TRIFLES for the Piano-forte, consisting of ELEVEN PLEA- one of the most scientific musicians in Europe, M. Cate of Paris, a well-known professor, who has distinguished himself by a theoretical work that is adopted in France, has had a great circulation, and is much esteemed every where. From the brevity and originality of these compositions, they seem to have been transcribed from a kind of musical This fantaisie may be divided into six portions, in various note-book,-from a collection of fragments, or thoughts, measures and keys; it is very correctly denominated, and penned down at the moment of their birth, to be afterwards possesses all the qualities implied by the title. It is ceramplified and exalted into the more dignified forms of sona-tainly a masterly composition, so far as modulation and tas, quartetts, or even symphonies, according to the nature skilful contrivance can give it a claim to that praise; and of the demands made upon their author. The whole of it contains many good passages for industrious practitioners: them, eleven in number, is comprised in the small com- but it is wanting in clear, well-defined subjects, and is depass of thirteen pages, and some few do not exceed four ficient in air, the vital part of every composition. It will lines in length: but short as they are, they display an afford some gratification to those who are deeply learned in abundance of elegance and invention, and are so distinctly music, and can amuse themselves with its lore; but we characterized, that it would have been no difficult matter fear that it will prove "caviare to the general." to name the writer of them, had he not been declared in the title-page. Ex pede Herculem, and Beethoven is discovered, even in the present "trifles." Some years ago this composer published a few short movements, under the title of Bagatelles, rich in genius and taste, and superior, both in pretensions and quality, to the work now under review. They have been greatly admired by all true judges of music who have met with them; but have never had a very general circulation. This last circumstance has determined us to print one of them in our present Number, and, if we do not deceive ourselves, it will not stand in need of recommendation. 1. "DULCE DOMUM," a favourite air by BRAHAM, arranged as a rondo, for the Piano-forte, by M. HOLST. No. 7. (Clementi and Co.) 2. "DUNOIS THE BRAVE," No. 8, a favourite French 3. "DI PIACER MI BALZA IL COR." No. 9. ditto ditto. No. 12. ditto ditto. The above form a continuation of that series of airs mentioned in a former Number. We notice these for the reason assigned for introducing the others into our review. Upon the whole, they are not quite equal to the first six; they have been published too hastily. Even little things require some thought. The Dulce Domum must not be confounded with the beautiful Wykehamist air, composed by Reading, a pupil of Dr. Blow, more than a century ago. EFFUSIO MUSICA, ou GRANDE FANTAISIE, pour le Musical composers in most cases write for the public, and ANTHEM, "My soul truly waiteth still upon God," a solo for a soprano voice, composed by THOMAS ATTWOOD, Composer to HIS MAJESTY, Organist to the Royal Pavilion Chapel at Brighton, and organist of St. Paul's Cathedral. Dedicated to the Right Hon. LADY ELIZABETH CONYNGHAM. (Royal Harmonic Institution.) Either the large stock of excellent English church music which we have long possessed, is thought sufficient for every useful purpose, and therefore no encouragement is offered to new composers; or else the talent for this class of composition is become rare; for very little that is new is produced now in our various cathedrals, and still less appears in print. We cannot but regret that this should be the case, because England, having deserved and gained a high name for her ecclesiastical music, should endeavour to maintain it; an object that she might accomplish without much difficulty, by means of the many choirs scattered throughout the kingdom, which ought to be, though they certainly are not at present, equal to the best schools for counterpoint in Europe. In one of these schools Mr. Attwood, we have understood, received his early musical education, as is apparent from the general structure of the anthem now before us. That this education was extended and completed under a foreign master, is equally visible in the character of the melody which he has employed in his present work. The union of these two widely differing styles has produced a third, which he may fairly lay claim to as his own; it is a style that we should be glad to see occasionally adopted in our churches, for it would produce an agreeable variety, without departing much from the manner and gravity of that harmony which we would always wish to remain as the foundation of all our devotional music. This anthem consists of three movements and a chorus, all of which, except one, are written in the ancient measure of three minims in a bar. The melodies are free, but not with and they are supported by a rich and ingenious accompaniout sufficient restraint to distinguish them from secular airs, ment. The accentuation of the words is quite exempt from those errors of which we have so frequently, and with so much regret, to complain. The reiteration of the same sentence we should gladly have seen avoided; but this is, we fear, inevitable in church music: and we candidly acknowledge, that upon the propriety of it, much difference of opinion prevails amongst the best-judging people. The inspection of this work has afforded us great pleasure, and we hope soon to hear that it has made its way into our places of worship. To lovers of sacred song it will prove an agreeable addition to their collection of good vocal music. 