Chapter XXIII: Act II (4)

In relation to composers, he remarks,--‘musical composition demands extraordinary sensibility, an enthusiastic imagination, an instinctive taste, rather than deep thought. The same qualities differently directed make the poet. Is it, then, to be wondered at, that we should find the poets and the musical composers shorter lived than the followers of all other learned and scientific pursuits, whose sensibilities are not exercised by their studies, whose imaginations are not wearied by excessive application and enthusiasm?’ But Mr. Madden overlooks other causes quite as operative as those he enumerates.

COMMEMORATION OF SIR THOMAS GRESHAM.

This took place in Haberdashers’ Hall, on Thursday, July 4, when the Gresham Prize Medal, for the best composition in sacred vocal music, was presented to Mr. K. J. Pye, whose successful work is an Anthem for five voices, ‘Turn thee again, O Lord!’ This was sung before a respectable company assembled on the occasion, among whom were Lord Burghersh, Sir John Rogers, Bart., Sir Robert Fitzwygram, Bart., Alderman Copeland, M.P., &c., who acted as directors. A small band, led by Sig. Spagnoletti, was engaged, and the following appropriate compositions were performed after the anthem:--

‘Blest are the departed’ ~Spohr.~
‘His body is buried in peace’ ~Handel.~
Selection from the Requiem ~Mozart.~

Then, after a short interval, the subjoined pieces were sung by a professional party who attended for the purpose, Mr. Novello officiating as conductor:--

Madrigal, ‘Now is the Month of Maying’ ~Morley.~
Spenser’s Epithalamium ~Horsley.~
Glee, ‘Whilst I listen to thy voice’ ~Sir J. L. Rogers, Bart.~
Glee, ‘It was a lover and his lass’ ~Stevens.~
Madrigal, ‘Cynthia, thy song and
chanting’ ~Giovanni Croce.~

And Mr. Distin performed on the trumpet the voice part of the ‘Soldier tired of War’s alarms,’ from _Artaxerxes_, in which he displayed an extraordinary command over this difficult instrument.

* * * * *

CATHEDRAL MUSIC.--GRESHAM PRIZE MEDAL.

A gold medal, of five guineas value, will be annually awarded by ~Dr. Crotch~, Professor of Music in the University of Oxford; ~R. J. S. Stevens~, Esq. Professor of Music in Gresham College; and ~William Horsley~, Esq. Mus. Bac. Oxford; for the best original composition in Sacred Vocal Music, either Hymn or Anthem.

The words to be selected from the Canonical Scriptures, Apocrypha, or Liturgy of the church of England, and to be set for three, four, or five voices, with a separate part for the organ.

The music to be entirely new; and one composition only to be sent in by each candidate.

Each composition to be distinguished by a motto. A sealed paper, inclosing the composer’s name and address, to be endorsed with the same motto.

The successful composition will remain the property of the author. The unsuccessful candidates may receive back their compositions, on producing a written copy of the motto.

The candidates are to send their compositions, in score, fairly written out, to the Gresham Lecture Room, at the Royal Exchange, before the end of October, on any Wednesday in Term, between the hours of twelve and two. Or they may be left in the care of Messrs. Smith, Elder, and Co., Booksellers, Cornhill; or of Mr. J. A. Novello, 67, Frith-street, Soho, by whom they will be duly forwarded, and who will give any further information that may be required.

It is intended to hold the next Commemoration on Saturday, June 7, 1834, being the Anniversary of the Day on which Sir Thomas Gresham laid the First Stone of the Royal Exchange.

FOREIGN MUSICAL REPORT.

Rossini’s _Italienerinn_ (Italiana in Algeri) has been produced on the _Josephstädter Theater_, but the admirers of his music were less satisfied with this composition than with the former operas of the maestro. This may in some degree have been owing to the sudden indisposition of one of the principal singers, whose part was but indifferently filled by a substitute.

The fourth and last Concert of the Society of the Friends of Music in the Austrian dominions took place on the 24th of March.

Mr. Klein, member of the _Hofoperntheater_, gave a concert on the 8th of April. The musical world already recognizes him as one of the first virtuosi of the present day on the clarinet, and his performance on this occasion added if possible to his former fame.

Spring festivals have been given in all our public gardens, and our most celebrated composers of dances have contributed thereto their latest labours. Strauss’ and Lanner’s orchestras are certain of attracting the public in crowds. The finest weather adds to the popularity of these entertainments, and the influenza, with which we are still visited, does not prevent the jovial Viennese from seizing upon pleasure wherever it is to be met with.

The celebrated violinist, Lafont, performed before the Imperial Court on the 18th of May. He executed the two compositions of his own which he had previously given at a concert in the Hall of the Musical Society. Of all the violinists that we have heard, he possesses most true taste. He has the secret to touch the heart, and executes forcible and rapid passages with neatness and certainty, without that capricious violation of the rules of art, which ends in the surmounting of difficulties only.

BERLIN.

~Graun’s~ _Passions_--_Cantata the Death of Jesus_ was given on Good Friday in the Singing Academy, for the benefit of the treasury of the institution. The room was overflowing, although the prevailing influenza prevented two of our principal female singers from co-operating on this occasion. Besides the above, we had two concerts which demand notice. The first was given by a young musician, Herr Otto Nicolai, from Königsberg, in Prussia, with a view of introducing himself to the public as a composer, singer, and pianist; in each of these capacities he displayed considerable talent and diligent study. There are several good ideas in a symphony of his composition. The allegro is well arranged, and the ideas properly connected. The instrumentation is effective, and on the whole there is a praiseworthy endeavour to follow Beethoven’s style, especially in the scherzo. The symphony deserved and gained an encouraging reception. As a vocal composer, Herr Nicolai proved, in a bass scena--_Tell auf der Strasse nach Küssnacht_, that he was well versed in this department.

