6 WEBBE. MOZART. EYBLER. JOMELLI. MOZART. HANDEL. HAYDN. The audience felt much indebted to his Grace of York for so very good a selection, which presented not a single work that the most captious critic could object to; and two of the pieces were new, not only to the Ancient Concerts, but to this country-the first a Benedictus, a flow of sweet melody, accompanied by harmony of the richest, at the same time, most tranquil kind, from a grand mass by Eybler, a contemporary of Mozart, and a friend of Haydn, residing at Vienna, where he was choir-master to the Scotch church; the second, a scena from Jomelli's Erifile, the recitative of which, however, is rather too long, requires too much declamation for any singer to whom the language is not native. Mr. Phillips's song from Alexander's Feast is one of his many triumphs: his performance of the minor movement, Behold a ghastly band,' might challenge Timotheus himself to a competition. 'Bird of the wilderness,' is a beautiful melody skilfully harmonized. The fine scena from Idomeneo received ample justice from the performers: the solo part was simply, therefore well, sung by Rubini: but he thought he had done enough in executing this in a sober manner, and gave full way to his ruling passion, in Il mio tesoro,' which he converted, as usual, into a kind of vocal exercise, the tremolando not being omitted; though this, we believe, to be a physical defect. The fine march in Idomeneo was encored; but it was some time before the most reverend director nodded his fiat. For unto us a child is born,' was executed in a splendid manner. Mr. Knyvett is not guilty of the glaring blunder of beginning this chorus piano, and breaking out into a forte, at the word wonderful.' Signora G. Grisi was not so happy here in the scena from Don Giovanni, as she is on the stage. In Sing to the Lord,' she displayed prodigious energy, and would have been eminently successful, but for a violent, an outrageous shake on the minim a, in the seventh bar. The audience actually started at this extraordinary breaking-out. This lady delivered the recitative, Chi per pietà,' in a deeply impressive manner; and the succeeding aria was a fine performance, though not equal in effect to that which preceded it. Mrs. Bishop's • If guiltless blood,' was pure and pleasing. Her share in the duet of Mozart was very deficient in animation. It is a great mistake to give this to any but an Italian, when an Italian is at hand to sing it. Mr. Phillips sang the air from Deborah most affectingly; and the chorus from a mass by Haydn, with English words adapted to it, terminated the concert in a glorious manner. Lord Howe, who directed for his venerable colleague, Lord Fortescue, rivalled the Archbishop in excellence of choice, and gave a concert which made every one regret that the last of the season had arrived. The chorusses were admirably executed, but the last was somewhat tedious, for the passages are too often repeated, and is certainly unreasonably long for a finale. Signora Grisi was again out of her element in A compir'; her repertoire, like that of almost every Italian singer, extends only to the prevailing operas; all beyond is as a sealed book. Her air, Ór sai chi l'onore,' was, however, a very impassioned and great performance. Equally admirable, but in a very different stylefor, indeed, the character of the music is wholly different-was Mrs. W. Knyvett in the lamentation of David over Jonathan; and not less chaste and perfect was Mr. Braham in the charming air from the oratorio of Time and Truth. The selection from Jomelli's Requiem was judiciously made; this is undoubtedly one of the greatest of his works, one that will much improve on intimacy. But the chaconne by which it was introduced, beautiful as it is, is not exactly suited for the purpose. If any dance-(this chaconne is a dance tune)-be a fit overture to a Missa pro defunctis, it is the Dance of Death; and though this is engraved, it has never to our knowledge been set to music. The delicious madrigal of Festa-the credit of whose revival belongs to the new Vocal Concert-received the honour of an encore, a rare incident at the Ancient Concert. The orthodox vehemently abuse Sound the loud timbrel.' We are decidedly heterodox on this point, and, however we may be objurgated for our taste, confess that the composition is very agreeable to our ears, once or so in a season. But the novelty of the evening-we had almost said the gem-was the quartet, or notturno, by the Abbé Sterkel, a vocal work by whom we never before met with. The upper part was deliciously sung by Miss Clara Novello, who was well supported by Messrs. Terrail, Hobbs, and Boisragon. The latter made his first public appearance on this occasion. He possesses a good base voice, and so far as we could judge from the share he took of this quartet, is a good singer. We could not remain to hear him in the song from Joshua, therefore can only report from hearsay, that he executed it correctly and with propriety. The delightful glee of Spofforth was nicely sung, and pleased all. The Music in the Tempest' proved a very parsimonious selection from it, consisting only of Come unto these yellow sands,' and 'Hark! the watch-dogs bark ;' for the glee Where the bee sucks,' is Arne's—not a note of it belongs to Purcell. The quartet from Samson was never heard to greater advantage: and the fine concerto of Corelli, with the heavenly Pastorale, Fatto per la notte di Natale,' (see page 14,) was executed with a truth and delicacy that we verily believe cannot be exceeded. 6 Sinfonia Eroica. THE PHILHARMONIC. SEVENTH CONCERT, MONDAY, June 2d. ACT I. BEETHOVEN.PACINI. BERTRAND. SPOHR. SPOHR. Aria. 