single parts, allotted to each performer by himself: in which way of printing them, their performances were liable to great uncertainty." The expense of engraving music was, however, a great obstacle to the extensive use of this art; and church music, as well as other compositions, furnished employment to musical copyists for two centuries after the general demand for the trade of the transcriber had been abolished by the introduction of printing. A considerable stride in the diffusion of musical works was however made, when the art of punching musical characters upon pewter plates was introduced. Instead of scraping out the characters with a graver, they are in this way struck at a single blow; and the uniform appearance of the notes is secured by the uniformity of the punches. This is the process by which the greater part of the music of our own country, and of Europe generally, is now produced. The punching is a rapid and cheap process-even more rapid and cheaper than that of arranging moveable characters. Attempts have been made to supersede pewter plates by the lithographic printing of music; but it does not appear to us that this mode has any essential advantages over the other. The lithographic press is a more uncertain instrument than the rolling press. In each process, the manual labour of printing off the copies, involving considerable nicety and attention, is a source of constantly CHANT Temps de Marche. recurring expense. In printing music from the surface of. moveable types, or stereotype plates, either by the printingpress or printing-machine, the operation is rapid and certain;the market may be supplied at once to the extent of the demand; -and the consumer may receive the full benefit of mechanical improvements, in the diminished cost of the article produced. Such a work as the Musical Library' could only be undertaken with the aid of musical typography. It may be well for us very rapidly to notice the efforts by which musical printing from moveable types has been brought to the degree of excellence which we are enabled to exhibit in our work; and which excellence will, no doubt, for all extensive undertakings, again give musical typography, capable as it is of further improvements, a preference throughout Europe over the mode of printing from engraved or punched plates. In the year 1755, Breitkopf, a celebrated printer of Leipsic, produced a specimen of new musical types, which, both in the form of the notes and the niceties of the accessary symbols, as well as their accurate adjustment with the lines, was greatly superior to the musical typography which had preceded it. These types were eventually employed in many historical and elementary works on music; and they were even considered so satisfactory as to be used in complete collections of the works of Haydn and Mozart. Since the time of Breitkopf, however, the general ex SPECIMEN OF M. DUVERGER'S PROCESS. tension of musical knowledge has demanded a much more precise and complicated notation than was employed by the best composers. Passages, in accompaniments especially, that were merely indicated, now require to be fully exhibited; and the improvement of our piano-fortes has given a much wider compass to piano-forte music. It has, accordingly, been found difficult for type-printing to keep pace with these changes. The most important improvements upon the characters of Breitkopf were made, about 1802, by Messrs. Olivier and Godefroi, at Paris; but the attempt was a ruinous one for them. Improvements, however, still continued to be attempted, especially in Germany. In 1820, the growing demand for musical works induced Mr. Clowes, the printer of our Musical Library,' to obtain a set of punches and matrices for casting musical type, from Germany. The difficulties of completing this musical fount, in a style that might be acceptable at a period when engraved music was so much improved, were very great. But Mr. Clowes persevered in his object. The Harmonicon' was printed for nearly eleven years in this mode. During the past year many important improvements of this type have been introduced in Mr. Clowes's foundery; and there can be no doubt that the musical typography which our work now exhibits is the most complete and beautiful in Europe. The great improvement which Mr. Clowes has been able to accomplish is, a more perfect union of the staff-lines. When it is considered that whenever a note crosses a line, the continuity of the line is broken, it must be evident that the very highest skill is required to prevent the eye from being offended by the junction of so many separate pieces. This is the excellence which the type-founders have been vainly striving after for three centuries. It is probable that if the present excellence of the typography which is exhibited in the Musical Library,' as well as in the Sacred Minstrelsy,' and Clarke's Handel,' also printed by Mr. Clowes, had been considered attainable, the beautiful, but expensive process of printing music from the raised surface of Copper characters inserted in a block would not have been attempted. This is a very ingenious