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ramondo, Ariadne, and to the oratorio overtures of Saul, Samson, Alexander's Feast, and Hercules, which are all beautiful. His marches also seem never to have been surpassed. His recitatives, both with and without accompaniments, in his operas and oratorios, are full of just expression: take those for example in Samson. His airs, duets, trios, and other vocal pieces, form the great mass of our vocal music to English words. And when we consider he was a foreigner, it is extraordinary that he should have succeeded so wonderfully in the expression of the language, and should only be eclipsed by our native Purcell. But for oratorio choruses his pre-eminence is still more indisputable. For learning, pathos, and sublimity, what choruses equal them? Hear them worthily rendered, as at Westminster Abbey, with a band of 1000 performers, and the most magnificent choruses of modern authors appear, by comparison, light and puerile. This has been owned even by foreigners unaccustomed to ancient music, on occasions where there were only half as many in the orchestra as at the performances just alluded to.

Hear him in the simple, sublime style of the sixteenth century. As in the following pieces :-" Their bodies are buried in peace, but their name liveth evermore," Funeral anthem. "Since by man came death," Messiah. "He is my God," Israel in Egypt. Or in those original efforts which he occasionally makes in the most sublime style, yet unlike all that is heard elsewhere, as the passages in the Dettingen Te Deum, "The heavens and all the powers therein;" and "The Father, of an infinite Majesty ;" and the opening of "Worthy is the Lamb," in the Messiah. All his choruses on the subjects of mourning shew his skill in the pathetic; and those in which he employs the full orchestra, his powers in the expression of intricate grandeur, or a mixture of sublimity in the voice parts, with ornament in the accompaniments. The sublime and beautiful are equally united in "Then round about the starry throne," Samson. Sometimes all the three styles are equally prominent, as in "The listening crowd," Alexander's Feast; and sometimes the sublime is properly withdrawn, as in the Nightingale chorus, " May no rash intruder," Solomon. Pure beauty, without the grand or the ornamental, may be found in "Questo è il cielo," the first chorus in Alcina. Can Purcell, Leo, Pergolesi, Graun, and Hasse, individually, (I might say, altogether,) furnish such versatility of talent, with such consummate judgement and science, as our Author? If not, the conclusion is inevitable ;-the greatest of all musical composers is Handel.' pp. 121–127.

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Bach (Sebastian) is styled the Michael Angelo of the art, as 'Handel is the Raffael.' The immortal Purcell' has not more than his due share of praise, as not only the greatest master of his time, but the most extraordinary (musical) genius that 'this nation ever produced.' Haydn is pronounced to be 'upon 'the whole the greatest of all instrumental composers.' Mozart is acknowledged to have been unrivalled, as a vocal composer, by any of his contemporaries,' and, on the ground chiefly of his Requiem, the greatest of all modern composers, '-by which is meant, we presume, since the days of Handel. These col

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lateral superlatives are not quite reconcileable in strict propriety, but we do not wish to be hypercritical. We think that Dr. Crotch discovers more of an anxiety not to do injustice to Mozart, than any strong partiality for his productions. His operas are, however, declared to be decidedly superior to 'those of Glück, Bach, Haydn, or Winter in vocal melody,' (no faint praise,) and to all the productions of the Sacchini and Rossini schools in science and harmony, particularly in 'the overtures.' Of the present school of music, Dr. Crotch remarks:

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The piano-forte music of Beethoven, when it does not abound with difficulties of execution, is original and masterly, frequently sublime. His sinfonias are wonderful productions. That he has ever disregarded the rules of composition, is to be regretted, as there does not seem to have been the least good obtained by it in any one instance. The opera overtures of Beethoven, Cherubini, and Weber are extremely fine and deserving of study. The operas of Weber and Spohr, and the sinfonias of Mendelsohn are full of science and good writing.

One other style of music remains to be noticed, which succeeded that for the piano-forte by Haydn, Kozeluch, Clementi, and Mozart. Dussek's sonatas were more difficult and less beautiful than these. But there was a brilliancy and an ornament adapted to the instrument, which laid the foundation of a new school, especially for the pianoforte concerto, to which we consider Steibelt, Woelfi, Cramer, Moscheles, and even Hummel to belong, though the latter is also a follower of Mozart.' pp. 145-7.

