Chapter VII: Part THE FIRST: Essays, Criticisms, and Miscellanies (7)

The History of Music procured Dr. Burney also the acquaintance of Bruce, the celebrated Abyssinian traveller, who had brought home with him a drawing, made on the spot, of the Theban harp, as beautiful in its execution as in its form, though copied from a model at least 3000 years old. This led to two or three interviews, first at the house of a musical friend, then at the Doctor’s own residence. These are described in letters from the authoress, then very young, to a Mr. Crisp, her father’s oldest friend. The letters do infinite credit to the young lady’s quick observation of manners, and her power of graphic and lively description, and prove her command of her pen. They are, however, too long for quotation; and the parts really relating to Mr. Bruce are so interspersed with the complete details of long tea-table and after-supper conversations, that it is no easy task to pick them out. The following description, however, of the great traveller’s personal appearance, will give our readers some idea of the powers of the writer:--

~Meeting the first~

took place at the tea-table, of Mrs. Strange, to which my mother, by appointment, had introduced her Lynn friends, Mr. and Mrs. Turner, who were extremely curious to see Mr. Bruce. My dear father was to have escorted us; but that provoking Marplot, commonly called Business, came, as usual, in the way, and he could only join us afterwards.

The Man-Mountain, and Mr. and Mrs. Turner, were already arrived; and no one else was invited, or, at least, permitted to enter.

Mr. Bruce, as we found, when he arose--which he was too stately to do at once--was placed on the largest easy chair; but which his vast person covered so completely, back and arms, as well as seat, that he seemed to have been merely placed on a stool; and one was tempted to wonder who had ventured to accommodate him so slightly. He is the tallest man you ever saw in your life--at least, _gratis_. However, he has a very good figure, and is rather handsome; so that there is nothing alarming, or uncomely, or I was going to say, ungenial--but I don’t think that is the word I mean--in his immense and authoritative form.

My mother was introduced to him, and placed by his side; but, having made her a cold though civilish bow, he took no further notice even of her being in the room. I, as usual, glided out of the way, and got next to Miss Strange, who is agreeable and sensible: and who, seeing me, I suppose, very curious upon the subject, gave me a good deal of information about Man-Mountain.

As he is warmly attached to Mrs. Strange and her family, he spends all his disengaged evenings at their house, where, when they are alone, he is not only chatty and easy, but full of comic and dry humour; though, if any company enters, he sternly, or gloutingly, Miss Strange says, shuts up his mouth, and utters not a word--except, perhaps, to her parrot, which, I believe, is a present from himself. Certainly, he does not appear more elevated above the common race in his size, than in his ideas of his own consequence. Indeed, I strongly surmise, that he is not always without some idea how easy it would be to him--and perhaps how pleasant--in case any one should dare to offend him, to toss a whole company of such pigmies as the rest of mankind must seem to him, pell-mell down stairs,--if not out of the window.

There is some excuse, nevertheless, for this proud shyness, because he is persuaded that nobody comes near him but either to stare at him as a curiosity, or to pick his brains for their own purposes: for, when he has deigned to behave to people as if he considered himself as their fellow-creature, every word that has been drawn from him has been printed in some newspaper or magazine, which, as he intends to publish his travels himself, is abominably provoking, and seems to have made him suspicious of some dark design, or some invidious trick, when anybody says to him “How do you do, Sir?” or “Pray, Sir, what’s o’clock?”

And, after all, if his nature in itself is as imperious as his person and air are domineering, it is hardly fair to expect that having lived so long among savages should have softened his manners.

There was, however, no conversation. Mr. Bruce’s grand air, gigantic height, and forbidding brow, awed everybody into silence except Mrs. Strange, who, with all her wit and powers, found it heavy work to talk without reply.

[To be continued.]

VOCAL SOCIETY.

THIRD VOCAL CONCERT, Monday, February 4, 1833.

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

~Part I.~

1. Chorus, ‘Kyrie Eleison! Christe Eleison!’ ~Leo.~

2. Glee, ‘O snatch me swift.’ (Miss Masson, ~Dr.
Terrail, Vaughan, Bellamy, and Atkins) Callcott.~

3. Quartett and Chorus, ‘Vergin’ Madre sconsolata.’ ~Haydn.~
(Miss C. Novello, Spencer, Vaughan,
and Bellamy)

4. Song, ‘Oppress’d with grief.’ (Mr Vaughan) ~Beethoven.~

5. Madrigal, ‘Die not, fond man.’ (1608) ~J. Ward.~

6. Solo and Quartett, ‘Mater amabilis!’ (Miss ~Mozart.~
C. Novello, King, Vaughan, and Atkins)

7. Song, ‘Despair.’ (Mr. E. Taylor.) MS. ~E. Taylor.~

8. Glee, ‘A blossom wreath.’ (Master Howe, ~Clifton.~
Terrail, Hobbs, and Chapman)

9. Chorus, the Vintagers’ chorus from _The Seasons_ ~Haydn.~

10. Concertante, Clarinet. (Mr. Willman) ~C. M. von
Weber.~

~Part II.~

11. Mass, No. 1, ‘Gloria in excelsis Deo!’ ~Hummel.~

12. Cantata, ‘Ch’io mi scordi.’ (Miss Masson) ~Mozart.~

13. Glee, ‘I wish to tune.’ (Messrs. Hawkins, ~Walmisley.~
Horncastle, Bennett, and Chapman)

14. Duetto, ‘Fra gli Amplessi.’ _Così fan Tutti_, ~Mozart.~
(Miss Masson and Mr. Bennett)

15. Quartett, ‘What phrase, sad and soft.’ _The ~Bishop.~
Noble Outlaw._ (Mrs. G. Wood, Miss George,
Broadhurst, and Hobbs)