invention of Mr. Cowper, founded upon the principle of printing the characters and the staff-lines by separate impressions. The mode in which Mr. Cowper has been enabled to insure perfect accuracy in making the note fall exactly upon the line, although they are not originally combined, is most ingenious. The effect thus produced is very beautiful; but the process is not much cheaper than that of working off music from punched plates. The publisher of the Musical Library,' anxious that a work for which he anticipated a very extensive circulation should not be inferior in any point of excellence to the dearer publications which did not anticipate any very extended diffusion of musical taste, has purchased, at a considerable expense, the exclusive right of using a secret process of music printing, invented by M. Duverger, of Paris. There have been some practical difficulties in completing this process in our English type-founderies; and it appears to be capable of some material improvements, with reference to its advantageous employment commercially. Of the beauty of the invention no doubt, however, can be entertained. It is possible eventually that it may be found more calculated for application to works not requiring to be prepared in haste, as a periodical work in some respects must be; and that, therefore, when perfected, it may be employed in the production of single works, such as collections of songs and glees. We have given, in the preceding page, a specimen produced by M. Duverger's process. THE MUSIC OF PART I. OVERTURE TO LA CLEMENZA DI TITO. METASTASIO'S drama, La Clemenza di Tito, originally set by Caldara in 1734, was re-set by Mozart in 1791, for the coronation of Leopold II., in the short space, it is said, of eighteen days, a statement which will with difficulty obtain credit, unless it be supposed-as is most probable-that the composer had collected in his mind a rich store of materials before he transferred a single thought to paper. All Mozart's overtures are highly appropriate. The grandeur and comparative simplicity of this are emblematic of him whose character was summed up in the words delicia humani generis. The dignity and benign nature of Titus may here be said to be typified in musical sounds. We have adopted the German arrangement of this work; first, however, making such alterations and additions as the score authorized, and as appeared likely to improve its effect and facilitate its performance. Bavaria in 1781. WOLFGANG AMADEUS MOZART was born at Salzburg, on the 27th of January, 1756, where his father held the office of second chapel-master to the PrinceArchbishop. His talent developed itself when he was but six years of age. At eight, he played a concerto on the harpsicord at Munich, and the year after made a tour which included France and England, and in both countries performed before their respective sovereigns. In 1769 he visited Rome, where he received the order of the Golden Spur from the Pope. Hi first great work was Idomeneo, composed for the Elector of In 1782 he produced his Enlèvement du Sérail; in 1786, Le Nozze di Figaro; in 1787, Don Giovanni; in 1790, Così fan tutti; and in 1791, Die Zauberflöte, also La Clemenza di Tito. In this brief space of ten years, he likewise composed his symphonies, quartets, quintets, piano-forte sonatas, masses, motets, &c.; his last work having been his Requiem. He died at Vienna on the 5th of December, 1792, leaving a widow and one child, a son, who is still living. Mozart was small in stature, but well made; his forehead was high and capacious, and his features handsome. He spoke several languages, was of a lively, pleasure-loving disposition, possessed a very independent spirit, and not being able to stoop to those arts by which profitable patronage is too commonly obtained, never enjoyed a convenient income, and died poor. NOTTURNO. KALKBRENNER. This, we believe, is the latest work of the author, and may be reckoned among the happiest of his productions. It is from a German periodical. The composer, in a note, says, that the accompaniment is for the flute, or violin, or clarinet in C. It may be played on the piano-forte by a third hand. FREDERIC KALKBRENNER, being a living composer, we shall merely state, that he was born vatoire at Paris, for composition, and performance on the pianoat Cassel, in 1784, and in 1802 gained prizes at the Conserforte. His father, Christian Kalkbrenner, was a composer, but better known for his history of Hebrew and Greek music, which displays much learning, and leaves us to regret that he did not continue the work. SLOW MOVEMENT FROM HAYDN'S SYMPHONY IN A. One of the author's early symphonies, No. 16 of Cianchettini's edition in score, has furnished the present very original and graceful Largo. It is written chiefly for stringed instruments, but the oboes are sparingly used, in octaves with the violin, and there are a very few bars for the horns. The symphony is, it may be said, unknown, and the charming movement now given which, so far as we know, was never before arranged-will its birth. seem new, though at least half a century has passed away since We shall take an early opportunity to give a short memoir of Haydn. OVERTURE TO THE OCCASIONAL ORATORIO.