Chapter XXV: Act II (6)

No. 3 is a clear arrangement of a chorus very popular in Germany now, and which will be so here two or three years hence.

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VOCAL.

1. ~Madrigal~, ‘Violets again are here,’ _for Five Voices, the
words by_ Mrs. ~E. L. Emmerson~; _the Music composed by_ ~Lord
Burghersh~. (Power.)

2. ~Madrigal~, ‘Troppo t’affidi,’ _as performed at the Gresham
Commemoration, 1833, the words by_ ~Strozzi~ (_sixteenth century_);
_composed by_ ~Lord Burghersh~. (J. A. Novello.)

3. ~Pastoral Glee~, ‘Sweet flowing river,’ _with accompaniments for
Flute, Clarionet, and Bassoon, or Piano Forte, composed by_ ~C.
Guynemer~. (J. A. Novello.)

From the time of the Prince of Venosa, who died in 1614, to the present year, not a single instance of a noble composer of madrigals was to be found, till Lord Burghersh produced No. 1 of the above, which was first heard at Mr. Sale’s concert in May last. The decidedly favourable manner in which madrigals were received last season, both at the Ancient and Vocal Concerts, most likely induced the noble Lord to turn his attention to this kind of music, and we are glad that it has found so able and influential a patron. No. 1, in ~B~ flat, carries with it internal evidence of having been wholly designed before any part of it was committed to paper; the unity, so well sustained from beginning to end, is an incontestable proof of this. Herein consists one of its greatest merits, while the melody which flows through it is not less to be admired. This is written in the true _stile madrigalesco_, a style distinguished by its free imitations and double counterpoint, and the effect of the whole is remarkably good; though to bring it fairly out the singers must be on the alert, and give their earnest attention to the unexpected transitions that occur. While we state how much this has pleased us, we must confess that there are one or two points in which we differ from the composer. Had, for instance, the diminished 7th (page 10, bar 7) been resolved, we should have been better satisfied; and wish that the piano-forte accompaniment (which should only be used when singers require support) had continued with the voices throughout, instead of being raised an octave above them in the latter part of the composition.

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No. 2 will please the most uncultivated hearers by the beauty of its melody, and connoisseurs will discover that it possesses also other claims to notice, founded on what is not so obvious to the uninitiated in such compositions. The same consistency is observable in this as in the preceding; the subjects all stand in a certain traceable relationship to each other, and lead us to suppose that the whole was struck off at a heat. This is an original work, and not less pleasing than new. The ease and sweetness of the air will, of course, be most generally noticed, but those who are alive to the charms of harmony may find enough here to engage their attention very agreeably. In a word, there are no commonplaces either in this or the former; both bear the uncounterfeited stamp of true genius,--by which we mean, the union of invention and taste.

* * * * *

No. 3 is a pastoral _quartet_, andantino, in six-eight time, the words are set with judgment, the melody is flowing and happily imagined, the inner parts are well written, and the whole produces that agreeable, tranquillizing effect which, we conclude, was the main object of the composer.

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1. ~Recit.~ _and_ ~Air~, ‘Ah! che i giorni,’ _from_ ~Spohr’s~
_Opera_, Der Alchymist, _translated from the German by_ ~Edward
Taylor~. (Cramer and Co.)

2. ~Three German Songs~, _with English and German words, composed
by_ ~J. P. Pixis~. (Dean.)

3. ~Arietta~, _in_ ~Donizetti’s~ _opera_, Anna Bolena, _with graces
and embellishments by_ ~Signor Rubini~. (Willis and Co.)

No. 1 is a deeply expressive air in ~A~ flat, with an accompaniment abounding in those riches of harmony which Spohr possesses in his ample stores. This was sung by Mrs. Wood at a Philharmonic concert, Mr. E. Taylor having very cleverly converted the German into Italian for the occasion. It may be thought a bold thing to differ from the author respecting the movement of his air, but it seems to us that in using the words ‘_Allegro Vivace_,’--(we say nothing about the literal meaning and tautology)--he either mistakes their power, or directs a much greater degree of quickness than is favourable to good effect. That time understood by the term _allegretto_, appears to us to be best suited to both words and music. But, to say the truth, most of the Italian words used in music are very barbarously perverted.

* * * * *

M. Pixis’ three songs, though imitations of Swiss airs, are the most pleasing things that we have seen from his pen for a long time past. They were sung by Madlle. Pixis, at the Queen’s palace this spring, and pleased much.

These are for a mezzo-soprano, and though not very difficult, require much flexibility of voice, as well as some skill to do them justice. The airs are varied to the second and third stanzas, and the singer is there called upon to exert herself. The English words are well adapted to the melodies.

* * * * *

No. 3 is not distinguishable from at least a hundred airs of the same kind that have been heard on the Italian stage within the last fifteen years. Signor Rubini’s ‘Graces and Embellishments’ amount to little beyond a turn or two, written at length; and we are thankful to him for adding no more: if he had inserted only half that he sings, we never could have got through one quarter of this arietta.

* * * * *

1. ~Duet~, Content, _written and composed by_ ~M. Virtue~.
(Goulding and D’Almaine.)

2. ~Ballad~, ‘She ne’er forgot him,’ _the words and music by_ G. M.
(Willis and Co.)

3. ~Canzonet~, ‘Adieu! my native shore;’ _the words by_ ~Lord
Byron~; _composed by_ ~John Lodge~, Esq. (Chappell.)

4. ~Ballad~, ‘Oh! do not say farewell,’ _composed and published as
the preceding_.

5. ~Song.~, ‘I’m just eighteen, and quite a man;’ _the poetry by_
~T. H. Bayly~, Esq.; _the Music by_ ~G. Linley~, Esq. (Chappell.)

