Chapter VIII: Part THE FIRST: Essays, Criticisms, and Miscellanies (8)

No. 2 expresses in verse and song the deep sympathy of two highly talented ladies for the brutally oppressed, expatriated Poles. This is a short composition in ~C~ minor, air and chorus, which speaks as strongly in favour of the good feeling as of the taste and knowledge of the fair composer.

* * * * *

No. 3 is a series of examples of the most erroneous accentuation, and as such may be recommended as beacons, to all students in composition.

* * * * *

When it is stated that No. 4 is an animated composition--we are sure that the composer must always be correct--as much is said of it as impartial criticism will permit. We do not trace in it any marks of that genius which appear in so many of M. Neükomm’s works.

* * * * *

No. 5 is a lively air, _à la militaire_, but doubtless owes much of the rapturous applause,--of which the title-page, vulgarly enough, boasts,--to the exertion and popularity of Madame Vestris. The words, however, are set with spirit, and correctly.

* * * * *

There is much gentleness and grace in No. 6, and the words are, in all respects, appropriately and correctly set. The whole, too, is easy.

* * * * *

Nos. 7 and 8 are wholly exempt from censure, though not entitled to any praise, except that of correctness.

* * * * *

No. 9 is a clever composition, full of melody and good passages,--one more especially, beginning at the fifth bar of the second page, which indicates the real musician. The composer also has read and understood the poetry, both as regards its meaning and measure.

* * * * *

No. 10 displays no inconsiderable talent. The guitar-like accompaniment is not only in good keeping--exactly what a serenade requires--but shows a taste and command in harmony. This is altogether a pleasing, easy vocal piece.

* * * * *

1. ~Arietta~, ‘Praticel di fiori adorno,’ _composta dal_ M^o.
~Michele Costa~. (Mori and Lavenu.)

2. ~Aria~, ‘Dolce Calma, oh! Dio!’ _introduced by_ Sig. Tamburini
_in_ ~Paer’s~ Agnese, _composed and published as the preceding_.

3. ~Arietta~, ‘Donzellette che presto volate,’ _composed and
published as the preceding_.

No. 1 is a very sweet air, and not devoid of original passages. It is moderate in compass, and easy both to sing and accompany.

* * * * *

Nos. 2 and 3 are not equal to the preceding, but written in good taste.

* * * * *

HARP AND PIANO-FORTE.

1. ~Hummel’s Notturno~, op. 49, _arranged as a_ ~Duet~, _by_ ~N. C.
Bochsa~. (Chappell.)

2. ~Overture~ to Zelmira, _arranged by the same, with
accompaniments for_ Flute _and_ Violoncello. (Chappell.)

3. ‘Il soave e bel contento,’ Air, _arranged by the same_, for
two performers on the Piano-forte, _with_ Harp accompaniment.
(Chappell.)

~Hummel’s~ Notturno in ~F~ is well known to most amateurs, and being one of his earlier productions, is lighter than most of his later works--less the result of study. It makes a duet exactly calculated for social circles, the difficulty not being great for either instrument, and the air as well as variations being in a familiar style.

* * * * *

The adaptor of No. 2 is not a very scrupulous person. There is no overture at all to _Zelmira!_--but as M. Bochsa is publishing arrangements of overtures, he at once changed the name of the _Introduzione_ to this opera, and included it, under the new appellation, in his collection. It is in ~D~ minor, and one of Rossini’s best openings. The air and chorus which terminate the scene, are in the major key, and end the whole brilliantly.

* * * * *

The air, No. 3, certainly a popular one among lovers of modern Italian music, is converted into a trio, and makes an effective one. It is not long or difficult, but requires three correct, neat performers.

* * * * *

HARP.

1. Air de Ballet, _as a_ ~brilliant Rondo~, _the subject
from_ ~Meyerbeer’s~ Robert le Diable, _arranged by_
~Theodore Labarre~. (Chappell.)

2. ~Four Airs~ _from_ ~Rossini’s~ Aureliano in
Palmira, _arranged by_ ~N. C. Bochsa~. (Chappell.)

3. ~Andante~ à la Suisse, _and_ Grande Valse in form of,
&c., Rondo, _from_ ~Hummel’s~ _op. 72 and 103, arranged and
published as the preceding_.

4. ~The Alpine March~, _arranged by_ ~G. Holst~.
(Chappell.)

No. 1 is the Bacchanale from the 3rd act of _Robert_, arranged in an easy manner.

* * * * *

No. 2 is said to comprise the ‘favourite’ airs from _Aureliano_. We never before knew that this opera could boast of a single air that any person ever admired. We have here also a publication of the easy kind, and comparatively short. Had any of the four airs been long, they would have been intolerable.

* * * * *

No. 3 is an imitation of Swiss melody, followed by a rondo composed for the _Harmonicon_, and still our property, having paid, and liberally too, for it years ago! We, however, have applied for no injunction, nor do we intend; it has answered our purpose as a piano-forte piece, and we hope it will satisfy harp players as much as it did our own subscribers.

* * * * *

No. 4 is an easy arrangement of the Alpine March, or _Alpensänger-Marsch_, which is just now going the round of the different instruments.

* * * * *

BIRMINGHAM MUSICAL FESTIVAL.

