Chapter V: Part THE FIRST: Essays, Criticisms, and Miscellanies (5)

SECOND CONCERT OF THE VOCAL SOCIETY, Monday, January 21, 1833.

Leader, Mr. T. COOKE.--Organ and Piano-forte, Messrs. TURLE,
GOSS, BLACKBOURNE, and HORNCASTLE.

~Part I.~

1. Anthem, ‘Behold how good and joyful’ ~Battishill.~

2. Glee, ‘Mine be a cot.’ (Hawkins, Hobbs, Bennett, ~Horsley.~
and Bellamy)

3. Cantata, ‘The Ghost of Carril.’ (Braham) ~Percy.~

4. Glee, ‘Oh! how I long my careless limbs.’ Sir ~J. L.
(Mrs. G. Wood, Master Howe, Turle, Hobbs, Rogers.~
Bellamy, and Sale)

5. Madrigal, ‘Sweet honey-sucking bees!’ (1609) ~Wilbye.~

6. Scena, from the Opera of _Faust_. (Horncastle.) ~Spohr.~

7. {Quintet, ‘Domine Deus’ } ~Clari.~
{Chorus, ‘Cum Sancto Spiritus’ }

8. Glee, ‘There is beauty on the mountain.’ ~Goss.~
(Miss C. Novello, Messrs. King, Horncastle,
and Parry)

10. Concertante, Flute, Oboe, Clarinet, Bassoon, ~Chev.
Horn, Trumpet, and Double-Bass Neukomm.~

~Part II.~

11. Glee, (accomp.) ‘Fill, fill me, boy.’ (Hawkins,
Horncastle, and Phillips) ~T. Cooke.~

12. Song, (with accompaniments) ‘Peaceful night.’ ~Bishop.~
(Mr. Parry)

13. Glee, ‘Wanton gales’ (Hawkins, Hobbs, ~Webbe.~
Horncastle, and Sale)

14. Duetto, ‘Dolce dell’ anima.’ (Braham and ~Paer.~
Phillips)

15. Madrigal, ‘Lo! where with flowery head.’ ~Morley.~
(1610)

16. Quintetto, ‘Perchè mentir.’ _Die Zauberflöte._ ~Mozart.~
(Mrs. Bishop, Mrs. G. Wood, Miss C. Novello,
Braham, and Taylor)

17. Song, ‘Non preventur.’ (Miss George.) _Die ~Mozart.~
Zauberflöte_

18. Catch, ‘Ah! how Sophia.’ (Hobbs, C. Taylor, ~Dr.
and Fitzwilliam) Calcott.~

19. Chorus, ‘The tiger couches.’ _The Maniac_ ~Bishop.~

This Selection contains some very good music, and is upon the whole, quite equal in merit to its precursor. It commences most appropriately with the fine anthem by Jonathan Battishill (No. 1), of which the three first movements were given; the verse for equal voices, was extremely well sung by Messrs. Hawkins, Hobbs, and Atkins, and the whole went off with much effect. _Apropos_, in regard to Battishill,--this admirable composer published two volumes of ‘_Songs for three and four Voices_,’ the greater part of which are models in glee-writing; and we strongly recommend them to the notice of this society, as being worthy of occasional introduction. Two charming Madrigals, one in each act (Nos. 5 and 15) gave general satisfaction, and were called for _par acclamation_. Several members of the Madrigal Society were present, and judging from “outward and visible signs” were highly gratified with the performance. Mr. Braham sang a long cantata (No. 3), and did all that could be done for it; we should have been glad to have seen his powers exerted to more effect; this gentleman is himself a host, and can perform wonders; but in the present instance had no scope for display. A MS. glee of Sir John Rogers, for six voices (No. 4) was sung with taste and expression; the worthy Baronet, though an amateur, may fearlessly enter the lists with most of the professors of the present day, none of whom but might be justly proud of producing such a specimen of melody and harmony combined. A glee of Mr. Goss was chastely and beautifully performed: it is an elegant piece of writing, and was encored with high plaudits, which it fully merited.

However excellent the plan and arrangements of these Concerts, we confess a considerable difference of opinion with the managers upon one point, and that, a not unimportant one--we allude to what, at the Philharmonic Concerts, is called the conductor’s department. _There_, it is allotted to one individual throughout the evening; and although we have always considered the conductorship at that Concert a most useless office, yet we would prefer seeing it confined to one, rather than shared by different persons during the same evening. At the first of these Concerts, it was announced, that the organ and piano-forte would be taken by Messrs. Turle, Goss, and Horncastle; and Mr. Blackbourne’s name is added to the list in the present concert. The reputation of these gentlemen is too well-established, to render it necessary to have recourse to this _puffing_ mode; for which there is no occasion, and out of which much inconvenience may arise. We would take the liberty of suggesting as the more preferable course, that the same individual retain his situation for the evening,--upon whom, in that case, would devolve the responsibility of conducting that department of the business of the night; and to this conductor we would in all humility offer our decided opinion, that the less he was heard, except in instances where an accompaniment was _obligato_, the more perfect would be the effect produced. Genuine glee-singing is essentially injured by the jingling of the piano-forte, especially when singers know their own powers, and can sustain their voices without such artificial aid.

EXTRACTS FROM THE DIARY OF A DILETTANTE.

[Resumed from page 16.]