6. ~Song~, ‘The wave of the ocean,’ _composed by_ Dr. ~John Smith~.
(Willis and Co.)

7. ~Air~, ‘Peaceful night,’ _composed by_ ~Henry R. Bishop~.
(Chappell.)

8. ~Song~, ‘Oh! music, what magic thy melody brings,’ _the poetry
by_ ~R. Folkestone Williams~, Esq.; _the music by_ ~Henry Smart~.
(Chappell.)

9. ~Ballad~, ‘Lady mine,’ _composed by_ ~William Forde~. (Cocks and
Co.)

10. ~Song~, ‘The honey-bird and the woodpecker,’ _set to music by_
~M. E. Williment~. (Boosey and Co.)

11. ~Cantata~, ‘Medora,’ _composed by_ ~Charles Goodban~. (Dean.)

12. ~Song~, ‘The Zephyr,’ _composed by_ ~C. L. Wrenshall~. (Dean.)

No. 1 is a very humble attempt at composition.

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No. 2--which we rather think is by a fair amateur--is in the Scottish style, simple, tender and pleasing.

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No. 3 is a charming melody, well accompanied. Perhaps the music is a little too tranquil for words which speak such ill-suppressed agony of feeling.

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No. 4 displays more elegance of taste than originality; but the poetry is most correctly set, and the ballad being popularly composed, will soon make its way.

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No. 5 is the soliloquy of a very youthful dandy, the words entertaining, and the music not inappropriate.

* * * * *

No. 6 is not less pleasing for being in the neglected rondo style. The melody is good, and the words correctly set, both as regards meaning and accent.

* * * * *

No. 7 has cost the composer some labour, we fear in vain, for it is not calculated to become very popular; nevertheless, the hand of a musician is conspicuous in every part of it.

* * * * *

No. 8 is a clever song, and the air has some novelty in it, therefore a rarity. The accompaniment is full, and may alarm those who are apt to take fright at double sharps; but it is ably composed. The poet’s notion, that music is ‘the wine of the soul,’ is to us new: we know by sad experience that it often operates as a narcotic, when not so noisy as Bellini’s _Norma_.

* * * * *

No. 9 is respectable, but certainly boasts not a new thought; except, indeed, the introduction of a solitary bar of nine quavers, which had better have been omitted.

* * * * *

No. 10 is a sly attack on the slave system. If the arguments against it had always been as feeble as the music of this song, real emancipation would have even a poorer chance than it now has, when a trifle of twenty millions is devoted to its accomplishment.

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In No. 11 is a great deal more than we fear will be properly appreciated. The composer will gain reputation by his _canzonet_--(_a cantata_ implies recitative) but no profit.

* * * * *

No. 12 is pretty, but like a thousand other songs. Why such a runaway ritornel? Is it an imitation of the West wind?

HARP.

1. ~The Bard~, _a fourth_ Sérénade du Troubadour, _with_ ad lib.
_accompaniments for Piano-forte, Flute, and Violoncello, composed
by_ ~F. C. Meyer~. Op. 54. (Chappell.)

2. ~A Third Scottish Gem~, _arranged with Variations, by_ ~T. H.
Wright~. (Chappell.)

The first of the above is in three short movements, besides a few introductory arpeggios. A certain gracefulness characterizes this, rather than originality or energy. It is, however, skilfully adapted to harp-players, who, generally speaking, are not very desirous of combating difficulties; and they have reason on their side, so far as relates to those of execution; but difficulty arising from novelty, from unexpected cadences and combinations, is of a totally different kind, and ought to be encouraged whenever met with; which is but seldom, we must allow.

* * * * *

No. 2 is a very lovely air, and, though Scotch, quite unknown to us, to which are added four variations of the usual kind. An easy prelude in a few arpeggioed chords, in fact, introduces the air; the whole filling six pages only.

HARP AND PIANO-FORTE.

The favourite ~Airs~ _in the Ballet-Opera of_ La Bayadère,
_arranged by_ ~T. Labarre~. Op. 48. (Chappell.)

We have here the march in ~F~, with the airs, ‘Ainsi pour me sauver la vie,’ and ‘Sois ma Bayadère,’ combined into a Fantaisie. Neither of the parts is difficult, but the greatest responsibility is thrown on that of the piano-forte, which indeed is just, for this instrument possesses far more capability than the other. M. Labarre has made a very pleasant piece out of these airs, and will do well to select a few more for a similar purpose.

VIOLIN.

~Thema~, _with_ ~Variations~, _with an accompaniment for the
Piano-forte, composed by_ ~Henry G. Blagrove~, _Violinist to_ ~Her
Majesty~. (Boosey and Co.)

This consists of an introduction and an air in ~E~, with five variations. The air is delicate and pleasing; the variations are of the bravura kind for the violin, the piano-forte part being, as stated, a mere accompaniment. We find no room here for censure, and should not be justified in saying any great deal in the shape of praise.

VIOLONCELLO AND PIANO-FORTE.

1. ~Classical Selections~ _from eminent Authors, arranged as_
~Duets~, _by_ ~F. W. Crouch~. No. 1. (Chappell.)

2. Ditto. No. 2. Ditto.

Mr. Crouch has selected for No. 1 an andante, and a romance with three variations, by Bideau; a romance by Bochsa and Duport; an allegro by Bernard Romberg; and an air, andante, by Weber. No. 2 contains an andante by Romberg; an air, with six variations, by Dotzauer; a rondoletto by Beezwarzowsky, the latter preceded by an adagio; and an allegretto by Weigl. Most of these are compositions of decided merit, those of Romberg especially so. In point of difficulty they preserve a just medium, but require performers possessing taste for both instruments. In the violoncello part the arranger uses only the base and treble clefs, which proves his good sense. He need not fear the anathemas of the sticklers for ancient practices; such folks are daily diminishing in number.