It has been generally supposed and expected, that the Musical Festival at Birmingham would take place during the ensuing autumn, in the newly erected Town Hall, and which (when finished) we are assured will be one of the finest rooms in Europe. We are, however, authorized to state that, in order to carry the various and necessary preparations into effect, and that the arrangements in every department may be as complete and as perfect as possible, the committee of management have, under these considerations, come to a determination to postpone their Grand Musical Festival (for the benefit of the General Hospital) until the autumn of 1834, when we have every reason to believe it will take place under the most favourable auspices, and be carried into effect with a degree of splendour unequalled on any previous and similar occasions, either in this or any other country.

* * * * *

EXTRACTS FROM THE DIARY OF A DILETTANTE.

[Resumed from page 36.]

_January 31st._ The magnificent band of the Philharmonic Society met privately at the Hanover-square Rooms, to try some new compositions, written with a view to their being performed at the concerts; among which were symphonies by Mr. W. Griesbach, Mr. Cipriani Potter, (a remarkably clever work,) and M. Rousselot; also an overture, by Mr. S. B. Wesley.

In order to try the effect of the enlargement and alterations in the orchestra, the business of the evening commenced with the overture to the _Zauberflöte_; and all agreed that the effect of the band was nearly doubled in consequence of the improvements. From being the worst, it has become the best music-room in London.

_Feb. 5th._ Poor Herold, the French dramatic composer, has been honoured by an apotheosis, or something like one, at Paris. After the performance of his _Pré aux Clercs_ at the _Opéra Comique_, a fortnight back, a funeral urn covered with black crape, and ornamented with a wreath of _Everlastings_, was brought on the stage, surrounded by the whole company in deep mourning; when Pouchard delivered a poetical oration, in which the departed composer was decreed a seat in heaven, between Weber and Cimarosa, the whole audience sanctioning the judgment.

_11th._ A meeting of Mr. T. Mason’s creditors took place this day, when Signora Tosi again claimed the sum of 28,000 francs, which was resisted on the ground of her having refused to perform in male attire. The commissioner, waiting for further information as to the practice of other Italian theatres, deferred judgment.

From the balance-sheet of the theatre, it appeared that the debts due amount to 17,417_l._; to meet which, it was stated, that there are debts recoverable, together with the properties at the theatre, amounting to 6,154_l._ What the recoverable debts are I cannot exactly state, though I believe they do not amount to 1500_l._; and as to the ‘properties,’ whoever values them at 200_l._, estimates liberally.

Mr. Mason’s receipts during the season were--

For Italian opera £38,583 18 6
French do. 3,522 10 0
German do. 10,555 12 0
Miscellaneous 2,227 19 4
--------------
Total 54,929 19 11

His expenses were--

For French and Italian opera 17,660 9 9
German do. 6,358 1 0
Ballet 8,269 19 3
Orchestra 6,448 0 2
Rent 16,050 0 0
Miscellaneous 11,470 0 4
--------------
Total 66,256 0 0

The loss, therefore, amounts to 11,317_l._ according to the balance-sheet: but of the debts, &c., said to be recoverable, it may fairly be assumed that not much will ever be received--4000_l._ therefore, at least, may be added to the loss, making a total of 15,317_l._

* * * * *

_14th._ An account of a ‘Recent Voyage to the South Seas,’ states the following as the effect of European music on the natives:--‘In the midst of the shouting (at Nuka-hiva, one of the Washington Islands) and apparent importunity for us to land, Captain Finch ordered the music on deck, and the moment its full and animated strains reached the shore, the effect on them was evident; they instantly crouched to the ground in perfect silence, as if under the influence of a charm. Nothing of the kind, it is probable, ever broke upon their ears before, and well might there have been a mingling of superstition in their minds with the sudden swelling on the breeze of sounds new and seemingly unearthly.’ It might have been said, that they--

--------wondering on their faces fell
To worship the celestial sound.
Less than a god they thought there could not dwell
Within the hollow of that shell,
That spoke so sweetly and so well.

We have only to imagine a guitar instead of flutes, violins, &c. and Dryden’s lines would well apply to the scene.

* * * * *

_21st._ Madame Mara, once the idol of the British nation, died at Revel on the 20th of January last, in the eighty-fourth year of her age. She lost the whole of her property by the great conflagration at Moscow during the invasion of Bonaparte, and has ever since depended on the kindness of a friend who knew her when she was high in public favour, and afterwards when she had retired to Russia, in prosperous circumstances. An interesting memoir of her, from the German, is contained in the _Harmonicon_ for the year 1828.

* * * * *

_24th._ Paganini has been created a Baron and Commander of Westphalia; the title to be hereditary, descending to his male heirs. If, says the _Nouvelliste_--whence I obtain this information--nobility will not ensure talent, this elevation proves at least that talent will sometimes ensure nobility. No doubt many will smile at such a creation; but let such look at our house of Peers, and see how many have been sent there with no recommendation whatever, except the possession of wealth, and the will to misapply it.

FOREIGN MUSICAL REPORT.

MILAN.

The _Scala_ opened for the season on the 26th Dec. with a musical drama by Donizetti, entitled _Fausta_, new to this city, but which had been already brought out at Naples with but doubtful success. Its fate here has not been much better; the story of the opera did not please the _habitués_ of the Scala; and the music was considered inferior to the later compositions of Donizetti, more particularly to his _Anna Bolena_, of which many traces and reminiscences are continually occurring in the _Fausta_. Nevertheless, Madame Tosi gave all the support of her talents, both as a singer and an actress, to the piece. The tenor Pedrazzi is also much praised; but the début of Zucchelli was much less favourable; his voice was considered feeble, and his manner wanting in energy and warmth. When he left Paris his voice was already growing weak, and consequently not calculated for the Scala, the size of which theatre demands power.