'Come lieto.' M. Ivanhoff. But Leader, Mr. F. CRAMER-Conductor, Mr. MOSCHELES. Beethoven's Symphony, written, he tells us, to celebrate the death of a hero-("composta per celebrare la morte d'un Eroe")-has nothing in it, according to notions generally entertained, of the funereal or sorrowful character, except the march. Rather the contrary, for the scherzo, the trio, and the finale exhibit a vivacity almost amounting to playfulness; and even the first movement is far from grave. Beethoven never sat down to compose without intending to describe something; and, as his mind was differently constituted from that of most people, it is possible, nay, pretty certain, that the whole of this work is an accurate representation of some well-conceived and wellconnected train of ideas, however he may have differed from others in his mode of giving a musical form to them. The whole is, past all dispute, the creation of a mighty genius. The funeral march goes deeply to the heart of all who are sensible to the effects of music. The change in this from minor to major is almost transporting; and the recurrence of the subject hardly less affecting. The scherzo hurries the hearer along with it, increasing his surprise at every bar, which does not abate during the progress of the last equally original and extraordinary movement. But certainly the symphony is long, and, with the addition of a vocal piece of a complexion quite different, is enough for one whole act. Thus it should always be given, and thus it would always be enjoyed. To follow it almost immediately by the duet and overture of Spohr, compositions of a similar cast, and emanating from nearly the same school, was extremely ill-judged, and shows how little thought is exercised, how entirely calculation is neglected, in the formation of these concert bills. But a further proof of this is given at the very beginning of the next act, where we meet with a composition-an exceedingly clever one, certainly-the merits of which are only disclosed to such as direct their attention laboriously to it, and are become familiar with it by frequent hearing. A light and comparatively simple work, one of Haydn's earlier compositions, would have been a much better relief to Beethoven's elaborate symphony than that of Mendelssohn, which is a study, and requires to be studied, and called for fresh exertion from the already fatigued mind which required something on which it could quietly repose. Madame Bertrand, a French lady, first appeared publicly in England at this concert. Her tone is powerful without being harsh, and she has a full command of the instrument; but we cannot say a word in praise of the music she chose for her début: it was deplorably trifling. The wonder of the evening was a boy not yet fourteen years of age-indeed his appearance would warrant a belief that he is much younger, named Vieuxtemps, who has been brought up at the Conservatoire of Brussels, and is now a pupil of De Beriot, whose tone, taste, manner of bowing, and general style he has been so successful in acquiring, that his playing might easily be mistaken for that of his master. We cannot bestow higher praise; and, in confessing our astonishment at such greatness of talent, such execution, and, what is yet better, so much soul, together with such strength and firmness, we only acknowledge what we felt in common with every one in the room at all capable of appreciating this genuine prodigy. M. Ivanhoff sang, very sweetly, as good a composition as Pacini is capable of producing. He also joined Mr. Phillips in one of Rossini's finest works, to which both did the most complete justice. But it was not received with the applause that both the music and performance deserved. The duet of Spohr was not executed in so satisfactory a manner as we have witnessed. Madame Stockhausen sang the scene from Faust most correctly in every way, but she wants physical power and rather more animation to make her performance of such music perfect. Leader, Mr. WEICHSEL-Conductor, Mr. NEATE. Haydn's eleventh symphony, less used than most of the same set, came out with something like a freshness, and, if there is any truth in the expression of countenance, very much delighted the audience; except, perhaps, that portion of it which has an inclination to relegate this composer to the Ancient Concert, under the pretext that he is already entitled to the honours of antiquity. The c minor symphony of Beethoven, which should have come first, as the least light of the two, was marvellously well executed, notwithstanding the heat of the orchestra, against which the wind instruments had to contend. Indeed, in the concerto of Beethoven they had been so sharp that a very fine pianoforte of Broadwood was by some thought in fault-to have fallen considerably below the true pitch. The grand dramatic overture of Egmont, and that which goes by the name of the Jubilee, were not less ably performed than the symphonies. The latter concluding with our national air, God save the King,' was properly chosen for the last night, in compliment to the patron of the society. The company, which continued more numerous to the end than is now customary, rose the moment the first note of this was sounded. Mrs. Anderson's performance entitled her to all the applause she received; the exactness of her time, and the certainty, the unsurpassed neatness, of her execution, were admitted and admired by all. Nor were the leader and band generally less conducive to the wellgoing of this extraordinary composition; to accompany it in the superior manner now witnessed, required that skill, that unrelaxed attention, which we never meet with, in the same degree, out of the Philharmonic orchestra. A violin concerto from a lady was indeed a novelty! such we believe as never has been heard since the time of Madame Gautherot, and that is much longer ago than we are willing to believe. Madame Filipowicz is the wife of an exiled Polish colonel, and, happily for herself and her family, is mistress of an accomplishment-if the fair ladies of Britain will allow us so to designate it in relation to a female-which will not only secure her and hers against the sufferings to which most of her gallant, unhappy countrymen are reduced, but supply present comforts, and, with prudence, future independence. We will not speak of