16. Song, ‘The Sea Rover.’ (Mr. Bennett) ~Chev.
Neukomm.~

17. Madrigal, ‘In pride of May.’ (1608) ~Weelkes.~

18. Terzetto, ‘Lei faccio.’ _Il Matrimonio Segreto._ ~Cimarosa.~
(Misses Celia and Clara Novello, and Miss Masson)

19. Chorus, ‘Now tramp.’ _Knight of Snowdon._ ~Bishop.~

The general effect of this evening’s performance was not equal to the last: in regard to variety no fault can be found, for in a concert of _nineteen_ pieces, we find the compositions of _fifteen_ different authors, indicating a strong desire to suit the inclinations, and meet the wishes of the subscribers. The concerted pieces were by far the most effective, and, generally speaking, much the best done. The noble _Kyrie_ of _Leo_ is a magnificent specimen of that style of writing; it was, perhaps, too long to repeat, but we are persuaded it would have been done much better a second time; such music absolutely requires well rehearsing in order to go _smooth_, which is the necessary consequence of the performers being thoroughly conversant in what they have to do. The Madrigals were admirably sung, and encored as before, _par acclamation_. No. 5, by Ward, we consider as without an equal; it is, indeed, a matchless production. We hope, another season, to see a more convenient plan adopted in the mode of giving the time; it could not possibly be intrusted to abler hands than Mr. Turle; but owing to the position in which he stands, he can be seen only by a small part of the orchestra, and is of necessity driven to make himself _heard_, by those who cannot observe his motions. This materially interferes with the pleasure of the audience. The _Maestro_ should be seen by every performer, but not heard. We can with propriety extend this observation to the instrumental part of the orchestra, beseeching both leader and conductor to abstain from such merciless stamping of feet as occurred during the performance of most of the full pieces. We notice in the present, as well as in the preceding concert, _two_ compositions of Mr. Bishop, during the evening: this, we think, more than falls to his share; for however good his music may be, we cannot help recollecting many great and mighty names of antiquity, whose productions the musical public stand no chance of hearing, except at such concerts as these--need we mention _Stradella_, _Steffani_, _Lotti_, _Luca Marenzio_, _cum multis aliis_?

FOURTH VOCAL CONCERT, Monday, February 18th, 1833.

~Part I.~

1. Quartetto e Coro. ‘Quando o Rè.’ _Salmo 19_. ~Marcello.~
(Goulden, Vaughan, Blackbourn, and E. Taylor,)
with a Solo by Mrs. George Wood

2. Glee, ‘Come, bounteous May.’ (Messrs. Goulden, ~Spofforth.~
King, C. Taylor, Parry, jun., and Chapman)

3. Scena, ‘Lasciate!’ (Miss Masson.) _Teseo._ ~Handel.~

4. Madrigal, ‘Stay, Corydon.’ (1609.) ~Wilbye.~

5. Trio, ‘Speak, I command thee.’ _Katherine._ ~Ld.
(Miss Masson, Bennett, and Parry, jun.) Burghersh.~

6. Cantata, ‘Adelaida.’ (Mr. Horncastle) ~Beethoven.~

7. Trio, ‘Surgamus, eamus.’ (Hawkins, Horncastle, ~Carissimi.~
and E. Taylor)

8. Glee, ‘When winds breathe soft.’ (Master ~Webbe.~
Howe, Hawkins, Vaughan, Hobbs and Sale)

9. Ottetto for Wind Instruments. ~Mozart.~

~Part II.~

10. Chorus, ‘Glory to God.’ ~Beethoven.~.

11. Glee from _Oberon_. (Miss C. Novello, Spencer, ~Stevens.~.
Hobbs, and Atkins)

12. Aria, ‘Parto, ma tu ben mio.’ (Miss C. Novello) ~Mozart.~

13. Madrigal, ‘Lady, when I behold.’ (1598) ~Wilbye.~

14. Song, ‘Forget me not.’ (Mr. Hobbs) ~Mozart.~

15. Glee, ‘Where the bee sucks.’ (Masters ~Arne &
Howe and Hopkins, Vaughan, and Sale) Jackson.~

16. Quartetto from _Il Matrimonio Segreto_. ~Cimarosa.~
(Misses C. Novello and George; Miss Masson and E.
Taylor)

17. Scena from _The Seasons_. (Mr. Horncastle, ~Haydn.~
Mrs. G. Wood, and Chorus)

18. Glee, ‘A cup of wine.’ (Goulden, Bennett, ~Bishop.~
C. Taylor, Parry, jun., and Chorus.)

We learn from the papers distributed to the subscribers in the room this evening, a fact of which we were before ignorant; that the affairs of the society are managed by a committee of members, consisting of the following gentlemen:--Mr. Bellamy, Mr. T. Cooke, Mr. Horncastle, Mr. Hawkins, Mr. C. Taylor, Mr. E. Taylor, and Mr. Turle. We presume these gentlemen have the selection of the music brought forward for the evening’s performance; and they have executed their task, hitherto, with great and deserved credit to themselves. Called upon, however, in our critical capacity, to record our sentiments with impartiality and even-handed justice, we are bound to observe, that, unless the members cordially co-operate to give effect to the exertions of the committee, much injury may arise to the reputation of the society. The opening piece of the evening will explain our meaning; it is a fine specimen of Marcello’s very peculiar style of writing, for producing which the committee merit our thanks; but it was very imperfectly done, impressing us with a belief that many of the singers had never been present at a rehearsal of it; without which, and repeated rehearsals too, such music will never go well. We confess for ourselves, that we should have preferred Dr. Garth’s adaptation to Mrs. Ord’s words, “May the Lord Jehovah hear thee,” &c.; the performers would have better understood what they were about, and the general effect would have been improved. The glee-singing this evening was all that could be wished; not a note of the piano-forte jarred upon our ear, and we have great pleasure in stating that the glees Nos. 2, 8, 11, and 15, were as admirably performed as the nicest ear could possibly desire. No. 8 was encored, and most deservedly so. The madrigals Nos. 4 and 13 were both by the same composer: this we think scarcely judicious; for though both are first rate-productions, yet with such ample stores from which to select, it ought to have been avoided; it is partly owing to this circumstance, doubtless, that No. 13 was suffered to pass without an encore, which the first (No. 4.) received. Neither on the present nor last evening did we observe Mr. Braham or Mr. Phillips in the orchestra; owing probably to their theatrical engagements; their absence was certainly a great loss. We hope to hear more of Henry Purcell’s music at these concerts. There is a divine trio or rather dialogue between Saul, the Witch of Endor, and Samuel, which, if _properly rehearsed_, would indeed be a rich treat to those who understand that admirable composer’s writings.