The _Teatro Carcano_ opened with Bellini’s _Capuletti e Montecchi_, the part of Juliet by Madame Roser Balfe, Romeo by Mdlle. Michell, and Tebaldo (the tenor) by Bonfigli. Though this opera is far from being a novelty in Milan, it still retains a great share of popularity.

Mercadante has been very unfortunate this season; his _Gabriella di Vergi_ met with but middling success, in spite of the talents of Madame Ungher, and although the music is said not to be without merit, particularly Madame Ungher’s cavatina, a trio between that lady, Cartagenova, and Winger, and a duet in the second act. It appears, therefore, that the subject of the libretto must have injured the exertions of the composer. He met with another check at Genoa, where his _Ipermnestra_ (an opera written by him at Lisbon, when he was manager of the theatre there) was very coolly received, though well performed by Madame Schutz, Mdlle. Cesari, and the tenor Binaghi.

ROME.

A new opera has been performed at the _Teatro Valle_, called _Il Furioso all’ isola di S. Domingo_, the libretto by Ferretti, and the music by Donizetti. The music secured the success of the piece. It is said to be full of effect and novelty. From the introduction to the final rondeau, every piece was listened to with enthusiasm and applauded _con furore_. The execution was worthy of the composition. Mdlle. Elisa Orlandi, and the tenor Ronconi, who performed _il Furioso_, were particularly applauded. This is by far the most successful performance that has been produced at any Italian theatre for a long time.

BERGAMO.

Ricci’s _Clara Rosemberg_ has been produced here with the most brilliant success. _Mdlle. Edwige_, the prima donna, does infinite credit to the instructions of Garcia; her voice is fine, her execution rapid, and she has good expression. She was applauded in all her pieces, and several times called forward by the audience. _Belloli_ is a good first musico; the tenor Domenico Furlani is rather weak, but the first bass, _Baroilhet_, is excellent. The second opera will be Mercadante’s _Normanni a Parigi_. Ricci’s _Clara Rosemberg_ has been selected as the opening piece of the season in several other towns besides this; amongst them, Brescia and Vicenza. At Verona the theatre opened with the _Pirata_, in which the principal characters were supported by Gennero and Madame Fischer.

CARLSRUHE.

A young composer, named Charles Augustus Weber, professor of music in the Lyceum at Radstadt, near Baden, has elicited much attention by the merit of his writings. At the third concert of the Museum an overture of his, full of happy thoughts, was performed, displaying in the instrumentation very many new and well-imagined effects. Four choruses of his composition, for soprano, mezzo soprano, tenor, and bass, produced considerable effect. M. Weber is a distinguished performer on the violin; and already known as the author of several songs, piano-forte pieces, and violist quartetts.

VENICE.

Notwithstanding all the efforts of Bellini’s friends, who are very numerous in this city, his _Norma_ has not had better success at the _Fenice_ than attended its production at the _Scala_. In fact, had not the principal character been performed by Pasta, its failure would have been inevitable and complete. This great actress has not sunk in Venice below the exalted station to which her talents have elevated her in every other part of Europe. The second opera of the season is to be _Eufemio di Messina_, by Maestro Persiani; then will be brought out the _Otello_ for Madame Pasta; and, lastly, a new opera of Bellini’s, of which the title is to be _Beatrice Tenda_.

At the Theatre _S. Giovanni Crisostomo_, Pavesi’s opera, _Marcantonio_, was very coolly received. The company of singers contains no individuals of known talent; and, whatever the journals may say, neither obtained nor deserved much success. Donizetti’s _Zingara_ is to be the next piece, and to be followed by two new operas, one composed by Domenico Barocci principal tenor of the company, and the other by a Signor Bonaccini, who may be a very clever composer, but who has never yet been even heard of.

In the course of the season there is to be a series of performances at the Theatre _S. Samuel_; the principal singers, who are coming from Padua, are to be the _Persioni_ prima donna, who has some talent; _Zilioti_, tenor, _Ladetti_, basso cantante, and _Zambelli_, first buffo. It is to be feared this company will not be worth much; but, at all events, it cannot be denied there will be variety enough.

At Padua Maestro Pietro Bresciana has brought out a new opera, called _I Promessi Sposi_; both the music and performance are very well spoken of.

PARIS.

_Théâtre Italien._--After being postponed for some time, on account of the illness of Rubini, Bellini’s _Capuletti e Montecchi_ was at length brought out; the hero and heroine represented by the sisters Grisi, and Tebaldo by Rubini. Few of Bellini’s operas have enjoyed so great a share of popularity in Italy as this; which, however, was written without premeditation, and begun and finished in fifteen days, at the urgent request of the Venetian managers, to fill up a gap in their performances occasioned by the complete condemnation of some other pieces. Bellini, himself, appears to be partial to it, for he has dedicated the printed copy to his fellow-citizens in Catania; but even considered as a work of Bellini’s, it bears evident marks of the haste in which it was got up. It was tolerably successful, however. The last movement of the finale to the first act, in which Romeo and Julietta sing an impassioned melody in unison, accompanied by the other voices and chorus in arpeggioed staccato notes, was particularly applauded, and in fact decided the fate of the opera.

Bellini’s opera was followed by the revival of Mozart’s Don Juan, which was very nearly a failure. Nothing can render Mozart’s operas old; their triumph over both time and fashion was sufficiently proved by the crowds which the announcement of his chef d’œuvre drew to the theatre: but the best music, to produce its effect, most be well and spiritedly performed, and it is but too true that the great majority of the Italian singers neither like, nor understand, nor can sing Mozart’s music. It is too foreign to their habits, they find no hooks left in it for them to hang their _fiorituri_ on,--and persuade themselves, therefore, that it precludes them from all opportunity of showing off their talents.