GUITAR AND PIANO-FORTE.

‘Jadis régnait en Normandie,’ _from_ ~Meyerbeer’s~ Robert,
_arranged as a Duet by_ ~M. Neuland~. Op. 13. (Chappell.)

Duets for these instruments are getting more and more into use, and M. Neuland is well qualified to make arrangements of this kind, as the present shows, which is a very excellent adaptation of the original, clever, and popular air in an opera which will be better understood in England a few years hence than it has yet been.

EXTRACTS FROM THE DIARY OF A DILETTANTE.

[Concluded from page 178.]

_July 15th._ I broke off with some calculations, and a remark of Mr. Madden, in his _Infirmities of Genius_, &c., concerning the longevity of musicians. I now extract what he says of the temperament and disposition of the same class of artists, though I do not agree with him either in his premises or conclusions.--‘Music,’ says Mr. M., ‘is to sensibility what language is to poetry--the mode of expressing enthusiastic sentiments and exciting agreeable sensations. The more imagination a composer is able to put into his music the more powerfully he appeals to the feelings. Sensibility is the soul of music, and pathos its most powerful attribute.

‘Pythagoras imagined that music was the soul of life itself, or that harmony was the sum total of the faculties, and the necessary result of the concert of these faculties and of the bodily functions.

‘Musical composition, then, 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 considerably shorter lived than the followers of all other learned or scientific pursuits, whose sensibility is not exercised by their studies, whose imaginations are not wearied by excessive application and enthusiasm. The term “_genus irritabile_” deserves to be transferred from the poetical to the musical tribe; for we take it that an enraged musician is a much more common spectacle than an irritated bard, and infinitely more rabid in his choler.

‘Generally speaking, musicians are the most intolerant of men to one another,--the most captious,--the best humoured when flattered, and the worst tempered at all other times. Music, like laudanum, appears to soothe the senses when used in moderation, but the continual employment of either flurries and excites the faculties, and often renders the best-natured men in the world, petulant, irritable, and violent.’

Of the short-lived composers, Cimarosa died of corpulency, no indication of an irritable state of mind; Lully, from an accident; Mozart was weakly from his birth; Pergolesi lost his life in consequence of a hemorrhage; Purcell, it is to be feared, from imprudent indulgencies in conviviality; and Weber, from hereditary consumption. Surely there is as much wear and tear of the body from excited imagination in poets and painters as in musicians; but the two former do not live so much in society, have not to breathe the foul air of theatres, to bear heated rooms; and, generally speaking, they are more cautious. As to the comparative professional jealousy of painters and musicians, the former themselves admit their possession of it in the greatest abundance. And with regard to temper, Mr. Madden must have founded his calculations on some two or three unhappy instances: had he drawn his inference from any general experience, it would have been widely different. Poets and painters have commonly more cultivated minds than musicians, and these may enable them better to control their emotions; thus what is suppressed is by an easy mistake supposed not to exist.

* * * * *

_20th._ The musical profession has lost a clever and highly respectable member in Mr. Philip Knapton, of York, who died in June last, at an early age. He was author of several popular compositions, both vocal and instrumental: among the former, the songs, ‘There be none of beauty’s daughters,’ and ‘When we two parted,’ will long prevent his name from being forgotten by those who were unacquainted with his personal merits.

* * * * *

_26th._ All who are interested in German literature have by this time read the _Characteristics of Goethe_, either in the original, or as admirably translated by Mrs. Austin; but many who have no leisure or no inclination to look into publications of the kind, are anxious to be acquainted with whatever relates to their own professional or favourite pursuit: hence admirers of music will be pleased to meet with the following notices concerning Zelter, who was not long since made known to this country by a memoir of him, and an air, published in the _Harmonicon_.

The intimacy of Zelter with Goethe was of the closest kind, as will appear from the following extract of a letter to Mrs. Austin from Prince Pückler-Muskau, dated June 25th, 1832. He says, ‘The celebrated composer Zelter, one of Goethe’s most intimate friends, has died at Berlin, literally of Goethe’s death. They wrote to each other regularly every week (the correspondence will soon be published). Zelter was in perfect health. But the first Saturday (the day on which he used to receive his letters) after Goethe’s death, he became dejected and silent: the second found him ill; and on the third, death softly led him to rejoin his immortal friend.’

The great poet mentions his early acquaintance with his friend,--who was divided between that which was then his profession, and that which he wished it to be--in the following energetic language:--‘With Zelter, too, my connexion became nearer; during his fortnight’s visit we had mutually become much more intimate, in both an artistical and moral sense. He found himself in a strange dilemma between a business[88] which he had inherited, exercised from youth up, and mastered, and which secured to him a maintenance, and an innate, powerful, resistless passion for art, which unfolded the whole riches of the world of sound out of his own soul,--carrying on the one, carried along by the other,--possessing in the one an acquired dexterity, in the other striving after a dexterity yet to be acquired: he stood not, like Hercules, on the boundary between what was to be embraced and what to be shunned; but he was drawn hither and thither by two muses equally worthy of his homage; one of whom had already possession of him, the other wished to win him to herself. With his honest, sturdy, citizen-like earnestness, he was as much impressed with the necessity of moral culture as that is akin to, nay, embodied with, æsthetic--and the existence of perfection in the one, and not in the other, is not to be thought of.’--(_Tag-und-Jahres Hefte_, 1803.)

The correspondence of these two friends, which it is supposed will occupy many volumes, is preparing for the press, and anxiously expected by the lovers of genius, who, in Germany, may be said to include nearly all the adult population.

