Chapter XX: Act II (1)

New MS. Sinfonia in ~G~ minor, composed ~C. Potter.~
expressly for the Philharmonic Society, and first
time of performance.

Aria, Madame Pasta, ‘Bel raggio.’ (_Semiramide._) ~Rossini.~

Duetto, violoncello e contra basso, Messrs. Lindley ~Corelli.~
and Dragonetti.

Aria, Madame Puzzi, ‘Se amore soltanto.’ Corno, ~Mayer and
obligato Signor Puzzi. Rossini.~

Overture. (_Anacreon._) ~Cherubini.~

Leader, Mr. Mori.--Conductor, Mr. C. Potter.

Beethoven’s first symphony was that in ~C~, which at once, without the usual _gradatim_ rise, placed him on a level with Haydn and Mozart. It is now nearly forty years since it was written, but, owing to the state of the continent, did not reach this country till about fifteen years after its appearance at Vienna, and was then only attempted by bold instrumentalists. This Society, however, from its very commencement took it up,--it was the first symphony ever performed by the Philharmonic band, and then was heard everywhere in some shape or other; till at length--such is the fate of all that is good in music--by too frequent repetition, it began to ‘pall upon the sense,’ and was laid aside. It now came out, after many years’ repose, in much of its pristine freshness,--it was actually new to some of the audience, and was welcomed by all.

Mr. Potter’s symphony is not only the best composition that has yet proceeded from his pen, but a work that will give him an honourable place in the temple of fame,--a work, that the oftener it is heard the better it will be understood, and the more it will be liked; for not only the experienced master, but the man of genius, is evinced in every movement. It consists of an allegro con fuoco, in ~G~ minor, strikingly original; a very melodious and effective andante in ~D~ minor; a bold scherzo in G minor, and trio in ~E~ flat; and a finale in ~G~ minor. The only point in this symphony that seems to us liable to objection, is, that all the movements, except a short trio, are in the minor key, and this three times the same; thus a want of contrast is felt at the beginning and ending of each, though in the modulations the major third is sufficiently often introduced to afford the necessary relief.

The Fantasia Drammatica, for the full orchestra, is a descriptive piece; but M. Neukomm has had the good sense to attempt only to describe generally, never particularly. The last four books of _Paradise Lost_ have supplied him with subjects, as his printed argument will show. The numbers distinguish the movements:--

No. 1. Adam’s and Eve’s happiness in Paradise.--Their Morning
Hymn.--(Books IX. and X.)

No. 2. Adam and Eve go forth to their
labours.--Temptation.--Transgression.--Satan’s Triumph.--(Books IX.
and X.)

No. 3. Judgment of the transgressors.--Book X.

No. 4. Their lamentation.--Only consolation in the promise of
the coming Redeemer.[69]--Submission.--Michael leads them out of
Paradise.--(Books XI. and XII.)

The phrase alluded to by the composer is the first few bars of ‘I know that my Redeemer liveth,’ which he has introduced in a most felicitous manner. That the whole of this is well written, we hardly need say. There is some imagination in the various movements, but not of that vigorous kind which will put the indelible stamp of genius on the work.

M. Hummel’s concerto--the same that he produced at his recent benefit--is a very masterly composition, and, with a far superior band, went off much better now than at his own concert. The duet between Lindley and Dragonetti fixed the attention of the whole room, and pleased all. The last movement was loudly encored, for the wonderful command obtained over so intractable an instrument as the double-base naturally enough excites a desire to witness more of it than the single hearing of so brief a piece affords an opportunity of doing. The soft, low tones also, after the _brass band_ had been very active, operated as a great relief to the auricular nerves.

Though the vocal portion of this concert furnished nothing new, the manner in which it was executed by Madame Pasta and Signor Tamburini gave a charm to it that was most sensibly felt by all present, who testified their pleasure by the warmest applause; and applause is not here lavishly or indiscriminately bestowed.

Madame Puzzi and her _smaller half_ took more pains with the aria of Rossini than, as a composition, it deserved, but not more than that respect which they always feel for their audience taught them was required.

EIGHTH CONCERT, MONDAY, ~June~ 10, 1833.

~Act I.~

Sinfonia, No. 4. ~Beethoven.~

Aria, Signor Zuchelli, ‘Mentre ti lascio.’ ~Mozart.~

Concerto, piano-forte, M. Herz. ~Herz.~

Scena, Madame Malibran, ‘Non più di fiori.’ ~Mozart.~
Corno di bassetto obligato, M. Willman.

Overture, composed expressly for the Philharmonic ~F. Mendelssohn
Society, and first time of performance. Bartholdy.~

~Act II.~

Sinfonia in ~G~ minor. ~Mozart.~

Aria, Madame Cinti Damoreau, ‘Sento un interna ~Rossini.~
voce,’ (_Elisabetta._)

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

Duetto, Madame Cinti Damoreau and Madame Malibran, ~Mercadante.~
‘Vanne, se alberghi in petto.’ (_Andronico._)

Overture. (_Egmont._) ~Beethoven.~

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

The symphony in ~B~ flat of Beethoven, though less known than two or three of his others, is inferior to none in beauty, and in that kind of originality which does not strike the hearer who is content to enjoy without inquiring into the remoter causes of his pleasure. Both this and Mozart’s in ~G~ minor, which it is needless to praise, were performed and received with a warmth of feeling that acts by reciprocation, and is a cause, a main one, of the acknowledged, the vast superiority of the instrumental performances at these concerts. The overture by M. Mendelssohn in ~C~, declares itself the offspring of genius and knowledge. Its rapidity and, what appears, wildness, render an analysis of it impossible, without either frequent hearing or an examination of the work on paper; we therefore venture no further opinion of it than the very general one we now express.