Tamburini looked Don Juan well, and was encored in the rondeau _Fin ch’han dal vino_; but he spoiled the air by introducing into it a long pause and holding note on the ~E~♭ towards the close, when the whole spirit and effect of the composition consists in the rapid and uninterrupted movement the author has given it. The women were all out of their places, and felt so; Mlle. Grisi has too tall and commanding a figure and too loud a voice for Zerlina. Mad. Tadolini is totally unfit for Elvira, and Mlle. Karl, who performed Donna Anna, is unfortunately no favourite with the public, which is too frequently as capricious in its dislikes as in its favoritisms. Rubini alone seemed in his element; his _Il mio tesoro_ was, as usual, a finished morceau.

A very successful _début_ has lately been made at the Opéra Comique, by a M. Hebert, a young man with a very fine bass voice. He appeared in _Jean de Paris_. It is said that he wished to select the _Maitre de Chapelle_, but the composer objected; if so, and the same composer heard M. Hebert, he must have felt some regret at his refusal. The _débutant_ possesses superior taste; and a certain elegance and facility in his delivery; to which he adds a good figure, self-possession, and intelligence, qualities which practice, and the habit of appearing before the public, will no doubt develope and improve.

THE DRAMA.

~King’s Theatre.~

This theatre has passed, as we predicted, out of the hands of the be-puffed Mr. Mason, into those of the be-praised M. Laporte, and opened on Saturday the 16th of February, with nearly the weakest of Rossini’s operas, therefore one of the greatest favourites with Italian singers, _La Cenerentola_. In this appeared for the first time in England, Madame ~Boccabadati~, who recently was presented to Parisian audience, but with no very flattering result; she therefore was not extremely reluctant to accept an engagement at our Italian Opera House, where anything is tolerated, provided the manager is a Frenchman, and the boxes are let at the moderate price of 300 guineas for about fifty nights.

Madame Boccabadati possesses a soprano voice, of that kind which makes its way into the house, though it sometimes forces people to make their way out. This potent quality is a piercing thinness, and, as commonly happens with a vocal organ of such description, is accompanied by an apparently total absence of all feeling. As counterbalances, however, her intonation is good, and she sings with that firmness, that self-confidence, which leads one to suppose that she understands music,--at least the modern opera music, for the chances are that this lady never sang, never dreamt of, any other. In person Madame B. is much shorter than her name, but what is wanting in height is made up in breadth. As to age, a well-bred critic would guess her at half of that allotted by the Psalmist to man: the less polite manager of an office for insuring lives, would add seven or ten years to this, and be much nearer the mark.

With the exception of ~Donzelli~ as _Ramiro_, and perhaps ~De Begnis~ as the _Magnifico_, the opera was got up in a manner highly gratifying to those who wish to see this kind of amusement put down by force of public opinion. If a Puritan by any unaccountable accident found himself in the house, he most have chuckled exceedingly at the performance. But what he would say to the theatre remaining open _till nearly three o’clock on Sunday morning_, we can hardly guess.

What is the prelate of London about?--What the magistrates of Middlesex, who, if they hear a fiddle or a fife in a public-house after the eleventh hour, go crazy with the fear that law and religion are rapidly approaching their final overthrow?

~Drury-lane Theatre.~

On Tuesday the 5th ult. Mozart’s _chef-d’œuvre_, under the English name of _Don Juan_, was produced at this theatre, cast as follows:--

_Don Juan_ ~Mr. Braham.~
_Don Ottavio_ ~Mr. Templeton.~
_Don Pedro_ ~Mr. Bedford.~
_Leporello_ ~Mr. H. Phillips.~
_Masetto_ ~Mr. Seguin.~
_Donna Anna_ ~Mad. De Meric.~
_Donna Elvira_ ~Miss Betts.~
_Zerlina_ ~Mrs. Wood.~

Never was foreign music produced with more success on our national stage than in the present instance, and the vast trouble and expense bestowed in getting it up have been amply repaid by the most unequivocal sign of public approbation--large receipts.

The dialogue seems to have been taken from the English version made in 1817, and is adapted for the present purpose by Mr. Beazley. It departs in no way from that translation, except in a few merely verbal alterations. The music is said in the advertisements to include all that was originally written by Mozart; but this is not exactly correct, for the manager has, and very wisely, omitted the last scene, which, splendid as is the concluding chorus, is injurious to the effect of the opera as a whole. But the pieces published in the appendix to the German editions of the music have now been all introduced, and embodied in the opera, an alteration certainly well meant, but by no means to be approved, for they add to the length of the drama, and diminish its interest. It is worth while, in the case of so important a work--the glory of the lyric stage--to have this matter properly understood.