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The very characteristics of this brilliant school are the marks of declining art. If the instrumental style has advanced towards perfection, the progress of vocal music,' it is remarked, ' is not so apparent.' Again, sacred music is not improved,' if secular is; and sacred music, our Author observes, is of a higher order than secular.'-But the music of the church' must form the subject of a distinct article.

We must say a few words respecting the musical periodical of which nine Numbers are now before us. The plan of the work comprises, in each Number, 1. an original biographical memoir of some distinguished composer or performer: 2. Correspondence, or original dissertations, on subjects connected with the science: 3. Extracts from foreign musical journals, and intelligence relating to the art and its professors throughout Europe: 4. Notices of musical performances: 5. Reviews of musical publications: and 6. Six or seven pieces of music, vocal and instrumental, English or foreign, select or original.

With regard to the management of the work, without pledging ourselves to an approbation of all the opinions of the Editor, or all the witticisms of the dilettanti his correspondents, we must say that it honestly deserves the patronage of the musical world.

VOL. VI.-N.S.

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It is replete with entertaining matter, sometimes valuable, but a large portion of course consisting of passing criticism, anecdote, and chit-chat information. The music given at the end is, however, frequently worth the price of the Number. As a sample of the work, we give the contents of the Number for August.

'Memoir of Muzio Clementi. Memoirs of the Metropolitan Concerts, continued. On Vocal Music: from the New York Euterpeiad. Signor Paganini. Letter on a dance of the good old times.' Musical Notices. Review of New Music. Diary of a Dilettante. Musical Intelligence. Foreign Musical Report. Opera, &c.

MUSIC. Overture to Le Trésor supposé, by Mehul. Adagio by Muzio Clementi, published by permission. March from Gli Arabi nelle Gallie, by Pacini. Ballad composed for the Harmonicon by Mrs. Orme. War-song from "English melodies:" the words by Sir Walter Scott; composed by Mrs. Smith of Down House. Song, adapted to an air by Bellini. Ariette for one or two voices, with guitar accompaniments, by Veriņi. Shawl Dance, by Auber.'

The following anecdotes occur in the memoir of the musical veteran whom Dr. Crotch styles the father of piano-forte 'music,' and whose early genius was scarcely less remarkable than that of the two extraordinary individuals above referred to. At six years of age, he commenced sol-fa-ing;' at nine, was admitted to an organist's place in his native city (Rome); and when little more than twelve, wrote a mass for four voices, which was admired by his friends, and praised by his master, Carpini.

At eighteen, he not only surpassed all his contemporaries in execution, taste, and expression, but had already composed (though it was not published till three years after) his celebrated Opera 2; a work which, by the common assent of all musicians, is entitled to the credit of being the basis on which the whole fabric of modern pianoforte sonatas has been founded, and which-though it is now, from the immense progress which manual dexterity has made in the last sixty years, within the powers of even second-rate performers-was, at the period of its production, the despair of such pianists as J. C. Bach and Schroeter, who were content to admire it, but declined the attempt to play what the latter professor declared could only be executed by its own composer.'

In Vienna, Clementi became acquainted with Haydn, Mozart, Salieri, and many other celebrated musicians then resident in that city, and played alternately with Mozart, before the Emperor Joseph II. and the Grand Duke (afterwards Emperor) Paul of Russia, and his consort. On one occasion, when the imperial trio alone were present, Clementi and Mozart were desired to play; some question of etiquette arising as to who should make the first display of his powers, the Emperor decided it by motioning Clementi to the instrument, saying at the same time, in allusion to his Roman birth, "tocca all' eglese di dar l'essempio." Clementi, having preluded for some time, played a

sonata, followed by Mozart, who, without any further exordium than striking the chord of the key, also performed a sonata. The Grand Dutchess then said, that one of her masters had written some pieces for her which were beyond her powers, but she should very much like to hear their effect; and producing two, Clementi immediately played one, and Mozart the other, at sight. She next proposed a theme, on which, at her request, these two great masters extemporized alternately, to the astonishment as well as delight of their imperial audience.'