her as a lady-player; she has no need of appealing to our gallantry, or to ask for lenity on account of her sex; she is an artist, a good one, possessing all the requisites of a first-rate player,-tone, expression, taste, and execution. Her knowledge of music, too, is, we happen to know, not of a confined nature. At a private party one of the difficult quartets of Onslow, with which she was unacquainted, was placed before her, and executed with a correctness that seemed the result of a long previous knowledge of the composition. The singularity of a female violinist at first excited a half-concealed smile, but those who came to laugh (mentally) remained to admire. The really enthusiastic One of our greatest and most esteemed leaders has placed his son under Madame Filipowicz for instruction on the violin. | applause bestowed on Madame Filipowicz is partly, no doubt, to be ascribed to her sex, to her banished condition, and to the sufferings of her country; but most of it was excited by the talent she displayed, not as an exile, not as a female, but as a musician. The vocal part of this concert was better than ordinary. Mr. Braham sang Weber's grand scene with his accustomed fire and feeling. Madame Caradori Allan executed Bellini's aria with the correctness and neatness in which she never fails. We wish, however, that she would not sing this same thing so frequently. It really palls on the sense. Signora Grisi was now quite herself in the aria written for her (introduced in L' Assedio di Corinto), a composition which does much credit to Signor Costa, who has ingeniously brought out in it all the powers of the singer. She was not less happy in the aria from La Donna del Lago, giving a kind of novelty to it by her new and charming manner of singing it. This concert was the last for the year, and completed the twentysecond season of the Philharmonic Society. May it long continue! Its orchestra-which, as circumstances demand, will no doubt be well replenished-will give perpetuity to it, if all personal influences are guarded against, all jobbing prevented; these are the only evils that threaten its well-being. MADRIGAL SOCIETY. WHEN recording the great pleasure afforded us at the anniversary of this Society in January last, we little expected to enjoy a repetition of it so soon; but the President, Sir John Rogers, Bart., with a liberality worthy of his rank and genius, finding the metropolis so full of amateurs and professors, especially the latter, who were drawn to town by the Musical Festival in Westminster Abbey, invited a numerous party of them to dinner at the monthly meeting of the Society, at Freemason's Tavern, on the 19th ult., and thus a vocal force was collected little inferior, if at all, to that of which we gave an account in our Second Number. The President managed such of the business of the day as fell to the lot of the chairman with a spirit and adroitness, a cheerfulness and urbanity, but rarely witnessed; and the conductor, Mr. Hawes, very ably seconded his views concerning the pieces selected for performance, and the manner of executing them. The annexed is a list of them, set down in the order in which they were performed :in 6 parts Hosanna Round about the chariot O sleep, fond Fancy Sister, awake! 6 do. 4 do. 5 do. Kyrie eleison 5 do. 5 do. 5 do. Ah me! quoth Venus Basti qui fin le pene O. GIBBONS. ELLIS GIBBONS. BENNET. WEELKES. W. LINLEY. GREENE. FERRETTI. I will sing of thy power Within a greenwood Most were chosen because not so much hackneyed as several of the well-known madrigals; indeed nearly half of them were strangers to many of the company, who were as much gratified as surprised to find what a mine of musical wealth, created by the masters of the sixteenth and seventeenth centuries, remains yet to be explored. One modern madrigal, and one only, was performed, composed by William Linley, Esq. set to words from Shakspeare's Venus and Adonis, a work undeniably proving that the genius which inspired those of the olden time is not extinct, but survives in one at least, whose knowledge of modern refinements enables him to shed a grace over his productions to which the art was nearly a stranger during the time of the early writers. The only regret expressed was, that the President did not allow one of his own clever and lovely compositions to be performed. His self-denial could not but be admired, though it was by no means welcome to those who knew what from his pen might have been brought forward. BENEFIT CONCERTS. MR. HAWES'S, Willis's Rooms, April 28th, a fully-attended vocal concert, consisting of songs, glees, and madrigals, with the sestet from Cosi fan tutte. The election was of works that have established a reputation with the public. Miss Maria Hawes, a young lady about seventeen years of age, with a sweet, though at present small, voice, perfect intonation, and a good style, made her first essay on this occasion, with a fair prospect of ultimate success. MR. VAUGHAN'S, Hanover Square Rooms, April 30th.-The evening was exclusively and well devoted to Dr. Crotch's great work, the oratorio of Palestine, ably performed by Madame Caradori, Mrs. W. Knyvett, Mrs. H. Bishop, Miss C. Novello, Mr. Braham, Mr. W. Knyvett, Mr. Vaughan, Mr. Phillips, &c. &c., and a full choral and instrumental band. The numerous audience now collected proves that a composition of this kind, if of high and deserved repute, has still attraction enough to draw together nearly seven hundred lovers of solid music. Mr. F. Cramer led the band, and the author himself conducted. MR. SALE'S, Hanover Square Rooms, May 1st-Morning.-The presence of the Duchess of Kent and Princess Victoria, together with a selection of great excellence and variety, not only filled the room, but the unoccupied part of the orchestra, with company. Except Weber's overture to The Ruler of the Spirits, and a duet between Mrs. Anderson and Mori, the concert was wholly vocal; the performers were Mrs. H. Bishop, Miss Lloyd, Miss C. Novello, Messrs. Braham, Vaughan, Hobbs, Sales, E. Taylor, H. Phillips, &c., Signora G. Grisi, Signors Rubini, Tamburini, and a complete instrumental band. MR. MOSCHELES', Hanover Square Rooms, May 8th-Morning.