The second concert, given under the direction of the music director, Mr. Möser, was one of the most attractive of the whole season. A new concertino (the composer of which was not mentioned) was executed by Mr. Möser with much youthful fire, and with a vigour and expression that evinced a true and deep feeling for the art. The concert terminated with a poem by Mosengeil, delivered in a most expressive manner by Mad. Crelinger and M. Devrient, and interspersed by some of Beethoven’s genial music to Goethe’s tragedy of _Egmont_, thus forming a lyric scena, which recalled to the recollection of the public the above neglected drama, while, on the other hand, the poem led to the revival of the sublime and unrivalled work of Beethoven’s. This melo-dramatic performance, exhibited for the first time in this form, created a deep and universal sensation.

In consequence of the epidemic, which also affected many of the individuals of the Royal Opera, the representations were frequently weakened, or suspended; nevertheless Miss Grünbaum, as Pamina, and Amazili in the opera of Jessonda, sang very fairly; and an equal share of praise is due to Mr. Hoffman in the characters of Nadori and Otello.

In the _Königstadt Theater_, Mad. Schodel, from Vienna, appeared with considerable success in several operas, more particularly as Julie in Bellini’s _Capuletti e Montecchi_, as Isoletta in the _Unbekannte_ (Straniera), and as Henriette in Auber’s _Braut_ (La Fiancée). Mad. Schodel’s voice is a somewhat thin soprano, and rather piercing in the higher notes, but with a little moderation and increased cultivation its force may render her a valuable acquisition to the stage. A pleasing exterior, and the energy of youth, are favourable points in this lady’s dramatic performances.

M. Kalkbrenner is arrived here. He left Paris towards the end of March, and has successively visited Francfort, Carlsruhe, Stuttgard, Leipsig, and Dresden, and everywhere has given concerts which have been as successful as enthusiastically applauded. In Germany, especially, his grand and pure style, his energy and brilliancy, have been universally admired. He proposes to give in this, his native city, a series of concerts, which, doubtless, will charm all our true connoisseurs.

DRESDEN.

~Baron Miltiz’s~ opera seria, _Saul_, the admirable text of which was furnished by his Royal Highness Prince John, displays in its full force the talent of the composer in the serious department of the operatic drama; the overture and the choruses are excellent. _Wächter_ performed the part of _Saul_, Mad. _Schröder Devrient_ Michal, and _Babnigg_ David. The opera was represented thrice in one week with the greatest applause.

Madlle. _Maschinka Schneider_, daughter of the Prussian Capellmeister Schneider, is engaged at our opera, and sang, for the first time, in April, at a concert in the palace, and appeared afterwards in the Barber of Seville. The nuptials of the Prince co-Regent with the Princess Maria of Bavaria were celebrated by a drama written for the occasion, by Theodor Hell, and composed by the Capellmeister _Reissiger_; the title is, _Der Erde reinstes Glück_ (Earth’s Purest Happiness), and the plot, which is founded on a contest between _Titania_ and _Oberon_, as to the purest happiness to be enjoyed by mortals, skilfully connects some of the most brilliant events of former ages with remarkable occurrences of the present times. There is an attractive troubadour-like sweetness in the music, which was deservedly applauded, especially the sprightly and cheerful choruses.

MUNICH.

~Handel’s~ classical work, _Alexander’s Feast_, was performed here on the 31st of March, by an orchestra (vocal and instrumental) of two hundred individuals; its masterly execution drew bursts of applause from the numerous audience which filled the great saloon of the Odeon.

Mr. Schinn of Pesth made his debût in the part of the Podestà in the _Diebische Elster_ (La Gazza Ladra). He is reported to possess a fine voice, and a cultivated musical taste. The first opera to be brought out under the new direction of our establishment is stated to be _William Tell_.

The Royal _Hofmusikus_ Böhm has, by his great mechanical talents, given such perfection to the flute, that all the tones of the instrument are rendered equally full, pure, and vibrating. Its pianos are uncommonly sweet and delicate, and the fortes exceed by far the power of an ordinary flute. In addition to these advantages, this new instrument presents an equal facility in all the keys, the most difficult not excepted. Although Mr. Böhm has only practised this new instrument for about six months, his execution upon it is almost as great as on the flute hitherto in use. He is on the point of setting out on a professional journey to England.

PRAGUE.

The only real novelty upon our boards was _Udalrich_ and _Bozena_, a romantic opera in three acts, by F. V. Ernst, the music by Capellmeister Skraup. The various prior compositions of this author scarcely justified an expectation of so good a work as the present opera, the score of which furnishes evidence of meritorious exertions and progress in the art. Like all new operas, however, it presents reminiscences, but it is distinguished by a richness of melody not to be found in Mr. Ernst’s prior labours. Among the best pieces in the opera are the aria of _Bozena_ (Demlle. Lutzer), that of _Udalrich_ (Mr. Driska), and that of _Borowin_ (Mr. Podhorsky), as also the romance of the above lady, and her duet with the duke, the spirited allegro of which was every time encored. As further favourable specimens, we might quote the trio between _Borowin_, _Udalrich_, and _Ladka_ (Demlle. Pittner), a quartet, and all the three finales. The overture is a weak composition.

The reception was enthusiastic, and the execution, while it gave proof of careful rehearsal, did great honour to our vocal company.

FRANKFORT.

The opera of _Robert the Devil_ has been brought out here at an expense of 8000 florins, and met with enthusiastic applause. Its performance will be additionally impressed on our memory, for, during its representation on the 3rd of April, our city was suddenly thrown into confusion by riots and bloodshed, caused by a small band of political fanatics.

_Valeria_, an opera by M. Aloys Schmidt, has been brought out here. While this work certainly exhibits some original and agreeable traits, it abounds in reminiscences of Beethoven, Cherubini, and Mozart. However, it has succeeded.

LEIPZIG.

~Kalkbrenner~ gave a concert here on the 3rd of May. He is proceeding to Petersburg, and intends being at Vienna in August.