1. "Ah qual concento," ROMANCE, from the Opera of || Teobaldo e Isolina, composed by MORLACCHI. (Boosey and Co., Holles street, Oxford street.) 2. "Caro Sposo, amati figli," ARIA, composed in Italy for Mad. Ronzi di Begnis, by SIG. (Maestro) DONIZETTI, pupil of Layer. (Boosey and Co.) 3. "In quel modesto asilo," DUETTO NOTTURNO, per Soprano e Tenore, composto da VALENTINO CASTELLI. (Boosey and Co.) The romance is from Morlacchi's favourite opera, and if sung with good expression will always prove effective on the stage. It is elegant in its style, the melody is graceful, and it will suit most singers, as the compass required is not great, and the time is rather slow. We do not trace any of those inspirations of genius in it, that some Italian critics have discovered. Concerning its author, see page 121 of this work. lover who, in his complaining, should only think of the virtues of her whose loss he bemoans. The second canzonet (No. 3,) by the same composer, is not remarkable for any thing. The name of its author may obtain it a hearing, but it will soon after be forgotten. 66 The Maid's Remonstrance," an address to a male coquet, is a charming bagatelle, and very proper to be sung by any virtuously courageous lady, to any trifling, tardy gentleman, who delays putting the important question till much too long " after his silence becomes intolerain five pages, why should he not have adjusted his notes ble," As Mr. Bishop has printed this song at full length, properly to the last line but one; instead of soon you'll make them grow The aria by Sig. Donizetti,-a name quite new to usis very like a multitude of other Italian airs. It requires we advise all who sing the air to alter it thus; the extent and flexibility of voice which the lady possesses for whom it was written. Except, therefore, as a vocal exercise, it is not adapted to the generality of singers. Signor Castelli's duetto notturno is very easy and rather pretty. It is an imitation of the style of Asioli, and the admirers of that polished composer, as well as of Blangini, will not be displeased with the present publication. But the price is excessive ;-two shillings for three pages! dim soon you'll make them grow dim, and Mr. Bishop's second song (No. 5,) is extremely beautiful, and full of true musical feeling. The following syncopated passage, in the manner of some of our excellent old 1. BALLAD, "My Heart and Lute," by THOMAS madrigalists,-Ford, for instance,-is too good not to be MOORE, Esq. (J. Power, 34 Strand.) 2. CANZONET," Hush'd are the winds," composed by SIR JOHN STEVENSON, Mus. Doc. (J. Power.) 3. CANZONET," Hence! faithless Hope," composed by SIR JOHN STEVENSON, Mus. Doc. (J. Power.) 4. SONG, "The Maid's Remonstrance," written by THOMAS 5. SONG. "Reconcilement," written by THOMAS. CAMP- verses, The Canzonet," Hush'd are the winds," is composed in the uncommon key of B minor, which not only excited our particular attention, but relieved us from that ennui which the eternal round of half a dozen keys produces, and revived our drooping hopes with a positive novelty. The air, though not uncommon, is expressive, and the deploring the death of a beloved object,-are sensibly set, a praise which is generally merited in Sir John Stephenson's music; though we must take an exception to the recurrence of the last three words, "my faithful heart," which are repeated five times successively, making the performer the representative of a vain egotist, instead of a quoted: 1. CANZONETTA, ""Tis that dear song," written by BARRY ST. LEGER, Esq., composed by C. M. SOLA. (Clementi and Co.) 2. BALLAD, "Rosabel," sung in the Opera of Robin Hood, at the Theatre Royal, Dublin, by J. BLEWITT. (Clementi and Co.) 3. "The force of Sympathy," A DREAM, inspired by the Author of Waverly, and dedicated to LOVE. (Larenu, 24, Edward street, Manchester Square.) 4. "Ah! County Guy," the celebrated SERENADE, in Quentin Durward, sung by Mrs. Ashe, and composed by BURFORD G. H. GISBORNE. (Clementi and Co.) 5. SONG, "Oh take this Rose," the words by RICHARD RYAN; the music by AUG. MEVES. (J. Power, Strand.) 6. BALLAD," Poor Rose !" written by HARRY STOE VAN DYK, Esq., composed by JOHN BARNETT. (J. Power.) M. Sola's canzonetta we like better than any composition of his that has fallen under our notice. A further acquaintance with Mr. Barry St. Leger's lyric poetry, will, we are led by this specimen to believe, afford us great pleasure. The ballad, No. 2, is in the style of the theatrical airs in vogue sixty years ago; the melody, which is rather pleasing, reminds us much of Michael Arne, and others of his day. Mr. Blewitt must endeavour in future to avoid making a dissyllable of the word lyre. Without feeling any interest in the account which the author of song, No. 3, has taken the trouble to give of its origin,-(which, by the way, is quite unnecessary, if not exceedingly puerile,) we have been mightily pleased with his melody, which, trifling as it may appear to the lover of canon, bears the impress of something that we are much inclined to call genius. From the faint inscription at the lowest corner of the title-page, we are to conclude that the name of the author-(the " Somniator,") is Castell. 