LORD HENLEY AND THE CATHEDRAL SERVICE.

_To the_ ~Editor~ _of the_ ~Harmonicon~.

_February 20th, 1833._

~Sir~,

Since the days of the good bishop of Lichfield, who adopted as his motto the truly Christian sentiment, ‘Serve God, and be cheerful,’ it may be questioned whether the musical parts of our church service, ‘chanting and all anthems,’ have ever had a more effectual supporter than the noble Master in Chancery, whose report on the subject called forth the pleasant _jeu d’esprit_, which was copied into your last number from the Times of the 26th ult. A few years ago, the deans and dignitaries, the canons and prebendaries, the fellows and chaplains, of our cathedral and collegiate churches, were among the first to set the example of depreciating the service in which they were engaged. Lord Henley, and those who echo his opinion, have happily aroused the spirit of the church-dormant; these duties, lately so unimportant, are suddenly invested with an awful and hallowed character, and a few extracts from some of the numerous pamphlets which have lately appeared in defence of these venerable establishments may be interesting to such of your readers as are friends to church discipline, church architecture, and church music[32].

Upon the question, as to the right of abolishing Cathedral institutions, (observes Mr. Pusey, p. 102,) as far as this is a question of law, I would wish to speak with especial diffidence, since the laws do not belong to my profession; except thus far, that it is the concern of all ministers of Christ to urge, that the immutable laws of justice should be observed.... About the origin of the property of Cathedral bodies there is no question; nor, indeed, can there be. One need only turn to any authentic accounts of the institution of Cathedrals, to see (what is, indeed, true of all Church property) that it was uniformly given, not by public, but by private piety.... The question becomes not a legal, but an historical one: the legal principle is granted, that the property can only be disposed of in accordance with the ‘clear will of the donor.’[33] It only remains to inquire what that will was. This, unquestionably, was not the direct religious instruction of the people, but the formation of establishments wherein ministers might be trained to their duties, and Christian studies encouraged. These foundations were originally given for the promotion of pious learning, schools being on this account, in every case, annexed to these establishments.... It would appear then, that neither at the original institution, nor at time of the Reformation, was it intended that the Cathedral clergy should be what they have now mostly become, a parochial, or as this class has been over-narrowly called, the ‘working clergy;’ as if the labours of a literary clergy were less continuous or less exhausting, or as if the annals of our Church did not present as many cases of those who had fallen martyrs to her service in this way, as in her more direct ministrations. The reform, in truth, which is needed to restore these institutions, ‘according to the will of the donor,’ is exactly the contrary to what is now on different sides proposed. The members of our chapters have too little of the leisure which it was intended they should have. They have mostly important, some very extensive, and ill endowed cures. They have no more repose than is allowed to every civil officer; they have none for such works as our ancestors produced. In truth the clergy are already too exclusively of one class: we have not sufficient labourers for a field, which becomes day by day more important, and whose importance they well know, who are so anxious to destroy these institutions. _Fas est et ab hoste doceri._ When those who have no religion in themselves are so eager, under pretence of furthering religion, to destroy those bulwarks, it may to us, if we will not blind ourselves, be an evidence of their value. This, however, is certain, that estates or the tithes which were bestowed upon these bodies, were not given for the purposes of providing a parochial ministry, otherwise they would have been given to the places themselves, not to these corporations. Under whatever plea then it may be attempted to apply the property of any ecclesiastical corporation to this purpose, and divert it from those to which its donors destined it, it must be on some other ground than that of the ‘clear will of the donor.’

‘Remarks on the prospective and past Benefits of Cathedral Institutions[34],’ p. 102-113. This excellent pamphlet, and one by the Rev. George Townsend, prebendary of Durham, on lay impropriations, will be read with much pleasure by all the loyal and true-hearted members of the Church of England as by law established. Mr. Perceval thus concludes his ‘~Letter to Lord Henley~:’

I will not attempt to follow the maze of happy thoughts which have crowded upon your lordship’s brain, and been committed to paper, apparently as rapidly as they occurred to you, the thought of one moment overturning that which went before; but I cannot forbear saying one word of defence on a subject which, like many others, has met your merciless condemnation: I mean our Cathedral music. At page 35, you speak of the ‘_coldness_ and formality of Cathedral service,’ and in a note, style ‘chanting and all anthems, solos, duets, &c., relics of popery. Have a care, my Lord, or you will establish the truth of a claim put forth by the church of Rome, which sounds most grating and offensive in the ears of the English Christians, to be considered the mother, and, therefore, mistress of all other churches. For these modes of singing the praises of our great Creator, which move your pious indignation, are, indeed, relics; but, if I mistake not, relics of ‘Jerusalem which is above,’ and which we have the warrant of the Holy Ghost for styling the mother of us all[35].

The Mosaic church was, as your lordship knows, founded upon the model of the heavenly one; ‘for see,’ said he, ‘that thou make all things according to the pattern showed thee on the Mount.’[36] In this church we find solos, duets, and choruses, introduced into the service of the Almighty, of which the solo of Miriam[37], and the chorus of the women whom she answered, and the duet of Deborah and Barak[38], are sufficient instances; while the whole frame and composition of the Psalms, in their parallelisms and alternations, leave no doubt of the correctness of the conclusions to which Lowth and Cleaver, and Horsley and Jebb, and others, have been led, that they were composed for alternate recitations, like our cathedral chanting; but we may go somewhat higher. It has pleased Almighty God occasionally to encourage his servants in this life by partially withdrawing the clouds which conceal the inhabitants of heaven from our view, and permitting us to catch a glimpse of their employment. We find the Holy Seraphim engaged in an occupation, the feeble imitation of which, by mortal man upon earth, has called forth your severe reprobation. Yes, my lord, they are actually described as ‘chanting’ the praises of Jehovah by alternate movements. So Isaiah teaches us: ‘I saw the Lord sitting upon his throne, high and lifted up. Above it stood the Seraphim; and one cried unto another and said, Holy, holy, holy, is the Lord of Hosts! the whole earth is full of his glory.’