A theoretical work has recently issued here, from the press of Messrs. Breitkopf and Härtel, entitled _Aesthetisch-historische Einleitung in die Wissenschaft der Tonkunst_ (Aesthetical and Historical Introduction to the Science of Music), by Dr. William Christian Müller, in two volumes. The first volume bears the separate title, Essay on an Aesthetical Theory of Music, and treats in twenty chapters this extensive branch of the art, in a very clear and satisfactory manner. The second volume contains the chronology of music, the history of its cultivation, divided into ten epochas, from the dark ages of mythology to the present time. The industry and care of the author are praiseworthy, and are sufficiently displayed in numerous references and quotations.

WEIMAR.

In the Easter week a new opera was produced here, under the title of _The Traitor in the Alps_. The text by _Seidel_ and the music by _Genast_ are, according to the opinion of competent judges, of superior merit.

KÖNIGSBERG.

On the 3rd and 10th of October, the music director, Mr. Saemen, produced Handel’s _Alexander’s Feast_. On the 18th October, and 14th November, the music director, Mr. Riel, gave, for charitable purposes, Handel’s _Messiah_, in the Lobnicht Church. On the 25th, 27th, and 31st of October, three Tyrolese minstrels gave concerts of national airs. They are jovial people, expert enough in musical tricks, such as yodling, falsetto, &c., but are anything but artists.

On the 31st October, Mr. Louis Mauer, from Hanover, gave a concert; among the pieces of which we have to notice a concertino for the violin, fantasias on melodies of the _Dumb Girl of Portici_, executed by Mr. L. Mauer, and variations of Mayseder, by Wsewolod Mauer. The father and son played also a rondo à la polacca for two violins; variations for two violins and violoncello, upon the _Cloak Song_, from Leonora, the whole composed by L. Mauer.

The theatre has furnished little of marked interest; Mr. Rosicke of the Berlin _Königstadt Theater_ appeared in various characters, with success, more particularly as Wallheim in _Leonora_. Mr. Heckscher, a new engagement from the Brunswick Court Theatre, made his appearance as Don Juan, Count Wetter von Strahl, Caspar in the _Freyschutz_, Lord Cockburn in _Fra Diavolo_, &c. The experienced actor is easily recognised in this gentleman, who possesses a powerful bass voice, but of which he does not always avail himself to the best advantage. On the 16th of October was performed, for the benefit of Miss Hulda Schaffner, _Je toller, je besser_ (Une Folie), by Méhul.

The principal novelty on our boards was the production, on the 6th December, of the opera of _Imogen_ (founded on Shakspeare’s Cymbeline), a composition of our worthy music director, Mr. _Sobolewski_, who, according to report, has also furnished the poem. Mr. S. has raised himself from the ranks in music to his present situation of commander-in-chief, and, by this opera, has furnished a new proof of musical talent of a superior order.

STRASBURG.

Our German Opera, under the direction of Mr. Weinmüller, commenced the season with the _Freyschutz_. The performance met with considerable success, although the company is not as yet complete.

BRUSSELS.

The King of the Belgians has been pleased to accept the dedication of the score of the opera _William of Nassau_, and, in proof of his satisfaction, has transmitted to the music director, _Mezeray_, a very flattering letter, accompanied with a diamond ring.

Monsieur Fétis is arrived, with the view of making the necessary arrangements for his future residence in this city; he has been nominated Maître de Chapelle of his Majesty, as well as Music Director and Professor at the Conservatoire.

ST. PETERSBURG.

Barman, the clarionet player, who has spent last winter in the higher northern latitudes, is at present here; wherever he appeared he was received with the greatest applause.

MILAN.

_Il Contrabbandiere_, a melo-drame in two acts, the music by Cesare Pugni, was produced here on the 12th of June. There are in this opera some _motivi_ new and elegant, but the instrumental part is much too noisy. The composer has too freely used his trombones and drums.

NAPLES.

Sig. Barbaja still retains the office of _Impresario_ of the Grand Theatre Royal, the San Carlo. The company which he has formed for the ensuing season comprises, among many others, Mesdames Malibran, Ronzi di Begnis, and Lablache.

BOLOGNA.

Madlle. Blasis has been very favourably received by the public in this city. _Matilde di Shabran_ would doubtless have proved more successful had all the performers contributed equally to an opera which requires a perfect company. The tenor, Duprez, has succeeded very well here; in him are united the talents of a good actor and singer.

PARIS.

~Mad. Damoreau~ (Cinti), after an absence of three months, has re-appeared at the opera. Many works, which have suffered for want of her assistance, now feel the happy effect of her return.

TOULOUSE.

The concert of the celebrated M. Field has been a remarkable event for this city. All the best society of the town assembled at the Saloon of the Athenæum on this occasion, and, accustomed to hear only those pianists who delight in noise and absurd tricks, were as much surprised as charmed by the ease with which M. Field executed the most difficult and the most delicate passages.

M. Field is a disciple of the true piano forte school; Clementi was his master; and this is the school which must generally influence public taste. The love of novelty will now and then recommend sleight-of-hand tricks, but what is really good will always ultimately prevail, and never can be wholly neglected.

THE DRAMA.

~King’s Theatre.~

The practice of giving fragments of operas has been continued during the last month, and so far as such feeble stuff as _Anna Bolena_, _Norma_, &c. is concerned, it is not worth while to complain: but when a work like _Semiramide_ is exposed to the same treatment, it is time to protest against such barbaric taste, such an insult to common sense. This fine opera has actually been compressed into one act, and so performed! But _La Cenerentola_, one of Rossini’s inferior operas, has been given in an entire state, and strongly got up, Mad. ~Malibran~ in the principal part.