-HANDEL. The oratorio so named was, as the title imports, what the French call a pièce de circonstance, composed to celebrate the victory of Culloden in 1745. The opening of the overture at once sounds the note of triumph; a nobler or more spirited movement is not to be found in the whole range of Handel's orchestral works. The second movement, in the fugue style, and not less pleasing for throwing off the restraints of arbitrary rule, has always been popular. The third, a very expressive adagio, and most judiciously interposed as a relief, brings in, with an effect universally felt, the celebrated march, a composition of never-fading beauty, and which proves that what is really excellent in art can never become superannuated. A few particulars of Handel's life will be given when his name comes again before us. drigal, at a time when the term glee had not been applied to musical purposes, or it probably would have taken the latter name, as it exhibits but little of the stilo madrigalesco, and is entirely in the manner of the glee. We have not discovered the author of the words, which in truth are not worth the trouble of research, or the space they would occupy if reprinted. JOHN DOWLAND, A celebrated lutanist, was born in 1562, and admitted to a bachelor's degree at Oxford in 1588. He published several works, all of which, save this single composition, are forgotten. He is immortalized in one of Shakspeare's sonnets, No. 6 of The Passionate Pilgrim; and in Peachum's Garden of Heroical Devices are the following verses, portraying Dowland's forlorn condition in the latter part of his life. Here Philomel in silence sits alone, In depth of winter, on the bared briar But fruitless, now in winter's frost and snow So since (old friend) thy years have made thee white, Beneath the ocean's swelling wave, We ask for thee no prouder grave The sou'-west breeze is rising now, The white foam curls around the prow- We are indebted to the New York Mirror for these verses, and to an admirable amateur-now, alas! no more-for their adaptation to the best (we had almost said the only good) air that Pacini ever produced. Of the composer we can only say that, he is one of the humble imitators of Rossini, and has never produced an opera that has the slightest chance of longevity. This air, however, from his Niobe, leads us to hope that, as he is young, he may yet redeem his credit. it, which has scarcely ever been detected, for the composition is little known any where, and quite new to our musical circle. VINCENZO RIGHINI, a Bolognese, born about the year 1758, was a disciple of the Padre Martini, and first appeared at Prague, as a singer. In 1779 he was appointed Kapellmeister to the Italian Opera at Vienna. In 1788 he filled the same office at Mentz, where he wrote several operas. In 1792 he was invited to Berlin by the King, and produced the above work, which obtained for him appointments worth 4000 thalers (6207.) per annum. He died at Bologna, whither he had proceeded in order to undergo a surgical operation, in 1812. Righini composed many Italian operas, but not one of them has ever been heard in this country; though, if produced, they would show that much excellent music is suffered to remain unknown, while downright trash, under the pretence of being new, is brought forward and applauded. The kiss, dear maid! thy lip has left Till happier hours restore the gift The parting glance, which fondly beams, The tear that from thine eyelid streams I ask no pledge to make me blest Nor one memorial for a breast Whose thoughts are all thine own. Must bear the love it cannot show, And silent ache for thee. who now adds Bartholdy to his patronymic, was born at Berlin in 1809. His father is an eminent merchant, and his grandfather was the famous Jewish philosopher and elegant writer, Moses Mendelssohn. In infancy, he showed a strong predilection for music, insomuch that, when he was but three years of age, his mother initiated him in the elements of the art. He was soon placed under the instruction of M. Zelter, who had abandoned the profession of architecture for that of music, and was in every way qualified to communicate knowledge; and the child profited so well by such instruction, that in his twelfth year he composed lic in 1826, when his Hochzeit des Gamacho, the Marriage of several operas. He, however, was first made known to the pubGamacho, was successfully performed at Berlin. In 1827, at a concert at Stettin, his admirable overture to A Midsummer Night's Dream was produced, a work which, in 1830, when performed here under his own direction, by the Philharmonic band, youthful composer. The overture to the Caves of Fingal soon excited a feeling almost amounting to enthusiasm in favour of the followed, and with the same effect, as well as many other works. M. Mendelssohn is for the present settled at Dusseldorf, being engaged, with a handsome salary, to direct the musical institutions of that city. He is one of the greatest pianists in Europe, but his talents