In a catalogue of Mozart’s compositions, in his own hand-writing, in the possession M. André of Offenbach, a copy of which is now before us, is the following entry:--‘_28ten October, 1787; in Prag. Il Dissoluto Punito, o, il Don Giovanni, Opera buffa, in 2 Atti. Pezzi di Musica, 24._’ Now, by looking at the list of pieces in the original edition of the music, it will be seen that these are exactly 24, exclusive of the few bars sung by the Statue in the cemetery, and that the airs, &c. in the appendix are not included among these; they, in fact, never formed any part of the opera as at first performed, but were added from time to time, afterwards, to gratify particular performers, and to induce them to accept characters, which, in their vanity, they thought not good enough, not sufficiently important, without some augmentation. Accordingly we find, in the very same catalogue, a memorandum made on the 24th of April, 1788, in the following words:--‘_Aria zur Oper Don Giovanni, in G dur, Mr. Morella, Dalla sua pace, etc._’ On the 28th of the same month and year, the duet ‘Per queste tue Manine,’ is entered as composed for Madame Mombelli and Mr. Benucci; and on the 30th is a notice of the scena, ‘In quali Eccessi,’ and aria, ‘Mi tradi quell’ alma ingrata,’ introduced for Madlle. Cavallieri. There is no record of ‘Hò capito,’ which, doubtless, the great composer either forgot, or thought unworthy of notice, as it really is.

In 1817, when Don Giovanni was first made known to this country, ‘Dalla sua pace’ was introduced, in order to strengthen the part of _Don Ottavio_ for Signor Crivelli, the first Italian tenor then in Europe, and so lovely an air was gladly received, and being short, very little retarded the progress of the drama. The scena of _Donna Elvira_ is, unquestionably, a very fine composition, but that the author himself never meant it to form a permanent part of the opera is clear. Equally obvious are his intentions respecting the duet, ‘Per queste tue Manine.’

Besides these, a scene is interpolated, (where _Leporello_ is blind-folded,) which is all too much, and ought certainly never to have been admitted.

Though Mrs. ~Wood~ insisted on singing the duet ‘La ci darem,’ (we forget the English words,) and the air ‘Vedrai, Carino,’ rather too slow, and dragged the time of both, yet she performed the character very charmingly: in the concerted pieces her knowledge and power were fully displayed. Mad. ~De Meric~ makes an excellent _Donna Anna_, and with Mesdames ~Camporese~ and ~Ronzi de Begnis~ fresh in our memory, we yet were perfectly satisfied with the new representative of the character. Miss ~Betts~ did more justice to the part of _Donna Elvira_ than it has commonly received at the King’s Theatre. Great praise is due to her for her share in the opera.

Mr. ~Braham’s~ _Don Juan_ much surpassed the expectations of those who have been in the habit of viewing him as a singer, and nothing else, on the stage, and fully realized the hopes of those who have recently learnt that he can act as well as sing. The whole performance was spirited, easy, and gentlemanlike: in his scenes with _Zerlina_ there was exactly enough of that warmth, that _empressement_, which forms the just medium. His serenade, ‘Deh, vieni alla Finestra,’ proved very delightful; his share of the duet, ‘La ci darem,’ admirable. Mr. ~H. Phillips~ sang all that is allotted to _Leporello_ in a most perfect manner, particularly ‘Madamina,’ or the list of _Juan’s_ conquests; but he wanted a little more of that comic humour, of that archness, which the character requires. Mr. ~Seguin’s~ _Masetto_ did him great credit, though it was evident that the intrusive air, ‘Hò capito,’ was not introduced by his wish. Mr. ~Bedford~ made a very good _Don Pedro_. As the statue, both equestrian and pedestrian, his voice, figure, and firmness, told surprisingly well.

The orchestra, in order to do justice to such a work, was augmented by the principal instruments of the King’s Theatre and Philharmonic band, whose assistance was very sensibly felt, and contributed much to the brilliant success which attended the whole performance. Mr. Bishop acted as conductor, and Mr. T. Cooke led the band, who, we believe, undertakes this duty only on extraordinary occasions. The scenery throughout is good; that of the cemetery by moonlight, perfect; but the last scene, borrowed from Martin’s Pandemonium, is most magnificent, and was not lost on the spectators. Indeed the whole was received with acclamations, continues to draws full houses, and promises to reimburse the manager for the great expense he has incurred, and is incurring, in the performance of such an opera.

Mr. ~H. Phillips’s~ engagement having terminated shortly after the production of this piece, his part has been taken by a gentleman quite new to the London stage, named ~Martin~, a pupil of Mr. ~T. Cooke~, who, with a good base voice, correct intonation, and an unaffected manner, promises to supply the want of such a performer, which has long been felt at our theatres, Mr. Phillips not being gifted with ubiquity, though evidently very locomotive.

~Covent-Garden Theatre.~

A project often talked of, but never before listened to by the Lord Chamberlain, was, on the 15th of last month, the first Friday in Lent, carried into execution by ~M. Laporte~, namely, the performance of something like an oratorio in action, on the stage, with scenery, dresses, &c. For this experiment Rossini’s sacred opera, _Mosè in Egitto_, was chosen, which, with a chorus and a few scraps from Handel, was announced as _The Israelites in Egypt, or the Passage of the Red Sea_, the music ‘selected from the works of ~Handel~ and ~Rossini~,’ a most extraordinary union, it must be confessed, had the mixture been equal; but, luckily, the ‘Hailstone chorus’ was the only entire piece of the former composer introduced, the rest having been neither more nor less than the Italian opera with English words. The Jewish lawgiver was represented by Mr. ~H. Phillips~, who had just stepped out of the character of pimp to the Spanish grandee: and Mr. ~Seguin~, who, the night before and the night after, was the _Masetto_, or bumpkin, in _Don Giovanni_, personated the obstinate autocrat of Egypt. Mr. ~Wilson~ represented the brother of Moses, the chief priest named by divine authority; and the character of the first of the ‘first-born of Egypt,’ Pharaoh’s son, sustained by Mr. ~Wood~. Mrs. ~Wood~, Miss ~H. Cawse~, and Miss ~Sherriff~, were the ladies on the occasion; the first, a Hebrew captive, the two last the wife of Egypt’s king, and the sister of Aaron.