On Saturday the 20th of July, ~Bellini’s~ promised serious opera, _I Capuleti e Montecchi_, (which may be translated, _The Capulets and Montagues_,--or, _Romeo and Juliet_,) was performed for the first time here, and thus cast:--

_Romeo_ Mad. ~Pasta~.
_Julietta_ Mad. ~De Meric~.
_Tebaldo._ Sig. ~Donzelli~.
_Capuleto_ Sig. V. ~Galli~.

It was performed twice, then, it is said, finally withdrawn. Mad. ~Pasta’s~ acting could not save it! It had not even the negative support of the proverbially tolerant audiences at this theatre: none scarcely, except of the _orderly_ kind, attended the second performance, and it died without a groan; for privileged visiters never express their disapprobation, and only such were in at the death. Let it rest in peace! We will only say of this wretched work, that it is inferior even to _Norma_. Anything more would be superfluous, and a wanton waste of ink more valuable than Bellini’s opera.

The musical product of the season, then, has been two operas, fit only for the Milanese, for the Italian subjects of the Austrian government, to hear! But the apologists for such management cry out, ‘where are better to be procured?’ We will tell them--in Germany: nay, in the library of the King’s Theatre are operas enough to be found that are unknown, or forgotten, which, if properly prepared and brought out, would suffice for ten years to come,--operas that would not merely satisfy the public, but meet with their warmest approbation and most effectual support.

A Sunday paper has talked again and again about the expenses of this theatre considerably exceeding a thousand pounds a night. Doubtless the writer believes what he asserts; but we will tell him, fearless of contradiction, that they do not amount to anything like three-fourths of a thousand pounds. We know upon what saving terms the performers have all, except Pasta, been engaged; how their benefits have been managed; we have looked attentively at the scenery, dresses, &c. and challenge the lessee to produce any proof that our calculation is incorrect. Moreover we will add, that, in spite of the terms which performers, through the mismanagement of the three or four principal _impresari_ of Europe, are enabled to demand,--the Italian opera in London ought, if well conducted, to yield a certain profit of some thousands every season.

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~Covent Garden Theatre.~

On Saturday, June 29th, Weber’s opera, _Euryanthe_, was produced at this theatre, by the German company, for the first time in England. Owing to the abominable practice of advertising pieces ‘for the last time,’--though it is almost always intended that they should continue to be performed as often as the public will attend to hear them, and that there should be two or three, or even more, ‘last times,’--we were defrauded of an opportunity of hearing this able work of Weber, knowing that it would be more correctly given on a third or fourth night, and entirely disbelieving the manager’s announcements. Hence we are enabled only to lay before our readers the _dramatis personæ_ and the story, (for which we are indebted to the _Observer_,) and to state our general opinion of the work, not as now performed, but from a pretty intimate acquaintance with it from the _vocal score_, as published at Vienna, by Steiner. Of this, it is true, we have heard portions in concerts with the full orchestral accompaniments, but have had no means of judging its complete effect as a whole, either as a musical or dramatic composition.

The parts were thus cast--

_Ludwig_, King of France, ~Herr Uetz~.
_Adolar_, Count of Nevers, ~Herr Haitzinger~.
_Lysiart_, a Nobleman, ~Herr Dobler~.
_Euryanthe_, ~Madame Schroeder Devrient~.

_Ludwig_ has appointed a fête to be celebrated for the return of one of his most gallant knights and accomplished troubadours, _Adolar_, who arrives, and, in a beautiful romance, sings his adventures in the war in which he has just been engaged for his royal master. He is crowned with laurels by the fairest ladies of the court. His happiness is almost complete, for he is on the point of seeing once more the object of his love, _Euryanthe_, the beautiful and accomplished _Châtelaine_ of a wide domain, near Nevers. In his absence, another noble, _Lysiart_, has endeavoured to win the affections of _Euryanthe_; but finding, after repeated trials, that his attempts are useless, he resolves to blast her fame, and destroy the peace of mind of his favoured rival. In the presence of the king and his court, he tells _Adolar_ that his mistress is inconstant. _Adolar_ cannot believe it, and offers to defend, in single combat with the accuser, the innocence of _Euryanthe_. The challenge is accepted. In the mean time, _Lysiart_ is sent by the king to the castle of _Euryanthe_, to conduct her to court, where, for the present, _Adolar_ is tarrying. The traitor, in conjunction with _Eglantine_, an attendant of _Euryanthe_, gets possession of a ring given to the latter by _Adolar_, and with this proof, supported by the false evidence of _Eglantine_, convinces _Adolar_, the king, and the court, of _Euryanthe’s_ infidelity. She is stripped of her possessions, and abandoned by _Adolar_. She is afterwards seen, in all the agony of wronged innocence, wandering alone in the woods. In heart-rending accents she sings her woes, and falling down exhausted, is found by a party of hunters, and conveyed to a place of safety. The last act opens with a view of _Euryanthe’s_ castle, from which is seen issuing a gorgeous procession, going to celebrate _Lysiart’s_ marriage with the perfidious _Eglantine_. _Adolar_ having, however, now become convinced of the innocence of his mistress, and the treachery of _Lysiart_, breaks in on the pageant, accuses _Lysiart_, and forces him to draw and defend himself. Their swords are already crossed; when the king arrives and separates the combatants. _Eglantine_ confesses her guilt, and accuses _Lysiart_ of his crime. She is by him stabbed, and he then is dragged to meet his doom. At this juncture _Euryanthe_ rushes in, _Adolar_ receives her in his arms--the king proclaims her innocence--her possessions are restored to her--and she becomes the bride of him whom she long has loved.

The overture to this opera has abundance of both beauty and science to recommend it; its frequent performance at the Philharmonic Concerts has made it known to most connoisseurs in London, and we have more than once spoken of it. An extract from this was published in our work some few years ago, and in our early numbers will be found two of the most lovely airs in the opera, with English words adapted to them, as well as other pieces from the same.