as a composer have placed him in a much more elevated situation than a mere performer can ever hope to attain. GLEE. CALLCOTT. Forgive, blest shade! the tributary tear This is an epitaph in a churchyard in the Isle of Wight, set to music with great feeling, and in the purest taste. We will take the present opportunity to observe, that though a piano-forte part is added, a practice which we shall continue to follow in the case of all music of the same kind, yet it is given for the convenience of those only who require the aid of an instrument, and ought not to be used by such as do not feel the necessity of support. A glee, properly so called, should, whenever possible, be sung without accompaniment. JOHN WALL CALLCOTT, MUS. D. This very distinguished glee-writer, and accomplished, amiable -man, was born at Kensington, in 1766, and at first educated as a surgeon; but the sight of a severe operation so powerfully acted on his nerves, that he at once abandoned the pursuit, and devoted himself to music, which he had studied only as an amusement. He soon became acquainted with Doctors Arnold and Cooke, from whom he incidentally acquired much musical knowledge. In his nineteenth year he gained three out of the four prize medals, then annually given by the members of the CatchClub, and thus commenced a career which soon raised him to the highest eminence in his branch of composition. In 1785, he was admitted Bachelor of Music by the University of Oxford; and in 1800 proceeded to the degree of Doctor. In 1790, he profited by Haydn's visit to this country, and studied composition under that great master. Dr. Callcott's works are numerous, and too well known to render an enumeration of them necessary. His Musical Grammar, which is in the hands of so many, is a volume of much utility; and he projected other didactic works, which, unhappily, his health did not allow him to complete. Indeed, to the application necessary in the preparation of these, added to his professional and literary pursuits, which altogether bore too heavily on a frame not naturally strong, may be attributed that settled mental disease, which finally robbed his family of an excellent husband and father, society of a well-informed scholar, and his art of one of its greatest ornaments. He died in 1821. From the Masque of KING ARTHUR, as Garrick called it.-or Dramatic Opera, as entitled by the author, Dryden, who, in his Epistle-Dedicatory to the Marquis of Halifax, prefixed to the drama, thus mentions the music set to it :- Music has arrived to a greater perfection in England than ever formerly; especially passing through the artful hands of Mr. Purcell, who has composed it [King Arthur] with so great a genius, that he has nothing to fear but an ignorant, ill-ju 'ging audience.' Of this duet Dr. Burney truly remarks, If ever it could with truth be said of a composer, that he had devancé son siècle, Purcell is entitled to that praise, as there are movements in many of his works which a century has not injured, particularly the duet, "Two daughters of this aged stream," which contains not a single passage that the best composers of the present times, if it presented itself to their imagination, would reject.'(Hist. of Music, iii. 492.) It will be observed that, though we have above given the words as written by Dryden, we have made a slight alteration in them, as placed under the notes; thus rendering them more compatible with modern notions of delicacy. King Arthur, under the title of Arthur and Emmeline, was revived at the English Opera-House two years ago, with all the original music, and most successfully. Judicious additions were made to the accompaniments, and thus improved, we trust that it will be considered a stock-piece. Three or four times in a season it will be pretty sure to attract a full audience. Of Purcell in a future number. THIE COMMEMORATION OF HANDEL, IN 1784. THIS celebration, which took place in Westminster Abbey exactly half a century ago, forms one of the great musical epochas, and is recognized as such, not only by our own writers and professors, but by those of every other country; for no event of the kind, indeed no exhibition of art, ever excited so general an interest: its fame reached the most remote shores of the Mediterranean, and even resounded from the then half-civilized banks of the Neva. Its influence on these kingdoms, in reviving that love of harmony which had been nearly extinguished during the sour age of Puritanism, and was still but very slowly recovering, was immediately felt: music-meetings were held in many large towns where an orchestra had never before been erected, and almost certs in London, of various descriptions, were nearly doubled in every village soon had to boast its Musical Society. The connumber: the theatres found it necessary to meet the public taste by a more frequent production of lyric dramas, and the English opera soon rose from the subordinate rank of an after-piece, to that in which it became the chief entertainment of the evening. Such having been the important results of this celebration, and the same roof, and of a similar