_January 2nd._ ~Native Turkish Music!~--Mr. Slade, in his _Travels in Turkey, Greece, &c._, just published, gives us a curious account of the knowledge of the Turkish Capitan Pacha, or high admiral, in musical matters. This officer had been a shoemaker, and knew as much of naval affairs as of the fine arts. Mr. Slade visited him on board his ship, and, among other amusements got up for the English traveller, was a concert, which he thus describes:--

‘In the middle of the day he (the Capitan Pacha) crept into the kennel abaft the mizen-mast, and reposed for some hours, his example being duly followed by the officers, stretched out on the quarter-deck, and covered by flags to keep off the sun. On awaking, coffee and chibouques were served. Water was then brought, with a complete change of garments! and in the same narrow box, six feet by three, by two high, he washed and dressed; then came out and enjoyed the cool of the evening on his quarter-deck couch; always doing me the honour to place me beside him with a chibouque, and no doubt it was a droll sight to the crew, who all gathered round to see the pacha and me thus cheek by jowl. His band, consisting of as many drums and cymbals as could be collected, with two clarionets and one fife, made a noise for our benefit. It played the hunter’s chorus in _Freischütz_, _Zitti, zitti_, and _Malbrook_, over and over, till I fairly wished it at the bottom of the sea. I not only could not stop my ears, but was obliged to applaud liberally. Thinking that its style was more adapted to Turkish music, at the same time intending a compliment, I asked the pacha whether it could perform any Turkish airs? “Turkish airs!” he repeated with astonishment; “_Mashallah!_ have you not been listening to them these two hours?” I bowed, and took refuge in ignorance.’

* * * * *

_7th._ The first ~Vocal Concert~.--The unanimous and decided applause with which Bennet’s fine Madrigal was received, proves not only that a love yet remains in this country for such music, but we think indicates that it is on the increase. The truth is, that the concert-going public are completely nauseated with the modern Italian opera songs. The reception, too, of ‘Mad Tom,’ so inimitably sung by Braham, is another indication of a return to a healthy state of taste. By-the-by, only part of this is Purcell’s; the omission, however, of some of D’Urfey’s words, and the addition of two movements, by whomsoever made, are undeniable improvements[16].

The Hanover-square Rooms, where these concerts are held, have undergone a complete repair, are newly decorated, and the alteration in the orchestra must be attended by the most beneficial effect, as relates to sound.

* * * * *

_10th._ The late John Taylor, Esq. an oculist by profession, but all his life chiefly engaged in literary pursuits, a man of considerable talent, and much respected by a most numerous acquaintance, among which were many distinguished political characters, together with nearly all the best writers, artists, musicians, and players of the last sixty years--left in the hands of his executors a work entitled ‘Records of my own Life,’ which has lately been published in two octavo volumes. It consists almost wholly of anecdotes, town news, green-room history, and conversations of authors and professional persons of all kinds, and is a very amusing work, from which I extract some anecdotes that concern and will interest the musical world, and begin with two relating to the greatest of composers:--

‘Handel, when he first visited Ireland, in consequence of his disgust at the preference given to Bononcini in London, carried a letter of recommendation to Dean Swift. When the Dean heard that he was a musician and a _German_, he declined receiving him; but when his man added that the bearer of the letter was a great _genius_,--“A genius and a German!” said Swift,--“Oh, then, show him up immediately.”’ (i. 334.)

Dr. Morell--who furnished Handel with the poetry of many of his oratorios--related to Mr. Taylor, that ‘one fine summer morning, he (Dr. M.) was roused out of bed at five o’clock, by Handel, who came in his carriage a short distance from London. The doctor went to the window and spoke to Handel, who would not leave his carriage. Handel was at that time composing an oratorio. When the doctor asked him what he wanted, he said,--“What de devil means de vord billow?” which was in the oratorio the doctor had written for him. The doctor, after laughing at so ludicrous a reason for disturbing him, told him that billow meant a wave, a wave of the sea. “Oh, de vave,” said Handel; and bade his coachman return, without addressing another word to the doctor.’ (i. 355.)

* * * * *

Mr. T. does justice to his friend, the late Dr. Arnold, who, he says, with great truth, ‘was long an ornament of the musical world, and by the general estimation of his professional merits, was a man of great genius, as well as profound in musical science. In private life he was humorous, intelligent, and convivial. He was well acquainted with the world, and always took an active, spirited, and agreeable part in conversation.’

* * * * *

Mr. Taylor was intimately acquainted with two of the finest female singers that the history of music can boast; the following anecdotes and characters he gives of them may, therefore, be received as authentic beyond all doubt.

‘When Madame Mara first appeared as a singer at Berlin, Frederick the Great refused to witness her powers alleging that she was a German, and, therefore, could not, possibly be a good singer. At length, however, he was persuaded to hear her, and when the concert was over, he approached her, and asked if she could sing at sight. She answered in the affirmative, on which he took a piece of manuscript music from his pocket, and asked her if she could sing that. She told him that it was the most difficult piece she had ever met with; but looking it over for a few minutes, she told him that she could. “Do, then,” said the king. She complied, and from that moment his prejudice was at an end, and she became a favourite. Becoming, however, tired of Berlin, she asked permission to visit Italy on account of her health. The king, however, would not suffer her to depart.’

‘She had a very favourite harpsichord, or piano-forte, and the king, who had set a watch over her, believed that while that remained in Berlin he was secure of her. She was therefore obliged to resort to artifice to effect her escape. She sent the instrument to be repaired, but ordered that, instead of being returned to her abode, as soon as the work was done, it should be sent to Vienna. When she had reason to believe that it was secure from capture, she and her husband secretly followed it with all expedition. The wary Frederick was soon apprized of their escape, and despatched a messenger immediately to Joseph II., then Emperor of Germany, desiring that he would arrest them. The emperor, with great kindness, condescended to let them know that there was no resisting the desire of the King of Prussia, and therefore advised them to hurry away as fast as possible, that he might inform the king that his messenger had arrived too late.’

‘Madame Mara possessed a masculine understanding, and had been so much used to male society, which she preferred, that she was little qualified for intercourse with the female world. She was animated in company, and uttered humorous and shrewd remarks.’