Great curiosity was excited to hear M. Herz, whose name has for some time past been pretty well known in all the music-shops of Europe. To those who consider mechanical dexterity, or that sort of command of the key-board which persevering labour is sure to bestow, the perfection of piano-forte playing,--or, in other words, to such as think what is termed execution the only reasonable aim and desirable end of music,--this gentleman must appear the realization of the beau-ideal of a performer: the neatness with which, without any apparent effort, he does extraordinary feats, is surprising--quite as astonishing as some things accomplished by Paganini on the violin, and equally valuable, in the eyes of those who ground their judgment on anything like sound principle. He crosses his hands, he weaves his fingers, with the cleverness of a juggler; an automaton constructed by Maelzel could hardly surpass him in precision. He invents and masters passages which the greatest musicians never dreamt of, which the best players never did and never will attempt, and is a most successful rival of that self-playing piano-forte which is manufactured and to be purchased somewhere in London within sound of Bow-bell. But with those who think that sentiment or expression,--that taste, that rich harmony, that air ‘_che nell’ anima si sente_,’ are all or any of them essential to good music, M. Herz has small chance of becoming a favourite. To which party the majority of our readers belong, we only know by conjecture: we lay the case before them in the best way that our ability will permit, and respectfully leave them to guess our opinion. The concerto performed by M. Herz is in ~C~ minor, and at least on a par with most of the other compositions by the same author.

M. de Beriot’s concerto, though not as a composition equal to that he played on the sixth night, proved highly gratifying to his audience, for his performance was marked by excellencies in which he has no rival. He was greeted with acclamations.

Not less animated were the applauses that followed the scena of Mozart, ‘Ecco il punto,’ and aria, ‘Non più di fiori,’ in which Madame Malibran displayed a compass of voice, (from ~A~ below to ~A~ above the treble staff,) a power in delivering this fine recitative, and a correctness of taste in the execution of the air, that, altogether, we never knew equalled. In the duet, which is one of the best things that Mercadante has produced, the two ladies were quite equal in their respective styles, and established a just right to the almost enthusiastic approbation they met with. The aria sung by Signor Zuchelli, a clever composition, is among the _Operngesaenge_ of Mozart, but he was not at home in it: probably he had not had time enough to study it sufficiently. He was nearly overpowered, too, by an unmercifully loud accompaniment, a fault, and a very glaring one, in these concerts, which the directors ought to have corrected. Most of the audience stayed to hear the profound overture to _Egmont_, which terminated a remarkably fine and universally admired concert.

BENEFIT CONCERTS OF THE SEASON.

~Mr. Vaughan’s~,

_Hanover Square Rooms, Friday_ Evening, _April 26_.

Mr. Vaughan filled his room completely without any aid from foreign singers; and except a duet from Spohr’s _Jessonda_--which was not well chosen for Mrs. Bishop and Mr. Horncastle--the music was almost wholly in the native language of the performers. Giovanni Croce’s madrigal, ‘Cynthia!’ was called for a second time, for madrigals are _coming into fashion_ again. Mrs. Bishop sang Hummel’s Offertorium very chastely; and Miss Stephens, in ‘Sweet Bird,’ pleased every admirer of simplicity and pure intonation. Mr. Phillips’s ‘Old English Gentleman’ was received with a universal encore.

~Mr. Moscheles’~,

_Opera Concert Room, Wednesday_ Morning, _May 1_.

M. Moscheles gave the septetto written for the Philharmonic Society, with exceedingly good effect. He also, with M. Mendelssohn, played Weber’s Gipsies’ March with concertante variations, as a duet for two piano-fortes, which excited the most lively interest--these two highly distinguished musicians having each contributed his share of variations, and, in friendly conflict, put forth all their powers in the performance of them. Their cadences were of the most masterly kind, and excited the admiration of a crowded room, in which were most of the connoisseurs in town. Miss Francilla Pixis made her first appearance in London, in a feeble air by Bellini. Her voice is a mezzo soprano, and as she had but recently recovered from an indisposition, her performance is hardly a fair subject for criticism. Mad. Pircher sang an air from _Figaro_, in German, not in the best manner. Indeed it was injudicious to give it in a translation. But the strength of the concert consisted in the instrumental part; this also included Mendelssohn’s fine poetical overture to _A Midsummer Night’s Dream_, and a clever extemporaneous performance by ~M. Moscheles~.

~M. Pio Cianchettini’s and Mad. Campanile’s~,

_At Willis’s Rooms, Monday_ Morning, _May 6_.

M. Cianchettini produced a new duet for piano-forte and flute, in which he was ably supported by M. Sedlatzek. He also performed Dussek’s fine duet for two piano-fortes, with his sister, Mad. Campanile; likewise an extempore fantasia. Mad. Cinti, Signori Rubini, Donzelli, Zuchelli, &c., rendered their vocal assistance; and M. Mori, M. Puzzi, M. Sedlatzek, and M. Sagrini, on the violin, horn, flute, and guitar, contributed their assistance.

~Mrs. Anderson’s~,

_Opera Concert Room, Friday_ Morning, _May 10_.

Mrs. Anderson introduced, for the first time in public, Beethoven’s concerto in ~G~, which she performed in her accustomed accurate and brilliant manner. Also the fantasia of the same composer, in which he has joined voices and instruments. She likewise played Czerny’s Military Fantasia, which, having the least merit of the three pieces, was most applauded, for the assembly--a remarkably full one, as usual--was of a very fashionable kind. Mad. Pasta sang (for the _hundredth_ time, we believe) ‘Il braccio mio conquise;’ and the best thing Morlacchi ever produced, ‘Notte tremenda.’ Mad. Cinti gave ‘The last Rose of Summer’ with variations. The latter were executed in a most perfect manner, and the absurdity of them did not seem to strike the audience. She also sang an unmeaning air by Pucitta, but made up for the weakness of this by accompanying herself very skilfully on the piano-forte. Mori played a violin solo by Mayseder, in which was less of that skittishness than is commonly found in the productions of this ephemeral composer. And Miss A. Windsor performed a harp concerto by Labarre, with considerable applause.

~M. Hummel’s~,

_Opera Concert Room, Monday_ Morning, _May 13_.

The most attractive piece in this performance was a new concerto by M. Hummel, a composition in which knowledge and taste are equally and happily combined. He also played a new _Rondo Brillante_, the subjects and style of which are quite of the popular kind, though, of course, it can only be made available, should it be published, by a few--by those who devote their lives to the overcoming of difficulties. Mesdames Pasta, De Meric, and Pircher, Signori Donzelli and Tamburini, with Herr Blume and Herr Binder, sang each one aria. The _German vocalists_ also attended, and performed what we should be inclined to call an English glee, to German words, and not a very good one. In fact, had they not been _foreign_, and had not the music been throughout the same, nothing but the urbanity of the audience would have prevented their manifesting some disapprobation at such a performance. The room was not fully attended.

