BREMEN. This place is at present divided by two musical parties, the one of a moderate, the other of a hypocritical, cast, the influence of which is by no means favourable to the interests of music. It would be well if both parties would bear in mind this useful maxim; that by interrupting others in their best and most rational enjoyments, we, at the same time, de (Matrimonio Secreto,) Nozze di Figaro twice, Fidelio three times, Die Zauberflöte four times, Die Entführung aus dem Serail, Oberon, Der Freyschütz four times, Fanchon, Die Saalnixe (The Spirit of the Stream,) Die Schwestern von Prag, (The Sisters of Prague,) Der Tyroler Wastel. To these may be added the following compositions with music introduced: Waise und Mörder (Orphan and Murderer,) Preciosa, Jung-stroy our own. frau von Orleans (Maid of Orleans,) twice, Deutsche Treue (German Faith) twice, Prinz von Homburg twice, Wilhelm Tell, Ahnfrau, and Wallenstein's Lager (Wallenstein's Camp.) With respect to Libussa, it was not received with any great enthusiasm. Cenerentola, pleased much, but though this opera contains much for the eye, it is not likely to become a stock piece. It does not possess a sufficient portion of real melody, either in a German or Italian point of view, and does not afford the singer sufficient opportunities for displaying his talents. Among the church music performed here, for purposes of charity, &c., have been Masses by J. and M. Haydn, Te Deum by J. Haydn, Mozart, and A. Romberg, Cantatas by Mozart, Homilius, Zumsteg and Danzi, the Hallelujah of the Creation arranged by Kunzen, Motets by Haydn, Schiet &c., Handel's 100th Psalm, and Haydn's Seasons. Among the concerts, the most remarkable was that given by Mad. Szymanowska, a celebrated performer on the piano, who excited great enthusiasm, both by her powers of execution, and the feeling and expression which she threw into her play. BRUNSWICK. This place has lately been gratified by the presence of the celebrated Kapellmeister Hummel, who gave a concert, in which he delighted a numerous and highly respectable audience by a display of his unrivalled powers on the piano, and of his genius in a new and brilliant concerto.Madame Cornega also gave a concert here, which was honoured by the presence of his Royal Highness the Duke of Cambridge, accompanied by the Grand Duke. The selection of music was excellent, and this lady displayed her talents to great advantage. The Abbé Stadler's Befryetes Jerusalem, (Jerusalem Delivered,) was performed in the Grand Ducal saloon for the benefit of the public Institution for the poor. It was conducted by Kapellmeister Hasenbelg, under whose direction it was ably produced, and the noble object for which it was undertaken was fully realized by the receipt of a very handsome sum. The principal opera produced this season, at the Foft Theatre, has been the Libussa of Kreutzer, which was brought forward with great splendour of decoration, and performed with great effect. Of this opera we cannot but observe, that it is defective in that life and vivifying spirit which alone can ensure works of this kind any permanent place in the favour of the public. CASSEL. The operas given here this season have been Tancredi, Die Opferfeste, (The Sacrifice,) Die Entführung aus dem Serail, Der Freyschütz, Sargines, Sphor's Jessonda, and the Otello of Rossini. In the various concerts given at this place, the novelties have been a concerto by Neithardt, performed by M. Belcke on the trombone, and a Concertino, composed by Mayer, and executed on the tenor horn, by the same artist. The effect produced by this performer on instruments in appearance so little adapted to the finer shades of expression necessary to give effect to solo pieces, was altogether surprising. On another of these occasions, a Clarionet Concerto, from the pen of Canongia, was executed with great power by M. de Groot; but we cannot but remark, that this instrument is more adapted to music of the bravura kind, than the expressive cantabile. M. Sphor also gave a Potpourri on the violin, which consisted of an admirabie combination of various themes from his opera of Jessonda. VOL. II. The principal operas of the season have been Die Schweizer familie, La Clemenza di Tito, Tancredi, Don Giovanni, Der Freyschütz, Die Zauberflöte, Le Nozze di Figaro, Die Ursulinerninen von Devienne, Der Lustigen Schuster, by Paer, and the Prova Musicale of Cimarosa. Beethoven's Egmont was also revived here, and, with