Though _Euryanthe_ is not so popularly formed as the _Freischütz_, it does not less show the hand of a great musician. There is not so much, by a great deal, in it that at once commands attention and admiration, but a closer acquaintance with it developes beauties that are not so obvious on a first or second trial. Neither the _Freischütz_ nor the present work were produced without great labour, but this is more apparent in the latter than in the former. In the one, genius and skill are combined in nearly equal proportions; in the other, there is more of skill than genius; though the invention displayed in _Euryanthe_ would be enough to confer a great name on any composer of any country. Let us, however, repeat, that our judgment, in the case of the opera now under notice, is formed from a knowledge of an adaptation--of what is called the vocal score--only.

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~English Opera, Adelphi.~

Mr. Arnold resumed the management of this company at the beginning of last month, and brought out a new operetta, _The Convent Belle_, the main support of which was Mrs. ~Waylett’s~ very charming ballad singing; this kept it the piece till the 16th, when it was superseded by _The Yeoman’s Daughter_, a clever, affecting drama, written by Mr. ~Serle~; the music by Mr. Wade, Mr. Hawes, and others. This has proved very successful, and fills the house, notwithstanding the heat of the weather, which is a sure friend to Vauxhall, an implacable foe to theatres.

THE MUSIC OF THE PRESENT NUMBER.

The Overture to _Cosi fan tutte_ is the lightest of Mozart’s orchestral compositions, and in the style of the Italian sinfonias of his day, but as far superior as was to be expected from a genius which, even when relaxing, was comparatively great.

* * * * *

The Madrigal, ‘When all alone,’ is one of the most beautiful compositions of the kind known, and but for a single modulation which marks its age, might be mistaken for a modern production, so free and fresh is its melody. Of Conversi scarcely any record remains. Walther bestows only two lines on him: Gerber merely states that he was born at Correggio, and published a set of canzoni for five voices, at Venice, in 1575, and a set of madrigals for six, at the same place, in 1584. Of course, therefore, his present work was among the former, though it has always in England borne the title now given to it. To the best of our knowledge, the canzone for many voices only differs from the madrigal in being less laboured; fugal points and imitations do not so necessarily enter into its formation.

* * * * *

Of the Song, we can only say, that we think it worthy of a place in our work.

The two movements of Clementi are now, alas! little known. After playing both through, we recommend the performer to repeat and end with the first.

* * * * *

The _Incarnatus_ is from the composer’s most esteemed mass. The resemblance of this to Purcell’s song, ‘What power art thou,’ in _King Arthur_, is so striking, that surely something more than accident must have occasioned it. But if Caldara borrowed from Purcell, Handel was indebted to the borrower; for his ‘Vouchsafe, O Lord,’ in the Dettingen Te Deum, seems formed on the model of the Italian composer.

Antonio Caldara, born at Venice about the year 1680, was vice-master of the Imperial Chapel at Vienna from 1714 to 1763. He was one of the most distinguished composers of his age, both for sacred and dramatic music; but his fame now rests on the former. As to his operas, Metastasio, an excellent judge of the matter, did not think highly of them, notwithstanding their reputation at the time, for, in a letter to Eximeno, he mentions the composer as ‘an eminent contrapuntist, but extremely deficient in expression and pleasing melody.’

[Sidenote: ~September~, 1833.]

BIOGRAPHICAL SKETCHES OF S. WEBBE, J. S. SMITH, S. PAXTON, J. DANBY, R. J. S. STEVENS, ~and~ R. SPOFFORTH.

Counterpoint is said, by Johannes Nucius[82], to have originated in this country, an assertion which, well or ill founded, proves how very soon the art was practised in England after being first discovered and reduced to rule. Indeed our early ecclesiastical composers, as well as madrigalists, who suffer nothing by comparison with their contemporaries, the Flemings and Italians, shew the high degree of perfection which music in parts speedily attained in this island; and it may be consoling to our national pride--if as a nation we have any musical pride at all--to reflect, that our composers lost no ground till the encouragement bestowed by the court, and, consequently, by the great generally, on foreigners, tended much to check and depress British genius, by depriving it of that motive for exertion, without which the imagination grows cold, and industry is unavailing.

Nevertheless, the appointments in our choirs, poorly as they now reward talent, formerly kept the art of church composition from sinking, and madrigals never entirely fell into neglect; the study of counterpoint, therefore, was still pursued by a few, and led to the birth of the glee, which is the lovely offspring of the madrigal, the not very distant relation of our church music, and, undeniably, indebted to England for its creation.

It is for the latter reason that we conclude our biographical notices with some account of the most eminent of those glee-composers who have not yet been included in this department of our work[83]; but we feel it necessary to confine ourselves to such as ‘their worldly tasks have done,’ or have long retired from active professional life. Though we lament that, notwithstanding very diligent inquiries, our materials are, except in one or two instances, extremely scanty, furnishing little more than dates, and not always supplying even these. Our musical biography, however, would have been incomplete in the opinion of English readers, without names so well known as those now introduced, and in communicating all that we have been able to learn, we discharge a duty that we should with regret have left unfulfilled.

* * * * *

~Samuel Webbe~ was born in the year 1740. His father, a highly respectable gentleman, died suddenly at Minorca, where he held an office under the British Government, leaving the subject of this sketch an infant,--his property in such a state that his family never benefited by it, and his widow in circumstances which deprived her of the means of bestowing a proper education on her son, who was, at the early age of eleven, apprenticed to a cabinet-maker. When his term was completed, he immediately quitted an employment so far beneath his powers of mind, and commenced the study of the Latin language. But his mother dying a year after he had abandoned his mechanical pursuits, he was reduced to the necessity of copying music as a means of subsistence, being then nearly ignorant of the art, though a great admirer of it. This occupation led to an acquaintance with a German named Barbandt, organist of the Bavarian chapel, who initiated him in the rudiments of music. His almost unparalleled industry enabled him not only to support himself by copying, but to acquire, in addition to the Latin, a knowledge of French. At the age of twenty-three he married, and the birth of a child, while it did not lessen his difficulties, occasioned no interruption in his studies, for he now engaged an Italian master. He must by this time have obtained a considerable knowledge of music, for shortly after becoming a father, he began to give lessons, as well as to compose, and such was his progress, that at the age of twenty-six he gained a prize-medal from the Catch-club for the best canon. In 1768, only two years after, he received the medal for his glee, ‘A gen’rous friendship,’ which immediately established his reputation, and has ever since been admired as one of the most beautiful specimens of simple vocal harmony that the art has to boast.