But our cathedral service is so _cold_!

Oh! my Lord! if your own heart does not glow at the hearing of those heavenly melodies, do not envy those, who are formed of happier temperament, the enjoyment and benefit which they draw from them. Many a weary soul, I doubt not, has been refreshed and awakened by them, which else might have remained drowsy and indolent. Many a chord, by means of them, has been struck in a sinner’s breast, which will vibrate to all eternity with the praises of the Lamb. The great and good departed have recorded their sense of the value of them. It is related of the pious George Herbert, that he went usually twice every week to the cathedral church in Salisbury; and at his return would say, that his time spent in prayer and cathedral music elevated his soul, and was his heaven upon earth. But, alas! all these things, which have cheered and solaced God’s servants in their weary pilgrimage, are about to be removed. That fatal and deadly storm, which sour puritanism and envious schism combined to raise against the fairest portion of God’s heritage, is about once more to spread its desolating force on our land; the church of England once more to be overthrown and trampled upon by those whom she admitted into her fold and nourished with her fruits; our pleasant places to be laid waste, ‘the carved work thereof to be broken down with axes and hammers.’ Already are the traitors within and the foes without, arranging their watchwords, and the self-same notes resounded, which were echoed at the former onslaught. Again is our cathedral service, which we copy from the Seraphim, cried down as a relic of popery; and the book of Common Prayer, whose almost every petition has been used by Christian Saints for upwards of twelve hundred years, denounced as an abomination. These are signs of the times which there is no mistaking. There is one ground of comfort, my lord, in all this, which you will rejoice to hear. The desolation cannot last for ever. When the whirlwind has swept by, and they who thought to ride upon it are blown into oblivion, then shall we again lift up our own heads. Either we shall witness the restoration and hear the voice of joy and gladness once more in our dwellings, see the waste places rebuilt, again hear the pealing organ swell its note of praise, and the merry bells ring out their jocund sound, or our pilgrimage will be over, and we shall have exchanged, through the Redeemer’s blood, our earthly choirs for celestial. For your lordship’s sake, I trust that, ere that time arrives, a sounder judgment will possess you in these matters, lest, haply, when the heavenly portals are flung open to receive you, and the sound of the celestial concert strikes your ear, ‘the harpers harping with their harps’, the clang of the archangel’s trumpet, some clear-voiced angel leading the hymns, the Seraphim responding to each other with the Trisagion, and the full chorus of the ‘hundred and forty-four thousand’[39] pouring forth that song, which none but they can learn; your heart be _chilled_ within you; and you show the superior soundness and purity of your piety by turning away in disgust from such ‘papal’ abominations. There is a sentence of the son of Sirach,--‘Blame not before thou hast examined the truth; understand first, and then rebuke.’ Perhaps, if that sentence had been present to your lordship’s recollection, your ill-considered publication would never have seen the light.--p. 26-31.

Having shown you, _ex cathedrâ_, the prospective and past benefits of these institutions, originally designed ‘for the promotion of pious learning,’ I am tempted to add a few words on their actual state, and to inquire how far the intentions of the founders have been carried into effect. I will, for the present, confine myself to a single foundation.

The C---- church of----, like most of our great ecclesiastical corporations, is of Anglo-Saxon origin; but the latest statutes were given by Queen Elizabeth towards the close of her reign. They are, consequently, free from any mixture of superstitious ceremonies, and every member of the chapter, on his election, takes an oath to obey them. These statutes, after setting forth among the principal objects of the foundation, the instruction of youth, and the relief of the poor, ‘juventutis in veritate, in virtute, ac bonis literis institutionem, et pauperum perpetuam sustentationem,’ provide for the maintenance and liberal education of six choristers ‘ad minus.’ And the royal legislator does not appoint a _fixed_ annual payment for this purpose, which, in so many instances, from the diminished value of money, has brought ruin upon similar establishments; but, with a prescient regard to the possibility of such a deterioration, it is expressly ordained, that a proper allowance shall be made to the master[40]. Their maintenance has been discontinued.

The music school, within living memory, was a large and lofty room, adjoining the church, and in a corresponding style of architecture. The chapter, in a recent alteration, having determined to fit up a handsome library, took possession, without scruple, of the school-room belonging to the choristers, and the boys have lately received their singing lessons in the church, the chapter giving themselves no concern about any other instructions.

The statutes require that the choristers shall be supplied with a consistent dress. This is no longer provided; and the gentlemen forming the chapter would think themselves disgraced by such a set of raggamuffins about their stables or their dog-kennels, as they allow to officiate in the church; while their very rags are held to be a sufficient reason for excluding them from their own well-endowed grammar school.

Several valuable scholarships and fellowships, in the university of----, are tenable by such persons only as have served as choristers in the C---- church at----. Of this endowment the _bona fide_ choristers are deprived. The members of the chapter, and the neighbouring gentlemen, enter their sons as choristers; they appear for a few Sundays in surplices, and are thus enabled to claim the exhibition.

The cemetery is disfigured with posts and lines, and serves as a drying-ground for the inhabitants of the claustral precincts; while the nave of the church is the favourite resort of their children and nursery-maids, who are permitted to disturb the congregation, should there be one, by their noisy sports.

The patronage of the chapter is very extensive; the tithes of the whole district, for many miles in circuit, belong almost exclusively to them; they unite in their own persons the fullest legislative, executive, and visitatorial powers; and the impoverished churches, and vicars, and parishes, within their jurisdiction, afford the same indisputable evidence of apathy and neglect.

I am prepared to fill up the outline by instances of individual meanness. But I forbear. The parties more immediately concerned cannot fail to recognize the picture; for I hope and trust there is no second example in England, where the wills and charters and statutes of founders and benefactors are so utterly disregarded.

A. T.

THE SONG OF ‘MAD TOM OF BEDLAM.’

_To the_ ~Editor~ _of the_ ~Harmonicon~.

