and D’Almaine.)

2. The Spring Wreath, ~Twelve Songs~, _composed by Messrs._ ~John
Thomson~, ~R. Webster~, ~J. P. Clarke~, ~T. Macfarlane~, _and_ ~W.
Hindmarsh~: _the words by_ ~T. Atkinson~, _author of_ The Cameleon.
8vo. (Goulding and D’Almaine.)

Without being at all informed on the subject, and judging only from the dedication of the _Songs of the Bower_, we are inclined to believe that they are the production of an amateur, and that the words are by the author of the music. If we are in error as to the latter point, the composer is bound to excuse us, for he should have named the writer of them, if not from his own pen. They are six in number, show a vast deal of taste, a desire to avoid commonplaces, (though not always successful in this respect,) and a most correct manner of setting the poetry, both as regards expression and accentuation. Indeed, it is the latter circumstance which leads us to think that the composer and poet are one and the same person, for mere musicians, more often than not, are influenced by the meaning of particular words rather than by the context, and almost as frequently commit mistakes in quantity and in emphasis.

The first of these, ‘Once more to the bower,’ in ~E~, is a slow, expressive air, well accompanied, but not very original, particularly in its cadences. The second, _The Regret_, in ~F~, if sung slowly, rather ad libitum, and with feeling, will always make an impression. The accompaniment to this is very appropriate. The third, ‘When youth first leads,’ in ~D~, is more pleasing than new. Of the fourth, ‘Now is the hour,’ in ~E~ flat, precisely the same may be said, though it is not as a whole equal to the former. The fifth, ‘Come welcome with me, lovely May,’ in ~G~, should have been written in triple time; it has a strong polacca tendency, and halts exceedingly in its present measure. The praise we have bestowed on the composer’s accentuation must be abated so far as this song is concerned: giving a long note to ‘with,’ and in the strong part of the bar too, cannot escape censure. The sixth, ‘The last red rose,’ in ~E~ flat, is another expressive air, and the accompaniment shows much good taste in harmony; but the cadences here, as once or twice before, are, contrary to the moral rule, not the more valuable for being old acquaintances.

No. 2 is a very pretty volume of lithographed songs, thin enough to carry in the pocket, and with neat cover and gilt leaves, producible in any lady’s drawing-room; and all this at a less price than two songs of the ordinary kind! We confess that the smallness of the characters calls on the eye for unusual exertion; and the singer and accompanyist, if in the dual number, must sit in the closest possible contact if they mean to see a single note or word.

Of these songs, the best are, _The Promise_, in the Scottish style, by J. P. Clarke; _The Night Flower_, by T. Macfarlane; ‘The Midnight Dream,’ by John Thomson, Esq., a very superior composition; and _The Proud Lover_, by R. Webster. The poetry of the songs is unaffected, and some of it remarkable for tenderness, if not for any higher quality; and, at all events, the publication is certainly worth the moderate, the hardly remunerating price set on it.

* * * * *

PIANO-FORTE.

1. _Souvenir du_ Pré aux Clercs, ~Fantasia~, _composé par_ ~F.
Kalkbrenner~, Op. 119. (Goulding and Co.)

2. _Souvenir de_ ~Herold~, _Fantasia, par_ ~C. Chaulieu~. Op. 151.
(Goulding and Co.)

Both of these are remembrances of M. Herold, the lately-deceased French composer, and made up, we believe, chiefly of airs from his operas.

The first, though requiring considerable powers of execution, is good music; difficulty is not the author’s _object_. Some parts are very beautiful, others ingenious; but we most condemn the hateful run of semitones in thirds, foolishly introduced, at page 8, in deference to a vicious fashion.

* * * * *

M. Chaulieu has produced some clever and many pleasing things for the piano-forte, which have always been noticed by us in terms of due approbation. Though not an original or vigorous composer, he has generally been a rational one. But all at once his judgment seems to have abandoned him,--a fit of pedantic foppery has seized him! Will it be credited that a composer in the nineteenth century, a musician not under restraint, not actually in a strait waistcoat, can have attempted to retrograde a century and a half, by introducing, in a piece written for the piano-forte only, the contra-tenor clef? He has not only employed this, most freely, in the present fantasia, but written it with _8va. alta_ over the notes, as if the same meaning could not have been expressed infinitely better by the usual clef, even admitting that the ~C~ clef were still in use! If such folly as this is countenanced, we shall soon go back to six-line staves, to the treble clef on the first line, and the mean on the fifth,--to musical darkness and barbarism. Surely the London publisher, Mr. D’Almaine, could not have been aware of this mad freak, or exquisite piece of musical coxcombry, or his common sense would have prompted him immediately to restore sanity to the notation of this work, which, in its present state, cannot have the least chance of sale.