~Mr. F. Cramer’s~,

_At the Hanover Square Rooms, Wednesday, May 15_.

To the regret of his numerous friends, Mr. F. Cramer was by indisposition prevented from being present at his own concert, but his place was ably filled by Mr. Mori; and his brother, Mr. J. B. Cramer, delighted the Audience by a _concertino_, a _pasticcio_ in fact, made up for the occasion, on the piano-forte. Mr. F. Cramer’s pupil, young Blagrove, played Mayseder’s concerto in ~E~ minor with great neatness and spirit; and Mr. Wright exhibited much talent in Hummel’s favourite concerto, adapted for the harp; a change, however, which we cannot quite approve, and trust that it will not often be imitated. Mrs. Knyvett sang ‘If guiltless blood,’ very feelingly. Mr. Phillips was very great in Neukomm’s cantata, _Napoleon’s Midnight Review_, and very amusing in ‘The Old English Gentleman.’ Mad. Pasta sang ‘Ah! come rapida!’ admirably: but why will she not extend her catalogue of arie? She doubtless has heard of ‘toujours perdrix.’

~Madame Cellini’s~,

_Hanover Square Rooms_.

Mad. Cellini sang in good taste a duet of Rossini with her pupil, Miss Heath, and joined in other pieces. Mad. Pasta, Mad. Devrient, Signori Zuchelli, De Begnis, Mr. Parry, jun., Mr. Bennett, &c., assisted in the vocal department. M. De Beriot played very finely a violin solo; and a M. Dorn made his first appearance in London, in a solo for the horn. He is a master of his instrument, but not so great a master as Puzzi.

~Mr. Dressler’s and Mr. F. Pelzer’s~,

_Opera Concert Room, Wednesday_ Morning, _May 15_.

This was not very fully attended, but Mr. Dressler and Mr. Pelzer on their respective instruments very much delighted their audience.

~Miss Dorrell’s~,

_At the residence of Sir Giffin Wilson, Stratford Place, Wednesday_ Evening, _May 15_.

Miss Dorrell, late a pupil of the Royal Academy of Music, performed Hummel’s piano-forte concerto in ~A~ minor, also the principal part in his military septet, in a very correct, neat manner. The rest of the concert was vocal; among the pieces were ‘Ah! come rapida!’ and a Tyrolienne, by Mad. Cinti, an aria, by Signor Zuchelli, a duet by the latter and Signor De Begnis, a serenade by Mr. Bennett, composed by Lord Burghersh, &c. A numerous and elegant company attended this concert.

~M. Kiallmark’s~,

_Opera Concert Room, Thursday_ Morning, _May 16_.

The first movement of Moscheles’ concerto, No. 5, a concerto by Mendelssohn, and the piano-forte part of a trio by Hummel, were played with much brilliancy by M. Kiallmark. M. Dressler performed a flute solo. The concert was otherwise chiefly vocal; and except what was assigned to Mad. Cinti, was far from laudable. A song, in the programme, named ‘The Rhine,’ is too palpable an imitation of Neukomm’s ‘Sea,’ to pass without a stricture; and as if it had been intended to expose the author of it, the model was subsequently produced.

~M. Mori’s~,

_Opera Concert Room, Friday_ Evening, _May 17_.

The whole force of the London orchestra, and the corps de l’opera, were, as usual, assembled by M. Mori, and his room was filled in every part. He played with great force and execution a _concertino_, made up of Mayseder and Maurer, and some ‘grand variations’ by the former composer; besides the violin part of an ottetto by Spohr, in which Handel’s celebrated air in ~E~ is introduced, a work which certainly will not add to the fame of M. Spohr. In addition to the above were, Mrs. Knyvett, Mrs. Bishop, Mad. Devrient, and Miss C. Novello. MM. Moscheles and Mendelssohn repeated the duet which they had played at the concert of the former, and M. Bochsa played some variations on the harp. The concert opened with Beethoven’s symphony in C minor, which was very well executed.

~M. Cipriani Potter’s~,

_Opera Concert Room, Friday_ Morning, _May 24_.

On this occasion M. Potter produced a new symphony, a new piano-forte concerto, and some brilliant variations on a French theme, all of which well sustained the high reputation he has acquired, both here and in Germany, as an instrumental composer. We regret that our limits do not admit of our entering fully into the merits of these fresh proofs of his ability. Mesdames Pasta and Devrient, Signori Donzelli, Tamburini, &c., were his vocal supporters; and his band consisted of nearly all the performers of the Philharmonic Concerts.

~M. Henri Herz’s~,

_Opera Concert Room, Wednesday_ Morning, _May 29_.

This was M. Herz’s first public appearance in England, and as his fame had preceded his arrival among us, a large audience assembled to hear an artist concerning whom so much diversity of opinion prevailed. As we have spoken of him in another part of our number we shall merely state here that he was received in a most encouraging manner, and that his performances were followed by very flattering applause. He played a concerto in ~C~minor, ‘grand variations’ on the march in _Otello_, and a duet on one piano-forte, with M. Moscheles. His extemporaneous performance need hardly be noticed. It was as good, and made up of pretty much the same materials, as such things generally are. And we will take this opportunity of observing, that such exhibitions are, in our opinion, as derogatory to a great musician, as improvisation would be to a great poet. The vocal strength consisted of Mad. Cinti, Signori Rubini and Tamburini. Signor Puzzi played in a charming manner a fantasia on the horn, and M. de Beriot performed a solo admirably on the violin.

~Mr. Salaman’s~,

_Hanover Square Rooms, Thursday_ Evening, _May 30_.