-The principal features of this concert were, the new Concerto Fantastique of Mr. Moscheles, played by him at the Philharmonic Concert, in April (for an account of which we refer the reader to our last Number), and a Rondo Brillant, with orchestral accompaniments, written for this occasion by his friend M. Mendelssohn,-a very clever composition, and executed with all that energy and extraordinary accuracy which characterize Mr. Moscheles' performances. A M. Vrugt, first tenor singer to H. M. the King of Holland,' made his début in a Dutch ballad, 'Maria, the lamenting of a husband over a deceased wife-an elegant composition, full of tender expression, but certainly an imitation of Beethoven's Adelaide. We have mentioned this artist in another part of the present Number. M. Ghys, who appeared at the fourth Philharmonic, played in a very masterly manner a Fantasia, &c.; and Mr. Moscheles concluded the concert by an extemporaneous performance on the pianoforte. The room was fully and fashionably attended. SIGNOR GIUBILEI's, at a private mansion, May 9th-Morning-All the strength of the Italian Opera contributed to support their colleague on this occasion, Mrs. Bishop, Madame Dulcken, and Signor De Begnis, also affording their assistance, who all successfully exerted themselves in favour of a rising performer. MRS. ANDERSON'S, Hanover Square Room, May 12th-Morning-The best attended of the season. The Duchess of Kent, the Princess Victoria, their large suite, and a very fashionable audience, so filled the room, and even every vacant space in the orchestra, that we were only able to hear, standing in a doorway, Beethoven's grand concerto in E flat, executed with the utmost neatness and precision by Mrs. Anderson, and admirably accompanied by a most efficient band. The best English and Italian singers now in London were engaged for the vocal department. MR. F. CRAMER'S, Hanover Square Rooms, May 14th.-Though Mr. F. Cramer does not retire as a performer from his professional pursuits, this was his last benefit, which many of those who are in the habit of frequenting concerts, and know how to value solid talent and private character, made a point to attend. His performance in Martini's concerto in a minor; Mr. J. B. Cramer's, in his own quintet with the lovely movement entitled Days of Yore; Willman's, in the Fantasia of Weber, lately played at the Philharmonic; and Corelli's Trio, by Messrs. Lindley, Crouch, and Dragonetti, were all excellent, and duly appreciated by the audience. He was also ably assisted by Mrs. W. Knyvett, Madame Caradori, Miss C. Novello, Mr. Phillips, &c. M. and MAD. STOCKHAUSEN'S, Concert Room, King's Theatre, May 20th-Morning.-Except Beethoven's Op. 40, arranged as a symphony by M. Stockhausen, which we were too late to hear; a harp fantasia by the same, and a solo of Mayseder, by Mori, this was a vocal concert, supported by all the force of the Italian Opera, the chorus from the German Opera, together with Miss Masson, Mr. Phillips, &c. As a finale to the first act, La fête des fiancés,' a very pleasing vocal quartet, by M. Stockhausen, was well received; and Madame Stockhausen sang, between the acts, two new Swiss airs, the chief recommendation of which was her naïve manner of executing them. MR. CIPRIANI POTTER'S, Concert Room, King's Theatre, May 21stMorning. A remarkably clever new symphony, in D, composed by Mr. Potter, was performed for the first time, with great applause, as a matter of course, for how could it be otherwise at the author's own concert? But the real connoisseurs showed by their countenances that their approbation was the result of impartial judgment, not merely of courtesy. Mr. Potter also produced, on this occasion, a new concerto, in E flat, in which he skilfully contrived to gain the suffrages of the critics by its ingenuity, and of the many, by the agreeableness of its style. A M. Vanden Bogaert, principal flute to the King of Belgium, made his first appearance among us, in a solo of no great merit, but executed with neatness. Cramer's duet for two pianofortes, performed by the author and Mr. Potter, delighted every one. The vocal party consisted of Mademoiselle Grisi, Madame Caradori, Miss Masson, Signors Rubini, Tamburini, &c., who sang some pieces exceedingly well; but we cannot number among these Lord Burghersh's charming madrigal, Come Vanno,' which was completely demolished. MR. MORI'S, Concert Room, King's Theatre, May 23d.-An excellent selection of music, though certainly rather too much of it, supported by nearly all the principal performers, foreign and British, now in the metropolis. Mr. Mori played a new concerto, in E minor, of Mayseder, one of the best of that composer's works, in an admirable manner; and the first movement of the concerto by Beethoven, which he so successfully performed at a Philharmonic Concert this season. Messrs. Moscheles and Herz executed a new duet-concertante on two pianofortes, composed by the latter, in which whatever can be done by nimbleness of finger was accomplished. But our report must here terminate, for the room was so crowded that it was with great difficulty we found space enough to stand and to hear what we have now noticed. MR. NEATE'S, Concert Room, King's Theatre, June 3d-Morning.— Mr. Neate played the first movement of his new MS. concerto, in D minor, in a very brilliant manner, and with the success it so well merited. Likewise a fantasia on Bellini's air, 'Tu vedrai;' together with a martial air and variations, both of his own composition. Mademoiselle Grisi, Madame Stockhausen, Signors Ivanhoff, Tamburini, &c. formed his vocal strength. Mr. Mori and Mr. Platt performed, the one a fantasia of Mayseder, the other a concerto of his own, on the horn, in which he exhibited ability that ought long ago to have had an opportunity for displaying itself. MADAME SALA and SIGNOR PIOZzı's, Concert Room, King's Theatre, June 18th-Morning-A Mademoiselle Sophie Ostergaard niade a first appearance here, but not a very promising one: and Mademoiselle Kynterland did not compensate the audience for the defects of the former. But Mademoiselle Grisi, Madame Sala, Signors Ivanhoff, Rubini, Tamburini, &c. sang several good compositions in a manner that atoned for whatever was given less perfectly. MADAME FILIPOWICZ's, at 32, Albemarle-street, June 18th, under the patronage of the Queen.