* * * * *

1. ~Grosses Concert-Stuck~, (_Pièce de Concert_,) _Op. 47, composé
par_ ~Mayseder~, _arrangé pour le Piano-forte par_ ~Charles
Czerny~. (Wessel and Co.)

2. ~Rondeau Mignon, No. 7~, _sur l’air_ ‘Non più andrai’ _de_
~Mozart~, _composé pour le Piano-forte par_ ~Fred. Kulau~. (Wessel
and Co.)

The subject of No. 1 has frequently, in one shape or other, come under our notice; it has all the frothy gaiety of the author, and not a trait that gives it the slightest chance of being remembered beyond the fleeing hour. M. Czerny, as might have been expected, has not palliated any of its defects, but rather aggravated them, by a succession of restless, unrelated, senseless passages.

* * * * *

M. Kulau, a judicious musician, but, alas! no more, has made a very charming rondo out of Mozart’s popular air from _Figaro_. Like a reasonable man, he has studied the convenience of the player, and also confined himself within moderate bounds;--like a man of taste, he has been regulated by the style of the subject;--and like a musician who really understands his art, he has added nothing but what every sound harmonist will approve and admire.

* * * * *

1. ~Minuetto~ _and_ ~Trio~, ~Andante Sentimentale~, _and_ ~Allegro
Scherzando~, _composed by_ ~Edward J. Loder~. Op. 19. (Goulding and
D’Almaine.)

2. ~Horn’s~ ‘Happy Valley,’ _and_ ‘Dark-eyed Brunette,’ _arranged,
with an_ Introduction, _by_ ~T. A. Rawlings~. (Monro and May.)

3. ‘Non più mesta,’ _the Finale to_ La Cenerentola, arranged, with
Variation, _by_ ~T. A. Rawlings~. (Monro and May.)

No. 1 evinces talent of no common kind: he who composed these pieces could, we should suppose, put parts to them, and by the addition of a single movement exalt them into a symphony, of which they seem to have been intended as portions. The three great masters are the models on which these compositions are formed, of whom Beethoven appears to be the object of the author’s highest admiration. The Minuet, in ~E~ flat, and Trio, in ~A~ flat, are spirited, and less studied in manner than the Andante, in ~B~ flat, which is impressive and _recherché_. The Allegretto, in ~A~ flat, is bold and energetic; the modulations here are many and fearless, and the author has ventured on discords for which he has no precedent that immediately occurs to us, thus at least proving a courage and independence which promise much as the result of his future exertions. Were our advice likely to influence Mr. E. Loder, we would recommend him to pursue his present course, only guarding him against the possibility of being allured from melody by the temptations of harmony.

* * * * *

The composer of a song has no chance now of success unless he fee some public performer to sing it; and the composer of a piano-forte piece must not expect that his work will attract any notice unless built on some popular air. Mr. Rawlings has long known the truth of this, and still acts on his experience. No. 2 is formed on two airs said to be popular, and No. 3 on one that unquestionably is, namely, ‘Non più mesta; of all of which he has made good use, and produced two very agreeable and recommendable publications.

* * * * *

1. ~Contre-Danses Brillantes~, _et_ ~Valse~, _composés par_ ~J. T.
Surenne~. (Robertson, _Edinburgh_.)

2. ~Quadrille~ _de_ ~Contre-Danses~, _sur des motifs de l’opéra de_
~Donizetti~, Anna Bolena, _arrangée par_ ~Henry Lemoine~. (Wessel
and Co.)

No. 1 are animated, animating dances, not exhibiting any very new thoughts, but well put together.

No. 2 are subjects from an opera that cannot boast a single original idea, therefore the compiler of this quadrille must not be censured for want of novelty; but he has well arranged the airs he has chosen, and adapted them in a convenient manner for the performer.

* * * * *

DUETS, PIANO-FORTE.

1. ~Grosses Concert-Stuck~, (_Pièce de Concert_,) Op. 47, _composé
par_ ~Mayseder~, _arrangé par_ ~Charles Czerny~. (Wessel and Co.)