This gentleman announces himself as a pupil of Mr. Neate, to whom he does credit. On this occasion he played Mendelssohn’s fine concerto in ~G~ minor, and Czerny’s ‘Grand Military Fantasia,’ in a manner that gained him much applause. Mesdames Pasta, Devrient, De Meric, Puzzi, Mrs. Bishop, MM. Phillips, Donzelli, Haitzinger, Zuchelli, &c., were the vocalists; and M. Eliason played a pleasing fantasia, _à l’Espagnol_, on the violin. The King’s Theatre having been open this evening, Mr. Salaman was incapable of forming a very good orchestra, and Beethoven’s symphony in ~C~ minor suffered in consequence. A trio _à la Tyrolienne_ was sung by Mad. de Meric and two debutantes, the Demoiselles Correldi, who accompanied themselves with the castagnettes! Neither the music nor the performance proved very satisfactory. The room was exceedingly full, but we doubt whether it was equally productive.

~Mr. Sale’s~,

_Hanover Square Rooms, Friday_ Morning, _May 31_.

A very charming selection, in which some excellent music was allotted to our best English singers, and equally good Italian music was assigned to Italians. This is just as it should be, and proves Mr. Sale’s discrimination. A new and clever madrigal by Lord Burghersh was performed for the first time; as was a pleasing song by Mr. Phillips. Mrs. Knyvett in ‘Let the bright seraphim,’ accompanied by Harper, was most deservedly applauded; but we wish that she would not add any cadenza to what is an _aria d’agilità_ from beginning to end. Miss Stephens in ‘John Anderson,’ and Mr. Braham ‘In native worth,’ from the _Creation_, (_sung by command_) drew abundance of plaudits; as did Mad. Pasta in (the old story) ‘Ah! come rapida,’ and Mad. Cinti in Hasse’s fine bravura, ‘Sorprendermi vorresti.’ Sig. Rubini sang, or rather sacrificed, Mozart’s ‘Il mio tesoro intanto;’ and the _Adelaida_ of Beethoven is too much for the physical powers of Mr. Hobbs. The concert opened with ‘God save the King,’ in compliment to the Duchess of Kent and the Princess Victoria, who, with their suite, were present in the royal box, and seemed highly delighted with the performance.

~Sig. Giubilei’s and L. Sagrini’s~,

_At the residence of Sir John De Beauvoir, Connaught Place, Monday_ Morning, _June 3_.

All the strength of the Italian Opera were here, augmented by Mrs. Bishop, Miss H. Cawse, Messrs. Haitzinger and Parry, jun., &c. Mrs. Anderson, Mr. Mori, and Sig. Costa, as instrumentalists. The performance was well attended, and deserved the applause it received.

~Messrs. Chelard’s and Eliason’s~,

_Hanover Square Rooms, Friday_ Morning, _June 7_.

This opened with the overture by M. Chelard performed at the third Philharmonic Concert, whose drinking chorus in _Macbeth_ was also given effectively by the German party. Mr. Eliason played a violin concerto, the music by Rode and Mayseder, with much brilliancy of execution, and the violin part of a duet concertante with the harp. M. Herz played his ‘variations de concert’ on a subject from _Guillaume Tell_.

~M. Sedlatzek’s~,

_At the residence of J. Taylor, Esq., George Street, Hanover Square, Saturday_ Morning, _June 8_.

Well attended, and M. Sedlatzek performed several pieces on the flute with that ease of execution and delicacy of manner for which he is distinguished.

Mr. ~J. B. Cramer’s~,

_Opera Concert Room, Friday_ Morning, _June 14_.

The highest treat in this concert was Mr. Cramer’s performance of his own beautiful concerto, op. 48, which he played with that pathos in which he excels all pianists, and with the spirit--but spirit devoid of feats of agility--that he ever possessed. With M. Hummel he performed the fantasia in ~F~ minor of Mozart, and, as a last movement, the finale to his duet in ~F~ major,--a most finished performance; and with M. Herz, a ‘grand concerto duet,’ which, though admirably executed, we could not but think a very incongruous union. He also introduced, by permission of the Philharmonic Society, the new quintet he wrote for their concerts, and which now went off in a very perfect manner. Messrs. Mori, Nicholson, and Wright, played fantasias on their respective instruments; and Mad. Cinti, Mrs. Knyvett, Miss Novello, Messrs. Phillips and Parry, jun. contributed their vocal aid. The room was full from the commencement.

~Sig. and Mad. Puzzi’s~,

_At the residence of the Countess Cornwallis, Friday_ Evening, _June 14_.

The _élite_ of the foreign artistes now in London came in support of this concert, and the company consisted almost exclusively of people of fashion. The music exhibited little that is new, but it was well performed, and chiefly vocal. Mad. Puzzi sang an aria, ‘Se amore soltanto,’ by Rossini, and was charmingly accompanied by Sig. Puzzi. The latter also played a fantasia on the horn. Messrs. Moscheles and Herz performed a duet on the piano-forte; and Messrs. Osborne and De Beriot a divertimento for piano-forte and violin. The tickets to this were a guinea each, and the rooms were well filled, but not crowded.

FOREIGN MUSICAL REPORT.

VIENNA.

A second concert has been given at the _Hofoperntheater_ by Bernhard Romberg, which was in every respect equal to the first. The young prodigy, Apollinar Kontsky, aged seven years, has also given a concert; this precocious virtuoso, who still plays upon a small-sized violin, evinced extraordinary strength of arm and perfect fulness of tone, and particularly delighted his audience by the correct taste he displayed, and by the expression which he infused into his performances. With the genius which is already apparent in him, and the promise which his present astonishing proficiency holds out, if he persevere in the cultivation of his instrument, under the care of a really good master, there is reason to expect that he will become one of the first violin players in the world.

BERLIN.

A young singer, Mad. Schodel, from Vienna, has made her first appearance at the _Königstadt theater_; her voice, which is of an agreeable quality, is rather weak, particularly in the lower notes; she has, however, considerable flexibility, and she sings simple melodies with exquisite sweetness and taste; her acting, moreover, is very good. There has been no novelty at this theatre of late; the operas of _Melusine_ and _Des Adler’s Horst_ have been the principal attractions.

A new opera has been produced at the _Königliche theater_, _Das Schloss Candra_ (Candra Castle), by Joseph Wolfram, which was rather favourably received. The music makes no pretensions to genius, at the same time the opera contains much that is very meritorious; the choruses, if not beautiful, are at least good, and the same may be said of the concerted pieces; the arias, however, are weak. The other performances have been, _Alcidor_, _Die Stumme_, and _Fra Diavolo_.

DRESDEN.