~Sir~,

In the extracts from the ‘Diary of a Dilettante’ in your _Harmonicon_ for February, the song of ‘Mad Tom,’ sung by Braham, is mentioned, both there and in the bills of the Vocal Concert, as the composition of Purcell, but I think I shall make it appear that he has no claim to be considered the author of that composition.

In a manuscript collection of Airs for the Virginals, once in my possession, which bears the date of 1638, there is one called ‘The Man in the Moon,’ a copy of which I have subjoined; and in a work entitled ‘Choice Ayres, Songs, and Dialogues to the Theorbo Lute and Base Viol, 1675,’ it is to be found ascribed to Henry Lawes, and I have no doubt, correctly. The latter part of it as now sung, from the words ‘In my triumphant chariot’ to the end, is the composition of Thomas Hayden, composer of the well known duet, ‘As I saw fair Clora.’ The words, we learn from Walton’s _Angler_, are by Mr. William Basse, one that made the choice songs of ‘~The Hunter in his career~,’ and ‘~Tom of Bedlam~.’

I am, Sir,
Yours, &c.
An old ~Member~ of the Pump-room Band, Bath.

We give admission with pleasure to our correspondent’s letter, because it may lead to further inquiry, and ultimately enable us to assign the song of ‘Tom of Bedlam’ to the right owner. If his memory does not deceive him--for it will be observed that the writer speaks of a collection formerly in his possession--the air he has sent us from the Virginal Book must have been the foundation of the song in question; indeed the two differ but little in melody: but the original is so incorrect, or the copyist has transcribed it in so inaccurate a manner, that we cannot venture to insert it, till it has been carefully collated; a task which, perhaps, our correspondent may yet have the means of performing.

The air, we must say, bears no marks whatever of being the composition of Henry Lawes: his style is essentially different in every respect. It has always been given to Purcell, and in a volume published by Walsh more than a century ago, under the title of ~Mr. Henry Purcell~’s _Favourite Songs, out of his most celebrated_ ~Orpheus Britannicus~, _and the rest of his works_, this very air, called ‘Tom a’ Bedlam,’ is included. We never before heard that the added part is by Hayden,--whose name, by the way, was George, not Thomas--but very probably our correspondent is right.

As to the words, there can be little doubt on the subject, though some have, most erroneously, supposed them to be Tom D’Urfey’s. But honest Izaak Walton is an authority, who makes ~Piscator~ (_i. e._ himself) say, ‘I’ll promise you I’ll sing a song that was made at my request, by _Mr. William Basse_, one that made the choice songs of the _Hunter in his cariere_, and of _Tom of Bedlam_, and many others of note.’ (_5th edit. 1676_) Dr. Percy, in his _Reliques of Ancient English Poetry_, inserts the entire song, under the name of ~Old Tom of Bedlam~, and thinks that it was written about the beginning of the 17th century. ‘It is worth attention,’ he observes, ‘that the English have more songs and ballads on the subject of madness, than any of their neighbours. Whether it is that we are more liable to this calamity than other nations, or whether our native gloominess hath peculiarly recommended subjects of this cast to our writers, the fact is incontestable, as any one may be satisfied, who will compare the printed collections of French, Italian songs, &c., with those in our language.’ (ii. 348.)

Ritson likewise, in his collection, gives the whole song, and also the melody, down to the line, ‘To bring me my senses again,’ and, without naming the author of the words, ascribes the music to Purcell. (ii. 162, and iii. 290, 2nd Edit. 1813.)

We shall be very grateful for any additional information on this subject.

REVIEW OF NEW MUSIC.

~Evenings in Greece~, _the Poetry by_ ~Thomas Moore~, Esq., _the
Music composed and selected by_ ~Henry R. Bishop~ _and_ Mr.
~Moore~. 2 vols. large 4to. (Power.)

The design of the present work is as praiseworthy as new: it is to connect together, Mr. Moore tells us, ‘a series of songs by a thread of poetical narrative,’ the object being ‘to combine recitation with music, so as to enable a greater number of persons to take a share in the performance, by enlisting, as readers, those who may not feel themselves competent as singers.’

We have often reflected with some surprise on the little effort made to vary the pleasures of domestic society. In a great, wealthy metropolis, where so many thousands congregate daily, who have only to enjoy themselves,--whose sole occupation is to devise means for passing time agreeably,--it might be imagined that some ingenuity would be exerted to so diversify the character of social amusement as to prevent that _ennui_ which is less frequently complained of than felt. Music, no doubt, is a great resource; but those not actually engaged in it, who are not either singing or playing, who are mere listeners, feel a long evening rather heavy when filled up by a constant succession of song, or even an alternation of song and sonata, more especially if such pieces are, as too commonly happens, of the fashionable kind. Dancing is exclusively for the young; though really the quadrille, solemnly as it is walked--the countenances of the promenaders denoting the votaries of Melpomene rather than of Terpsichore--is quite as well calculated to exercise the aged as to divert the youthful. Cards almost universally shut out the young, females particularly, and are inimical to conversation. What then remains? we shall be asked. Why, among other things, that sort of mixture which is to be found in the volumes under notice--reading and music, in which every one in a small party may assist; and we are now only speaking of such parties, not of what till lately were called ‘at homes’--not of crowded assemblies. A couple of dozen persons might occasionally pass two or three hours very agreeably,--nay, advantageously,--over a poem, partly read, partly sung, every one present taking a share, a pause now and then being afforded for a critical or explanatory remark, or some little sally of wit or humour.

But possibly we shall be called visionaries; we therefore quit our speculations for the improvement of society, and proceed to inquire how far the work before us is likely to answer its proposed end. And first we will briefly describe it.

~Zia~, where the scene of these evenings is laid, ‘was called by the ancients ~Ceos~, and was the birth-place of Simonides, and other eminent persons.’ The poem opens with the embarkation of the young men of the island, who are proceeding to fight for the liberties of Greece. They sing a farewell hymn to the Zian nymphs, who, after the departure of their lovers, their relatives, and friends, resolve to meet every evening--

‘And try if sound of lute and song,
If wandering mid the moonlight[41] flowers
In various talk, could charm along,
With lighter step, the lingering hours.
Till tidings of that bark should come,
Or victory waft their lovers home.’