2. ~Duet~ _on a_ ~Danish Melody~, _composed for two performers, by_
~Fred. Kulau~. (Wessel and Co.)

No. 1 is the work noticed above, as arranged for a single performer. We like it better in its present form, for the parts are more dispersed, and the melody comes out more distinctly. The upper part of this is very difficult, but the lower is easy, the duet therefore will very well suit an elder and younger sister, or two players whose musical advancement is unequal.

* * * * *

No. 2 is Kulau’s _Recollections of Odensee_, in two quick, pleasing, and very practicable movements. We will not answer for the airs being, _bonâ fide_, of Danish origin, but whatever their birth-place, they are lively, pretty, and the superior master often peeps out while he means to be only simple and familiar.

* * * * *

1. ~Quadrille~ _sur des motifs de_ ~Herold~, _de l’opéra_ Zampa,
_arrangée par_ ~Henry Lemoine~. No. 1. (Wessel and Co.)

2. No. 2, Ditto. ditto. ditto.

Some of the best subjects from an opera which has been too much lauded on the continent, are here arranged in an easy but effective manner.

* * * * *

ORGAN.

~Select Organ Pieces~, _from Masses, Motets, and other sacred works
of_ ~Mozart~, ~Haydn~, ~Beethoven~, ~Cherubini~, ~Palestrina~,
_and other classical composers of the German and Italian schools,
arranged by_ ~Vincent Novello~. _Nos. 31 to 36._ (A. Novello.)

What the preceding numbers of this work contain, we have had no means of judging, having only received those now under notice, and must confine ourselves to them. By means of very close engraving, twenty-two pieces are included in these numbers, principally from Haydn’s and Mozart’s sacred compositions, but some few are by Novello, Portogallo, and Bonno. We are not among those who think that the Masses, &c. of Haydn and Mozart are, taken altogether, equal to their secular works; many of them, we are persuaded, would never have been published by the consent of the composers, but parts of them make very good organ pieces. These Mr. Novello has culled, and, with his well-known ability, converted them to a very useful purpose. He certainly calculates his adaptations for superior organists, and is not sparing of notes. Sometimes there will be found too many, by second-rate performers; and we take the liberty to mention to Mr. N. that in the country, nay even in the metropolis, are several respectable organists, very well qualified to do the duty of parish churches, who think his arrangements too much crowded for ordinary players, and too full of harmony for country congregations.

VOCAL.

‘Tantum ergo,’ a ~Soprano Solo~, _with chorus, and violin, or
flute, obligato, composed by_ ~C. Guynemer~. (J. A. Novello.)

This is more to be praised for smoothness of melody, and elegance in style, than for invention; we meet with nothing in it that can be called new, but, at the same time, nothing but what is rather agreeable. The air is in two movements, the first slow in three-four time, the last quicker, in common time. We prefer the former. The chorus, with a principal soprano added, to which a few florid passages are given, is simple, therefore--according to our notion of choral church music--appropriate; but it is also graceful. The flute accompaniment (by Mr. Nicholson) is good, as such, but not of that grave character which the words so imperatively demand.

* * * * *

1. ~Terzetto~, ‘Soccorso, sostegno,’ _for soprano, contr’alto, and
basso, composed by_ ~John Lodge~, Esq. (Lonsdale and Mills.)

2. ~Glee~, ‘The Butterfly,’ _for four voices, the words by_ ~S.
Rogers~ [Esq.] _the music by_ ~James Battye~. (Goulding and
D’Almaine.)

3. ~Duet~, ‘Wandering Zephyr,’ (_the words from the Spanish, by
Mrs. Lawrence_,) _composed by_ ~John Lodge~, Esq. (Lonsdale and
Mills.)

4. ~Duet~, ‘We must part, love!’ _written by_ ~W. Ball~, _the
melody by_ ~Mozart~, _with symphonies, &c. by_ ~William Forde~.
(Cocks and Co.)

No. 1 begins with a single voice, the contr’alto following, on the same subject a fourth below; but the most pleasing part of this is where the three voices come together. The whole is quite in the Italian style,--the best, though; and not unworthy the acceptance of the talented and lovely young dilettante to whom it is dedicated,--the Hon. Mary Anne Jervis.