All, or nearly all, the music in _Mosè_ is preserved, the name of Handel being a palpable deception. The grand chorus of ‘The Horse and his Rider’ is cut down to a few bars, though ‘Sing ye to the Lord’ is retained in compliment, doubtless, to Mrs. Wood. The ‘Hailstone’ chorus is, we have before stated, performed entire. Some of the pieces of the opera--for opera it is, however disguised the name--were well executed; others as badly. Mrs. ~Wood~ and ~Phillips~ of course bore the chief weight. The band, led by ~Mori~, was reinforced by some of the best performers from the King’s Theatre, and this department was extremely well filled. Mr. ~Rophino Lacy~, who has the merit of having contrived this strange mixture, gives _Moses_ a snow-white beard, while he bestows on the elder brother of the lawgiver a remarkably black bushy one. There were a few other absurdities committed, but none worth notice. The house was very thinly attended, and we doubt whether the speculation will answer. Though we are persuaded that something of the kind, well considered and managed, would succeed.

THE MUSIC OF THE PRESENT NUMBER.

Before Haydn composed his twelve grand symphonies for Salomon, he had produced a vast number of others, of which but few are now in use, or even known, for many are in fact trifling, and were not written with any view to fame. But of those which are occasionally performed, some possess every merit that this very superior kind of composition can boast, and among them is his symphony in ~C~, for a full orchestra, beginning

of which we have given the finale, the movement that has taken the title of _La Danse des Ours_, the subject having, it is said, been suggested to the composer by the bag-pipe music of a bear-leader in the streets of Vienna. The hilarity, the beauty, and the ingenuity of this, have induced us to print Stegmann’s arrangement of it; more especially as it is not published in a separate form in England or, we believe, anywhere else.

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The aria of Zelter is from a MS. scena in our possession, beginning ‘Oh Dio! se in questo istante,’ and entirely unknown in this country. We may venture to any that there is no second copy of it in London. The air now given is but a small portion of the whole, which would have been too long for insertion; and indeed, without orchestral accompaniments, much of its effect is lost. Concerning the author, we refer to the memoir in the present number.

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The two movements of Scarlatti were once the admiration of _harpsichord_ players. The brilliancy of the first will still be admitted, and if we do not deceive ourselves, will lead many to open a work, of which very few, even of professional players, have the least knowledge. We have slightly altered the notation of some bars, but without making any change in the composer’s music. An account of Domenico Scarlatti will be found in the fifth volume of the _Harmonicon_.

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‘The Mansion of Peace,’ written for and sung by Harrison, was, like all that is excellent in music, repeated so often when in fashion, that delight was soon followed by satiety. It was first produced at least forty years ago, by one of the few whom we may call classical glee-writers--by the composer of ‘When winds breathe soft;’ and we feel convinced that it will be perfectly new to most of our readers. It has never, to our knowledge, before been published with a separate accompaniment.

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Beethoven’s Canon is spoken of at large in the letter-press of the present number. He gives it without any words: we have, to make it vocal--and it will be found extremely pleasing in effect--adapted a ‘Hallelujah, amen’ to the notes.

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The amanuensis of Handel, Christopher Smith, set the whole of the _Tempest_, as altered by Dryden, to music, and there are some compositions of much merit in his work, of which ‘Full fathom five’ is decidedly the best. This was for many years performed at the Ancient Concert, being preferred to that set by Purcell to the same words. However, there is nothing else in Smith’s _Tempest_ to be compared to the work of our great English composer. Of Smith very little is recorded. He composed three or four oratorios, and some _Suites_ of lessons, in imitation of Handel, none of which are now known.

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For the quartet, ‘Now the Moonbeam’s lustre,’ we are indebted to the _Spectator_ newspaper. Of the composer we have no information, and we never met with his name before. The present may very properly be denominated a glee, and as such will be more effective if sung by what are called equal voices.--_i. e._ men’s voices.

[Sidenote: ~April~, 1833.]

MEMOIR OF M. HEROLD.

(From _La Revue Musicale_.)

Thirty years ago the French school was rich in composers of remarkable merit; Mehul, Lesuer, Berton, Devienne, Della-Maria, Kreutzer, Catel, Boïeldieu, Gaveaux, produced numerous compositions, and the reputation of their success redounded to the honour of their country. Since then death has cut off some of these artists in their youth, others in the very vigour of their talents, while the muses of others again have sunk into silence. It was a grievous loss when an individual of such a party was consigned to the tomb; but there was consolation in contemplating the survivors. What a difference now! How deep must be our regret when we see one of the most celebrated musicians of the day ravished from us by a premature death! Herold is gone--I look around and can only indulge in the hope of something that futurity may bring forth; one, and one only, of his compeers is left to us.

Louis James Ferdinand Herold was born in Paris, the 28th of November, 1791. His father, who was a pianist of some merit, and a respected professor, notwithstanding the early and decided proofs of a musical genius which the son evinced, had no intention of bringing him up to the profession. At ten years old he was placed at one of the best boarding-schools of the time, where he made a brilliant progress in his general studies, which had afterwards no doubt its effect on his career as an artist. The author of this notice, at that time a scholar of the Conservatorio, resided in the some house as teacher of the solfeggio. Herold, as well as his fellow pupils, attended the lessons, but his progress was much more rapid than that of any of the other scholars; nature had made him a musician; he learned, or rather seemed intuitively to imbibe, the principles of the art as a matter almost of play, without appearing to suspect his own strong determination towards it.