* * * * *

_August 5th._ In a work just published, under the title of--‘Exposition of the False Medium excluding Men of Genius from the Public,’ is a direct charge against the musical manager of a theatre, which, if not met by a contradiction, will certainly be believed, and not much to the glory of the party concerned. If true, the only apology to be offered is, that this is the true country of Mammon; nowhere is pelf so eagerly grasped at; notwithstanding which, nowhere are so ostentatiously displayed the outward signs of a religion which makes the contempt of riches, or in fact downright poverty, the condition on which future happiness is to depend.

* * * * *

_6th._ Three more delightful volumes of Horace Walpole’s letters, addressed nearly a century ago to Sir Horace Mann, have just been published by Lord Dover, who only lived to see the work out!

The noble author, in a letter dated October 8th, 1741, thus mentions an inclination in the public of that period to put down the Italian opera. It is curious to remark the time of its opening. In those days people went into the country in the spring, and returned to town in the autumn. What Hottentots!

‘The Opera begins,’ he tells his friend, ‘the day after the King’s birth-day. The directors have already laid out great sums. They talk of a mob to silence the operas, as they did the French players, which will be more difficult; for here half the young noblemen in town are engaged, and they will not be so easily persuaded to humour the taste of the mobility: in short, they have already retained several eminent lawyers from the Bear Garden (boxers) to plead their defence.’ In a letter dated May 24th, 1743, he thus speaks of Handel’s first oratorio.--‘Handel has set up an oratorio against the operas, and succeeds. He has hired all the goddesses from farces, and the singers of _Roast Beef_ from between the acts at both theatres, with a man with one note in his voice, and a girl without ever a one; and so they sing, and make brave hallelujahs; and the good company encore the recitative (!) if it happens to have any cadence like what they call a tune.’ The song alluded to is ‘The Roast Beef of Old England,’ which the galleries used always to call for between the acts. As to recitatives having ‘any cadence like what they call a tune,’ I must confess that I do not understand what is meant: unless, which is possible, the satirical writer means to insinuate that the public of his day could not distinguish between recitative and air.

In another letter of the same year, he writes,--

‘We are next Tuesday to have the _Miserere_ of Rome. It must be curious! the finest piece of vocal music in the world to be performed by three good voices, and forty bad ones, from Oxford, Canterbury, and the farces!’ From this it appears that the chorus singers of his day were brought from the country choirs to London; the metropolis, even with the assistance of the chorus from the theatre, (the ‘_farces_’) could not furnish forty voices!

In March, 1746, Horace Walpole thus speaks of the Italian opera, and of Gluck, the celebrated composer:--

‘The opera flourishes more than in any latter years; the composer is Gluck, a German; he is to have a benefit, at which he is to play on a set of drinking-glasses, which he modulates with water. I think I have heard you speak of having seen some such thing.’

The Chevalier Gluck exhibiting on the musical glasses! There must be a mistake in this; some other person, surely, was engaged by the great composer for this purpose.

But a few months later in the same year, the same writer is in another story. The anecdote is curious for half a dozen reasons:--

‘Lord Middlesex[89] took the opportunity of a rivalship between his own mistress, the Nardi, and the Violetta, (a German, afterwards Mrs. Garrick,) the finest and most admired dancer in the world, to involve the whole menage of the opera in the quarrel, and has paid nobody; but like a true lord of the treasury, has shut up his own exchequer. The principal man-dancer was arrested for debt; to the composer his lordship gave a bad note, not payable in two years, besides amercing him entirely three hundred pounds, on pretence of his siding with the Violetta.’

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_9th._ The annexed advertisement--for such it undoubtedly is--appears in the _Morning Post_ of to-day. This paper would never have inserted it unless paid for, I am convinced:--

‘Bochsa, with Mr. and Mrs. R. Bishop, Phillips, and Mori, is going in a few days to Leamington and Malvern, and to the Isle of Wight, to give some concerts, under the patronage of their Royal Highnesses the Duchess of Kent and the Princess Victoria. The success which that distinguished harpist met with last season in the provinces, while exhibiting his new harp effects, has perhaps induced him to try the experiment again.’

Mr. and Mrs. Bishop, Mr. H. Phillips, and Mr. Mori, must feel highly dignified, and equally gratified, at being thus announced as the train of M. Bochsa,--as his _tail_!--to use a term applied, rather vulgarly, to a small parliamentary party; and the Duchess of Kent and Princess Victoria will not, I should suppose, be very well pleased at such use being made of their names.

* * * * *

_11th._ In the _Observer_ of this date is the following paragraph:--

‘It has been a mystery to many how Laporte has been able, under such accumulating losses, to carry on his season to its present termination, by which the subscribers, if we mistake not, are losers by several nights. It seems now generally admitted that he has paid scarcely anybody in full--that he has disbursed as far as his means by subscription and the takings at the doors went, and that his performers, giving him credit for good intentions, as well as for a large sum of money, have agreed to take bills at long dates, to be paid (if he can) out of the receipts of next season. This arrangement presumes that Laporte will continue his speculations at the King’s Theatre next season, which, we have some reason to know, may be questionable.’

I doubt the reality of M. Laporte’s _great_ losses, though the losses of the subscribers, in almost every way, admit of no doubt.

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_18th._ The Sunday evening performances of _entirely sacred music_ at the Apollonicon Rooms in St. Martin’s Lane, have been stopped, by order of the Bishop of London, on the plea of money being taken for admission. Does not the poor curate serve two or three churches on a Sunday for money?--do not many public singers exercise their callings in various churches on a Sunday for profit?--In fact, do not the whole of the clergy labour more or less on that day with a view to gain? And is it not better that people should listen to sacred music on a Sabbath evening, after every place of worship is closed, than be compelled to wander about the streets for amusement, or be driven into places where drinking is a necessary condition of their admittance? Surely our bishops, some of them at least, have not read the History of Puritanism, or else they have read unprofitably. Do they not know that should ‘over-righteousness’ once more gain the ascendancy in this country, episcopacy would be the earliest of its victims?