* * * * *

Mrs. Billington.--‘I knew this admirable singer when she was very young, and was present when she first appeared in public, and performed a concerto on the piano-forte, at seven years old. Her brother, on the same night, performed a concerto on the violin, when he was nearly the same age. They both displayed extraordinary powers, even without considering the early period at which they had acquired so much skill. She was born at Baugh, in 1765. Her father was of a noble family in Germany, but, by the decline of his fortune, was obliged to cultivate his musical talents as a profession. He was a harsh and severe man, and partly on account of his temper, his wife was induced to quit him, and support herself as a principal vocal performer at Vauxhall-Gardens, retaining the name of Weichsel, though separated from her husband.’

‘That Mrs. Billington possessed a kind disposition, I, who knew her early and long, can confidently affirm. Her great talents rendered her an object of envious rivalry, and interested scribblers defamed her character. The man who, by his influence over her mother, obtained all the property of the latter by a real or pretended will in his favour, took possession of that property, and had the revolting indecency to remove it from her lodgings on the very day of her death; and, notwithstanding his affected friendship for the mother, almost immediately after her death published a scurrilous life of the daughter, recording actions and events which existed only in the invention of disappointed malice and venality.’

‘On her death, her [second] husband [M. Fellisson] returned to this country, and demanded her property from her trustee, Mr. Savory [of Bond street], her firm and zealous friend; and as there was no opposing claim, I understood from Mr. Savory, that he paid him to the amount of 40,000_l._’

I can add to the above, that more than one of her friends, on taking leave of her previously to this journey, felt, all circumstances considered, that they should never see her again, either in England or elsewhere. She fell a sacrifice to a very much mistaken sense of duty; but the immediate cause of her death has never yet been stated.

* * * * *

He tells us that Mr. James Hook, (the most voluminous composer of songs that ever existed) had for his first wife a lady of very respectable talents as an artist. She had also literary talents, and wrote two or three dramatic pieces, which were well received by the public, and to which her husband’s music was adapted. She wrote the words of several of his songs. She died some years before her husband, and a considerable time elapsed before Mr. Hook married again.... ‘His two sons, James and Theodore, both displayed extraordinary abilities at a very early age, and their parents gave them every advantage of education. James was placed very early at Westminster school, where he soon distinguished himself by his classical attainments and literary powers. He also, at a very early period, displayed considerable skill and taste as an artist. He wrote an opera, _Jack of Newbury_, to which his father contributed the music, which was successfully performed at Drury-Lane Theatre. Mr. (afterwards Dr.) Hook enjoyed several valuable preferments, and finally became Dean of Worcester. He inherited the musical taste of his father. Theodore, his younger brother, also distinguished his talents at Westminster school. He is the author of several dramatic pieces, which have been represented with great success;--(ii. 392.)

* * * * *

Mr. Taylor thus mentions the late Mr. Shield:--‘Perhaps there never was an individual more respected, esteemed, and admired than this late eminent composer. With a shrewd, intelligent, and reflecting mind, and a manly spirit, there was a simplicity in his manners that obviously indicated the benevolence of his disposition. Of his musical merits it is unnecessary to speak, as his compositions were universally admired for their science, as well as for their fancy, taste, and sensibility.’--(ii. 220.)

Of Jackson, the composer, or ‘Jackson of Exeter,’ as he is commonly called, Mr. T. speaks thus:--‘Mr. Jackson possessed an excellent understanding, and literary talents of no ordinary description. His “Thirty Letters on various Subjects” is a work highly creditable to his talents and knowledge of human nature. He was a tall, good-looking man, with an expressive face, and a reserved, grave demeanour. He appeared to me to be well acquainted with history, and with the opinions of the ancient philosophers. According to the report of Mr. Opie and Dr. Wolcot, he was an admirable judge of painting.... He was one of the very few men whom Dr. Wolcot, a shrewd judge of mankind, regarded with particular respect for his intellectual powers.’--(ii. 347.)

* * * * *

_16th._ A discovery, it is said, has been made, which, were it to turn out as represented, would create an extraordinary sensation in the musical world. In examining a great quantity of manuscripts of all kinds, left by the late Mr. Harris, chief proprietor and long manager of Covent-Garden Theatre, and which had been accumulating during the last forty or fifty years, an opera in score, by Mozart, in his own hand-writing, with his signature in every page, has been found, and which, it is stated, has never been performed. This is all that has been heard on the subject; though some persons of a sanguine turn, and a lively imagination, have already persuaded themselves that it was actually composed for Mr. Harris, but at first neglected, and afterwards forgotten by him. The improbability, if not the impossibility, of this will at once be obvious, when it is considered that Mozart kept a most accurate list of all his compositions, from the commencement of the year 1784, before which time he had produced only one of his great works;--that in that _Catalogue Thématique_[17] he carefully recorded when, where, and for what purpose his various works were produced; and that therein no notice is taken of any opera written for Mr. Harris, or of any other whatever that has not since been performed. The chances are, then, that if this is not an authenticated copy of some of the well-known operas, it is a transcript of one of those composed by him in his boyhood, whereof there are several extant, all of which have been examined repeatedly, by different persons, and found wholly unworthy of being brought forward in any shape. This is supposed to be the grand secret divulged some weeks ago to a committee of performers at Covent-garden Theatre. At first the story had a suspicious aspect,--it seemed to be a clumsy imitation of the Shakspeare forgeries; but upon inquiry it appears pretty certain, that if there is any deception in the business, the gentlemen in whose hands the Manuscript is placed are not answerable for it. There is not, however the slightest ground for believing that the expectations excited by this circumstance will be, in any manner or degree, realized.

* * * * *

_18th._ The Royal Society of Musicians have presented Mr. John Parry, the well-known secretary of the Association for the encouragement of Welsh Poetry and Music, with an elegant piece of plate, as an acknowledgment of his zealous and disinterested services, which, it was stated by the chairman of a dinner given on the occasion, had been the means of adding, for the last twelve years, upwards of 60_l_. per annum to the funds of that benevolent and useful society. Such instances of active liberality are worthy of being recorded.