From the year that first crowned his efforts with success, to 1792, Mr. Webbe had no less than twenty-seven medals awarded him, for glees, catches, canons and odes. But here it may not be irrelevant to remark, that four of his finest compositions, namely, ‘When winds breathe soft,’ ‘Hence, all ye vain delights,’ ‘The mighty conqueror of hearts,’ and ‘To me the wanton girls insulting say,’ were unsuccessful candidates for the golden honours bestowed on works of inferior merit; while of the many medals he obtained, not more than seven or eight were given for compositions that are now known. Eight, indeed, were the reward of useless mechanical labor, exhibited in the form of canons, none of which have survived the composer; and seven were the meed of catches, one of which, ‘To the old, long life and treasure,’ still maintains its ground.

On the death of Mr. Warren Horne, in 1784, Mr. Webbe was appointed Secretary to the Nobleman’s Catch-club, which office he held till his decease.

On the establishment of the Glee club, in 1787, Mr. Webbe became a professional member, and librarian. It was for this society he wrote his glee of perennial popularity, ‘Glorious Apollo,’ both words and music. During the time that he was actively pursuing his professional occupations, he found leisure to acquire an extensive knowledge of the German and Hebrew languages, and made himself conversant in many branches of polite literature. He even wooed the Muses, and of several of his works the poetry as well as music is believed to be from his pen. He also excelled in fencing and dancing, and added to his various accomplishments a simplicity of manners and benevolence of disposition, that endeared him to a large circle of acquaintance, among whom were some of the most distinguished persons of his day.

Mr. Webbe’s glees, &c., amount in number to one hundred and seven, and have been published in three large volumes. Besides these, he was the author of masses, (being a catholic) anthems, single songs, &c., many of them well known, but too numerous to be specified here. He died in 1817.

* * * * *

~John Stafford Smith~, who is still living, though he has long since retired to privacy, is a native of Gloucester, where he was born about the year 1750. His father, who was organist of that cathedral, having instructed him in the principles of music, sent him to London to complete his musical education under Dr. Boyce. At an early age he was appointed one of the gentlemen of the Chapels Royal, and on the death of Dr. Arnold, in 1802, he became organist of the same. In 1805 he succeeded Dr. Ayrton as master of the King’s choristers, which office he resigned in 1817, and shortly after withdrew from all professional employment.

When only twenty-three years of age, in 1773, Mr. Smith obtained the prize for a catch, which had, in fact, nothing to recommend it but that kind of grossness so much admired in those days; but the year following produced his fine serious glee, ‘Let happy lovers fly where pleasures call,’ to which the prize given by the Catch-club was most justly allotted. The same honour was with equal discrimination conferred in the three succeeding years, on his ‘Blest pair of syrens,’ ‘While fools their time in stormy strife employ,’ and ‘Return, blest days.’ He obtained in the whole eight of them honourable distinctions; but his very delightful, cheerful glees, ‘Let us, my Lesbia,’ and ‘As on a summer’s day,’ missed the reward due to them. Mr. Smith also is author of a madrigal, ‘Flora now calleth forth each flower,’ a work which, for contrivance and effect, may compete with anything of the kind extant. He likewise published a volume under the title of _Musica Antiqua_. containing specimens of the earliest compositions; and another, a collection of _Ancient Songs_; both of which bear testimony to his industry and research, and now form a part of every valuable musical library.

* * * * *

~Stephen Paxton.~--Of this sweet composer nothing whatever is recorded, except the years when he obtained prizes for his glees. In 1779 he gained a medal for ‘How sweet, how fresh, this vernal day!’ in 1781 for ‘Round the hapless Andre’s urn;’ and in 1783, 1784, and 1785, for a catch, a glee, ‘Blest power!’ and an ode. He also composed ‘Go, Damon, go!’ the answer to ‘Turn, Amaryllis,’ and ‘Upon the poplar bough,’ two admirable glees. He had a brother, William, who wrote the delicious three-voiced glee, ‘Breathe soft, ye winds,’ in ~E~; likewise a canon, which gained a prize in 1780. One of the Paxtons, but we cannot ascertain which, was a distinguished performer on the violoncello, and alternately with Crosdill, afterwards with Cervetto, played first violoncello at the Ancient Concerts.

* * * * *

~John Danby~--Still less is known of this composer than of the preceding. He gained ten prizes from the Catch-club, for seven glees, two canons, and an ode. Among the first are three which will secure to him a niche in the temple of Fame, viz., ‘When Sappho tuned the raptured strain,’ ‘Awake, Æolian lyre,’ and ‘The fairest flowers the vale prefer.’ He was a member of the Catholic church, and died, either at the end of the last or beginning of the present century, at the moment a concert was performing for his benefit; for long-continued bad health had much impaired his circumstances, and rendered the assistance of his friends and the public essentially necessary.

* * * * *

~Richard James Samuel Stevens~ is still living, at an advanced age, but has long retired from active life. His first appointment was as organist to the Temple. In 1795 he succeeded Mr. John Jones in the place of organist of the Charter House; and in 1801, on the death of Dr. Aylward, was elected Professor of Music to Gresham College. In 1782 he gained the prize-medal for a serious glee, ‘See, what horrid tempests rise!’ and another in 1786, a cheerful glee, ‘It was a lover and his lass.’ But his most popular works, those which will transmit his name, are, ‘Ye spotted snakes,’ ‘Sigh no more, ladies,’ ‘From Oberon,’ ‘Crabbed age and youth,’ and ‘Strike the harp in praise of Bragela,’ compositions sparkling with genius, but which some who delectate in canons affect to despise, unmindful of Æsop’s well-known apologue. The most stubborn line-and-rule critics, however, are forced to admit the merit of his five-voiced serious glee, from _Ossian_, ‘Some of my heroes are low,’ in which the poetry and science of music are equally blended.