* * * * *

No. 2 is not a glee, we beg to hint to the composer: having an accompaniment, and a free one too, it should have been called a quartet. The name, however, may not much signify; but as Mr. Brown is better known by that appellation than if he were called Mr. White, so the term quartet more correctly explains the nature of the present composition than that now bestowed on it. But whatever the name of this, it will not give one to its author: he must not build his hopes of immortality on _The Butterfly_.

* * * * *

No. 3 is simple, easy in every respect, and exactly calculated to please those who either do not understand or have no taste for elaborately written music. In whatever Mr. Lodge publishes, however unpretending, a trait of originality is always to be found, and this duettino is no exception to the rule.

* * * * *

We cannot say from which of Mozart’s works Mr. Forde has taken the melody of No. 4; it does not bear any of the very distinguishing marks of the author, though agreeable. The words, which are not quite intelligible to us, are not all adapted with the proper regard to emphasis, and the accompaniment needs much thinning. With a little alteration, this duet may be made useful to such amateur singers as are not disposed to examine too critically the poetry to which they give utterance.

1. ~Arietta~, ‘Torna in quell’ onda chiara,’ _the words by_
~Metastasio~, _the Music composed by_ ~Lord Burghersh~. (Lonsdale
and Mills.)

2. ~Ballad~, ‘Crabbed Age and Youth,’ _composed and published as
the preceding_.

3. ~Ballad~, ‘Unmindful of my sorrow,’ _written by_ ~Mrs.
Butterworth~, _composed by_ Mrs. ~Philip Millard~. (Monro and May.)

4. ~Ballad~, ‘I know our dream of love is o’er,’ _the melody by_
~Beethoven~, _the Poetry, Symphonies, and Accompaniments by_ ~J. A.
Wade~, Esq. (Hawes.)

5. ~Song~, ‘The World of Change,’ _the poetry by_ ~Mrs. Abdy~,
_adapted to a melody of Spohr’s, by_ ~Edwin J. Neilson~. (Hawes.)

6. ~Song~, ‘When the moon sheds her lustre,’ _written by_ ~S. P.
Quin, Esq.~, _composed by_ ~Alexander D. Roche~. (Cocks and Co.)

7. ~Song~, ‘I saw thee crop that beauteous flower,’ _composed by_
~Charles M’Korkell~. (Chappell.)

8. ~Canzonet~, ‘Farewell, ye green hills,’ _composed by_ ~J. W.
Davison~. (Purday.)

No. 1, short and simple as it is, possesses much of that quality for which we so often sigh,--originality. Nothing can be more easy than this, for both singer and accompanyist, and it cannot fail of a circulation among those who do not take fright at a foreign language.

* * * * *

No. 2, we are told in a note, ‘is founded on the ancient Greek enharmonic mode, in which the 4th and 7th of the scale are omitted, as in the scale used in the Scotch melodies.’ In old Scottish airs, and, what is rather remarkable, in Chinese melodies, these intervals are rejected, but we do not wish to see the practice imitated, except, perhaps, now and then, to give--as in the present case--a tinge of antiquity to music set to ancient poetry.

* * * * *

No. 3 is very expressively set; but the time being marked 2/4, it appears to us that _larghetto_ would have met the composer’s intentions better than _andante_, which, in four-quaver time, is quicker than the character of both words and music seems to justify.

* * * * *

No. 4 is the andante in ~B~ flat from Beethoven’s septet, which Mr. Wade apparently intends now to be sung much slower than it is played in its original form. He has not been very fortunate in adapting words to this; ‘one’ is not emphatic, nor is the last syllable of ‘memory,’ of ‘melody,’ and of ‘minstrelsy,’ long. Me-mo-ry, &c., will not do.

* * * * *

No. 5 also exhibits numerous errors in emphasis, beautiful as is the air. In fact, as the words are now adapted, a singer would stand a fair chance of being laughed at who should perform this air.

* * * * *

The sixth and seventh of these call for no remark.

* * * * *

No. 8 sets off with some promise of novelty, but the composer, in modulating from ~F~ to ~E~ minor, gets quite out of his depth, and is engulphed in fifths of so abominable a kind, that we cannot allow them to pass without a remark.

PIANO-FORTE AND VIOLIN.

~Gran Duo Concertante~, _on Airs from_ ~Meyerbeer’s~ Robert le
Diable; _the Piano-forte part by_ ~Kalkbrenner~, _the Violin part
by_ ~Lafont~. (Chappell.)