The unceasing efforts of the Kapellmeister Reissiger have led to an engagement as a compensation for the temporary loss of Mad. Schroeder Devrient, whose characters will be sustained during her three months’ absence by Mad. Kraus Wranitzky; Mlle. Maschinka Schneider is also engaged for one year. The opera, however, experiences an irreparable heavy loss in the departure of Mad. Schebest, who appeared for the last time as _Irma_, in _Der Maurer und der Schlosser_ (le Maçon.)

On Palm Sunday there was a grand performance of Bach’s oratorio, _St. Matthew the Evangelist_, at the great opera house, under the very able direction of Kapellmeister’s Morlacchi and Reissiger, in aid of the fund for the relief of the distressed widows and orphans of members of the Royal Chapel; the choruses consisted of upwards of two hundred voices, and there were ten eminent solo singers--among them, Mesdames Kraus Wranitzky and Schebest; the tenors, Babnigg and Schuster, and the bases, Risse, Wächter, and Zezi; and upwards of a hundred instruments judiciously proportioned.

FRANKFORT.

Mlle. Carl has arrived here, and has sung at a concert which, notwithstanding her fame, was but thinly attended. On the 15th April M. Kalkbrenner gave a concert and was received with enthusiasm.

BREMEN.

The winter concerts, which were very successful, having terminated, there was a benefit concert got up for Mad. Mühlenbruch, the principal singer, who has a sweet voice and exquisite taste. On Good Friday, the _Messiah_ was given in the cathedral, when Mad. M. and the younger Mlle. Graban, and some talented dilettanti, did justice to the music of the immortal Handel.

DUSSELDORF.

It is expected that the musical festival which is to take place this year will be one of the most brilliant on record for many years. Among the attractive pieces which are announced for performance, are Mozart’s symphony in ~G~ minor, the overture to _Leonore_, by Beethoven; Handel’s oratorio, _Israel in Egypt_; a cantata by Wolf; and _Die Macht der Töne_ (the Power of Sounds), by Weber; and some compositions of M. Bergmuller and of M. Felix Mendelssohn, director for the present year. Mad. Decker (late Fraul. von Schätzel) is to sing on the occasion.

DESSAU.

For some years past few foreign artists of eminence have played at our concerts; the recent visit therefore of M. Haase, jun., from Dresden, was the more welcome, from the rarity of such occurrences. He played a fantasia by Molique, on Swiss airs, a duet by Lafont and Hertz, from _Fra Diavolo_, and Mayseder’s Thema, with variations in D major. His tone is full of exquisite expression, his style remarkable for elegance and freedom, his cantilena is exceedingly grand, and his bowing masterly, like that of Polledro his instructor.

JENA.

Our usual concerts and musical entertainments under the direction of Dr. Hand have given great satisfaction. A concert by the Vocal and Instrumental Society was the first of the season. The selection comprised an overture by Reissiger and one by Lindpaintner, and concertos of Hummel on the piano-forte, Keller on the flute, and Jansa on the violin, all played by dilettanti.

Mad. Filipowicz gave a concert, at which she played a polonaise by Kalliwoda with much feeling, and Mayseder’s variations in ~E~ major. There was also a musical entertainment given by M. Rössner of Darmstadt, and MM. Buschmann, father and son, the former playing the harp, the other the terpodion.

UTRECHT.

At the two hundredth anniversary of our City Concerts, on the 14th March, was performed a cantata composed by M. Kufferath, a pupil of Spohr’s. The performance was conducted by the composer and surpassed every expectation; there were also given a symphony of Kalliwoda, and Mendelssohn Bartholdy’s overture to a Midsummer Night’s Dream, which were well played.

ST. PETERSBURG.

A concert was lately given at the palace of M. von Narischkin, for the relief of the widows and orphans of musicians, at which several dilettanti of rank, namely, Prince Wolchonski, Count M. Wielhorsky, Mlle. von Bolotnikow, and others, contributed their valuable services.

COPENHAGEN.

The season just past brought before the public two new operas which were very successful; the first _Das Bild und die Büste_ (the Portrait and the Bust), in three acts, by P. C. Berggreen, the other, _Die Braut von Lammermoor_, by the Kapellmeister J. Bredal; both composers in their productions successfully clothed in musical expressions the ideas of their poets, regarding melody as the first consideration--in style however they differ widely. Besides these, there was another vocal piece, _Der Rabe oder die Bruderprobe_ (The Raven, or the Test of Fraternal Affection), by J. P. E. Hartmann. The other performances of the season were Boieldieu’s _Die Zwey Nächte_ (Les deux Nuits), J. L. Heiberg’s humorous operetta, _Ein Abentheuer im Rosenberger Garten_ (An Adventure in the Rosenberg Garden), Weyse’s opera, _Ludlam’s Höhle_ (Ludlam’s Cave), _Die Stumme_, _Fra Diavolo_, _Der Liebestrank_, _Die Weise Frau_, _Figaro_, _Joconde_, _Die Weinlese_ (The Vintage), _Der Erlenhügel_ (The Alder Hill), music by Kuhlau; _Don Juan_, _Das Schloss Montenero_, _Der Schatz_ (Le Trésor Supposé), _Der Schlosser und der Maurer_, _Preciosa_, _Der kleine Matros_ (Le petit Matelôt), and _Die verliebten Handwerksleute_ (The Love-smitten Mechanics.)

MADRID.

Italian operas are performed here twice a week, alternately in the _Teatro del Principe_ and in the _Teatro della Cruz_; thus the lovers of the opera are obliged to take boxes in both houses. None, indeed, but Italian operas are tolerated, and Rossini is the favourite composer. Hence piano-forte arrangements of his music are to be met with all over Madrid, and there is scarcely a female of the middle rank in life who has not acquired some degree of proficiency on the piano-forte. The guitar is almost entirely discarded. People alone of the lower class are now and then to be seen playing that instrument before their doors. Spanish music, too, is completely out of vogue, and the ladies invariably sing that of Italy, unless expressly entreated to sing a national air; so that the lively Spanish airs are now only to be heard in the mouths of the common people.

THE DRAMA.