the exception of certain liberties taken with the text, and the introduction of some new airs, which were far from breathing the spirit of this great composer, was received with great enthusiasm. The only novelty of the season was a comic opera from the pen of Kapellmeister Ebell, entitled Das Hochzeitfest im Eichthale, (The Marriage Feast of Eichthale,) but it met with no success; abounded with puerilities, and could boast of no new melodies. M. Ochernal, the leader of the opera, gave a concert in the spacious Town-Hall of this place, which is admirably adapted for the purposes of music. On this occasion, as if to atone in some measure for the outrage offered at the opera to Beethoven's Egmont, this composition was given strictly according to the text, while the words were declaimed, with great effect, by an amateur, of the name of Eggars. The great singing academy here, conducted by M. Riems, still continues its weekly exercises, in which much talent is developed and the interests of music greatly promoted. The society here, known by the name of Grabausche Gesangverein, celebrated a musical festivity lately, on occasion of the singular coincidence of Beethoven's birth-day and the day of Mozart's death, when the Seven Words of Christ by Haydn, the Creation, Athalie, by Schulz, and the Requeim of Mozart, were performed by a full band and chorus. MAYENCE. The only thing that has appeared here of late, interesting in a musical point of view, is a collection of songs and melodies, by Carl Wagner, Kapellmeister to the grand Duke of Hesse. The greater part of these melodies are far above the level of the mass of things of this kind, and are marked by much that is characteristic and beautiful. The accompaniments are also in a chaste and pleasing style. The songs, upon the whole, are more in the Italian than the German manner, and possess an ease which is more suited to amateur singers than those airs that are marked by a more profound character, which require to be long studied, and, after all, are not capable of being ornamented according to the fancy of the performer. Among the melodies, those that have been most admired, are Die Klage über Minnas Tod (The Lament on Minna's Death;) An Echo Song, with a simple yet very characteristic accompaniment; A Bacchanalian song, alla Polacca; An mein Herz, a melody remarkable for its sweet and plaintive character; Der schmachtande Knabe (The Languishing Youth,) an air of a tender and very original character; An Amalien (To Amelia,) a Canzonet that breathes a grace and spirit altogether Italian. It is particularly pleasing to be able to hail the appearance of compositions like the present, at a time when so many works are intruded upon the public, with all the pretensions of genius and originality, without having any claim to either, and thereby doing more serious injury to the art, than, at first sight is apprehended. GOTTINGEN. Within these few years the interests of music have begun to make a considerable advance in this place, and the great complaint formerly made by the musicians who U visited this town,-that they could not give a concert without sending for performers from other places, happily can no longer be made. Dr. Heinroth, director of music in the university, is very active in promoting the interests of the art. Besides his lectures on Music, he has an academy for singing, which consists of about sixty male voices, and to which also a number of ladies belong. In the winter-concerts established by him, though it cannot be expected that an orchestra so recently formed, and principally composed of dilettanti who can devote only a portion of their time to this object, should perform in a first rate manner, yet many symphonies and other instrumental pieces have been excellently given. M. Jakobi also and his assistants distinguish themselves by their abilities and zeal for the art. It were to be wished that more of the professors and students of the university would take a part in these concerts, as much might then be effected. This place has recently been visited by Kapellmeister Spohr, who had a concert here which was very numerously and most respectably attended. On the same occasion, the chamber-musician M. Kraft of Wirtemberg, gave a concerto on the violoncello, accompanied by his son on the piano, which was received with great applause. NUREMBERG. The festival commemorative of the Reformation was held lately here, on which occasion was given, Stadler's Befreyung