66 County Guy" is not, at present, destined to be " married to immortal song" Mr. Gisborne's attempt to set it smells of the lamp; it is all study and no genius. Mr. Meves has bestowed a great deal too much labour on his composition; his accompaniment to it is fitter for a cantata. His symphonies also are twice as long as is necessary, and more resemble portions of a sonata, than the introductory and terminating parts of a song. The ballad," Poor Rose!" has some air, and, though not of a very new species, it flows on smoothly, in spite of five pages of a cantering accompaniment, that tires the ear with triplets that seem everlasting. But here are errors of accent that irresistibly force themselves upon our notice. We offer the following as an example ; B. Nothing of moment. The only conspicuous things in our journals are the eulogiums on Rossini." could have succeeded in bewitching all Europe, as if he A. Is it possible, that in a few years this young man alone, since the days of Adam, had discovered the true Secrets of music? B. And why not? Have not his operas delighted all Europe? Some there certainly are, who are jealous of Rossini's fame, and haters of genius in general; but to their confusion he is, and still remains, the sun of harmony, before whose splendour the other stars" hide their diminished heads." A. Your style is quite alla Rossini. But young gentlemen, like you, are more apt to be guided by their senses than by reason. Let your favourite's operas be subjected to the unchangeable rules of the beautiful, and the tinsel will at once be distinguished from the sterling gold. B. (A little piqued.) Signor Maestro di Capella, there may be differences of opinion on this subject, but the fact speaks in favour of Rossini. At this very moment he holds the sceptre of music in his hands; in him is centred the enthusiasm of the multitude and the admiration of the connoisseur : his music forms the richest treasures of the Italian stage, and stands in the highest estimation in foreign countries. Stutgard, Darmstadt, the two Frankforts, Salzburg, the birth-places of Mozart and the spot where the ashes of Haydn repose, Munich, proud of its Winter, are enraptured with the song of the swan of Pesaro, and desire nothing beyond it; Vienna A. Not so warm, young gentleman, not so warm. Nobody denies that Rossini pleases beyond the Alps; and yet Prussia is an exception. In Vienna nothing of his met with any very extraordinary success, except the Gazza Ladra. The general complaint against Rossini is, that his compositions are light, effeminate, and void of the true philosophy of music. The German journals.compare them to a mass of bubbles, reflecting a thousand intermingling hues, and to a woman painted up to the eyes, but ill dressed. They call him the very romance-writer of music. B. Well, Signor, but taste changes with the times. When you were young, men dressed in swords, and flowing perukes pleased the ladies; twenty years ago nothing was heard in every direction but Paesiello's Nel cor più non mi sento, now Di tanti palpiti is all the rage. Rossini is the present Tyrtæus of Germany, the Piccini, Cimarosa, and Paesiello, of Nales. A. Ah, there lies the error. The beautiful is only one and simple; it excludes every meretricious ornament. Call to mind that Grecian painter, who not knowing how to paint the Goddess of Beauty, represented her in a gorgeous place of hackney coaches; every servant girl has a hundred or more a year for wages, and men of a million and upwards are quite common in every strect. The music of Mr. Gläser is very appropriate: the past represents Handel and Hasse; the present Rossini and Weber; and in a century to come Mozart is represented, as ever new and ever young, to our posterity; for the truly beautiful is not swallowed up in the stream of time. moderation (rara sobrietà) of a Mayer, the united agreeableness and learning of a Cherubini? Now, with respect to Rossini, this Coryphons of modern romance-writers, I believe that if, as the general accusation runs, he does borrow from himself, it is by no means through any poverty of genius, but from the haste with which he composes *. All masters maintain that he constantly violates the rules of counterpoint; there is some truth in the assertion; but is not the general accusation the effect of envy and jealousy ?-He is said to be constantly sinning During Rossini's last visit to Vienna, the following against the sense of the words; but is the poetry of many whimsical occurrence took place, which is strongly indicative of our modern operas so valuable and so sacred, and is the public so very solicitous about it?