* * * * *

_18th._ I lately rejoiced, but it seems very prematurely, on hearing that the former excellent president of the Madrigal Society, Sir John Rogers, Bart., had met with so fit and proper a successor as his friend, William Linley, Esq. I now learn that Mr. Linley was elected; but, finding that there had been some informality in the proceeding, he requested to have the ceremony repeated at the next meeting: when, lo! it was proposed and carried, that the president in future should be ephemeral,--that he should be inaugurated at five and abdicate at nine--so that each day should bring with it a new ruler, and that each member should sway the sceptre in turn, whether qualified or not for the duties of the office; a measure which, I humbly conjecture, will sometimes place the symbol of power in hands not very well prepared to hold it. Some of the oldest and best members of the society thought that so able a composer as Mr. Linley,--the son of the author of ‘Let me careless,’--a gentleman in education, station, and fortune--would be a likely person to give efficiency to the chair: the majority _at one meeting_ thought otherwise; and I fear that this ancient, this useful, and agreeable association will suffer by what I cannot but think a hasty, injudicious decision.

* * * * *

_26th._ A noble master in chancery, who has proposed a mode of reforming the church establishment, is for leaving the incomes of the bishops much as they are, bettering them in some cases, but proposes to abolish at once the cathedral service, and, consequently, to send adrift vicars-choral, lay-clerks, organists, and all appertaining to the musical establishment of our ancient seats of episcopacy. This has produced the following letter to the Times of to-day, and the accompanying copy of verses:--

~Sir~,

Having heard some rumours respecting the strange and awful
visitation under which Lord H-nl-y has for some time past been
suffering, in consequence of his declared hostility to anthems,
solos, duets, &c., I took the liberty of making inquiries at his
lordship’s house this morning, and lose no time in transmitting
to you such particulars as I could collect. It is said that the
screams of his lordship, under the operation of this nightly
concert (which is, we doubt, some trick of the radicals), may be
heard all over the neighbourhood. The female who personates St.
Cecilia is supposed to be the same that, last year, appeared in the
character of Isis, at the Rotunda. How the cherubs are managed I
have not yet ascertained.

Yours, &c.

P. P.

LORD H-NL-Y AND ST. CECILIA.

---- in Metii descendat judicis aures.--Horat.

As snug in his bed Lord H-nl-y lay,
Revolving much his own renown,
And hoping to add thereto a ray,
By putting duets and anthems down,

Sudden a strain of choral sounds
Mellifluous o’er his senses stole;
Whereat the reformer mutter’d, ‘Zounds!’
For he loath’d sweet music with all his soul.

Then, starting up, he saw a sight
That well might shock so learned a snorer,--
Saint Cecilia, robed in light,
With a portable organ slung before her.

And round were cherubs, on rainbow wings,
Who, his lordship fear’d, might tire of flitting,
So begg’d they’d sit,--but, ah! poor things,
They had none of them got the means of sitting[18].

‘Having heard,’ said the saint, ‘you’re fond of hymns,
And, indeed, that musical snore betray’d you,
Myself, and my choir of cherubims,
Are come, for a while, to serenade you.’

In vain did the horrified H-nl-y say,
‘’Twas all a mistake’--‘she was misdirected;’
And point to a concert, over the way,
Where fiddlers and angels were expected.

In vain.--The Saint could see in his looks
(She civilly said) much tuneful lore;
So, at once, all opened their music-books,
And herself and her Cherubs set off at _score_.

All night duets, terzets, quartets,
Nay, long quintets, most dire to hear;
Ay, and old motets, and canzonets,
And glees, in sets, kept boring his ear.

He tried to sleep,--but it wouldn’t do;
So loud they squall’d, he _must_ attend to ’em;
Though Cherub’s songs, to his cost he knew,
Were like themselves, and had no end to ’em.

Oh! judgment dire on judges bold,
Who meddle with music’s sacred strains!
Judge Midas tried the same of old,
And was punish’d, like H-nl-y, for his pains.

But worse on the modern judge, alas!
Is the sentence launch’d from Apollo’s throne;
For Midas was given the ears of an ass,
While H-nl-y is doom’d to keep his own!

FOREIGN MUSICAL REPORT.

VIENNA.

On the occasion of the consecration of the new cross which has been mounted on the steeple of the Wieden parish church, M. Glöggle, the director of the choruses, showed that he could combine musical devotion with patriotic feeling. After the celebration of high mass, during which Haydn’s _Nelson’s Mass_ and Cherubini’s _Graduale_ were performed, the consecration commenced. There were eight trumpeters (together with kettle-drummers) who, after flourishing for some time, played ‘God save the Emperor,’ from the steeple. After which, Haydn’s _Te Deum_ was given in the church; and the choir, with the accompaniment of the organ and the trumpets, repeated the national anthem.

M. Lachner, kapellmeister to the court, lately gave a concert here, for the purpose of producing some of his most recent compositions; at which a symphony was performed, which may rank with the best productions of living composers. The brilliant instrumentation of the first movement, the charming andante, the scherzo fugato, constantly increasing in interest, as well as the grand finale, sufficiently manifested that the clever composer knew how to employ the rich store of his ideas and to follow the best models. The introduction to the oratorio, _Moses_, is conceived in the noblest style, and is a composition of real genius; its principal feature is a chorus of exquisite effect, which was admirably sung. If M. Lachner brings the oratorio to a conclusion with the genius and skill which characterize the introduction, he will have accomplished a work which alone will entitle him to a place among the most celebrated German composers.

We are in anticipation of a rich treat at a concert to be given by a musical family, lately arrived here from Russia, and who have already acquired considerable fame by their distinguished abilities. Their name is Koutsky, and the members are Eugenia, a singer; Anton and Stanislaus, pianists (the former a pupil of Field’s); and Carl and Apollino, violinists.