von Jerusalem. (Jerusalem Delivered.) At the Feast of Easter also was given Handel's Sampson, and at Christinas the Messiah. Every effort was made for the worthy performance of these master-pieces, and every credit was due for the admirable manner in which the chorusses were performed. On each occasion an overflowing audience gave ample proofs of the lively interest they felt for classical music. In the Catholic church, the Requiem of Mozart was twice excellently given; once, in commemoration of the death of Pius VII. and the second time, on the occasion of the funeral solemnities Eugene of Beauharnois, Prince of Eichstadt. The singing academy here lately gave its public exhibition, where such talents were displayed as gave great hopes of the future progress of the art. The Society of St. Cæcilia, instituted here, still continues its meetings, under the auspices of that distinguished dilettante, F. W. Cramer. It is founded upon the plan of that established at Frankfort, and cannot fail to be productive of beneficial effects. It is to be regretted that, through certain jealousies and conflicting interests, the subscription concerts of this place have been interrupted, which, by a proper selection of subjects and a judicious intermixture of music the of the ancient and modern schools delighted every body. The only novelty in the theatre has been an opera entitled Die Bürgschaft (The Pledge,) the music by M. Blumroder, Director of music in Nuremburg. The story is founded on Schiller's celebrated ballad of the same name; the music is of a pleasing character, and was received with great approbation. Besides this, the operas of Jean de Paris, Der Entführung aus dem Serail, and Il Tancredi were given here. PARIS. Rossini's opera of Ricciardo e Zoraïde has lately been produced at the Theatre Italien. It is superfluous to state that the crowd at the first representation of this production was immense. Happy those who could retain the places they had taken. The few disposable seats were strongly contested; and every body got as good a situation as it pleased fortune and the box-keepers to give him. We will say nothing of the plot, or of the poetical part of the composition, except that they are even more ridiculous than the generality of those which are imported from Italy. All the talents of the literary men employed to adapt the opera to our stage, have been unable to communicate an air of probability to one of the most absurd conceptions that ever issued from the pen of a soi-disant dramatic writer. All that we could comprehend of the story is, that Ricciardo loves Zoraïde, who has been snatched from him by one Agorante, King of Nubia. Ricciardo, makes his way in disguise, into Agorante's capital and palace, and attempts to carry off his mistress. He is discovered, and is about to perish, when Agorante, who suddenly, and nobody knows why, becomes as gentle as a lamb, unites the two lovers. When we see on what subjects musical composers in Italy are obliged to work, we pity their fate. The music of this opera is full of reminiscences; and 'we will prove it. The first duet between Zoraïde and Zelmira, ‘In van tu fingi,' is entirely written from memory, for the Cantabile is imitated from a duet in Tancredi, and the Presto from another duet in Elizabeth. The early part of the finale of the first act, Cessi omai quel tu rigore,' is copied from a piece by of Romeo e Julietta, by Zingarelii; and the chorus, “Come in Portogallo, which he has introduced as a finale in the opera subito," also too much resembles the father's curse in Otello. The beautiful duet in the second act, between Zoraïde and Ricciardo, "Ah! nat e ver noi siamo," was highly applauded; as was also the quartetto, "Contro cento," which is in a good style. The chorus, "Scendi propizio," is pleasing; although we know not why the ladies of the retinue should amuse themselves by singing in Zoraide's antechamber. In musical composition, it, in our opinion, ranks much below Upon the whole the new opera has produced but little effect. heard his best works first; and we have now had three of his Tancredi, and Otello. Unfortunately for M. Rossini, we have operas represented at Paris, which by no means justify the previous and unskilful eulogiums of his trumpeters." For the opening of the Italian Theatre at Vienna, a new opera by M. Carafa has been performed, named Gabriella, which has obtained the greatest success. of Lille, is gone to Brussels, where he is