-Thus much is certainly of the excess to which the spirit of nationality may be carried. true, instead of endeavouring on all occasions to be faith- After the first representation of Ricciardo and Zoraide, Rossini ful to the poet's words and design, he seeks refuge in a invited the principal singers to supper, and as it so happened that variety of musical phrases, and endeavours to cloak his de- this was Mad. Rossini's birth-day, great hilarity prevailed, and ficiency in a superabundance of sound; forgetful that the the sparkling champagne circulated briskly. At last a very unsimple is the first element of the beautiful, and that the instrumental part should merely serve as an auxiliary; that usual and increasing noise was heard in the street; the servants the ear should be delighted, not overwhelmed and oppressed. were ordered to see what was the matter, and returned with a reIn the preceding century we went to the opera, and came port that a great concourse of people had assembled in front of the from it with a quiet and composed spirit; we were anxious house, consisting mostly of the composer's countrymen, who were to hear the music once again: but in the Rossinian operas assembled to render him honours due. Rossini proposed to his the accompaniments are so overcharged, and the notes pour upon us so thick, that they do not allow us a moment of guests to throw open the windows, and treat this music-loving breathe; the instruments are so astounding, that scenes to mob with something to repay them for their zeal and devotion. the greatest pathos are metamorphosed into Bacchanalian || Accordingly it was done. The piano-forte was thrown open and uproar. But, notwithstanding all this, Rossini possesses a he accompanied his beloved Isabella in a scene from Elisabetta. large fund of harmonic beauties; perhaps no author could Cries of joy succeeded from below: Viva, viva! Sia benedetto! ever boast of mere. † One of his faults is indisputa- ancora, ancora! David and Mad. Ekerlin next sung a duet, and bly this, that he is too lavish of the materials of his art; that he never seems to think he has done enough. | afterwards Nozzari gave his sortita (song on his first entrance) Unhappily so it is, that the impatience of attempting somefrom Zelmira. The delight of the amateurs on the trottoir thing new, and of producing extraordinary effects, together knew no bounds. At last, when Madame Rossini herself gave with a rage to please, a strange amalgamation of hetero- the air, Caro, per te quest' anima, enthusiasm was at its height. geneous elements, a want of that moderation which our ancient masters always had so much at heart, all these Mingled shouts arose of fora! fora, il maestro! (Let the master have tended to lead astray one of the happiest genuises that music ever produced. To sum up all in a wordI can only say, gentlemen, that arts have their rise, pro- | gress and decay, and that all the observations we can make, will be of no avail in stemming the torrent of fashion and caprice. FOREIGN MUSICAL REPORT. VIENNA. After an intermission of some years, Beethoven's Fidelio has been revived on this stage; the characters were judiciously cast and ably sustained, and it was received by the public with all the zest of novelty. For their taste and judgment, the directors of this theatre deserve the sincerest thanks of the public. A fantastic piece, interspersed with songs, was lately brought out here, entitled “1722, 1822, and 1922," which presents, as in a magic mirror, a picture of times past, present, and to come. The description of what our old mother, the earth, may be supposed to be a century hence, is whimsical enough. Every thing is managed by machinery; the plough goes by itself, and the ploughman follows it at his leisure, studying the Chinese language, because all those of Europe are perfectly familiar to him. Balloons supply the come forth) loud as the chorus of a thousand trombones. Rossini appeared in the balcony, and made his gracious obeisance to the assembled multitude. The air resounded with Viva, viva ! Cantare, cantare! The good natured Maestro was obliged to comply, and trilled with all his might his own Figaro quì, Figaro quà. Surely this was enough, and more than enough. By no means, the mixed parterre would willingly, alla maniera Italiana, have prolonged this occasional concert til the morning dawn. Not so those above; after having gone through a long opera, and thrown in a piccola Academia musicale gratis, as a kind of make-weight, they thought, very properly, that, as it was already past the hour" when spirits walk the earth," every good christian had a right to look for wholesome repose. But, as the crowd below felt no disposition to disperse, the supper things were removed, the lights extinguished, and the company retreated into a back apartment. The many-headed monster, however, was not to be so easily pacified. At first a sullen silence reigned around, but too ominous of the approaching storm; but at the sight of the Egyptian darkness that reigned in the apartments, and announced the precipitate retreat of their favourite and his party, a dull murmur was heard to arise, which gradually swelled into a terrible crescendo, not unlike some of those of which this master has given so many specimens in his works. At last, all was fury, tumult, storm, and execration; and no doubt the windows would This defence will not avail him now: he has written but little have felt the effects of this general disappointment, if some of lately, and that little has not been composed in any haste. + The reader will recollect, that so groundless a surmise is made to proceed from the mouth of an Italian. the guardians of the night, aided by a party of the police, who by this time had been warned of the uproar, had not succeeded i dispersing these musical rioters. Thus terminated an adventure, new to Vienna, but which, it seems, is common enough in Italy, where, if a composer is unsuccessful in a piece