BERLIN.

An operetta by C. Blum, entitled _Baldrian und Rosa_, and founded upon a fairy-tale, was lately produced here: it is altogether an insignificant trifle, containing, however, an occasional pretty little song, in the waltz form.

On the 18th of November, Gretry’s _Richard Löwenherz_ (Richard Cœur de Lion) was reproduced, after a lapse of many years; but the manner in which it was got up was anything but satisfactory; it was, in fact, a disgrace to the management. _Irene_, too, has been given again, with improved success; and on the 5th of December, Spontini’s _Nurmahal_ was once more brought forward for the début of a Mlle. Stephan, as _Namuna_. Beyond a very fine voice, this young lady has at present but few recommendations; she is as yet but a hot-house plant; had she only been kept back half a year, and received proper instruction, she might have been listened to with pleasure: as it was, her début was premature.

On the 7th of December, M. Blume appeared, for the first time since his return to Berlin, in the character of _Don Juan_, with his wonted success.

It is understood that Kapellmeister Marschner, from Hamburgh, will soon be here to bring out his opera, _Hans Heiling_. Mlle. Schneider, the daughter of our kapellmeister, has lately arrived, and Mad. Schroeder Devrient is shortly expected.

The concerts which have been given in aid of the fund for the widows of the members of the orchestra, have been very attractive. At the first, M. Mendelssohn conducted a symphony of his own composition, which was well received. On the 28th of November a concert was given at the garrison church, by M. Bach, music-director. The selection consisted chiefly of his own compositions; there were, however, two sacred songs by Bernhard Klein, sterling compositions, and finely sung by Mad. Turrschmied. The concert was unfortunately less productive than would probably have been the case had the weather been less severe.

The King of Prussia has appointed Meyerbeer Maestro di Capella to the court. Till now no such office existed here, but the place has been created expressly for M. Meyerbeer, in testimony of the king’s admiration of his _Robert le Diable_.

DRESDEN.

A musical entertainment was given here a few weeks since by M. Fürstenau, the flute-player; in addition to whose performances, a solo was played upon the flute by his son, eight years of age. The vocal pieces were given by Mad. Schroeder Devrient, and MM. Babnigg, Vestri, and Zegi.

On the 18th of November, M. Molique, music-director to the Court at Stuttgart, played at the theatre some variations for the violin, of his own composition, upon Themas from _Die Stumme_, and upon Swiss airs. He is stated to combine in his playing, the best points of the German schools; his style is quiet, delicate, and tasteful, and he has, at the same time, uncommon mechanical dexterity; his tone is rich and full, and his octaves and tenths exquisitely pure; his staccato is perfect, and his adagio grand and full of expression.

MUNICH.

At the last concert of the musical academy here, the overture to _Samori_, by Vogler, and Weber’s Jubilee overture, were very excellently performed. Mlle. Schechner and M. Pellegrini distinguished themselves in the vocal pieces; Mlle. Violanda Dülken, from the Conservatoire at Paris, sang variations of Pacini; M. Menter played a solo on the violoncello; and Mad. Bohrer on the piano-forte.

STUTTGART.

The grand musical society which gave the _Messiah_ so effectively last year, has considerably improved, not only in number, but also in excellence; and their recent performance of _Judas Maccabeus_ was certainly one of the most perfect the work has ever undergone.

PESTH.

A young virtuoso on the piano-forte, Joseph Rigg, has been playing at the theatre here with very great success. He performed the first movement of a concerto of Hummel, and some variations of Czerny, with precision, sweetness, and great execution.

MILAN.

At the _Teatro alla Scala_, a new opera by Mercadante, called _Ismalia Ossia Morte ed Amore_, the Libretto by Romanelli, made a _fiasco_; nothing in the whole opera, save the choruses, gave satisfaction; his _Donna Caritea_, however, was well received, and Mlle. Vial, from Munich, who sustained the principal character, was much applauded. The principal singers here are, prime donne, Antonia Vial, Teresa Melas, Isabella Fabrica (contralto in male characters); tenore, Giuseppe Binaghi; bassi, Gio. Giordani and Filippo Spada. All of them good singers, say the Milanese, with the addition, ‘di secondo ordine.’ Thus it is when people are accustomed to hear always such singers as Pasta, Rubini, Donzelli, Lablache, Tamburini, &c.

At the _Cannobiano_, Generali’s somewhat old but still beautiful operetta, _Adelina_, has been reproduced, with Emma Albertazzi, an English lady, as _Adelina_; her voice is agreeable, and her style of singing not bad; her pronunciation and acting, however, are but indifferent.

The company which is to perform at _La Scala_ during the carnival, includes the names of Tosi and Pallazesi, principal soprani; Terese Cecconi, first contralto; Reina and Pedrazzi, principal tenors; and Zuchelli and Giordani, first basses. The season will open with Donizetti’s _Fausta_, which has hitherto been heard only at the St. Carlo, Naples; to that will succeed a new opera, written expressly for the carnival by the young Maestro, Ricci, and called _Fernando Cortez_; the third is to be _Caterina di Guisa_, which Coccia is now employed in composing; and Mercadante is engaged to bring out a fourth, of which the name is not yet known.

Amongst the company at the Carcano are Balfe[19] and his wife, Mad. Albertini, Madlle. Michel; the tenor, Bonfigli, and the buffo, Cambiagio. This theatre will open on the 26th of December, with the _Capuletti e Montecchi_ of Bellini.

ROME.