They accordingly assemble; various modes of beguiling the time are proposed and adopted,--all, of course, of a somewhat romantic kind, but singing is predominant, thus affording a fit opportunity of blending music with narrative. Hopes and fears are, as may be supposed, the themes most employed, and a slight episode now and then varies the subject. But what is yet published does not appear to proceed very far with the plan, or enable the reader to form any conjecture of the denouement: the story, in fact, admits of being protracted, and, doubtless, is intended to be proportioned in length to the demand for the volumes as they shall from time to time make their appearance.

_The Farewell_, beginning ‘The sky is bright,’ a trio for two trebles and a base, by Mr. Bishop, is easy and simple, and flows on agreeably in the key of ~F~, which never changes.

One of the nymphs, who ‘to Leucadia late had been,’ now relates some of the griefs of the hapless Lesbian maid, in a song, also by Bishop, entitled ‘Sappho at her loom,’ in ~E~ major, which is set with care and ability. The air, which is gentle and sweet, reminds us of the popular melody, ‘Home.’ But our limited space hints the necessity of noticing these songs without stopping to show their connexion with the poem, suffice it therefore to say, that they are part and parcel of it, though each is complete, musically considered, in itself. And the words of every song are also printed with the rest of the letter-press, so that the poetry forms a perfect whole, even without any vocal aid.

‘Weeping for thee, my love;’ a slow air by Massamino, a name more new to us than the music, is rather to be admired for its introductory symphony than for its melody. The accentuation in this is sometimes faulty--‘--no rest in darkness’--‘whose--dreary tread’--and ‘this--ruined heart,’ evidently are all contrary to the intention of the poet. Immediately after the song we meet with a moral truth, which many can verify, enunciated by Mr. Moore in the following very poetical language:--

When thus the heart is in a vein
Of tender thought, the simplest strain
Can touch it with peculiar power;--
As when the air is warm, the scent
Of the most wild and rustic flower
Can fill the whole rich element;--
And, in such moods, the homeliest tune
That’s linked with feelings, once our own,--
With friends or joys gone by--will be
Worth choirs of loftiest harmony!

‘The Romaika,’ composed by Mr. Moore, is a lively air, supposed to be sung to the accompaniment of the balalaika, a rude Russian instrument, a kind of guitar with only two strings. This is pretty, and, if sung characteristically, will be more generally effective than better music.

Now the Zian maids grow playful, and putting themselves in martial array, sing ‘The War Dance,’ a trio by Mr. Bishop; though we are not told where they found a Grecian lady with a base voice to take the lowest part. This, however, does not matter: the composition is animating, is good, and not difficult. But why does Mr. Bishop so frequently treat the rules of prosody with such apparent contempt?--He must be aware that making the last syllable in the word ‘victory’ long, is not to be vindicated; yet he thus sets it:--

now if he had only repeated a third time--(he has done so twice)--the words ‘to war,’ the evil might have been avoided. _e. g._

‘Oh! memory,’ is the graceful well known air of Carafa, beginning:--

But composers now and then are too proud

‘----meanly to borrow aid from sense,’

they too often agree with the goddess of the Stygian lake.

‘As on the shore,’ meant as a martial air, is common. No composer’s name is given.

‘The two fountains,’ by Mr. Bishop, is a sweet, quiet melody in E, six-eight time. The contrast expressed in the following notes is a happy thought:--

The one was mem’-ry’s lim-pid wave,
The o-ther, cold ob-liv-ion’s tide.
]

but in character certainly not suited to sentiments so far removed from gaiety.

‘They are gone,’ said to be a Greek air, is expressive, though the musical rhythm is of a kind that will distress an ear which only delights in regular measure. Nevertheless there is something remarkably touching in the conclusion of each stanza, and as a whole this song will infallibly please.

‘Maidens of Zia,’ a trio for soprano, tenor, and base, by Mr. Moore, sets up no pretensions as a composition, lays no claim to science, and consists of nothing but the plainest counterpoint--but will operate as a charm on nine out of every ten who listen to its simple strains.

* * * * *

We now commence the ~Second Evening~.

Rumours have reached the isle of Zea, that the youthful warriors are on their return home, and every female bosom beats high with hope, not unmixed with anxiety. The maidens sing a hymn to the Virgin,--to ‘Mary, star of the sea[42],’ a trio, beginning, ‘When evening shades are falling,’ the music by Mozart, but from which of his works we are not able to say, or even to guess; we should certainly not have ascribed it to him, had it been printed anonymously. The air is in a pleasing, familiar style, and the parts run smoothly and agreeably together, which is all the praise we can afford, notwithstanding the illustrious name it bears.

‘Blest be Love!’ is a short, good, frequently repeated chorus for the same voices, with an intervening solo for each, by Mr. Bishop.

‘The Caravan Song,’ is a Bohemian melody, and never yet was brought about a more forced, a more unhappy union of poetry and music. The verse plainly favoured some kind of common time, but is reluctantly wedded to three-four, and, like all ill-matched couples, these are very disagreeable when together, however pleasant when separated.

The nymphs then are joined by a band of mountaineers, one of whom, a minstrel youth,

‘Tells of the loves, the joys, the ills,
Of these wild children of the hills,’

in a ‘German air,’ lively, long, and rather deficient in novelty.

But ‘sad minstrelsy’ now breaks on the ears of the lovely party. It proceeds from a bark, bearing some who

‘----from an isle of mournful name,
From Missolonghi, last they came,’

and their dirge. ‘Thou art not dead,’ (the composer not named,) has at least simplicity to recommend it. Such sad sounds awaken sympathy in a ‘pensive maid,’ who sings, ‘Calm, as beneath its mother’s eyes,’ to an air possessing no little elegance, by Fiorillo, some phrases in which, however, are decidedly à la Mozart. This is also harmonized for two sopranos and base, and makes a terzetto that will invite attention to it.

Sadness soon yields to mirth, and in fancy’s eye a vision appears of two personages, who it is said are seldom found together. A song, ‘Love and Wisdom,’ tells their story; and we shall beg leave to repeat it in the poet’s own words, as a specimen of his verse and wit. The tale itself, we need hardly say, is of ancient date.