about to give subThe celebrated Lafout, after having charmed the inhabitauts scription concerts. Mad. Pasta, now without a rival, has been more favourably Rossini's concerts have produced him 40,000 francs, and received than Mad. Catalani. The latter does not venture to sing before her. The new opera of Rossini, Ugo Red'Italia, is immediatety to be performed at the King's Theatre in London. Connoisseurs who have heard some morceaux of this work, assure us that they are worthy of the reputation of this great master. that a single piece is yet written for the opera in question: our [The foregoing is a curious paragraph, for we do not believe London Connoisseurs therefore must be gifted with the means of fore-hearing music, as the Scotch are said to be endowed with the power of fore-seeing events.-ED.] REVIEW OF MUSIC. GRAND RONDEAU BRILLANT, pour le PIANO-FORTE, composé par J. N. HUMMEL, Maître de la Chapelle de S. A. R. le Grand Duc de Saxe Weimar. Op. 56. (Cocks and Co., 20, Princes-Street, Hanover-Square.) As a living composer, Hummel is decidedly the reigning favourite of most of the great piano-forte players. In Germany his compositions have, for some time past, been held in high estimation by skilful performers; and during the last two years, they have gradually risen in reputation in England, where they are now very much sought after by those who, having made considerable progress in the practical part of music, have courage enough to encounter difficulties somewhat appalling, and a sufficiency of perseverance to subdue them. Still, however, it does not appear clear to us that Hummel's works will ever become popular, in the strict sense of the word; they are generally laborious and involved, full of scientific contrivance and harmonic combinations, which are understood and appreciated by those who have burnt much oil in studying the art, but mysterious and unattractive 8va alta to the common practitioner. We grant that latterly he has been striving to conciliate and win the multitude, with which view he has published some polonaises, waltzes, &e., that have pleased very much, and obtained a wide and ready sale. The Marche à la Romaine, which appeared in the last number of the HARMONICON, and two other pieces composed by him for the same work, but not yet printed, are proofs that he is endeavouring to cultivate a familiarity with the public, and if he remain constant to that purpose, it is reasonable to believe that he will ultimately succeed: but we cannot help thinking that his inclination leads him into the abstruse, and that, therefore, as he is easy in his circumstances, and does not write wholly for profit, he will generally be biassed by his own natural taste. The rondeau now before us, shews every indication of having been composed con amore, and is one of the author's happiest productions, uniting two very high qualities, a beautiful melody, and great science in the manner of treating it. The following few bars contain the principal subject: loco. Had we room for other examples, we should gladly extract the masterly arpeggios that occupy the greater part of page 12, the latter portion of page 14, and nearly the whole of the 15th page; the musical knowledge displayed in these is not dry pedantry; it is as effective as scientific. This composition can only be undertaken with any chance of success by players of the highest ability; its difficulties are as manifold as its charms, and as the former will seldom be surmounted, so the latter will never become common. We have but one objection to the work, and that is its length:-a movement of twenty-one pages can hardly be rendered tolerable, unless the performance be of the most exquisitely finished kind, and this is but rarely to be expected. To curtail it would be a bold and a painful step; yet, to save it from rejection or neglect, we, not without reluctance, advise the majority of those who are inclined to venture on it, to have recourse to such a measure, and carefully to apply the pruning knife. POT-POURRI, for the PIANO-FORTE, with favourite Airs from the Works of Rossini, composed by GELINEK. (Goulding, D'Almaine, and Co., Soho-Square.) Gelinek is one of the best and most successful composers, or compilers, for the piano-forte, of the present period; he consults the form and power of the hand, and is not neglectful of the character and qualities of the instrument, while at the same time he imparts a liveliness to whatever he adapts, that always