The early death of his father made a sudden change in young Herold’s destination in life and in his studies, music being by that circumstance rendered his profession. Already a good musician, he entered the Conservatoire in October, 1806, as a student of the piano-forte in the class of M. Adam. His hands were well formed for the instrument he had selected; the lessons of the able master who directed his studies so made him a distinguished performer. Under the instructions of Catel, he prosecuted with success the study of harmony, and placed himself under Mehul to learn the art of expressing on paper the musical ideas which already began to present themselves to his imagination. The lessons of this great artist, and, perhaps, still more his conversation, always piquant, and full of ingenious and acute reasoning, had the most happy effect in developing the faculties of young Herold: his progress was that of a man born to be an artist; one year and a half’s study qualified him to enter into competition for, and obtain also the grand prize for composition given by the institute in August, 1812. The cantata which he composed for this occasion (_Madame la Valliere_) does not perhaps quite indicate the exalted talent he was destined one day to exhibit; but it cannot be denied that it contained sufficient proofs of a very happy disposition for his art.

In November of the same year, Herold set off for Rome as a pensioned student of the government. Most of the scholars who are fortunate enough to obtain that great object of their ambition, the first prize in composition, still look upon the time which the rules of the institute oblige them to pass in Italy, and particularly at Rome, as little better than a kind of exile. This was not the case with Herold; he had long sighed after Italy, the country which seemed in his imagination to teem with musical inspirations. Often has he declared that the time he passed in the capital of the Christian world formed the happiest epoch of his life. After three years of labour and study he quitted this classic land of antiquity, and went to Naples: here he appeared to live quite another life. The cloudless sky, the pure, vivifying, and elastic air, the beauty of the views, the natural enthusiasm of the natives, all conspired to work him up to that feverish anxiety to compose which is no where else felt with a like intensity. He was tormented with a wish to write for the theatre, and it was not long before the opportunity of gratifying his wish occurred. Soon after his arrival in Naples, he succeeded in bringing out an opera in two acts, entitled ‘_La Groventù di Enrico quinto_.’ Herold has not suffered the music of this piece to be seen by his own countrymen; all that is known of it is, that the Neapolitans found it to their taste, and that it was performed several nights with undisputed success. This is the more remarkable, as at the time Herold thus brought out his opera, the whole of Italy, and the Neapolitans in particular, had an invincible prejudice against all musicians of the French school. A composer born on the banks of the Seine writing an opera for the Teatro Fondo, and the Neapolitans not only listening to, but applauding his music, was a novelty of which there was no previous example.

M. Herold returned to France towards the end of 1815: he had not been long in Paris before he had an opportunity of trying his force upon the French stage. Boïeldieu, who had observed the germs of a fine composer in the young artist, determined to assist him over this first step, always so difficult to surmount, owing to the bad management of the theatres. He associated him with himself in the composition of a little opera _de circonstance_, called Charles of France, on which he was then engaged. This opera, which was performed in 1816, introduced Herold to the public in a favourable manner, and in consequence the libretto of _Les Rosieres_ was intrusted to him. A three-act opera will always afford the composer some good opportunities of displaying his powers; Herold availed himself of his opportunities, and produced some morceaux which proved he was no ordinary musician. The inexperience of a young writer was to be traced in the work, but there were seen here and there some flashes of fancy, which showed that the author had been doing violence to himself, in order to bring his writing down to the level of the style to which the frequenters of the Théâtre Feydeau were at that time accustomed. Yet, notwithstanding this kind of wavering uncertainty of manner, which is to be found in the score of _Les Rosieres_, there are no doubt many points in it which deserved more admiration than they received. At the end of 1816, this piece was performed at the Opéra Comique with a success which had its effect on all the future life of the author.

_La Clochette_, an opera in three acts, followed soon after _Les Rosieres_. In this opera M. Herold displayed much more passion and dramatic force than in his former production, and it was plainly evident that he had made great progress in the art of writing for the stage. The graceful and piquant little air, ‘_Me voilà, me voilà_,’ a duet in the second act, and several charming phrases scattered through other parts of the opera, proved that the author had the power of inventing melodies; while the finale of the first act, and several passages in the second and third, show the hand of a dramatic composer of no low class. There were besides in the instrumentation many new effects; but not a little of all this was understood by the audience. The piece was successful indeed; but its success was much more owing to the scenery and spectacle than to the merit of the music.

Nearly eighteen months elapsed before Herold obtained another opera to compose. This interval he employed in writing fantasias, and other pieces of that kind; a style in which he produced many pretty things that hardly met with the degree of encouragement they deserved. His taste led him determinately towards writing for the theatre, and he was sometimes irritated at the injustice which rendered it so difficult for him to get within the doors. Tired at last with waiting for the good libretto he was so constantly wishing for, he consented to write music to a three act comedy called ‘_Premier venu_.’ This piece was witty, but cold, and the most unfit possible for being turned into an opera; it had not even the merit of being new, on the contrary it had been a long time a stock piece at the Théâtre Louvois, from whence Vial took it to the Opéra Comique. Nothing could be more unfavourable to the display of Herold’s warmth of manner than this comedy; he could infuse no fire into it, and perhaps its coldness communicated itself to the unfortunate composer; however, as a man of real talent cannot compose three acts without giving some proofs of his genius, the _Premier venu_ contains an excellent trio between three men who pretend to be sleeping.