-This lady, whose performance on the violin we have elsewhere noticed in this number, very much surprised and pleased a numerous company. She was ably supported by the chief singers from the King's Theatre, together with Mrs. Anderson, Mr. Cramer, Signor Puzzi, &c. &c. It would be unjust not to mention that all the performers assisted her gratuitously;-that the Queen sent her twenty pounds, and the Duchess of Hamilton ten. MR. MORI's Second Concert, June 23d-Morning-At the same place. Several persons having been unable to obtain tickets for Mr. Mori's first concert, he was quite justified in giving a second, which was well attended, though not so fully as the preceding one. He had, as usual, nearly every performer of eminence, both vocal and instrumental, to aid him, and got up a performance of a very interesting kind,-what may be called an abrégé of all the concerts that have taken place this season. We would, however, willingly have dispensed with Monsieur Bochsa's Panorama Musical,' a medley of old and new, strung together without judgment, and so played as to destroy the effect of half the subjects he introduced. REVIEW. SIX CANZONETS, the poetry by the late Mrs. CHARLES GREVILLE, of Bath, composed by HENRY R. BISHOP. (Mori and Lavenu.) THOUGH Mr. Bishop has for some tine past suspended his theatrical labours, and yielded to the prevailing taste for foreign dramatic music, which, like every thing else dependent on public opinion, must have its day, he has not permitted his imagination to indulge in idleness, or suffered his ink to dry up, but kept on producing, though-till the last few days-not for the stage. We have now before us evidence that he is become neither indolent nor rusty-undeniable proofs that he is still active and polished. With these songs he clearly has taken no common pains; indeed it is not likely that he would have inscribed them to so perfect a judge of what is good in the art, unless conscious that he had bestowed on his work every attention that could render it worthy of her acceptance. He must also have been actuated by a wish to do more than common justice to the poetry of an elegant-minded lady who now can write no more, but whose spirit is perhaps regarding with pleasure the sounds he has united to her verse. Gracefulness of melody, richness of accompaniment, and a general correctness in setting the words, are the principal features of these songs. The first, There is an hour,' is elegant and pleasing: we meet here with a modulation or two in the style of the olden time, and not less delightful on such account. The creeping, rising notes to the words 'steals gently o'er the heart' is a happy thought; and the contrast of minor and major, in the first line of page 2, is, musically considered, not less fortunate. The second, When the fairy queen,' in the Spanish style, with what may be called a guitar accompaniment, though not written as such, is good throughout. The third, In halls of pride,' is remarkable for beginning in the major and ending in the minor key. This gives great additional force to the poetry. The fourth, There is a star,' and the fifth, I have dream'd of thee,' are written in good taste. The sixth, The Minstrel's Song, beginning in the minor key and con 6 cluding in the major, is a plaintive farewell to the lyre. The change of mode is not less judicious here than in the instance above mentioned. But the separation of the words, page 27, is prejudicial to the sense. Had the expression required pauses, which it does not, the intervals should have been filled up with a few deep notes, soft and slow-a whispering, a murmuring-anything but high sounds, and chords broken into quavers. The concluding page, however, is well imagined -is really affecting. SELECT PIECES from The Deluge, a Sacred Oratorio, by F. SCHNEIDER, translated from the German by EDWARD TAYLOR; the accompaniment for the Piano-forte revised by V. NOVELLO. Nos. 1, 2, 3, and 4. (Mr. Taylor, 3, Regent-square.) MR. E. TAYLOR's skill in translating from the German and adapting his English version to the original music, rarely, if ever, altering a note, accent and emphasis being always well preserved, is especially deserving of notice, and entitles him to no small praise. It is not less observable in the present publications than in Spohr's Last Judgment, and indeed in whatever of the kind he has edited, No. 1 is a soprano air, Joy returning, hope reviving,' accompanied by a chorus of four voices, smooth and pleasing; it being intended, we suppose, though not expressed, that, in order to make the principal part prominent, the choral parts should be subdued, sung sotto voce all through. This passes into a chorus, No. 2, All-just, all-wise Creator!' in a bold style, with some good modulations, but not departing much from plain counterpoint, till it breaks into a fugue on two subjects, ably elaborated, but like most other things of the kind; for a very difficult task it is to extract any novelty of effect from this species of composition, or, in fact, from any sort of composition fettered by rules that are not prescribed by either nature or cultivated taste. No. 3 is a soprano solo, the beauty of which is chiefly attributable to its simplicity, while the accompaniment shows the hand of an experienced master. The notes are not many; every one, however, tells well. No. 4, a terzetto for soprano, tenor and base, is written on the plan of 'How beautiful appear,' in The Creation. It is