sets his subjects off to advantage, and recommends his publications. We are glad to see him appear in the guise which he has now assumed, for he, as well as every body else, has exhausted the materials convertible into variations, and was, unavoidably, beginning to repeat himself. A PotPourri, if not too lengthy, is a pleasant thing, its change of subject relieves the ear, and, considered as music of a very light kind, it pleases all tastes. That which now engages our attention is composed of airs from Il Barbiere di Siviglia, Tancredi, and La Gazza Ladra, Rossini's three best operas: they are all of the brilliant kind, and, though forming a piece of fifteen pages, quickly pass off, and will not be thought tedious, either by hearer or performer. This is, indeed, exactly one of those things that are so much in request: a tolerable proficient may make a great display in it, without any vast powers of execution, or the necessity for any laborious practice; while it will be sure to gratify all descriptions of auditors, being full of melody, rather graceful, and not without proofs of having proceeded from the pen of a scientific musician. THE GRAND PRUSSIAN MARCH, originally composed by SPONTINI, and performed with Two Hundred Trumpets, arranged for the PIANO-FORTE by FRED. KALKBRENNER. (Goulding, D'Almaine, and Co., Soho-Square.) Some few years ago, a composition by Mr. Kelly, called a Rejouissance, was performed at the King's theatre by thirty trumpets, which caused a good deal of alarm for the safety of the house, many thinking it in considerable danger of being blown up by so unusual a force. But all their fears would have subsided, had they foreknown that a simultaneous blast from two hundred of the same instruments would afterwards prove perfectly harmless in the grand opera at Berlin. Mr. Kalkbrenner does not, in his title-page, inform us upon what occasion this musical hurricane took place; some have supposed that it was a revival of the Feast of Trumpets, annually celebrated by the Jews; while others more plausibly conjecture that it was for the benefit of the Prussian Deaf and Dumb Society. But whether of the two is a matter of no very great importance to either our readers or ourselves; we therefore hasten to state that, with the aid of a trio, this march is expanded into seven pages of brilliant, exhilirating music, not remarkable for any extraordinary newness or science, but quite good enough to answer the temporary purpose for which it is put together, and forming a bagatelle that will both please the multitude, and exercise the fingers of the performer in a useful manner. the PIANO-FORTE, composed by J. L. ABEL. (Boosey and Co., 28, Holles Street.) 1. FANTASIA, for the PIANO-FORTE, in which is [are] | 3. La Speranza, an INTRODUCTION AND RONDO for introduced Three of Dibdin's popular Melodies, composed by T. A. RAWLINGS. (Goulding and Co., SohoSquare.) 2. AN ORIGINAL SWISS AIR, with Variations for the PIANO-FORTE, composed by J. W. HOLDER, Mus. Bac. Oxon. Op. 78. (Published by the same.) WE class these three pieces together, because they of them collectively, before we mention each separately. possess some qualities in common that enable us to speak They are the result of labour rather than of genius, and are therefore correctly composed, but want the charm which a creative fancy throws over its productions. Both contain difficult passages, which are introduced rather as if it were thought that they would be demanded in the market, for the purpose of giving an apparent importance to the performer, than for the sake of any equivalent musical effect that could possibly be expected to arise out of them ;-but each indicates, more or less, an ability in its author, that experience, and the habit of composing, may improve into very useful and agreeable talent. Mr. Rawlings has chosen three of Dibdin's most expressive songs for his present work,-Tom Bowling, or the Sailor's Epitaph; The Sailor's Journal; and The Soldier's Adieu. With such airs as these,-which for pathos and beauty may challenge the melodies of any nation, he could not avoid producing something that must infallibly please, for his experience is great, and his industry unremitting; but we should have been more satisfied with his present publication, had he, in diverging from his subjects, kept them rather more in view, for we hold that a composition of this kind should partake, in a slight degree, of the nature of fugal imitation, and