_Teatro Valle._--The new opera buffa, _Il Disertore Svizzero_, by the Neapolitan maestro, Lauro Rossi, was given here with great success. The young maestro--for he is only twenty-two years of age, composed his first opera four years ago, for the _Teatro Nuovo_ at Naples, and this is already his fourth; it is a lively and pleasing production. The prima donna, Anna del Serre, and MM. Giorgio Ranconi, Salvi, and Lauretti, contributed their utmost towards its favourable reception.

BOLOGNA.

From recent accounts, the principal singers here were Mesds. Malibran, Schoberlechner, Bonetti, Rafaella, and Venier, all prime donne; M. Pedrazzi, tenore; and Marcolino and Porto, bassi. On the 3rd of October, Donizetti’s _Anna Bolena_ was given, and on the 13th and 16th, _La Gazza Ladra_, on which occasion the delightful Malibran enchanted her audience by the exquisite manner in which she sustained the part of _Ninetta_.

TURIN.

The contralto, Carolina Vietti, a native of this place, and pupil of the Academia Filarmonica, lately made her début at this theatre as _Zadig_, in Vaccaj’s _Zadig ed Astarte_; she gave fair promise, and received much encouragement.

NAPLES.

Madame Malibran’s performance in this city has been one continued and splendid triumph: at first, the cognoscenti of Naples were inclined to question the justice of the unbounded praises that have been lavished on this astonishing songstress, and to receive her with _sang froid_, and weigh her pretensions with all the coolness of determined critics; but she had no sooner opened her mouth than all this was instantly converted into an enthusiasm of applause and admiration, to which the oldest frequenters of the Opera remember no parallel. For seventeen nights the theatre was crowded at double prices, notwithstanding the subscribers’ privileges were on most of these occasions suspended, and although _Otello_, _La Cenerentola_, _La Gazza Ladra_, and pieces of that description, were the only ones offered to a public, long since tired even of the beauties of Rossini, and proverbial for its love of novelty. But her grand triumph of all, was on the night when she took her leave of the Neapolitan audience in the character of Ninetta: nothing can be imagined superior to the spectacle afforded by the immense theatre of St. Carlo, crowded to the very ceiling, and ringing with acclamations and applause. Six times, after the fall of the curtain, Madame Malibran was called forward to receive the reiterated applauses and adieux of an audience, which seemed unable to bear the idea of a final separation from its new idol, who had only strength and spirits left to kiss her hand to the assembled multitude, and indicate, by graceful and expressive gestures, the degree to which she was overpowered by fatigue and emotion. The scene did not even end within the walls of the theatre; a crowd of the most enthusiastic rushed from all parts of the house to the stage-door, and as soon as Madame Malibran’s sedan came out, escorted it with loud acclamations to the Palazzo Barbaja, and renewed their salutations as the charming songstress ascended the steps. Nothing can prove more decidedly how strong an impression Malibran made upon the Neapolitans, than the fact, that the next opera which was performed was received with the most mortifying coolness, though the opera itself, Donizetti’s _Esule di Roma_, is a standard favourite in Naples, and its various revivals, for ten years past, have been till now successful, although Lablache made his first appearance in it on his return to his native city, and Ronzi de Begnis, whose voice, action, and style, have all improved considerably during her long retreat from the stage, performed the principal female character.

CONSTANTINOPLE.

The reform which the emperor has been so industriously and zealously promoting in the manners and customs of the Turks, will soon be as complete in musical as it already is in military affairs. The Turkish, or rather Arabic music, has given way to that of Europe, and scarcely anything of melody or harmony is now heard in Constantinople that has not been imported from Italy. At four o’clock in the afternoon, at the moment of Yindy, the time when the public functionaries among the Ottomans retire from business, a band of wind instruments is daily heard traversing the interval between the courts of the new palace. This band is called the ‘Band of the Agas of the Seraglio,’ and consists entirely of young Turks who have become able performers, under the instruction of M. Donizetti, brother of the composer. At first, the combinations of European harmony, and the overtures of Rossini, were torture to the ears of all good Mussulmen, but they begin, at length, to be somewhat reconciled by use, and their holy horror at whatever proceeds from the Giaours of the West is not proof against the charms of ‘Di Tanti Palpiti,’ and numerous other melodies of Rossini, &c.

NOVARA.

The Maestro Pietro Generali, a composer of some popularity in his time, died lately in this city, of which he had been, for six years past, Maestro di Capella. Most accounts of this master have been in error, both as to his real name, and in stating him to have been a native of Rome. His name was Pietro Mercandetti, and he was born at Masserano, near Vercelli, in Piedmont; but he went to Rome with his father when very young, and studied music in that city, under an old singer belonging to the Sistine chapel. He had a happy turn for music, made a very rapid progress, and for a short time enjoyed a brilliant reputation. His success would have been greater if he had given himself less up to the dominion of his passions, and led a more regular life. During the latter years of his dramatic career many of his compositions were ill received by the public; this disgusted him with the theatre. His pecuniary means were very precarious, and feeling the necessity of making some provision for approaching age, he returned to his native country, and succeeded in attaining, as mentioned above, the situation of Maestro di Capella, at Novara. One opera of his, _Adelina_, has been performed both in London and Paris; and it has been said, that if Generali’s works had been more long-lived, many of Rossini’s melodies would lose their claim to originality.

DOUAY.

A society has been established here for some months, under the title of ‘Societé d’Emulation;’ the object of which is, to give the amateurs of this city and its environs an opportunity of hearing their compositions--which would otherwise probably have been doomed to remain for ever in the privacy of portfolios--performed in full orchestra. A band was quickly raised among the amateurs and professors, to the no small satisfaction of the young composers, and it may be hoped not without a fair chance of benefit to the art itself. The success of the inauguration concert surpassed the expectation of those most interested. Mr. E. de C., already favourably known as the author of a collection of romances, produced an overture, an aria for a contralto voice, a waltz without accompaniments, and a romance or two, all distinguished by a happy flow of melody, and an easy style of instrumentation, and all much and deservedly applauded. An overture and chorus by Mr. A. T., and an air with variations, for the horn, by Mr. C. C., formed part of the selection. Institutions of this nature cannot be too much encouraged.