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_25th._ It appears from the _Spectator_ of this day, that _The Deluge_, an oratorio composed by F. Schneider, was rehearsed on the 19th at the Hanover-square Rooms, preparatory to its performance at the ensuing festival at Norwich. The writer of the notice, a good critic, says, it ‘more than realizes our anticipations of its excellence: it combines the choral grandeur of the school of Bach and Handel with the instrumental richness of Haydn. _The Deluge_ is a subject which affords an ample field for musical expression, and admits of every variety of vocal and instrumental combination. The parts which particularly struck us were,--a double chorus in ~E~ flat; a song, in which the instruments describe the rushing and roaring of the waters; a chorus in ~C~, terminating with a fugue on two subjects; a terzetto in ~A~; and the concluding chorus.’

Compositions of this class, when really excellent, ought to be the grand, nay almost the only, object of all musical festivals, considering the great vocal and instrumental force now usually assembled on such occasions; and they would actually cost less to perform than a train of vapid Italian airs of the living school--of the school of Mercadante, Bellini, &c., which, if they must be heard, would succeed much better--that is, would produce less intolerable effect, accompanied by a piano-forte, violoncello, flute, and horn, than by the finest band that can be assembled. The power of the orchestra, like the physical strength of a mob, only increases the evil when badly employed.

FOREIGN MUSICAL REPORT.

VIENNA.

Our winter season was abundantly rich in concerts. Bernhard Romberg, the king of violoncellists, introduced himself to the public in the _Hof-Operntheater_, with two concertinos, a fantasia on Norwegian mountain airs, and a humorous melodic tableau, under the title of the _Masked Ball_, consisting of the following subdivisions. A. Introduction. B. Inclination for a dance. Tuning. Beginning of the dance. C. Dispute among the dancers. Peace and good order are enjoined. Tender endeavours at reconciliation. D. Music in the supper-room. E. Short interruption. Promenade in the _Seufzer-Allee_, ‘Avenue of Sighs.’ F. Crowding to the ball-room. Galoppade. Merry conclusion. Even those who are not particularly fond of the picturesque in music, could not help being pleased with the characteristic conception of the individual component parts of this medley, their ingenious combination into a consistent whole, and lastly, with the high skill and unique talent displayed by the master; for Romberg, although advanced in years, still continues to be the same great artist as hitherto, his instrument sings as sweetly as before, he playfully dallies with the most deterring difficulties, and will probably remain unexcelled for a long time to come. Mr. M. Schmidt, trombone player to the Electoral Chapel of Hesse Cassel, has visited us for the second time, on his return from Italy, and excited not only renewed admiration by his own performance, but also by the talents of a son, who fully promises to equal his father. Mr. Joachim Hoffman has brought out a new symphony of his composition, with which the theorist will scarcely be able to find fault; but the spirit of the present day demands imagination and inventive power, and is not satisfied with a mere learned combination of cold, dry, scholastic phrases.

The concerts of Messrs. Lewy, Krähmer and his lady, and of Miss Salamon, were very well attended; the first-named gentleman displayed his whole skill in a divertimento with the piano, by Thalberg; in a concerted duet between bassoon and piano; and also in a vocal piece, sung by Madlle. Heinefetter, accompanied by the same instruments. This mode of accompaniment with the tinkling of a piano, and a little horn, violoncello, or bassoon ‘sauce,’ which is gaining daily more ground in all Musical Academies--these pretty sort of instrumental duos and trios, however pleasant in a room, begin to be vastly tiresome and sickening in concerts. Mr. Krähmer and his lady played a concertante for the oboe and clarinet, with great taste, also solo variations on the czakan. Madame K. also played a violin rondo of Kreutzer, with a masculine power of bow, and the most vigorous precision; and in Beethoven’s Adelaide, which she gave on the clarinet with the greatest tenderness and feeling, we missed nothing but the text of the poem. A Polish family of artists, of the name of Kontsky, consisting of five branches, has created a great sensation here. Eugenie is a pleasing, cultivated singer. Anton, a pupil of Field, is a fine pianist, and instructor of his younger brother Stanislaus, who is only ten years old; Carl, who wields the violin with the hand of a master, is again the teacher of his younger brother Apollinar, who, although but seven years old, already creates surprise by his performance.

The _Tonkünstler Societät_ (Society of Musicians) has brought out a new oratorio entitled _Jephtha’s Gelubde_, (The Vow of Jephtha,) composed by the court organist Assmayr. The poem is somewhat homely, but the composer has done all that could reasonably be expected, and has shown himself particularly conversant with the fugue style. The individuals of the orchestra and chorus establishments of the _Kärnthnerthortheater_ have opened series of four subscription concerts, under the title of the _Künstler Verein_ (union of artists). Among a variety of classic works of Beethoven, Mozart, C. M. von Weber, Cherubini, &c., some compositions of Mr. Lachner, their director, consisting of a symphony, a duet from his Cantata, ‘The four ages of mankind,’ together with some other works of his, were received with high approbation.