Mr. Stevens published two, if not three, sets of glees, and edited a useful Collection of Anthems, &c., in three folio volumes. He has one son, recently a gentleman-commoner at Oxford, who, it is to be presumed, will inherit his very independent fortune.

* * * * *

~Reginald Spofforth~ was a native of Southwell in Nottinghamshire, a place famed for its venerable collegiate church, of which his uncle, Mr. Thomas Spofforth, was organist, who so ably instructed his nephew in music, and by his example as well as precept fixed in him such habits of industry, that at en unusually early age he became qualified to officiate for his relation, and distinguished himself at the concerts given in different parts of the county. Being much noticed by Sir Richard Kaye, Bart., a prebendary of Southwell and Dean of Lincoln, he accompanied his patron to the latter place, and for a short time acted as deputy-organist of the cathedral[84], but soon quitted that city, and proceeded to London, where he became a disciple of Dr. Cooke, under whom he studied upwards of three years, with every advantage that could be derived from so admirable an instructor, seconded by the most unwearied assiduity. He also took lessons of Steibelt on the piano-forte, and devoted some portion of his time to the Italian language. But his knowledge and skill were not immediately productive, and he had to encounter pecuniary difficulties, for his father was unable to assist him, and his uncle--a miser, such as is rarely met with but on the stage--was unwilling. His wants, however, were few, and his talents in every branch of his profession at length forced him into notice. In 1793, he offered to the Catch-club a serious and a cheerful glee, as candidates for the prizes, and obtained both: ‘Where are those hours?’ and ‘See, smiling from the rosy East,’ were the successful compositions. He now formed an acquaintance with Mr. Shield, musical manager of Covent Garden, and contributed many songs, duets, &c. to various pieces produced at that theatre. When the latter set out on his Italian tour, Mr. Harris offered the vacant appointment to Mr. Spofforth, who, weighing the difficulties and vexations inseparable from the office, with great prudence declined the proposal. He now determined to divide his time between teaching and the composition of glees, and was soon so much occupied by the former, while he devoted to the latter hours that ought to have been surrendered to sleep, that his health was gradually undermined, and he at length fell a victim to his industry and application.

In 1797 he undertook the musical direction of a _toxopholitico-musico-theatrical_ club, called the Bowman’s Lodge, which was supported by some of the _beau monde_. He also accepted the place of organist to Fitzroy Chapel, which he relinquished for that at Eltham, where he passed much time, giving lessons at a great school in the neighbourhood, and enjoying the society of his friend Mr. Laurence, brother to the learned civilian, who was the intimate of Burke, and for some years member for Peterborough.

In 1826 Mr. Spofforth lost his uncle, whose fortune fell to him: he, however, enjoyed his independence but for a short period. The year after, in the month of August, the nervousness of which he had so long been the prey, and which for many years had prevented his attempting any new work, appeared in a fatal form. On the 31st he was attacked by paralysis, and lost the use of one side. In this state he continued till the 8th of September, when he expired, in the fifty-eighth year of his age.

Besides the two prize-glees above mentioned, Mr. Spofforth produced several of at least equal excellence; among which, ‘Mark’d you her eye of heavenly blue?’ ‘Health to my dear!’ ‘L’Ape e le Serpe,’ ‘Hail, smiling morn,’ and ‘Come, bounteous May,’ have received the stamp of public approbation that never will be effaced, and which their intrinsic merit alone obtained; for the author was a man too modest in his nature, too retiring in his habits, to have recourse to means adopted by many composers, and perhaps fairly, for the purpose of forcing their works into notice.

RULES FOR COMPOSING FASHIONABLE MUSIC.

[In a Letter from Milan.]

A composer of the present day stands in no need of that divine spark which comes from above. All that is required now is, to place himself within a musical circle, composed of some thirty of the operas of Rossini, spread open for the facility of instant reference. It is true that he will find in these works much genius, much that abounds in beauty, grace, and vigour; but he will also meet with numerous passages, not to say whole motivos, which this master has had the address, by a thousand ingenious devices, such as embellishing, altering the movement, &c. &c., to appropriate to himself from others. The composer, therefore, who is thus seated in the midst of these volumes, may go to work without much apprehension, as he will here find brought into one focus all the scattered rays of beauty that he would have to collect, with no small labour, from hundreds of volumes. A ready artist need not trouble himself much with the deeper studies of composition, as the public will give him sufficient credit for talent, if he do but possess the happy art of combinations, and can produce a piece of ingenious mosaic work. Let him but get a good subject, no matter how, and it will not be difficult to conceal the theft under a mass of noisy instrumentation. In the midst of this clamour, too, the many errors in harmony will be equally hidden. It may be observed, that the rules we have thus laid down are equally applicable in the composition of a symphony, terzetto, aria, duet, finale, &c., since in all our modern works the same form, the same colouring, the same general process is considered indispensable: above all, it must never be forgotten that, on every occasion, the orchestra should be everything; song, sentiment, situation, &c., must give way to this. To say the truth, such is the feature by which modern music is distinguished from that of the old school, which was silly enough to allow melody to take the lead, and paid it, on all occasions, the most unaccountable respect.

The modern composer must not neglect to provide himself with a ready-made store of showy piano and harp passages, with which he must sprinkle pretty thickly the parts for the voice; and when he gets hold of a soprano air, let him ornament the conclusion of it with a flight of demi-semiquavers, the more unvocal the better. And even if the singer should find it difficult to hit them off, never mind, the public will not be a whit the wiser. But one of the principal rules to be observed is this, that no rest of any kind, no pause, must be allowed the wind-instruments; the trumpet, the trombone, the drum, and the octave-flute most be kept incessantly at work, so as to deprive the hearer of every means of following the singer, who, to say the truth, has not in general much to do with the piece, and is only an object of subordinate interest in the opera.