BERGAMO.

It is a curious fact, but no less true, that by far the greater part of the celebrated tenor singers of the present and the last age, have been natives of this province. The three brothers Bianchi, David, father and son, Viganoni, Nozzari, Donzelli, Bordogni, Marchetti, Trezzini, Bonetti, Pasini Bolognesi, (a great singer, but a still greater drinker, who, when he had ruined his voice with brandy, blew out his brains because he could sing no longer,) and last, certainly not least, Rubini and his brothers, were all born in the State of Bergamo. It would be useless to seek here for basses; still more so for sopranos, for, indeed, the Bergamese are sometimes compared to birds, of whom the males only sing.

PARIS.

Mr. Field, the celebrated pianist, and most distinguished pupil of Clementi, is in this city, and proposes to give a public concert on the 25th of December. His success cannot be for an instant doubtful; for, besides ranking deservedly high as a composer, he is, perhaps, the sweetest and most beautiful performer on the pianoforte now in existence. There is in his style that inexpressible charm with which we used formerly to be so delighted when hearing Clementi, Dussek, and some other distinguished members of a school which now can hardly be said to exist but in the recollection of a few. Mr. Field represents that school in all its glory. To look at his hands, which scarcely seem to move; to contemplate the calmness of his countenance while playing, one would be tempted to suppose he was performing nothing but the easiest music in the world; while the fact is, that the greatest, the most complicated difficulties, are really no difficulties at all to him. Under Mr. Field’s fingers the piano is no longer a mere piece of mechanism; it sings, and seems as competent to produce sustained tones, as though it were played with a bow. Touched by this exquisite performer, it is a real musical instrument, and no longer a mere theatre for the exhibition of _tours de force_, the use to which the kind of talent possessed by a majority of what are called the greatest artists of the present day nearly confines it.

_Théâtre Italien._--Although the performance of _La Straniera_ satisfied the Parisian critics, as it had already those of London,[20] how little claim Bellini has to the rank as a composer which his Italian flatterers have assigned him! The beauty of the scenery and decorations, added to the singing of Grisi, Rubini, and more especially Tamburini, gave it a popularity which lasted through several repetitions. It was followed by _Il Pirata_, this by Donizetti’s _Anna Bolena_, and the latter by _Mosè in Egitto_. _Otello_ and _Don Giovanni_ are announced, in the latter of which the three female characters are to be performed by the two sisters Grisi and Mad. Tadolini, and the part of Don Juan by Tamburini. But for the singing and acting of Rubini, the _Pirata_ would have been a complete failure. Mdlle. Doulx, a young lady who has obtained some reputation at the Conservatoire for the purity of her voice and the facility of her execution, selected the part of Imogene for her début: the choice was a bad one, because the qualifications necessary to make a good representative of Imogene are exactly the reverse of those which Mdlle. Doulx is said to possess: Imogene requires energy rather than grace; tone and volume of voice rather than agility in running divisions. It was impossible, however, to judge what the young lady might have done under other circumstances, for she was in a state of such dreadful alarm, especially during the first act, that not a note could be heard from her lips, and it appeared at times as if she could not support herself on the stage.

In _Anna Bolena_, Giudetta Grisi was no substitute for Mad. Pasta; little was attended to, and nothing applauded but Rubini’s Percy. His aria in the second act, notwithstanding its length and the fatigue of the singer, was vociferously encored. The revival of _Mosè in Egitto_ has been very successful, but owes its success chiefly to the singing of Tamburini and Rubini, whose duet, ‘_Parlar, spiegar,_’ is one of the most finished exhibitions of the vocal art ever witnessed. Boccabadati was so ill on the first night, that her part, _Elcia_, has been since taken by Giudetta Grisi.

* * * * *

We had occasion recently to be present at a practice of the pupils educated in the Conservatoire of Classical Music, under the direction of M. Choron, and observed several circumstances, both in the system pursued by that professor, and its practical results, that appeared to us remarkable. The first thing that struck us was the extreme difficulty which must have attended the attempt to make a whole mass of people sing as an individual. At the first blush one would suppose the thing impracticable, but the patience first of the professor, and subsequently of his scholars themselves, has achieved a victory over obstacles that might have been pronounced, until the contrary was proved by the fact, insurmountable. The success of M. Choron’s system of teaching ought to attract the attention of Government the more strongly because he has had for pupils only children taken promiscuously from a population at once poor, and, unfortunately, ill-disposed towards music and the arts in general. From this circumstance some judgment may be formed of what his success would have been had his system been applied to scholars of a more select kind.

One of the most remarkable sights in Mr. Choron’s school are some children, the eldest only five years old, whom the professor obliges to listen constantly to music, with the intention of accustoming their ears to harmonic sensations. He watches with extreme care the development of their infant faculties, and observes every day a progress so sensible, as to encourage the hope that the result will be an organization entirely musical. It is to be hoped that Government will comprehend that so much devotion and intelligence deserves to be encouraged, and that it will enable the establishment directed by M. Choron to extend its efforts as widely as it formerly did, by restoring to it that assistance of which it ought never to have been deprived.

THE DRAMA.

The supply for this department of our work continues as scanty as during the last two or three months. Much is promised and in preparation at the three principal theatres, but nothing yet actually produced.