Although Vienna may justly boast of excellence in musical performances at all times, all parties nevertheless concur in opinion, that these performances excelled all previous ones, and that a composer may consider himself fortunate, if his works are seized with such deep feeling, and executed with such zeal, and a union of such masterly skill. The two movements from Beethoven’s last Mass, hitherto unknown to the public, appeared somewhat strange in their effect. The violin solo in this Mass, played by Mayseder with a rich bell-like tone, yet unembellished, raised expectations which were not realized: no one ventured an expression of censure, all was silent. This indeed was the most prudent course; and a critical judge observed very properly, ‘We hear all that this immortal master produced in the latest period of his active career, without being able to understand and relish his novel conceptions, because we have not yet arrived at the point of view from which the work is to be surveyed and judged of. We hear it for a second time, and individual passages begin to become luminous and clear; we hear it frequently, and then only we are struck with admiration and astonishment. Beethoven has made giant strides in advance of all of us: he will be better understood by a succeeding generation.’

The _Concerts Spirituels_ were also of first-rate excellence. It would be superfluous to notice the numerous classic compositions of Mozart, Cherubini, Beethoven, C. M. von Weber, Vogler, and other great masters, which constituted the rich bills of fare; but a new _Te Deum laudamus_, by Tomascheck, must not be passed over in silence, although its merit can only be critically judged of when it shall have been published; it is grand and original, like every thing else produced by this great master.--Our Dance-Orpheus, Strauss, has lately launched a new set of waltzes, for the christening of which the whole of the Vienna public were invited to stand godfathers and godmothers. These waltzes were to be produced for the first time for his own benefit. Every visitor, on paying for his admission, had the privilege of giving in any title which he might like best. At the awful hour of midnight lots were drawn for the title to be adopted, and chance decreed it to be _Tausend Sapperments Walzer_[90], under which name the new-born child has already begun its terrestrial career.

BERLIN.

The month of May, which was here unusually warm, presented many interesting musical occurrences. The first of these was the performance of Haydn’s ever beautiful oratorio ‘The Seasons,’ produced by our general director of music, Spontini, on the boards of the Royal Opera Theatre, with the assistance of the whole of the solo and chorus singers of that establishment, and of the whole Royal Chapel, for the benefit of the charitable musical institution bearing his name. The performance was grand and effective in the extreme, though here and there some of the _Tempi_ were rather hurried; a crowded audience expressed their delight at the masterly manner in which this classical composition was executed.

The Royal Opera distinguished itself by the excellent performance of _Ferdinand Cortez_, _Castle Candra_, _The Vestal Virgin_, _Alcidor_, and a new opera entitled _Hans Heiling_; the text by Edward Devrient, the singer, and the music by Henry Marschner, Kapell Meister, who attended in person. The success of this opera was not brilliant, but certainly honourable to the composer: its value, however, stands higher in our estimation than in that of the generality of the public; the reason is, it requires in many parts a serious, deep power of conception on the part of the audience; it takes for granted a sense, and a degree of cultivation for what is noble, which the major part of the theatrical public does not possess, which expects, for the most part, to be amused with senseless vulgarity, or, as is the case with Spontini’s newest operas, to be excited by tasteless splendour and noise. Marschner’s opera is calculated for a more civilized audience, and, by the few that belong to that class, its merit is fully acknowledged.

The music is varied in point of invention, highly intellectual in faithfully expressing the import of the poetry, and admirably instrumentalised. The poem contains many situations eminently susceptible of musical expression, some borrowed from the awful realms of the romantic, others taken from the more cheerful domain of pleasure and joviality; and in both respects, the composer has satisfied the expectation of the judicious critic.

In the _Vestale_, Mademoiselle Stephan, whose vocal talent develops itself more and more, and who, in the short space of six months, has made a very marked progress in scientific cultivation, sang very successfully the part of Julia, in which she had the advantage of Spontini’s own instruction; although, in a dramatic point of view, greater freedom of action might have been desirable. This defect, however, will no doubt be removed by further practice and experience. The whole representation of this excellent opera was masterly, and had the most powerful effect on the audience. Mlle. Lehman, as High-priestess, Messrs. Bader and Devrient, as Licinius and Cinna, as also the choruses, ballet, and orchestra, under the spirited conduct of the composer, contributed essentially to this result.

Concerts we also had in abundance. In one of these, given for the benefit of the _Friederich Stift_, (Frederick’s Institution,) the two singers, Demlles. Carl and Hoffman, appeared for the first time in public since their return to their native country. Demlle. Carl, whose fame had more particularly reached us from Turin and Madrid, evinced great progress in the cultivation of a good Italian vocal method. Her sonorous voice is flexible, and particularly pleasing in the _mezza voce_ of the higher notes, which she intonates with the greatest precision and purity. Her style of execution is particularly calculated for the compositions of Nicolini, Rossini, and Pacini, but would gain considerably by a more intense degree of feeling and expression. Demlle. Hoffman had less opportunity of displaying to advantage her _mezzo soprano_ voice in a duetto buffo than in an aria of Donizetti: upon the whole, however, it seemed as if this vocalist, who in her style and action has adopted the lively character of the southern inhabitants of Europe, had paid leas attention to the display of her beautiful lower notes, and, on the other hand, had devoted more care and study to the developement of her higher scale. A decisive judgment, however, upon the merits of these two singers can probably only be formed after we shall have seen them on the boards in their respective dramatic walks.

On the 15th May, the anniversary of Zelter’s death, forty members of the Singing Academy, which he directed for so many years with unexampled zeal and success, sang over his grave, at six o’clock in the morning, two sacred hymns, _Wen hab ich sonst, als dich allein_, (Whom have I else but thee alone,) and _Wie herrlich ist die neue Welt_, (How beautiful is the new world,) by way of testifying their respect for his memory; on which occasion the pillars of the iron railing around his tomb were tastefully decorated with garlands of fresh flowers.