~King’s Theatre.~

The _Pirata_ of ~Bellini~, which is not only his best opera, but the only one of that composer which has a chance of surviving above another year or two, has been performed since our last report, Madame ~Pasta~ in the character of _Imogene_, who enabled us to enter fairly into the merits of the work, which, at its first representation in this country four seasons ago, were not so discernible, the then _prima donna_ having made a very sad affair of it, though she was amazingly bepraised at the time, and we were exceedingly vituperated for pointing out her incapability.

Fragments of operas have also been performed; the best works have suffered all kinds of mutilations and martyrdom, and the audiences have been content, which is a sufficient justification of the manager. The fact is that in the months of May and June the opera fills, however conducted. A really good manager directs his efforts to the first few months of the season, well knowing that after Easter a single great name is sufficient to draw crowds.

On Thursday the 20th of June, a new opera was actually produced--the first attempt of the kind this season! The occasion was Madame ~Pasta’s~ benefit; the name of the piece, _Norma_, a tragic opera in two acts, composed by Signor ~Bellini~, and got up under his personal direction.

The following are the characters:--

_Pollione_, Pro-Consul of Rome, in Cambria, Sig. ~Donzelli.~
_Oroveso_, Chief of the Druids Sig. ~V. Galli.~
_Norma_, Druidess, daughter at _Oroveso_, Mad. ~Pasta.~
_Adalgisa_, a young priestess Mad. ~De Meric.~
_Clotilde_, confidante of _Norma_ Mad. ~Castelli.~
_Flavio_, friend of _Pollione_ Sig. ~G. Galli.~

‘The scene lies in Cambria, in the sacred forest, and in the Temple of Irminsul.’

The story is as wide a departure from anything in the shape of historical _vraisemblance_ as can be imagined. The Gauls subjugate the Romans in Wales, then commit the government of that country to _Pollio_, a pro-consul of Rome! He becomes enamoured of _Norma_, daughter of the Arch-Druid, and is secretly married to her, though she, something like the Vestal virgins, had devoted herself to celibacy. After she has become the mother of two children, _Pollio’s_ affections are transferred to _Adalgisa_, who consents at first to fly with him to Rome; but, struck by remorse, she reveals all to _Norma_, whose ‘love to hatred turns,’ and the latter determines to avenge herself by destroying her children; but she changes her purpose; impeaches herself in the assembly of Druids, and is condemned to be burnt alive; to which fate her faithless husband is also sentenced; but his love for her suddenly returns, and he unreluctantly ascends with _Norma_ the fatal pile.

That this is an imitation of _Medea_ is evident, and, as in that opera, Madame ~Pasta~ is the life and soul of this. Her acting alone saves it here, as it did in Milan, where it was first produced last year.

Considered as a whole, the music, though not censurable in regard to the rules of composition, possesses the most fatal of all faults--it is deplorably uninteresting: except the motivo of the duet, _Deh! con te li prendi_, an aria, _Norma! che fu?_ and the finale, not a piece has the slightest pretence to originality, or produces the least effect. The overture and introduzione stun one with all kinds of noisy instruments, and half, or more, of the first act is accompanied by the same intolerable din. The music of the last scene, and the acting of ~Pasta~, but especially the latter, will keep the opera on the stage while she remains to fill the part; without her, or her equal, if such should ever be found, it has no chance of being listened to in London; and even with her, it is with a half reluctance permitted[70].

~Drury-Lane Theatre.~

On the 4th of June a nondescript piece, called _The Students of Jena_, or _The Family Concert_, was produced here, the principal character by Madame ~Malibran~ but it was a decided failure, and the theatre was shut very shortly after.

~Covent-Garden Theatre.~

This theatre closed very early last month, the lessee declaring that, as the performers declined acceding to the terms he proposed, he could no longer carry on the concern, without incurring the most ruinous loss. The company then obtained the Lord Chamberlain’s permission to open the Olympic, and transferred themselves to that theatre, where they have since continued to perform. Shortly after, this theatre was re-opened with the German company, brought hither from Drury-lane, in consequence of an agreement between ~M. Laporte~ and Mr. ~Bunn~! Their first performance was ~Mozart’s~ _Zauberflöte_, ~M. Haitzinger~ as _Tamino_, who sung the airs with great feeling, but was occasionally too loud and turbulent,--~M. Dobler~, a fine deep, musical base, and a very superior singer, as _Sarastro_,--Madame ~Schroeder Devrient~ as _Pamina_, who did the most ample justice to the part,--Madame ~Stoll Böhm~, a soprano with an indifferent voice, whose deficiencies as a singer are not compensated for by her acting, as _Astrifiammante_,--and ~M. Uetz~, a very excellent actor, and a singer of great merit, as _Papageno_. Though much of this opera was performed remarkably well, parts of it disappointed our expectations: the two lovely trios, best known here by the Italian words, ‘Te guida a palma nobile; and ‘Già fan ritorno,’ were executed in but a slovenly manner, and the fine religious march lost some of its effect by being played to an empty stage. This, however, we believe, was afterwards corrected. The _Zauberflöte_ has not drawn, in spite of its many beauties, and the German Opera is not in a much better condition in London than the national, the _legitimate_ drama!

THE MUSIC OF THE PRESENT NUMBER.

The titles of the pieces in this number leave us little to add, for as four out of six of them are of modern date, their authors are well known, and no history at all interesting is connected with those compositions.

The cavatina is in the last scene of _The Pirate_, sung in the character of _Imogene_, who addresses it to her young son. The words are thus translated into not very good English verse, in the printed book of the opera:--

Thy innocent smile and thy glances of love,
To mercy and pardon thy father will move:
Oh! tell him thy life has been purchased by me,
And each kind look he gave I have purchased from thee.

* * * * *

The _Romanza_ is from the most admired of Mozart’s concertos. The author has not indicated the movement, but it is commonly played as an andante. Sig. Cimador, who arranged it, was an excellent musician, well known in the fashionable and musical world some thirty years, or more, since.

* * * * *

Purcell’s air is from an ode on the birth-day of Mary, consort of William III. Our arrangement is made from the score published by--Goodison, Esq., an amateur, about forty-five years ago. The beauty of this melody speaks for itself.

The quartet, _Agnus Dei_, is from a mass of Beethoven and of his sacred compositions, may fairly be deemed the most melodious and elegant.