to-night, he is pursued to his home with hisses and hootings; while, a few evenings after, if he happens to please the mob by something to their taste, he is conducted home in procession, by the light of Hambeaux, and the crash of Janissary music. The writer of this has often been witness of such scenes as well in Milan and Turin, as in Rome and Naples. The comic singer Neubruk, having been unsuccessful in the piece lately brought out here for his benefit, which was in a great measure attributed to the stupidity of the words of the opera, has offered a premium of 450 florins (between 40 and 50 pounds) for a good libretto, that he may not meet with a similar disappointment next time. Doubtless a host of goose-quills is already in full activity, excited, as our poetic prize-fighters are, to the trial by so handsome a recompense. An instrument-maker here, of the name of Koch, whose flutes, oböes, clarionets and basoons are held in high estimation, has lately made an invention, by means of which the keys of instruments are, by a very simple mechanism, so furnished with stoppers of leather, that however numerous, and of whatever kind, they are rendered perfectly air - proof, at the same time that the additional advantage is gained of avoiding the noise formerly produced by the stopper on the windhole, and which necessarily inconvenienced the player. The simplicity of the invention is such that every performer is enabled to apply it to his own instrument. The Vienna Gazette states that a similar improvement has been made in that city, by means of cork: which of them is preferable, practical musicians must decide. LEIPSIC. We learn with pleasure that three new Quartettos are expected from the pen of the indefatigable Beethoven, which he has undertaken to write for the Prince Gallitzin. BERLIN. Two proficients on the violin, scholars of the celebrated Mayseder, have been delighting the public here with their performances. So equally were their talents balanced, that amateurs are yet undecided as to which of them the preference, in taste and execution, belongs. It gives us pleasure to announce that the King of Prussia, charmed with their performances, and with the prognostics they give of future eminence, has settled a pension of 400 dollars per annum on the father, to enable him to complete the education of his sons. An opera was lately produced here, entitled Nourmahal, or, the Feast of Roses, in two acts, with characteristic dances, the music by Spontini, and the story founded on Moore's Lalla Roohk. The music is pleasing, and the oriental scenery and decorations magnificent. It experienced a very favourable reception. A patent has been obtained by W. Vollmar, a pianoforte maker here, for an instrument which he has named The Melodika. It is said to be played by light plectrums of metal, set in motion by the air Handel's Dettingen Te Deum was lately given here, with the united powers of the Academy of music and the Chapel royal, which altogether amounted to upwards of 350 persons. The effect produced was grand and imposing in the extreme, MUNICH. A mass o the venerable Orlando di Lasso was lately revived in the Cathedral Church of Munich. The idea that this celebrated master, two centuries and a half since, directed his own compositions, which were then considered as wonders of the art, on this spot, and by the side of this ancient gothic organ, awakens solemn recollections. The harmonies of Orlando still possess their influence over the soul, and awaken the sublimest emotions. Will many of our modern church-composers be heard of when nearly three hundred years shall have rolled away? Numerous works of this author are known to be contained in the Royal library of this place, and among others a collection of songs of four parts, in French and Italian, together with some ef the odes of Horace, set by him to music. Would it not be an ob ject of interest for some man properly qualified for the task, to edit these venerable relics? The celebrated Winter is said to be employed on a new opera for the Royal theatre of this place. He has not been inactive in the situation he fills; he composed a new mass for the chapel Royal last Christmas, in which he very happily combined the old with the more modern style of church music. A female performer, Madame Schleicher, gave a concerto here lately, of a very singular kind, and which met with considerable applause. Her instrument was the clarionet, which she played with great power and feeling. Our modern belles are determined not to be excluded from exercising any department of art; all we now want is a female virtuoso on the bassoon and trombone; we believe the list will then be complete. CASSEL. Lindpaintner's new opera of Sulmona is becoming a great favourite in Germany. It was lately given here on occasion of the birth-day of her Highness, the Electress. The music is truly dramatic, and has equal charms both for the connoisseur and the man unread in the science of music. The Introduction always calls forth unmingled approbation, as well as the movement that succeeds it, and the second finale. Severe criticism might object that the overture, though possessing great merit in itself, is not in character with the piece. We have no doubt but that this produc tion, which at once evinces an elegant mind and a sound knowledge of the art, will long maintain its rank as a favourite of the public. |