Now if an artist has wit enough to compose according to these rules, let him begin every piece with an assortment of strong chords, with the indication mark of the pause over the last. Upon this should follow a _pizzicato_ movement of violins and basses, which is immediately to be succeeded by the motivo, (taken, as before observed, from some of the open books by which the composer is encircled,) performed by the bassoon and clarionets. This motivo must soon make its appearance again, and be given either by the octave-flute or the singer, just as may suit; for it is quite a matter of indifference whether the singer or that instrument performs it. And now a transition should be made into some out-of-the-way key; a series of skipping passages should follow, which should invite the feet to dance, and lead in, upon ‘light fantastic toe,’ the never-failing _crescendo_. Again: a transition should be made, by a series of modulations of the most extraneous kind, into the original _pizzicato_ movement. At last a flight of quadruple-tailed notes should wind up the singer to the very acme of exertion, supposing breath enough left for the operation; the drum, the trumpet, the trombone, and the octave-flute should be summoned to display all their energies, and this concluding burst should not cease till the moment when the public think the proper time is come to assist with vehement applause.

Ye modern composers, forget not the debt of gratitude you will owe me, for having thus liberally let you into the secret of the art! Hie ye to London! first getting letters to the Duchesa di----, who will introduce you to some English bookseller, or some third-rate French actor, neither of whom, you will find will understand one note of music; therefore you will have no cause to fear detection. You will be sure of applause from persons kept in a kind of pay for the purpose; and there are journalists enough to assist the fogs in mystifying the public, and to make you a reputation for a year or two, during which time, if you do not fill your pockets with English guineas, you will be proved unworthy of the advice now given you by your friend

~Rossini, Junior~.

GLASGOW AMATEUR SOCIETY.

_To the_ ~Editor~ _of the_ ~Harmonicon~.

~Sir~, _Glasgow, Aug. 12, 1833._

As you have always taken an interest in the proceedings of provincial societies for the cultivation of music, I have thought that it might be interesting to you to hear of the existence of an association so far north as Glasgow, the object of which is the performance of the choral compositions of the great masters.

This Society has been now nearly two years established, and consists entirely of amateurs; one of its fundamental laws being the ineligibility of professional musicians as members. It is called the ~Glasgow Amateur Musical Society~. I beg leave to transmit a programme of their Second Annual Concert, which took place on Wednesday evening, the 7th August, in the nave of the venerable cathedral. The admission was entirely gratuitous, by tickets issued by members of the Society, and the audience, a most respectable one, amounted to upwards of 600 in number. The orchestra, led by Mr. Andrew Thomson, was composed partly of professional gentlemen of Glasgow, and partly of the band of the 7th Hussars, now stationed here. Mr. Thomas M’Farlane, organist of St. Mary’s Episcopal Chapel, conducted, and Mrs. M’Millan, (late Miss Thomson,) of Edinburgh, took the principal soprano parts.

~Programme.~

Overture.
Recit. ‘Comfort ye.’ Aria, ‘Every valley,’ (Mrs. }
M’Millan.) }
Chorus, ‘And the glory.’ } _Messiah_,
----, ‘For unto us.’ } ~Handel~.
----, ‘Hallelujah! for the Lord God.’ }
----, ‘Worthy is the Lamb.’ }
Solo and Chorus, ‘Luther’s Hymn.’ ~Luther.~
Recit. ‘In the beginning.’ Chorus, ‘And the }
spirit.’ Recit. ‘And God saw.’ }
Aria, ‘Now vanish.’ Chorus, ‘Despairing, cursing, }
raging.’ }
Solo, ‘The marvellous works.’ (Mrs. M’Millan.) }
Chorus, ‘And to the ethereal vaults.’ } _Creation_,
Recit. ‘And God said.’ Aria, ‘With verdure } ~Haydn~.
clad.’ (Mrs. M’Millan.) }
Recit. ‘And the heavenly hosts.’ Chorus, ‘Awake }
the harp.’ }
Recit. ‘In splendour bright.’ }
Chorus, ‘The heavens are telling.’ }
----, ‘Sing the Lord.’ }
Old Hundredth Psalm. ~Luther.~
Chorus, ‘Hallelujah to the Father.’ (_Mount ~Beethoven.~
of Olives._)
Chorus, ‘Let their celestial concerts.’ ~Handel.~
(_Samson._)

I do not presume to take up your space by a critique on the several performances, but I cannot allow the opening recitative and aria of _The Messiah_, and the recitative and aria, ‘With verdure clad,’ from _The Creation_, as performed by Mrs. M’Millan, to pass unnoticed: the first was given with a thrilling distinctness and precision which told well in the spacious high-arched nave, while the manner in which the latter was sung was well adapted to the flowery and polished style of that most beautiful melody.

Among the choruses, ‘Hallelujah!’ from _The Messiah_, ‘Hallelujah to the Father,’ the beautiful chorus from Samson, ‘Let their celestial concerts,’ ‘The heavens are telling,’ ‘Worthy is the Lamb,’ and the closing chorus of the Creation, ‘Sing the Lord,’ were done with great precision, and received reiterated applause; and the whole performance was deemed by adequate judges to be highly creditable to the amateur taste of Glasgow.

~An Amateur.~

[We are happy to hear from all quarters of the increasing number of Amateur Societies in Great Britain; but surely it is a misnomer to call _this_ an ‘Amateur Society,’ seeing that the only performance which its members think fit to notice publicly, depended for support almost wholly, if not entirely, on professional performers.--_Editor._]

ON THOUGHTS OR IDEAS IN MUSIC.

(From the French of Gretry.)