* * * * *

The circular, or prospectus, from the ~King’s Theatre~ is not yet out, though it used to be issued in the month of November, and never later than the middle of December. The _Chronicle_, according, to its annual custom, announces a ‘brilliant season;’ we, however, suspect that the small paragraphist does not view the prospect with the same eyes as the _entrepreneur_. It is evident that everything must be dull at the Italian opera till after Easter, that is to say, till the beginning of May, when those who do take boxes will engage them for only half a season. But considering the fall in the value of everything--except indeed the precious metals--will people give at the same rate for boxes now that they did when rents were high, were regularly paid without deduction, and when economy was not the order of the day in Parliament, and in his Majesty’s Councils? Will Madame Boccabadati bring five shillings to the house?--Will _Matilde di Shabran_ draw a single person?--Will the weakest of Bellini’s feeble operas, his _Montecchi e Capuletti_, a wretched version of _Romeo and Juliet_, the music worse than even the contemptible drama--will this tempt one subscriber to place his name on the box-list, or avert the mischief which seems to threaten the King’s Theatre?

* * * * *

At ~Drury Lane~ _Don Giovanni_ is actively preparing, and will be produced on the 4th instant. If it does not succeed it will not be for want of liberality on the part of the manager. Mr. ~Wood~ has, it is said, refused the part of _Don Ottavio_. Why? we would fain ask. In consequence of this, M. Begrez, who often has had the character assigned to him at the King’s Theatre, is engaged to fill it. The fact is, that it requires en excellent musician to sing this music. So anxious is Captain Polhill to bring out this _chef-d’œuvre_ of ~Mozart~ in as perfect a manner as possible, that he has offered an engagement to ~Dragonetti~, who assisted at its first performance in this country, as principal double-base, in which capacity his services would be of more importance than those of half the persons on the stage.

* * * * *

At ~Covent Garden~ a new opera by Auber is in forwardness, but we have heard no particulars concerning it. This theatre has filled well during the last month, owing to the success of the pantomime, and also to _Nell Gwynne_, which, though possessing little claim to notice, has drawn very much.

* * * * *

The ~English Opera House~, the building of which is begun, will be ready to open in July next. The extended licence granted to this, and the unlimited privileges which, we have no doubt, it will soon enjoy, (as well, indeed, as the Haymarket) will enable it to meet the winter theatres on fair grounds. A theatrical revolution is at hand; smaller theatres are starting up in all quarters, and the overgrown ones must either shrink into a moderate size, or abandon every kind of dramatic representation except opera and spectacle.

In December Drury Lane filled while Covent Garden was empty. During the last month the case was reversed. Thus it has been for a long time, and thus it will continue, till some great change of system is prudently adopted.

THE MUSIC OF THE PRESENT NUMBER.

The maxim of the French milliner, _Nothing so new as that which is forgotten_, continually recurs in looking over long-laid-by music. The early works of ~Clementi~ are as unknown to the present generation, his Octave Lesson excepted, as the sonatas of Scarlatti, or the concertos of Emmanuel Bach, yet a single page of almost any one of them contains as much as is to be found in half a dozen of the generality of modern compositions. The sonata we have here republished--raised, we may say, from the tomb--is, considered in every point of view, a master-piece, of surpassing beauty. What a sweet, intelligible melody flows through the whole of the first movement, and how admirably set off by the harmony! The slow movement is a model of deep expression, of grandeur, and of the sublime in music[21]; and the rondo is no less remarkable for air, for gaiety, than for ingenuity--for that kind of treatment which none but a musician of the highest order knows how to bestow on a subject. The Opera VII. of Clementi was first published in Vienna, upwards of fifty years ago. We have carried a few of the passages into the octave above; and in thus slightly altering the original, have, we are persuaded, only done what the author would have approved. When he composed the Three Sonatas of this set, the additional keys had never been dreamt of: the harpsichord, for which they were written, only reached ~F~, an octave below the present highest note.

* * * * *

The Andante of ~Paradies~ is from an edition of his XII _Sonata di Gravicembalo_, published about seventy years since in London,--a work which charmed our grandsires, but now still less known than the early sonatas of Clementi. The notation of this composer is sometimes perplexed, and difficult of comprehension to the mere modern musician; we have, therefore, reconciled it to the present improved manner of writing, but without altering a single note, except in appearance. This movement, selected from sonata IX. needs no eulogy; the melody _sings_ from first to last bar, and the accompaniment is that of an able contrapuntist.

Pier Dominico Paradies was a Neapolitan, a pupil of Porpora, and lived many years in London, where he arrived in 1742, and composed some operas for the King’s Theatre when under the management of the Earl of Middlesex. He was in high repute as a master, and obtained more reputation for his harpsichord lessons than his vocal works.

* * * * *

The recitative, from the opera of _Giuglio Cesare_, is one of the finest pieces of musical eloquence that the art ever produced. Dr. Burney says of it[22], that when sung by Senesino, it produced an effect never before equalled; and at the Ancient Concert, some fifty years ago, Pacchierotti used to draw tears from his auditors by his pathetic manner of declaiming it. Were it newly accompanied, with the addition of those instruments which Handel had not at command, we feel quite sure that it would be still as effective as ever; nay, more so, in the hands of a Braham, who surely could express such sentiments with more force than a soprano ever had the power to give them. The poetry is by Haym, who wrote or compiled the drama for Handel, in 1724, the year in which it was first produced at the King’s Theatre.

Dr. Burney[23] gives the following free translation of this recitative:--

These are thy ashes, Pompey, this the mound,
Thy soul, invisible, is hovering round!
Thy splendid trophies, and thy honours fade,
Thy grandeur, like thyself, is now a shade:
Thus fare the hopes in which we most confide,
And thus the efforts end of human pride.
What yesterday could hold the world in chains,
To-day, transform’d to dust, an urn contains:
Such is the fate of all, from cot to throne;
Our origin is earth, our end a stone!
Ah! wretched life! how frail and short thy joys!
A breath creates thee, and a breath destroys.

It now appears for the first time with a piano-forte accompaniment. The story of this opera is from the third and fourth books of Cæsar’s Commentaries, Dion. Cassius, book xiii., and Plutarch’s Lives.

* * * * *