I.

As Love, one summer eve, was straying,
Who should he see, at that soft hour,
But young Minerva, gravely playing
Her flute within an olive bower.
I need not say, ’tis Love’s opinion
That, grave or merry, good or ill,
The sex all bow to his dominion,
As woman will be woman still.

II.

Though seldom, yet the boy hath given
To learned dames his smiles or sighs;
So handsome Pallas look’d, that even
Love quite forgot the maid was wise.
Besides, a youth of his discerning
Knew well that, by a shady rill,
At sunset hour--whate’er her learning--
A woman will be woman still.

III.

Her flute he prais’d in terms extatic,
Wishing it dumb--nor car’d how soon--
For Wisdom’s notes, howe’er chromatic,
To Love seem always out of tune.
But long as he found face to flatter,
The nymph found breath to shake and thrill;
As, weak or wise--it doth not matter--
Woman, at heart, is woman still.

IV.

Love chang’d his plan, with warmth exclaiming,
‘How brilliant was her lips’ soft dye!’
And much that flute, the sly rogue, blaming,
For twisting lips so sweet awry.
The nymph look’d down--beheld her features
Reflected in the passing rill,
And started, shock’d--for, oh, ye creatures!
Ev’n when divine, you’re woman still.

V.

Quick from the lips it made so odious,
That graceless flute the goddess took,
And, while yet fill’d with breath melodious,
Flung it into the glassy brook;
Where, as its vocal life was fleeting
Adown the current, faint and thrill,
At distance long ’twas heard repeating,
‘Woman, alas, vain woman still!’

The music to this is ‘French.’ Why should not the composer have been named? We have a mortal dislike to generalities in such cases; they are unjust, and may create surmises. The next song, ‘Who comes so gracefully,’ a waltz-like and very pretty melody, is described as a ‘foreign air.’ Now, what would the editor of these volumes say, if, when enjoying his friend’s choice bottle, he were to ask the name of the most precious juice, and to be answered, ‘’Tis foreign wine,’ would he not suspect that some sinister motive lurked in such a reply?

But now uprises a

‘----nymph with anxious eye.

* * * * *

----joy is in her glance! the wing
Of a white bird is seen above.’

It is, in homely prose, a carrier-pigeon, who, of course, brings her the wished-for billet; and this calls upon her for a song, ‘Welcome, sweet bird,’ which does no little credit to Mr. E. Shulz, the composer, who has here shown much taste and greet feeling, if not equal fertility of invention.

The party grows gay, and some of the elders of the company sing a Bacchanalian trio, ‘Up with the sparkling brimmer!’ which claims, it appears, Bohemia as its country, though the parent is not much honoured by this her progeny; any clime, or any pen, might have produced it.

A warrior now gives breath to a martial air, ‘March! nor heed those arms that hold thee;’ another of ‘Bohemian’ origin, but spirited and very well adapted to the words.

The assembly, however, having once tasted the ‘Zacynthian juice,’ loudly call for the cup again; then gratefully extol the source of their pleasures, in a rapturous eulogium on the tree that bears the wit-inspiring grape,--that is to say, in a trio, ‘’Tis the vine! ’tis the vine!’ in which the ladies join; we fear, therefore, that they, for want of something better, have pressed the sparkling chalice too often to their ruby lips, they chaunt the encomiastic strain so like true Bacchantes. This is by an anonymous composer, but the author need not have concealed his name, if fear of criticism alone led him to withhold it, for it is one of the best pieces in the volumes,--a pleasing air, good harmony, marked rhythm, the words are very appropriately set, and the accentuation perfect.

We have thus at very considerable length entered into this work, for the standing and reputation of the poet and his coadjutor entitle them to more than common notice. The poetical part, though a little obscure in its unfinished state, exhibits all Mr. Moore’s glowing fancy, but without the slightest approach to that warmth of language so characteristic of some of his works; and abounds in richness of imagery. The musical portion has had the benefit of Mr. Bishop’s talent and experience, which are fully displayed in the accompaniments to the songs, the taste and fitness of which admit of no question.

* * * * *

PIANO-FORTE.

1. ~Introduction, Grandes Variations~, _et_ ~Polonaise Brillante~,
_sur_ la Sentinelle, _composées par_ ~J. H. Worzischek~. Op. 6.
(Wessel and Co.)

2. ~Air de Ballet~, _tiré de l’opera_ La Tentation, _et arrangée
en_ Rondeau, _par_ ~J. Herz~. (Mori and Lavenu.)

The first of these is the tenth number of a work under the title of _Album des Pianistes de première force_, a publication which has often come under our notice, and is especially suited to amateurs who have very vacant minds and many vacant hours; and most powerfully co-operates with those who wish to render piano-forte music ridiculous and repulsive. The whole of this,--introduction, variations, and all,--consists of a collection of difficult, stupid passages, not one of them having the slightest pretence to novelty, or exhibiting the smallest trait of either taste or feeling. There is nothing here, from the first note to the last, that a dull, plodding, industrious key-thumper, armed with pen, ink and paper, might not have produced, and it contains no one bar that a musician--who really understands his art--who is a man of enlarged mind--would not blush to avow. We have often warned professional men of the danger of encouraging such music, whether by using it, or by applauding it when performed in public. Their recommendation and affected approbation of it can only be placed to the account of ignorance or quackery. Ignorance in those who have not understanding enough to discriminate between good and bad in their art;--quackery in such as wish their own agility of fingers to be inferred from their admiration of it in others. But our warning has not been taken: a fact which too many know, to their cost.

* * * * *

No. 2, which is called _La Galopade_, though it consists of an introduction and allegretto, as well as the dance, is the companion to _La Romeca_, noticed in our last; but while it is lively and exhibits no absurdities, it is not altogether equal to the first, arranged by the same. We must, however, admit that its vivacity will please many who do not enter into merits of a more sterling kind.

* * * * *

1. ~Rondo Pastoral~, _composées par_ ~Frederic Kulau~. (Duff.)