* * * * *

The Minuet and Trio from Haydn’s Eleventh Symphony, were composed for Saloman’s Concerts about the year 1794.

* * * * *

The movement from Handel’s 4th Hautboy Concerto[71] is one of his most beautiful _morceaux_. The melody of the latter part, marked pianissimo, is written for the bassoon, an octave lower than it now appears; but in arranging it for the piano-forte, we thought it advisable to place it an octave higher, as we could not add the hautboy accompaniment in any convenient form for the player. It should be borne in mind that the allegro of Handel’s time was not so quick as the allegro of the present day.

The Hautboy Concertos, six in number, were written at Cannons, the seat of the Duke of Chandos, (Pope’s _Timon_,) in the year 1720, and published in 1729. Four of them still continue to be used in the Ancient Concerts, where they are admirably performed, and are great favourites with the subscribers, as they deserve to be with all lovers of good music.

[Sidenote: August, 1833.]

BIOGRAPHICAL SKETCHES OF MARIN MERSENNE AND ATHANASIUS KIRCHER.

[Chiefly from ~Hawkins’s~ and ~Burney’s~ Histories.]

Among the laborious and voluminous writers on music, those now selected stand prominently forward; and though their respective merits are far from equal--the French ecclesiastic being undeniably superior to the German jesuit, both in knowledge and exactness--yet the works of each have long enjoyed a high reputation, and will always be found useful to those who study music as a science, or historically, and as connected with general literature.

* * * * *

~Marin Mersenne~ (in Latin, Marinus Mersennus), a most learned French writer, was born in 1588, at Ayse, in the province of Maine. He received his instruction in polite literature at the college of Flêche; but, quitting that seminary, he went to Paris, and, after having studied divinity some years in the college of the Sorbonne, entered himself among the Minims (a religious order), and, in 1611, received the habit. In 1612, he went to reside in the convent of that order at Paris, where he was ordained priest, and performed his first mass in 1613. Immediately upon his settlement he applied himself to the study of the Hebrew language, under the direction of Father John Bruno, a Scotch Minim, and having acquired a competent degree of skill therein, became a teacher of philosophy and theology in the convent of Nevers. In this station he continued till the year 1619, when he returned to Paris, determined to spend the remainder of his life in study and conversation, as indeed he did, making them his whole employment. In the pursuit of his studies he established and kept up a correspondence with all the learned and ingenious men of his time.

During his stay at Flêche he contracted a friendship with Des Cartes, and manifested it in many instances; of which the following may be reckoned one. Being at Paris, and looked on as the friend of the great philosopher, he reported that Des Cartes was erecting a new system of physics on the foundation of a vacuum; but finding that the public were indifferent to it, he immediately sent intelligence to his friend that a vacuum was not then the fashion, on which the philosopher changed his system, and adopted the old doctrine of a plenum. The residence of Mersenne at Paris did not prevent his making several journeys into foreign countries, for he visited Holland in the middle of the year 1629, and Italy four times, in 1639, 1641, 1644, 1646. In the month of July, 1648, having been to call on his friend Des Cartes, he returned home to his convent excessively heated; to allay his thirst, he drank cold water, and soon after was seized with an illness which produced an abscess in his side. His physicians, imagining his disorder to be a kind of pleurisy, ordered him to be bled several times, but to no purpose. At last it was thought proper to open his side: the operation was begun, but he expired in the midst of it, on the 1st of September, 1648, being then about sixty years of age. He had desired the surgeons, in case of miscarriage in the operation, to open his body, which direction they complied with, and found that they had made the incision two inches below the abscess!

The character of Mersennus as a philosopher and a mathematician is well known in the learned world. To that disposition which led him to the most abstruse studies, he joined a nice and judicious ear, and a passionate love of music; these gave a direction to his pursuits, and were productive of numberless experiments and calculations, tending to demonstrate the principles of harmony, and prove that it is independent of habit or fashion, custom or caprice, and, in short, has its foundation in nature, and in the original frame and constitution of the universe.

In the year 1636, Mersenne published, at Paris, in a large folio volume, his _Harmonie Universelle_, in which he treats of the nature and properties of sound, of instruments of various kinds, of consonances and dissonances, of composition, of the human voice, of the practice of singing, and a great variety of other matters concerning music.

This work consists of a great number of separate and distinct treatises, with such signatures for the sheets, and numbers of the pages, as to make them independent of each other. The consequence whereof is, that there are hardly any two copies to be met with that contain precisely the same number of tracts, or in which the tracts occur or follow in the same order; so that to cite or refer to the _Harmonie Universelle_ is a matter of some difficulty. Among these are to be found the most minute and satisfactory account of the state of music in France during the reign of Louis XIII. Indeed, Dr. Burney remarks,--his _Harmonie Universelle_ is a work in which, notwithstanding his ‘partiality to his country, want of taste and of method, there are so many curious researches and ingenious and philosophical experiments, which have been of the greatest use to subsequent writers, particularly Kircher, as render the book extremely valuable.’ This work, corrected and enlarged, was translated into Latin, and published by the author in 1648, the year of his death, under the title of _De Sonorum Natura, Causis et Effectibus_.

In his twenty-third proposition, liv. i., Mersenne explains and describes twelve different kinds of music and movement used in France during his time: namely, motets, songs or airs, passacailles, pavans, allemandes, gaillards, voltes, courantes, sarabands, canaries, branles, and balets; of all which he gives examples in notes. But though most of these movements were the specific names of the dances then in vogue, the minuet, which during the last century was in such general favour all over Europe, is never mentioned.

In the _Préface Générale_, the author speaks of Galileo’s discoveries in harmonics; and in his liv. ii., _Des Consonances_, of sympathetic vibrations. In other parts of his work he clearly explains the twelve major keys of practical music; and shows, for the first time perhaps, that there may be seventy-two keys, or six for each note, flat, natural, and sharp, major and minor. There is nothing in this good Father’s book which reflects more honour on his taste and penetration than his partiality for the violin, to which, in liv. iv., _Des Instruments_, prop. 1, he gives the preference over all other instruments then in use, at a time when it was thought unworthy of being admitted into the concerts of other countries.