This is a composition in which two first-rate artists have united their talents, and requires performers of nearly equal rank to execute it in a fit and proper manner. It is a work remarkable for its brilliancy, which appears to have been the principal aim of the writers, for the greater part is of this cast; though an expressive adagio in ~B~ minor, and one variation of the same kind in ~F~ minor, operate as seasonable contrasts and reliefs. The bulk of this consists of an air in ~C~, (we do not recollect its title,) with, in point of fact, five variations, though only numbered as two. The first of these requires a violinist expert in double stops; and if the pianist cannot run demisemiquavers in thirds, with one hand, in quick time, he had better at once decline all share in the concertante.

* * * * *

PIANO-FORTE AND FLUTE.

~Introduction~ _and_ ~Rondo~ on ‘Ah! quand il gêle sans se
laisser,’ _chorus in_ ~Onslow’s~ _opera_, Le Colporteur, _composed
by_ ~F. Kulau~, Op. 98. (Hill.)

We cannot any that any great exertion appears to have been made by M. Kulau either in the choice or arrangement of this chorus, but it has an advantage, and not a trifling one, namely, that it enables two moderate performers to make a considerable display without the cost of much previous practice, and at the expense of but little exertion. This is in ~E~ minor, but ends in the major key. It has an introduction, which, though there is an air of pretence in it, is heavy, and signifies nothing.

* * * * *

1. ~Tre Duettini~, _ridotti per due Flauti e Piano-Forte, da_ ~T.
Bucher~. (Cocks and Co.)

2. ~Paganini’s~ _Three_ ~Fantasias~, _arranged and published by the
same_.

The duets are ‘Cara pupille,’ and ‘Che cangi sempre,’ of Blangini, and ‘Vedi da questi palpiti,’ by Mercadante, arranged as ~Trios~, in as easy a manner as possible for all three instruments; and to a numerous class of amateurs they will not be less agreeable because divested of all manner of difficulty, without being rendered insipid.

* * * * *

No. 2 are as brief as the foregoing, but the flute part requires rather more skill in the performer, while the accompaniment is much the same as the other. As to the airs, they are without any distinguishing character; and why such trifling compositions, so short--only two pages each--so scanty in subjects, and consequently so destitute of those flights of imagination which the term fantasia implies, should have received such a title, we are at a loss to guess.

ANCIENT CONCERTS.

ELEVENTH CONCERT,

_Under the Direction of Earl Howe, Wednesday,
May 29, 1833._

~Act I.~

National anthem, ‘Lord of Heaven.’

Song, ‘Rejoice, O Judah.’ Chorus, ‘Hallelujah.’ ~Handel.~
(_Judas Maccabeus._)

Glee, ‘A generous friendship.’ ~Webbe.~

Recit., ‘Ei parte, senti, ah no!’ Song, ‘Per pietà.’ ~Mozart.~
(_Cosi fan Tutte._)

Chorus, ‘O Father, whose.’ (_Judas Maccabeus._) ~Handel.~

Concerto 2nd. (_Grand._) ~Handel.~

Recit., ‘He was cut off.’ Song, ‘But thou didst not ~Handel.~
leave.’ (_Messiah._)

Chorus, ‘Lift up your heads.’ (_Messiah._) ~Handel.~

Selection from the _Creation_. ~Haydn.~
Recit., ‘And God said.’
Recit. acc., ‘In splendour bright.’
Chorus, ‘The heavens are telling.’
Trio, ‘The day that is coming.’
Grand chorus, ‘The heavens are telling.’

~Act II.~

Overture. (_Henry the Fourth._) ~Martini.~

Recit., ‘Grazie vi rendo.’ Song, ‘A compir.’ ~Guglielmi.~
(_Semiramide._)

Glee, ‘When winds breathe soft.’ ~Webbe.~

Recit., ‘Me, when the sun.’ Song, ‘Hide me from ~Handel.~
Day’s.’ (_Il Pensieroso._)

Overture. (_Prometheus._) ~Beethoven.~

Chorus, ‘Rex tremendæ.’ Quartet, ‘Recordare.’ ~Mozart.~
(_Requiem._)

Glee, ‘Though the last glimpse of Erin.’ Irish air,
harmonized by ~Greatorex.~

Chorus, ‘O sing unto Jehovah.’ ~Haydn.~

This concert, the first selected by the noble Earl who has lately added his name to the list of directors, augurs very favourably of his musical knowledge and taste. We here discern no symptoms of prejudice, of an irrational exclusive system, for the best productions of the great schools are allowed a place; and, so long as the works of living composers are declared inadmissible,--a regulation which, for obvious reasons, ought to be strictly enforced,--the wider the field for choice, the better, both for the subscribers and the art itself. With this exception, the rule should be, and we have no doubt will be, to throw the door wide open to all that is excellent, whatever its country or date, and to give every work all the advantages that the best-appointed orchestra can bestow.