clever, certainly, and had Haydn's fine composition never existed, with which it can bear no comparison either as relates to originality or effect, it would hold a higher rank than that to which it now can aspire. GRAND RONDEAU BRILLANT, for the Pianoforte, with orchestral accompaniments, composed by F. MENDELSSOHN BARTHOLDY. (Mori and Lavenu.) We have before us the piece performed by Mr. Moscheles, to whom it is dedicated, at his last concert, where the connoisseurs listened to it with pleasure, though the majority of the audience could not, on a first hearing especially, have felt or understood a single page of it; but nearly all applauded it with a warmth implying a capability of entering into its beauties. The truth is, that this is a study, a clever one, which, until after a long acquaintance, can only be comprehended by a chosen few. Its merits do not lie on the surface; and it must be confessed that the velocity of the movement and suddenness of the modulations render it no easy matter for the most penetrating musician to enter at once into the author's intentions, and still more so to follow him in his progress. This rondo is in E flat, six-eight time, and presto. A rich, lively fancy is manifested in every page, but its difficulty is extreme; difficulty, however, was not the author's object, though he could not avoid it, we conclude, in pursuing his design. BRILLIANT VARIATIONS for the Piano-forte, on the Tyrolienne in AUBER'S Opera La Fiancée, composed by HENRI HERZ. (Chappell.) M. HERZ has fixed on a good subject, which is discernible in some of his variations, and those are the best in which it is to be traced. Nay we once or twice fall in with a few bars of good harmony, but they are like the 'angel's visits' alluded to by the poet. Five-sixths of these nineteen pages are absolutely impracticable to such as do not devote the best hours of the day to the overcoming of difficulties not in any way worth surmounting, for when conquered, no person of true taste can be tempted to listen to the performer, except as a sacrifice at the shrine of politeness. At page 5, we encounter a rapid run, down and then up again, of unmeasured semitones in thirds. Is this melody? Is it harmony? Is it rhythm?-No. Then what is it? An insufferable howl.-This is the only rational answer. Bouquet de Mélodies, FANTASIA for the Pianoforte, on favourite Airs, dedicated to his Pupil, Miss Elvira Walter, (six years of age,) and performed by her before their Majesties at Windsor Castle; composed by I. MOSCHELES. (Chappell.) THE title of this leaves little to explain. The fantasia consists of four airs, from Tancredi, Die Zauberflöte, Masaniello, and a German song of Hummel, arranged in a perfectly easy manner, and so blended as to form a very agreeable piece for young people, as well as for all those who are contented with what is pleasing, but not intended for display. We have heard this played by the interesting child to whom it is dedicated, and were much gratified by the performance. Her portrait, a good likeness, lithographed, is on the title-page of this publication. 3. BALLAD, Tibbie Inglis,' the words by MARY HOWITT, the music by LEONARD HAYNE. (A. Novello.) No. 1 is a charming canzonet; the composer has thoroughly entered into the spirit of the poetry, and given musical utterance to it in the most impressive manner. This is a very superior production, but far too good, we fear, for those who purchase songs at nearly sixpence a page. No. 2 possesses all the charms of Spanish music, with more variety than is usually found in it. Both French and English words are printed under the air, the latter exceedingly well adapted. No. 3 is a decided imitation of a favourite Scottish ballad, but both words and music are of a very popular kind, therefore can hardly fail to be successful; unless, being marked at only about three pence halfpenny per page, it shall be thought too cheap. The preceding (No. 2) makes a demand of half-a-crown for five pages,-sixpence a page! To the EDITOR of the Musical Library. · SIR, I beg to say that the epigram, Wind, gentle evergreen,' set by Dr. W. Hayes, is a translation from the Greek of Simmias of Thebes, distinguished from another of the same name, who was a Rhodian, by that of his country. He is supposed to be the same that is mentioned among the intimate friends of Socrates who were present at his death. I am, Sir, your obedient servant, EDWARD TAYLOR. 3, Regent Square, June 5, 1834. EXTRACTS FROM THE JOURNAL OF AN AMATEUR, May 27th. The Oxford Journal says, "The stewards of the musicroom, with a laudable anxiety to provide the utmost entertainment at the ensuing Commemoration, applied to that Prince of Fiddlers, Monsieur Paganini, who modestly demanded, for scraping his single string, the moderate sum of one thousand guineas!" For the truth of this, incredible as it may appear, I can vouch. A gentleman called on this performer, to ask his terms for playing at the Oxford concerts during the Installation week, and was informed, by the artist's managing man, that one thousand pounds would be his price. Astounded at such a demand, the applicant desired that it might be committed to writing; which being done, and shown to Paganini, the daringly avaricious Italian, who has acquired enough of our language to know the difference between pounds and guineas, instantly directed that the latter word should be substituted for the other. 30th. At the moment when Signor Paganini has the assurance to require a thousand guineas for playing about three times twenty minutes at three Oxford concerts, he is advertising concerts here at seven shillings a ticket, and collects about a hundred paying auditors. It has been truly said, that while a single half-crown, over and above travelling expenses, is to be had in this country, so long will he either remain in England, or go and return, as heretofore. June 1. The Musical Festival Committee of Birmingham have at length announced that the ensuing meeting will take place in the course of the second week of October next. This they have been enabled to do in consequence of the completion, within the last few days, of arrangements on the part of the Commissioners, by which the finishing of the Town Hall, previous to the time fixed upon for the Festival to be held, is amply ensured. Mr. Foster, the well-known architect of Liverpool, has undertaken to complete the work. The Earl of Aylesford has accepted the office of President of the meeting.