that some relationship should always subsist between the air, or airs, and the intervening or connecting parts. Mr. Rawlings seems to have been influenced by this opinion in the case of the second air, but not in the first or the last. The blending of all three, however, at the end, is well-key, in bar 15, after a slight transition, is classical and conceived, and produces a good effect. We object very much to the multitude of turns in the melody of Tom Bowling; there are no less than seven introduced in the space of thirteen bars, three of which, at least, are redundant, namely, those in the fourth, eighth, and twelfth bars, which are decidedly hostile to good taste. The best part of this Fantasia, independently of Dibdin's share, is the Introduction, which is expressive and well written. The Swiss Air, No. 2, is like so many of the Tyrolese kind, that we can hardly distinguish it from them: it is short, graceful, and pretty, and Mr. Holder has composed fourteen variations upon it that have considerable share of taste and merit, and are extremely well calculated for the large class of performers that like brief, easy passages, and frequent pauses. We cannot help perceiving in this some resemblance to the style in which Mr. Mazzinghi has, in so popular a manner, arranged several of the melodies of the Tyrol and other mountainous districts. But we do not mean to charge Mr. Holder with any plagiarism; he has already distinguished himself by many excellent publications, and has no occasion to borrow from others that of which he himself possesses a sufficiency. The present is to be viewed as one of his very light works, published for young students, or for those who are not willing to contend with difficulties. 1. The favourite IRISH AIR, Savournah Deelish, as sung by Miss Stephens, with VARIATIONS for the PIANOFORTE, composed and inscribed to the Marchioness of Sligo, by MRS. WHITE, of Leeds. (Mayhew and Co. 17, Old Bond Street.) 2. The Popular AIR, Oh! say not woman's heart is bought, composed by WHITAKER, arranged with an INTRODUCTION and eight VARIATIONS for the PIANO-FORTE, with Accompaniments for FLUTE and VIOLONCELLO, by SAMUEL GOADBY. (Whittaker and Co. 75, St. Paul's Church Yard.) The first of these is the beautiful Irish air, given in our Fourth Number, with four variations and a coda. Mrs. White's version of the melody is rather cold, and wants a few marks of expression, for we are to suppose that it is not intended to be played all through, to the single piano marked without contrast. The passage of sixths in the 13th bar is elegant, and the return to the original effective. The variations are quite unanalogous to the air, which is tender and pathetic, while the former are bounding and joyous. But this is an error by no means confined to a few musical authors, it is the plague of ninety nine variations out of a hundred, and renders them anything but satisfactory to rational and reflecting people. The second is by a composer whose name we never before met with, and possesses a good deal of merit. The Introduction is shewy, well written, and of a modest length, not tiring the ear, as is too common, before the coming of the principal movement. Rondo, a little à la Rossini, is animated, and carried The subject of the through with spirit. Though many of the passages in this piece are awkwardly disposed for the hand, and much less facility is given to them than they were susceptible of, yet, upon the whole, Mr. Abel's production, the first by him that has come under our view, may be recommended to good players. 1. A popular HUNGARIAN AIR composed by KREUTZER, arranged as a RONDO for the PIANO-FORTE, with accompaniments, ad libitum, for the FLUTE and V10LONCELLO, by M. R. LACY. (Whittaker and Co. 75, St. Paul's Church Yard) 2. AIR, Du petit Matelot, Varié pour le PIANO-FORTE, avec RONDO, Finale, composé par J. ANCOT, (Mayhew and Co. 17, Old Bond Street.) 3. MASONIC MARCH with VARIATIONS and an INTRODUCTION composed for the PIANO-FORTE, by T. S. ROBBENS. (by the Author, 5, Chapel Row, Bath,) 4. Le Troubadour du Tage, a favourite FRENCH AIR, with VARIATIONS for the PIANO-FORTE by W. W. SUTTON. (Mayhew and Co., 17, Old Bond Street.) THE Hungarian Air, is composed by a violinist confessedly, and also arranged by one, as is evident from the inconvenient passages for the hand in which it abounds. The melody is a lively one, and there is enough of it for three or four pages; but spread over nine it grows vapid |