Madame _Caradori Allan_ gave a concert in the saloon of the playhouse. ‘This singer’ (a Berlin critic states) ‘does not possess a very strong voice, but it is uncommonly clear, vibrating, and silvery, if we may use the expression, and has received a high degree of cultivation. Madame Caradori’s style is that of the purest modern school, exempt from its faults: she executed all passages gracefully, and with taste; and in individual perfections, such as trills, divisions, &c. she has attained a degree of excellence which few singers before her could boast of. These qualifications, united to a graceful exterior, totally free from the _coquettrie précieuse_ of most female singers of repute, gained this artist the applause of the public in an extraordinary degree.’

In the same concert played Mademoiselle Josephine Eder, from Vienna, a young pianist of great talent and skill.

Madame Schechner Waagen, whose absence we had to regret during the space of four years, reappeared on our boards in Gluck’s _Iphigenia_. Her voice does not possess the power it had six years ago, but it is quite the same as we found it in 1829, when a particular change took place in its quality, and it gained in gracefulness what it lost in point of strength. This lady has since made her appearance in the part of Fidelio: the effect, particularly in the second act, was truly overwhelming.

It is a long time since we have seen an audience wrapt in such enthusiasm.

PRAGUE.

In Demlle. Josephine Eder, a young pianist from Vienna, whose concert was attended by a numerous and highly respectable audience, we found a youthful talent of superior order; and we have every reason to confirm the report which had preceded her, as regards the brilliant hopes for the future, which the high degree of her present cultivation is fully calculated to justify.

Demlle. Eder played a pianoforte concerto by Thalberg; and at the conclusion of the concert, variations by Franz Stadler upon a theme from the opera _Die Braut_, (_La Fiancée_,) and showed nut only a great sureness in conquering difficult passages, which however were not too frequent in either of these compositions, but still more an ease, mellowness, precision, and expression, united to pure feeling and refined taste, which even now entitle her to a distinguished place among competitors of a more advanced age. The fact of this young lady’s coming from Vienna might almost have been inferred, by her selecting the overture from _Fidelio_, by Beethoven.

With us Auber, Bellini, and Lindpainter, are now the order of the day. Bernhard Romberg has again visited us, and furnished to our musical public three very agreeable evenings by his unequalled skill; a circumstance the more welcome, as our Opera, in consequence of the indisposition of Mde. Podhorsky and Mr. Drake, is in a state of utter depression, and reduced to the representation of the most miserable farces and trash.

Mr. Romberg played in his first concert a concertino for the violoncello in ~G~ minor, written in his usual pleasant and cheerful style; and at the conclusion, the _Masked Ball_, a humorous piece for the violoncello. In his second concert Mr. Romberg again treated us with a couple of his newest compositions, viz. a second new concertino; and at the close of the evening a fantasia upon Norwegian rural national airs, which, however attractive, do not equal his Polish and Swedish national melodies.

BRESLAU.

Our music-director, Mr. Mosevins, whose influence on the taste of the public, and especially of the singers of our city, is universally and gratefully acknowledged, has gained a fresh claim on our thanks by the production of Handel’s oratorio of _Samson_, on the eve of Palm Sunday, in which the vocal solo pieces, as well as the choruses, were chiefly performed by amateurs; the execution showed a careful and zealous rehearsal, and was received with universal satisfaction. In the Passion week we had abundance of musical performances. On Ash Wednesday, Graun’s _Versöhnungslerden Christi_, (the Redeeming Sufferings of Christ,) under the direction of Mr. Siegert; on Holy Thursday, Haydn’s _Creation_; on Good Friday, Graun’s _Tod Jesu_ (the Death of Jesus); all these performances, however, were more or less deteriorated by the prevailing epidemic, the influenza. A variety of _obligato_ cough accompaniments between the songs were, alas! too prevalent. Of our theatre we have but little to report. Herold’s _Zampa_ was received with approbation. Meyerbeer’s _Robert the Devil_ did not meet with success. Madame Piehl is, since the departure of Demlle. Wüst, our first and last singer. In the Autumn the meeting of natural philosophers to be held here is to derive additional interest by a musical festival, at which Handel’s _Jephtha_, and several vocal compositions of Spohr, Mozart, Hesse, and other eminent masters, are to be produced.

BREMEN.

We have the pleasing task of reporting upon the performances of Demlle. Henriette Grabau, who, together with her brother Mr. A. Grabau, and Mr. Ullrich, (both members of the Leipzig orchestra,) delighted our musical public with two concerts. This lady’s voice has gained greatly in sureness and volume; her execution is pure and finished; she unites the Italian florid style to solid German song, so that she may be justly pronounced a classic vocalist. Mr. A. Grabau, as violoncellist, has also earned considerable applause; his endeavours to attain still higher perfection in his art will not fail to be crowned with success, for he possesses every qualification to arrive at first-rate eminence; he has a fine melodious tone, great versatility and strength of bow, and a true feeling and inspiration for the beautiful. A similar judgment may be passed on the violinist Mr. Ullrich, whose playing met with deserved approbation, and warrants the highest hopes for the future.

In conclusion, we have to mention a composition of our worthy Mr. Riem, performed by our Vocal Academy, at a country trip, which takes place every year in the fine season. It celebrates the charms of the month of May; and consists of eight parts with two quartet solo voices, so skilfully interlaced, so sweet, cheerful, and lively, that it would be impossible to imagine anything more attractive for such an occasion. It is a true lovely picture of delightful May, and excited universal interest.

KARLSRUHE.

The Musik Verein (Musical Union), established about 1820, for the performance of sacred compositions, continues in a state of flourishing activity. Only the more ancient Italian and German compositions for the church are performed;--no operas. Among the former the pious labours of Palestrina, Durante, Bach, Handel, and Feska, are particularly attended to.

PARIS.