The desire of writing for the theatre tormented Herold incessantly, but the means were as constantly wanting; authors appeared not to have sufficient confidence in his talents to confide their poems to him. This state of abandonment determined him at length to take up another old comic opera in one act called _Les Troqueurs_, and write new music to it. It was performed in 1819; the exertions and talents of the actors supported it through a few nights; but the piece (which was the first of the kind ever written in Paris) no longer suited the taste of the times, and it fell to rise no more. A sort of fatality seemed at this time to attend all the efforts of one whose first appearance on the stage had given promise of so brilliant a career. An opera in one act, called _L’Amour Platonique_, was given him in 1819 to compose; the music was required with the utmost rapidity, and sent as soon as written to the performers to study. At the general rehearsal some charming passages were remarked; but the libretto turned out to be feeble in the extreme, so much so that the author left the theatre before it was concluded. In 1820, M. Planard intrusted him with a pretty comedy of his called ‘_L’auteur mort et vivant_;’ unfortunately, this piece again contained no situations in which a composer could have an opportunity of doing justice to his own talents, and the very cold reception it met with during a few representations, added nothing to M. Herold’s reputation. This last disappointment appears for the time to have completely discouraged him from making any more efforts in a line which had proved so unfortunate; for during the next three years he wrote nothing, but seemed to have entirely abandoned the theatre.

During this interval the part of accompanyist at the piano-forte in the Italian Opera became vacant; Herold applied for and obtained it. From this period the duties of his situation took up the greatest part of his time; and he employed the rest in writing a great number of pieces for the piano-forte. Thus did this artist, in the flower of his age and full vigour of his talents, find himself in some degree repulsed and driven from the theatre for which he had been born. Such phases of bad fortune occur in the lives of most men of merit.

The silence of three years to which Herold had been condemned, gave way to a renewed desire of writing for the theatre, of that ardent character which is commonly a forerunner of success. His first production after so long rest was _Le Muletier_, performed at the Opéra Comique in 1823. The success of this was at first doubtful, but at length it was established in the public favour, entirely on account of the merits of the composer. The music of _Le Muletier_ is highly coloured, dramatic, and full of happy thoughts and new effects. _Lasthenie_ followed, a composition of a graceful character, and which had only one fault: viz. that the story was taken from the Greek at a time when Greek stories happened to be entirely out of fashion. Consequently, this production made little impression on the public, though it ran through a certain number of nights, and, at all events, the connoisseurs did justice to the talents of the composer. The success of the French armies in Spain in 1823, gave occasion to the writing an opera entitled _Vendome en Espagne_, in the composition of which Herold was associated with Auber. The pieces which he wrote off-hand for this score contained some happy thoughts, which he afterwards worked up and employed with success in his future productions.

In 1824, Herold was again charged by the managers of the Opéra Comique with the composition of a little piece _de circonstance_, (which however outlived the occasion for which it was written,) called ‘_Le Roi René_.’ The following year he composed for the same theatre another one act opera entitled _Le Lapin Blanc_, but nothing could be less fit for music; in fact words and music were equally feeble.

In this part of the narrative it becomes necessary to state, that during his three years of retreat, a great change had taken place in Herold. A constant witness of the success of Rossini’s compositions, which he had been accompanying almost without intermission at the Théâtre Italien, he persuaded himself that the only means of obtaining the public favour was by imitating more or less the musical forms that were in vogue. Many others partook of his error, who did not partake of his talent; for him it was a deplorable mistake, as it withheld him some time from following the route his own genius, left to itself, would have pointed out.

_Marie_, an opera in three acts played at the Opéra Comique in 1826, marked the return of M. Herold to the style which suited him; it was at once the best and the most successful piece he had till then produced; in it he gave wider scope to his sensibility than he had been able to do before, and all the pieces obtained a degree of popularity and fashion which none of his former compositions had ever enjoyed. The moment was favourable, and probably Herold would have at once taken the rank among composers of which he was worthy, if his engagement at the opera as conductor of the singers had not deprived him of the leisure necessary to profit by the tardy justice the public seemed at length disposed to do to his merits. Two years before he had quitted his situation of accompanyist at the Italian Theatre for that of conductor of the chorusses, and in 1827, he accepted the post above mentioned. From that time fatigued with a thousand occupations totally incompatible with the repose and freedom necessary for achieving works of imagination, he found it out of his power to take advantage of the favourable tide of circumstances, and at once put the seal on his reputation. The little leisure he had was given up to writing the music for a few ballets; in 1827 he wrote for the Opera the ballets of _Astolphe et Joconde_, and _La Somnambule_, both in three acts; in 1828, _Lydia_, a ballet in one act, and _Cendrillon_, a ballet in three: about the same period he also produced the overture, chorusses, &c. in the drama of _Missolonghi_, performed at the Odeon.

In 1829, three years after the production of his opera of _Marie_, he brought out a one act operetta full of charming passages, entitled _L’Illusion_. The music was of a melancholy and impassioned cast: for the overture he adopted the one he had some years before written for _L’Amour Platonique_. In the same year the king conferred the decoration of the legion of honour upon him, a distinction to which he was justly entitled. _Emmeline_, an opera in three acts, which he brought out in 1830, was unsuccessful; but he took a splendid revenge the next year, by producing his _Zampa_, a work worthy of the first masters, and which ranked Herold at once amongst the most celebrated composers of France. Abundance of fine subjects, characteristic expression of the passions, dramatic power, a deep genius for harmony and instrumentation, all are to be found in this work, the success of which has been as brilliant in Germany as it was in France. A short time after, M. Herold contributed with numerous other composers towards the music of the _Marquise de Brinvilliers_.