The Queen was present at this performance, and perhaps what is here denominated ‘The National Anthem’ was meant as a compliment to her Majesty. But why not have called it by its right name? And what reason can there have been for not giving the composer the credit of it? This is neither more nor less than Haydn’s Hymn for the Emperor Francis, with English words adapted to the music,[67] and as such would probably now have been announced, had not the secretary made his copy from a book of some former year.

The song from _Judas Maccabeus_ is certainly not one of the best in that fine oratorio, but the chorus is grand. Webbe’s lovely glee, of which it is difficult to say whether the melody or the simple harmony is most charming, was well executed by the second choir; the first wanted strength in the base. Madame Cinti excels more in the cantabile than in the declamatory style; she therefore sang the air, ‘Per pietà,’ divinely, but was not quite so successful in the recitative. The fine choral prayer, ‘O Father, whose almighty power,’ with the spirited fugue, forming the second movement, was admirably performed; as was Handel’s concerto. In the air from the _Messiah_, Mrs. Knyvett was perfectly at home, as she is in all Handel’s music. Indeed this lady is, we fear--and we feel with regret this apprehension--likely to be the last of that school which has received from tradition the true manner of singing the oratorio music of this master. The chorus that followed, by being placed in juxtaposition with Haydn’s choral _chef-d’œuvre_, seemed to challenge comparison; but if Handel is to be weighed in the scale against Haydn, ‘Lift up your heads,’ though a very masterly chorus, is not the work to be selected for the purpose. Nothing can exceed the admirable manner in which the selection from the _Creation_ was performed: Braham’s ‘In splendour bright’ was magnificent, and ‘The heavens are telling’ stupendously grand; we never before heard so perfect a performance, and never were more affected by choral music.

The very pleasing light overture of Martini found an abundance of admirers in the room: many who did not justly appreciate Haydn’s chorus, entered fully into the merits of this. The melody, ‘Charmante Gabrielle,’ forming part of this, dragged--was played too slow. The aria, ‘A compir,’ proved too much of a duet; the violin was rendered more prominent than the composer intended; but Madame Cinti executed her share of it with a delicacy and neatness that never have been surpassed. Webbe’s greatest work, his glee, ‘When winds breathe soft,’ was a very finished performance. Miss Stephens sang most sweetly the song from _Il Pensieroso_. What poetical music! what musical words! But the whole oratorio (as it is called) whence this is taken, tempts one to commit an anachronism, by making Milton and Handel commune together during the progress of their work. The overture to _Prometheus_ went well, but wanted some of the fire of the Philharmonic orchestra. The chorus, ‘Rex tremendæ majestatis,’ had ample justice done it; but in the exquisite quartet, a want of _ensemble_, of that union which good rehearsing produces, was too apparent.

TWELFTH CONCERT,

_Under the Direction of Lord Burghersh, Wednesday, June 5, 1833._

~Act I.~

Overture. Chorus, ‘O the pleasures.’ (_Acis and ~Handel.~
Galatea._)

Song, ‘Parto ma tu ben.’ (_La Clemenza di ~Mozart.~
Tito._)

Glee, ‘Mark’d you her eye.’ ~Spofforth.~

Recit., ‘O loss of sight!’ Song, ‘Total eclipse!’ ~Handel.~
(_Samson._)

Quartet, ‘Vieni à regni.’ (_Orfeo ed Euridice._) ~Gluck.~

Song, ‘Il pensier stà.’ (_Orfeo ed Euridice._) ~Haydn.~

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

Te Deum (MS.) Composed for the Royal Chapel at ~Leo.~
Naples, 1741.