_Don Giovanni_ is about to be represented at the _Académie Royale de Musique_ with all the theatrical pomp end excellence of execution which are habitual to this theatre. Mad. Damoreau is to be the _Zerlina_, Madlle. Dorus _Donna Anna_, and Madlle. Falcon _Donna Elvira_; Nourrit represents _Don Giovanni_, Alexis Dupont _Ottavio_, Levasseur, _Leporello_, and Dabadie _Mazetto_.

[We are assured that the artistes who have just finished their engagements at the King’s Theatre, London, are thoroughly discouraged, and that few of them feel disposed to return another year to the capital of England. They complain of the deceptions which have for four or five years been practised on them. But these deceptions have not surprised us, for it is long since that we predicted what has at length happened. _Revue Musicale._]

THE DRAMA.

~King’s Theatre.~

This theatre closed on Saturday the 10th of last month, with Paer’s _Agnese_, his finest work, in which the principal part, _Uberto_, was most ably performed by Sig. Tamburini. Of the rest we will in mercy say nothing.

Thus has terminated a season eminently distinguished by the performance of operas thoroughly worn out, and the production of two imported fresh from Italy, which proved less endurable than the hacks that preceded them. Nearly half the subscription nights passed with scarcely a tolerable performer on the stage; and for the other moiety, that is from Easter, twice as many performers were engaged as could be properly employed. This is called liberal and judicious management! But there is not much difficulty in being liberal when performers are sent off with bills at enormously long dates; and it is perfectly easy to gain a character for skilful management, if bringing out old operas badly, and new ones utterly destitute of every kind of merit, is thought worthy of praise.

The _Observer_ has replied in the following article to a remark made in our last Number:--

‘Laporte’s total losses this season are said considerably to exceed 30,000_l._, but even including the 10,000_l._ he sacrificed to his unfortunate Covent Garden speculation, we cannot help thinking there is an exaggeration in the account. Some time since we mentioned the nightly expenses of the Opera as nearly 1,000_l._, a statement which has since been disputed by the Editor of _the Harmonicon_, who contends that they are not more than 750_l._; but he is obviously referring to the year 1819, and seems not to take into view the increased charges in all the departments since that date. We are quite ready to admit that they ought certainly not to exceed 750_l._; and a stop must be put to the exorbitant demands of foreign singers and dancers.’

Our contemporary has forgotten that he stated the nightly expenses of the theatre at _considerably more_ than 1000_l._; but no matter. He is extremely mistaken in supposing that our estimate of 750_l._ a night was made on the expenditure of 1819. The entire expenses of that season--a very wretched one--did not amount to 410_l._ nightly. And we will add, for the information of the writer in the _Observer_, that in the season of 1817, when the most complete company that ever performed on the Italian stage was engaged, the whole of the disbursements, of all and every kind, did not exceed 430_l._ a night. We are aware that the increased rent is now to be added; and for this, and other advances, we made much more than ample allowance: 650_l._ would have been nearer the mark than the larger sum. In some important departments, the expenses are less now than in the year to which we allude: the present mode of lighting with gas instead of wax, is a diminution of many hundred pounds; and in 1817 the lowest sum paid to the orchestral performers was eighteen shillings per night: do not several now take twelve, or even less? And during the best part of the season, are not some discharged for the evening, in order to admit auditors at fifteen shillings or a guinea each, thus saving the pay of performers, and gaining by filling their places with company? What, we would further ask, has been the cost of scenery, dresses, decorations, copying, &c. this season? Any frequenter of the Opera will answer, little more than half the usual sum, and less than half of what was due to the subscribers and the public. For, let it be borne in mind, the subscription was _three hundred guineas_ for a box that cannot conveniently hold four persons, and rarely contains so many, though six tickets are issued for it; that is more than a guinea and a half per night for each person actually seated!

M. Laporte’s losses, it has been said, considerably exceed 30,000_l._!--whoever reported this might as well have added another cypher, and made the sum three hundred thousand. That he lost much by Covent Garden there can be no doubt; but if he has very materially suffered by the King’s Theatre, why go on with it? With the increasing unwillingness to pay so enormously for boxes,--with the spirit of emigration so active,--when the public have found out that stalls are better in every respect than boxes, and cost a family about three-fourths less,--and when unskilful management is pretty sure to co-operate with all these causes,--what possible chance is there that the ensuing season will be better than the last? It must be worse; and with this prospect before him, M. Laporte would not risk another, should his losses by the Italian Opera have amounted to one-half, or even one-fourth of the most moderate sum reported.

It is easy to understand why statements of extraordinary losses are authorised, or, at least, why they remain uncontradicted. The King’s Theatre has always had the reputation of being a losing concern, but it is easy to show that most of those who have held it for the last fifty years have made money, much money, by it. And it is not very difficult to prove that, with tolerable management and a fair rent, it might always, upon an average of three years, be made a most profitable undertaking for the lessee, and a place of elegant amusement, highly creditable and useful to the metropolis of a great empire.

THE MUSIC OF THE PRESENT NUMBER.

The Movement by Haydn is from his _Œuvre_ 41^{me}., published at least forty years ago in Paris, and scarcely known here: the beauty of the melody, and the original manner in which it is treated, will not fail to strike our readers, and excite their surprise at its having been so long neglected.

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The Minuet of Handel, from the fifth of his twelve Grand Concertos, is known to the frequenters of the Ancient Concerts, and to none else! Wonder is often expressed, on the exhumation of such music, that it so long should have remained buried; but the wonder on this subject will at once cease, when it is considered that music is now a _trade_, carried on between professors and the shops.

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The Andante of Beethoven has found its way to few piano fortes in England. It is one of the composer’s early works, written when his genius was in full vigour, and before he had got into the habit of crowding his pages with passages which only few can execute.

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