-(Birmingham Gazette.) 4th. The Concerts of Ancient Music terminated for the season this evening. So successful have they been under their new arrangement, that, after paying all expenses and discharging some arrears, money is left in the treasurer's hands; no doubt, therefore, is now entertained of the continuance of an institution to which the art is so much indebted, and, consequently, by which professors are so largely benefited. I know not of any really great composer, or even performer, who has not been grounded in the works of the ancient masters. Rossini has been mentioned as an exception, only, however, by those who overlook the fact, or are ignorant of it, that, like all musicians professing the Catholic faith, he was from his infancy in the habit of hearing the fine masses of the early writers, whence enough may be learnt to form an excellent basis of musical knowledge. But we also know that he was acquainted with Corelli's works soon after he had written his first opera. And it cannot be too often repeated, that Haydn, Mozart, and Beethoven were warm admirers of Handel, the two last to enthusiasm. The first was perhaps a little jealous of his fame in this country, and did not very zealously encourage the introduction of his works at Vienna. But what would have been known here, except to a few studious people, of Handel, had the Concert of Ancient Music never existed?-Out of this sprang, what forms an era in the art, the grand Commemoration in 1784 and subsequent years, which diffused a taste for classical music over every part of the country, a taste that has been spreading wider and wider, and improving, ever since. 9th. The Times of this day makes a strong attack on the arrangements for the ensuing Musical Festival in Westminster Abbey. The writer is very wroth at the reserved seats, and preferences. The question was a difficult one, and I am persuaded that very few two-guinea tickets would have been sold unless some plan had been adopted for securing places without the enormous sacrifice of time, probably of health, which must have been made to obtain them, had they all been thrown open. And the directors surely were not very unreasonable in assigning seats to the vice-presidents and their families, who, by taking tickets early, encouraged others to follow their example. What is said about the committee (of professors) not being "conjurers," is most likely true. They were once assembled, and received a hint that they were called together to approve, not to consult; which their noble spirits brooked. It is fair, however, to state that the directors had nothing to do with the nomination and summoning together of this septuagesimal body of sages. upper 14th. A very edifying article, apparently official, has appeared in a morning paper, praising the directors of the Musical Festival for having considerately issued tickets at a guinea each, in order that the "humbler classes" may have an opportunity of gratifying their musical taste. Heavens! what are we come to?-The humbler classes paying a guinea, i. e. a week's wages, for a concert! Prithee, Mr. Scribe, who are the "humbler classes"? Respectable tradesmen would spurn the denomination; and all educated persons now rank with the orders. The term, then, perhaps is meant to apply to menial servants. If so, let ladies and gentlemen look to it; for should Jehu the coachman, and John the footman, be found among the guinea-pigs,-(Mr. Burke calls the "humbler classes" the " swinish multitude")-what will become of the horses and carriages waiting at the doors? They, too, that is the horses, may, as part of the creation, wish to know what The Creation is about, and should they, being left to themselves, "just step in," like Paul Pry, to inquire, chaos would indeed be come again, without encoring Haydn's. But, to be serious, the directors must be wholly blameless in this: no one, in the form of a gentleman, man of common understanding, could have devised any thing so stupidly offensive. no 17th. The trial in the Court of King's Bench yesterday about the copyright of the song The Old English Gentleman, was entertaining enough in some respects. Two or three soi-disant composers fell into the hands of the Attorney-General, who, not being quite satisfied with the title they had assumed, asked them some awkward, provoking questions, which were not answered in a manner to exalt the respondents in the eyes of the court. Composers! There are people in this world who can flatter themselves into a belief of any thing, however preposterous, provided the illusion gratifies their vanity. FOREIGN MUSICAL REPORT. DEMOISELLE Bodgorscheck, who as a concert singer had already acquired considerable celebrity here, recently made her debut as a dramatic singer at the Hofoperntheater, appearing as Arsaz in Semiramide. Her voice is a fine counter-tenor. She experienced an indulgent reception, her efforts generally meriting applause, at the same time that there was great room for improvement, which a better acquaintance with the boards will no doubt effect. A concert has been given by the manager of the Society of the Friends of Music. The announcement that M. H. Vieuxtemps was to play was alone sufficient to attract an overcrowded audience, to whom his performances on the violin afforded, as usual, a high intellectual enjoyment. Demoiselle Therese Heilingmayer also lately gave a concert, playing a concerto by Bochsa, and variations for the harp, in a most delightful manner. The vocalists were Demoiselle Schebest and M. Pöckh. Madame Belleville-Oury's concert took place on the 9th of May. BERLIN. Königsstädter theater.