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From the Essay on Vocal Music,' we extract the following hint of the New York writer to his fair countrywomen, for the benefit of ours.

The influence of the temper upon tone, deserves much consideration. Habits of querulousness or ill-nature will communicate a cat-like quality to the singing, as infallibly as they give a peculiar quality to the speaking voice. That there really exist amiable tones, is not an unfounded opinion. In the voice there is no deception; it is, to many, the index of the mind, denoting moral qualities; and it may be remarked, that the low, soft tones of gentle and amiable beings, whatever their musical endowments may be, seldom fail to please. Besides which, the singing of ladies indicates the cultivation of their taste generally, and the embellishment of the mind. For an instant compare the vulgarity of a ballad-singer, her repulsive tone of voice and hideous graces, to the manner of an equally uncultivated singer in good society; or watch the treatment of a pretty melody from the concert-room, at the west end of London, until it reaches the ears from under the parlour window, and observe how it gains something new of vulgarity with every fresh degradation.'

Art. VII. Tales of a Physician. By W. H. Harrison. Second Series. sm. 8vo. PP. 262. Price 7s. 6d. London, 1831. WE feel ourselves to be in part responsible for this publication, on account of the unbiassed and well-deserved praise which the first volume obtained from us. Second volumes are always dangerous enterprises; and if the bull may be pardoned, we should say that it would often be better if a second volume made its appearance first. But as, in landscape gardening, the charm of unexpectedness' cannot be repeated on a second perambulation, so, in authorship, the interest of a first appearance cannot be renewed. All comparisons, as Falstaff says, are odorous;' but no comparison is so much to be dreaded by an author, as a comparison with himself. The question perpetually suggesting itself on a perusal of a second volume is, whether it be equal to the first. If it be fairly equal, and only equal, it will seem inferior; not only because impressions often seem stronger and more pleasing in the recollection, than they were at the time,-as the beauty of scenery

is sometimes increased in the reflected image in the watery mirror, but because those parts only of a work which has pleased in the perusal, will present themselves as a standard for comparison, which contributed to that pleasure, and the less interesting portions will not come distinctly into recollection. If the predominant impression, on the contrary, was the reverse of pleasing, the faults, defects, and offences of the work will alone be strongly remembered. In other words, our recollections are always more homogeneous than our first impressions, whether agreeable or the reverse. And there is this further disadvantage attendant upon second volumes, which regards the author; that he writes under the consciousness that this comparison will be made. This thought may stimulate his endeavours to surpass his first production; but, inasmuch as self is always a bad model, and an author is frequently a very fallible judge of the comparative success of his own efforts, the benefit derived from this stimulus, is more than counter-balanced by the drawback. He may think it enough to produce something equally good; in which case he will certainly fall below his aim; or, if he aims higher, his second effort will be less natural, unconstrained, and spontaneous than the first, because he will be thinking more of himself and of the name or character he has to support. A performer who is encored is, in short, always in a delicate predicament.

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After this long philosophical prologue, Mr. Harrison and our readers may, perhaps, with equal impatience renew the question, What do you think of my second volume? Shall we confess his our inability to answer the inquiry? If the truth must be told, we almost forget by this time what was very specifically our impressions on reading the first series; and as to the comparative merit of the two volumes, our opinion has undergone, in the perusal of the eight stories of the present series, so many fluctuations, or rather oscillations, that we are unable to determine to which side it has most frequently inclined. We recommend our readers to make the experiment for themselves; and we think we can predict with certainty, that they will be ready, on reading this tale, to give a verdict in favour of Vol. II. -on reading that, will assign the preference to Vol. I.,—and on closing the last story, will, if they are just to the Author, find the account pretty equally balanced.

But some readers may urge, that all this is little to the purpose as regards enabling them to judge of the present volume, as they have not seen its predecessor. For their sakes more especially then, in place of further remarks, we will endeavour to pick out a few characteristic extracts.

It happened that, for some time after the issue of the lawsuit had

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