~Act II.~

Overture (_Alceste._) ~Gluck.~

Song, ‘Let the bright seraphim.’ Chorus, ‘Let their ~Handel.~
celestial.’ (_Samson._)

Sestetto, ‘Dove son.’ (_Cosi fan Tutte._) ~Mozart.~

Duetto, ‘Dove scorre.’ ~Mozart.~

Quartet ‘Agnus Dei.’ Chorus, ‘Dona nobis.’ ~Mozart.~

Song, ‘Misera! dove son?’ ~Mozart.~

Madrigal (double choir), ‘When all alone.’ ~Conversi.~

Song. ‘Alles still tiefe.’ ~Keiser,
1694.~

Chorus, ‘Father, we adore thee.’ (_Judah._) ~Haydn.~

With this concert the season concluded, and in a manner which we should suppose must have determined almost every subscriber to continue his name on the list for the ensuing year. So good a selection, so much variety and novelty, never appeared on the books of the Ancient Concerts. Madame Pasta’s deeply expressive style of singing ‘Parto’ was felt by the whole room, but her shakes, or attempts to shake, nearly neutralized all the good effect she produced. Spofforth’s very beautiful glee,--one of those specimens of the English school which will descend to posterity, and never lose its power to charm,--was, upon the whole, delicately sung, though somewhat too quick. Mr. Bennet in ‘Total eclipse!’ did himself the greatest credit; he sang it most chastely, and afforded the best proofs of having studied the words as well as music of this exceedingly pathetic song, one of the _chefs-d’œuvre_ of the great master. The beautiful quartet from Gluck’s _Orfeo_ was new to these concerts. It is reasonably a matter of wonder that it never before had been rescued from neglect. We would willingly have spared the ‘Musica di Ballo,’ which, though essential on the stage, is quite unnecessary in the concert-room. Not less excellent than the quartet, though of a different character, is the aria from a drama written on the same subject, and composed by Haydn--‘Il pensier stà negli oggetto,’ a gentle, lovely air in ~E~, sung by Mr. Parry, jun., with great judgment and effect. This, we believe, has never till now been publicly performed in England![68] We have heard Madame Pasta, in the scena from Gluck’s opera, with feelings of pleasure less mingled with regret than on the present occasion. She seems exhausted by constantly singing. The two spring months in London fatigue a fashionable performer more than a whole year in cities peopled by reasonable folks. The _Te Deum_ of Leo, though nearly a century old, is another novelty, not only to the Ancient Concerts, but to this and, we suspect, every other country: it is one of the grandest works of this great composer: and some trombone parts which were, with great good sense, added to it on the present occasion, increase to a very considerable degree the sublimity of its effect. To Lord Burghersh, we are told, the subscribers are indebted for so much that is new to them; and we are much mistaken if the musical world generally will not have to thank that accomplished nobleman for having saved this valuable institution from the dissolution that was impending.

The overture to _Alceste_ is decidedly a work of genius. Was it ever before performed in London, except forty years ago at the Opera-House? In the sestetto from _Cosi fan Tutte_ the performers were by no means at ease; they wanted what they ought to have been compelled to undergo, a couple of hours’ private study together, with the piano-forte only, before they even rehearsed it with the band.

‘Dove scorre’ has never been a great favourite with us, though undoubtedly an elegant composition. It was extremely well executed by Messrs. Bennet and Phillips. The ‘Agnus Dei,’ from a not very generally known mass, is a beautiful quartet. The scena, ‘Misera! dove son?’ and following aria, is from Mozart’s _Operngesaenge_, and, like most of the pieces in that collection, did not call forth much of the composer’s strength; Mrs. Bishop, however, did it every justice in her power. The almost bewitching madrigal of Girolamo Conversi, first published at Venice, in 1575, was encored!--a great effort for this wonderfully self-controlled audience. Keiser has recently been made generally known through the medium of our work, and a very passionate and charming air by him, admirably sung by Madame Devrient, added to the attraction of this fine concert,--a concert which has most effectually assisted in retrieving the character that had been rather damaged by a few former seasons, and has left a most favourable impression on all who were present at this last of the _fifty-eighth_ series.

PHILHARMONIC CONCERTS.

SEVENTH CONCERT, MONDAY, May 27, 1833.

~Act I.~

Sinfonia in ~C~. ~Beethoven.~

Aria, Signor Tamburini, ‘O, colpo impensato!’ (_La ~Rossini.~
Gazza Ladra._)

New MS. concerto in ~F~, M. Hummel. ~Hummel.~

Duetto, Madame Pasta e Signor Tamburini, ‘Se la ~Rossini.~
vita.’ (_Semiramide._)

Fantasia Drammatica (MS.) composed expressly for the ~The
Philharmonic Society, and first time of performance. Chevalier
Neukomm.~