-Bellini's Norma has been produced here, and excited an enthusiasm seldom witnessed in the present day. The parts of Norma, Adelgisa, and Sever-which were written expressly for Pasta, Grisi, and Donzelli, and therefore require, of course, singers of no mediocre ability to do justice to them-were very effectively sustained by Demoiselle Hähnel, Madame Schodel, and M. Holzmiller; that of Orovist was given with energy by M. Fischer. The absence of novelty in the productions at the Opernhaus of late has been amply compensated for by the admirable performances of Madame Schroeder Devrient, who commenced a series of representations at this theatre on the 6th of April. She has appeared as Julia in Die Vestalin, Fidelio, Desdemona, Donna Anna, Agathe in Der Freyschütz, Amazili in Cortez, and Rezia in Oberon. Her Desdemona was a most exquisite performance as regards both the acting and the singing, and her Donna Anna was equally ravishing, in consequence of the grand tragic feeling which she infused into it. A young singer, M. Von Poissl, lately made an unsuccessful debût here as Joseph, in the opera Joseph in Egypt. On Palm Sunday, the members of the Singakademie gave a performance of Sebastian Bach's Grand Passione, in a highly gratifying manner. During the Passion week, also, there were two concerts given -not of a sacred character-the one by M. Herzberg, a pupil of L. Berger, in which he displayed great talents as a pianist; the other by the brothers Eichhorn, at which latter was played a pianoforte concerto, composed by M. Taubert, which, according to the opinion of competent judges, is one of the finest compositions of this description of modern times: the performance of it, too, by the composer, was excellent. Kapellmeister Schneider's oratorio, Christi Geburt (the Birth of Christ), was lately given at the Garrison Church, under the direction of the composer, the solos being sung by the principal vocalists then in Berlin. It was altogether a most gratifying performance. Rungenhagen's oratorio, Christi Einzug in Jerusulem, is stated to be a composition in the genuine oratorio style, displaying great powers of musical expression, especially in the choruses, and is entirely free from the besetting sin of those modern composers, who direct all their efforts to produce, not sterling music which may carry their fame to future generations, but noisy, unmeaning effects. DRESDEN. The annual musical performance for the benefit of the widows and orphans of deceased members of the chapel took place on Palm Sunday in the saloon of the old Opera House. As on former occasions, the members of the chapel were supported and assisted by the co-operation of the principal members of various musical institutions in Dresden. Handel's Messiah, with the added accompaniments of Mozart, was given, being the first time of its performance here entire, for it had previously been heard in fragments only. In the second part of the entertainment Beethoven's admirable symphony in C minor was played. The whole went off most brilliantly, and the receipts exceeded those of any former year. The Kapellmeisters Morlacchi and Reissiger were the conductors. On the 10th of April, a concert was given by M. Pott, of Oldenburg, a Danish professor, and pupil in composition and violin-playing of Spohr and Kiesewetter. The peculiar qualities for which this artist is remarkable are a rich and full tone, sure and perfectly pure intonation, extraordinary powers of execution, and the infusion of deep expression into his play. M. Fürstenau performed at this concert some variations from the Zauberflöte. The singers were Demoiselle Schneider and MM. Zesi and Schuster. M. Hummel lately played before the court, when, as usual, his genius manifested itself in his extemporaneous fantasia upon three subjects which were handed to him. LEIPZIG. On the 20th of March, Fr. Schneider, having shortly before arrived here, produced his new oratorio Gideon, the text by Bruggemann, a work of great merit, particularly in the second part, though upon the whole inferior to his Weltgericht (the Day of Judgment) and Pharao. A series of Quartett Soirées given by M. Mathäi, afforded to the compositions delightfully executed. lovers of good music the opportunity of hearing some classic and choice On the 20th April a most attractive concert was given here for charitable objects. An overture composed by Mendelssohn Bartholdy, Meeresstille und glückliche Fahrt, (Calm at Sea, and prosperous Voyage) was well executed, and favourably received. On the 22d, M. Henri Vieuxtemps played in public, as did also another French virtuoso about sixteen years of age, M. Louis Lacombe, first pianist of the Parisian Conservatoire de Musique, who does honour to the institution which fostered his talents: his style is powerful, solid and grand, and he fearlessly encounters the most difficult and intricate passages, which he never fails to execute to universal admiration. FRANKFORT. The brothers Müller were playing quartetts here at the end of April. Their exquisite performances ensured to them the enthusiastic reception which they have invariably experienced wherever they have performed., NURNBERG, Since the opening of the Opera House here in October, there have been only two new operas produced, namely, Die Fremde (La Straniera) of Bellini, and Auber's Fiorella, his least successful effort. The present strength of the opera company is as follows:-Madame Schweitzer, formerly of Cassel, the prima donna, creditably supported by Demoiselle Hezel, M. Löwe, the tenor, a very useful singer, with a good voice, and three bass-singers, MM. Geissler, Wolfram, and Herbert. On the 5th March a very pleasing concert was given by M. Töpler, which was well attended: the finished and expressive style of this artist entitle him to a high rank among the violinists of celebrity. On the 9th April, Kapellmeister Bernhard Romberg, at a concert which he |