2. ~Brilliant Rondo~, _from_ ~Bellini’s~ Straniera, _arranged by_
~Wilhelm Hunten~. Op. 30. (Mori and Lavenu.)

The Pastoral of Kulau is an elegant composition, and being neither too slight in structure to be unworthy the notice of first-rate amateurs, nor too elaborately formed for moderately good ones--a very numerous class--is likely to have a considerable circulation. The key is C; the time, we need hardly say, is six-eight; and the movement allegro non _tanto_:--_troppo_, we presume, is meant.

* * * * *

The second is ill named, it has more of the pastoral character than the brilliant: six-eight time, allegretto, and a predominance of quavers, do not altogether authorize such an epithet. The subject is a barren one, therefore it is not a wonder that M. Hünten has made little of it. Luckily it is not long, and a rather moderate price is fixed on it.

* * * * *

1. ~Beauties~, _sung by_ ~Mad. Cinti Damoreau~, for the
Piano-forte, _selected from the Operas of_ ~Mozart~, ~Rossini~,
~Meyerbeer~, ~Auber~, &c., _with the_ Embellishments _of the above
vocalist, arranged as_ ~Fantasias~, _by_ ~Adolphe Adam~, Book 1.
(Mori and Lavenu.)

2. Do. Book 2.

This is certainly a comical title, however it be pointed or read; but M. Adam, who we conclude knows as much of our language as of our contingent remainders, is not responsible for its construction, we, therefore, look only to his selection and arrangement, both of which show that he has more judgment than his scribe. The compositions chosen for the first fantasia are ‘Sento un interno voce,’ and ‘O Matutini Albori,’ by Rossini; Mozart’s ‘Giovinette;’ and ‘Voici venir,’ with ‘Povera Signora,’ by Auber.

* * * * *

The second is composed of ‘Voyez que cette marche est belle,’ by Auber; Mozart’s ‘Batti, batti;’ a Swiss song, by Meyerbeer; ‘Ah! se tolto,’ by Rossini; ‘a song composed by Mad. Cinti;’ and almost the only praiseworthy air in _La Cenerentola_, ‘Non piu mesta.’ These are well amplified and combined; and if they display no extraordinary talent or vigour in the adapter, they at least prove him to be a rational being, not one of the note-splitters, who, having no brains themselves, wish to addle those of other people. These fantasias are far from difficult, and though many will find them rather too long, will prove generally acceptable.

* * * * *

1. ~Le Rossignol Waltz~, _with Introduction and Variations, by_ ~S.
Gödbe~. (Collard and Collard.)

2. ~Introduction~ _and_ ~Rondo~, _on the Song_, ‘I will not chide,’
_composed by_ ~E. Solis~. (Collard and Collard.)

3. Les Paysannes, _a first Set of_ ~Quadrilles~, _by a_ ~Lady~.
(Banff Lithographic Press.)

No. 1 is a pretty, easy trifle; but it is quite clear that the composer either never heard the nightingale, or meant to ridicule imitations, for such notes as he has given to the ‘love-sick bird’ never yet were formed in its melancholy throat. But people will not be very scrupulous on a matter of fact of this kind, and will find this a pleasing bagatelle, of moderate length and price.

* * * * *

The title-page of No. 2 tells us that the song chosen is ‘an admired’ one. No doubt: every song published now-a-days is not only admired, but ‘enthusiastically applauded,’ wherever performed. But, be it known, such songs are seldom heard anywhere but under the composer’s own roof, and it would, indeed, be cruel if his guests did not extravagantly praise his productions. For ourselves, we never before heard of ‘I will not chide,’ and are not now particularly anxious to become acquainted with it.

* * * * *

We have played over the first page of No. 3, and--(really it grieves us to utter what may sound ungallant)--and earnestly recommend the lady-composer not to publish again till she has gained a little more knowledge of composition; and advise her, when she does again venture into print, to direct the _writer on stone_ either to copy accurately, or mend what he copies.

* * * * *

VOCAL.

1. ~Ballad~, ‘The kiss on the lips we love,’ _the Words by_ ~John
Imlah~, Esq., _the Melody composed by_ Mrs. ~P. Millard~, _the
Accompaniment by_ ~Alfred Pettet~. (Woodward, Norwich.)

2. ~Hymn~ of the Polish Exiles, _composed by the Author of_ Musical
Illustrations of the Waverley Novels; _the Words from_ The Charmed
Sea, _a Tale by_ ~Harriet Martineau~. (Novello, _and_ Charles Fox.)

3. ~Air~, ‘I’ll meet thee on the mountain,’ _written by_ Miss ~S.
Wollaston~, _composed by_ Miss ~Wollaston~ (Goulding and D’Almaine.)

4. The Red Rover’s Song, _the Words by_ ~Edward Smith~, Esq.,
_composed by the Chevalier_ ~Sigismund Neukomm~. (Goulding and Co.)

5. Love’s Review, _the Poetry by_ ~W. B. Bernard~, Esq., _composed
by_ ~John Barnett~. (Collard and Collard.)

6. ~Ballad~, ‘Lady Love,’ _the Poetry by_ ~W. F. Collard~, _the
Music by_ ~Alexander Lee~. (Collard and Collard.)

7. ~Ballad~, ‘My harp of happier days,’ _written by_ ~Charles
Jeffreys~, _composed by_ ~S. Nelson~. (Chappell.)

8. ~Ballad~, ‘My love he gave me roses,’ _written by the
Honourable_ ~Grantley Berkeley~, _the Music composed by_ ~Alexander
D. Roche~. (Aldridge)

9. ~Cavatina~, ‘The Flowers,’ _the Poetry by_ Mrs. ~Charles
Greville~; _composed by_ ~Bianchi Taylor~. (Collard and Collard.)

10. ~Serenade~, ‘Oh! come to the bower,’ _written by_ ~G.
Macfarren~, Esq.; _composed by_ ~G. A. Macfarren~. (Aldridge.)

No. 1 is an agreeable air, the marked rhythm of which makes it at once understood. The sixth bar of the symphony would be better and more correct if the 3rd, 4th, 5th, and 6th notes in the treble were altered to ~G~, ~B~, ~A~, and ~F~.

* * * * *