One proposition in this book (xxxiv.) is to inquire whether the French method of singing is the best of all possible methods? and he determines in the affirmative, not only with respect to this, but affirms, that of all those he ever heard sing in neighbouring countries, as in Spain, Germany, Flanders, and Italy, he had met with none who sang so agreeably as the French. ‘There may,’ says he, ‘be now and then a miraculous performer in other countries, but I speak here in general.’

He mentions recitative as a thing little practised in France, for want of courage. The Italians, he observes, succeed in this species of singing, which Giacomo Peri had invented at Florence at the beginning of the century. Here he speaks of several musical dramas in Italy, but does not call them operas. (Liv. vi. _L’Art de bien chanter_.)

* * * * *

~Athanasius Kircher~ was born at Fulda in Germany, in 1601. At the age of seventeen he entered the society of Jesuits, and, after going through a regular course of study, during which he distinguished himself by his vast attainments in literature and science, he became a teacher of philosophy, mathematics, and the Hebrew and Syriac languages, in the University of Wurtzburg in Franconia. In 1631, when the Swedes entered Germany under Gustavus Adolphus, he returned to France, and settled in the Jesuits’ college at Avignon, where he remained till 1635. He was then called to Rome to teach mathematics in the Roman college, where he continued during six years. He afterwards became professor of Hebrew in that city, and died there in 1680, having written and published twenty-two volumes in folio, eleven in quarto, and three in octavo. Kircher was more than ordinarily addicted to the study of hieroglyphics, and it is said that certain young scholars caused to be engraved some unmeaning fantastic characters or figures upon a shapeless stone, then buried it in ground which was shortly to be dug up. Upon digging the place, the stone was found, and, by the scholars who had hidden it, carried to Kircher as a most singular antique, who, quite in raptures, applied himself instantly to explain the characters, and, as he perhaps persuaded himself, and certainly attempted to persuade others, made them intelligible.

The chief work of Kircher is his _Musurgia Universalis_, which is written in Latin, in ten books, occupying two volumes in folio, the first containing seven books, the second three. The subjects on which he treats are principally the following--of the propagation of sound--of the elements of practical music--of harmonics, or the ratios of sounds--geometric and algebraic division of the monochord--new experiments in the construction of musical instruments--of melody, comprehending new _secrets_ for producing every species of melody (!)--a parallel between ancient and modern music, pointing out the dignity of the ecclesiastical _canto fermo_, and the means of arriving at the pathetic style--of composition, or the combinations of sounds, and the application of air to poetical numbers and rhythms in all languages--musical wonders produced by hidden means, and new experiments of all kinds--and, lastly, of the various derivations of music, and the physical and artificial purposes to which it is, or may be, applied.

Kircher was the inventor of the Æolian harp, which he thus describes in his _Musurgia_, (lib. ix. 352.):--The instrument is not only new, but agreeable, and very easy of construction, and every one admires it who hears it in my museum. It is silent while the window remains shut, but when this is opened, sudden bursts of harmony surprise the auditor, who cannot tell whence they proceed, or by what kind of instrument they are produced, the sounds not resembling those of a stringed or a wind instrument, but are a mixture of both. This instrument is made of deal, is fifteen inches long, six broad, and three deep. It may be strung with fifteen strings, or more, all equal, and of catgut.

This work, says Dr. Burney, speaking of the _Musurgia_, which undoubtedly contains many curious and amusing portions, is, however, disgraced by the author’s credulity and ill-founded assertions. Kircher has been truly called ‘Vir immensæ quidem, sed indigestæ eruditionis’--a man of immense but indigested learning. Yet, with all its imperfections, the _Musurgia_ contains much ‘curious and useful information for such as know how to sift truth from falsehood, and usefulness from futility;’ for a considerable portion of which, however, he was indebted to the _Harmonie Universelle_ of Mersenne, which appeared in 1636; the _Musurgia_ not having been published till fourteen years later.

OTTO ON VIOLINS[72], &c.

The professed object of M. Otto’s work is to guard purchasers of violins, &c., against imposition, and to show how such instruments may be kept in order and repaired. But it is quite clear that he has prudently had the main chance in view, and, while thinking of the interests of others, has not been unmindful of his own, for he takes especial care to let his readers into the history of his business, where he and his sons reside, and what--of course for ‘a consideration’--they undertake to do in the way of trade.

But while advertising himself and Co.--perhaps very justifiably--he has embodied in his pages a number of facts interesting to amateur players, highly useful to professional performers, and curious to all whose pursuits lead them to inquire into the state of the mechanical arts, among which is to be reckoned the manufacture of musical instruments; and if he has really taught ‘the best means of preserving a good instrument, and of improving a spoiled one,’[73] he has rendered a service which entitles him to the gratitude of the musical world.

Many of our readers will be surprised to learn that a really good, a complete violin, consists of fifty-eight different parts, which the author thus describes:--

2 pieces for the back
2 ditto belly or sound-board
4 ditto corner blocks
2 ditto end blocks
6 ditto ribs or sides
12 ditto linings
1 ditto sound or bass bar
12 ditto purfling
1 ditto ebony rest for the tail-piece
1 ditto ebony or sometimes ivory nut
1 ditto ebony tail-piece
1 ditto ebony finger-board
4 ditto screws or pegs
1 ditto the neck
1 ditto button for the tail-piece
4 ditto strings
1 wire or catgut connecting the tail-piece with the button
1 sound post
1 bridge
----
58

‘The wood used in the manufacture of this instrument is of three sorts. The back, the neck, the sides, and the circles are made of sycamore; the belly, the bass bar, the sound post, and the six blocks of Tyrolese deal; the finger-board and tail-piece of ebony.’

It appears that the peculiar curvature, or swell of the back and belly of good violins, is produced by scooping out of the solid wood, and not by pressing the material on heated moulds of the desired shape, a practice which the translator, in a note, informs us is common now in Germany, among the cheap makers.

M. Otto rather inclines to the opinion that violins might be now made equal to the old Cremonese, and thinks that musicians and dilettanti are blameable for not encouraging good makers, and for putting too much confidence in _repairers_. He seems to be persuaded that the rich, mellow tone of instruments depends much on the ameliorating effects of time; and his translator strengthens what is said in the original, by the following remarks:--