kind,—but which ought to be more especially on the eve of another series of performances under in every respect as far superior as the performers of the present memoration which is now mixed up with English history cannot but be interesting, and may prove serviceable; for the account of it, written by Dr. Burney, and published in 1785-whence we extract nearly all that follows-is in few hands, and many erroneous statements concerning the event are already in circulation and obtaining credit, in the absence of more authentic infor a native of England, though his father was a Neapolitan, was born in 1763. When young, he was placed in the Conservatorio of St. Onofrio, at Naples. On completing his education, he made an extensive European tour, in company with his sister, the celebrated Anna Storace, and both obtained an engagement at the Imperial Italian Theatre at Vienna, for which Storace composed an opera on the subject of Shakspeare's Comedy of Errors, under the title of Gl' Equivoci, much of the music whereof the author afterwards transferred to his English operas. In 1787, the brother and sister returned to this their native country, and were immediately engaged at the King's Theatre; but intrigues soon drove away a man who had too much honesty and ability to employ himself in combating jealousy and low cunning, and Sto-day surpass those of the last age-some particulars of a Comrace never again could be persuaded to take any part in the affairs of that establishment; he therefore devoted his talents to Drury Lane Theatre, where he produced The Siege of Belgrade, (altered from La Cosa Rara,) The Haunted Tower, Pirates, Lodoiska, &c., and set the music to Colman's Iron Chest, at the first rehearsal of which he caught a cold, that terminated his life on the 19th March, 1796. The opera of Mahmoud, then nearly completed, was brought out a few days after his decease, for the benefit of his widow, and with the greatest success. Storace was a highly-gifted, able man. Had Stephen,' said Sheridan, been bred to the bar, nothing could have prevented his becoming Lord Chancellor.' DUET-PURCELL. Two daughters of this aged stream are we, And both our sea-green locks have comb'd for thee. mation. The Commemoration took its rise, Dr. Burney tells us, 'in a conversation between Viscount Fitzwilliam, Sir W. W. Wynn, and Joah Bates, Esq., Commissioner of the Victualling-Office, the beginning of the year 1783. At the house of the latter, after remarking that the number of eminent musical performers of all kinds, with which London abounded, was far greater than in any other city in Europe, [how Germany has since surpassed us!] it was lamented that there was no periodical occasion for collecting and consolidating them into one band, by which means a performance might be exhibited on so grand and magnificent a scale as no other part of the world could equal. The birth and death of Handel naturally occurred to three such enthu siastic admirers of that great master, and it was immediately recollected that the next year would be a proper time for the introduction of such a custom, as it would form a complete century since his birth, and an exact quarter of a century since his decease. 6 ance. The plan was soon after communicated to the Governors of the Musical Fund, who approved it, and promised their assistIt was next submitted to the Directors of the Concert of Ancient Music, who voluntarily undertook the trouble of managing and directing the celebration. At length the design coming to the knowledge of the King, it was honoured with his Majesty's sanction and patronage. Westminster Abbey, where the bones of the great musician were deposited, was thought the properest place for the performance; and application having been made to the Bishop of Rochester [Dr. Thomas, the dean] for the use of it, his lordship, finding that the scheme was honoured with the patronage of his Majesty, readily consented; only requesting, as the performance would interfere with the annual benefit for the Westminster Infirmary [Hospital], that part of the profits might be appropriated to that charity. To this the projectors of the plan acceded; and it was afterwards settled, that the profits of the first day's performance should be equally divided between the Musical Fund and the Westminster Infirmary; and those of the subsequent days be solely appropriated to the former. 'Application was next made to Mr. James Wyatt, the architect, to furnish plans for the necessary decoration of the Abbey; drawings of which, having been shown to his Majesty, were approved. The general idea was, to produce the effect of a royal musical chapel, with the orchestra terminating one end, and the accommodations for the Royal Family the other. The arrangement of the performance of each day was next settled. . It was originally intended to celebrate this grand musical festival on the 20th, 22d, and 23d of April; and the 20th being the day of the funeral of Handel, part of the music was, in some measure, so selected as to apply to that incident. But in consequence of the sudden dissolution of parliament, it was thought proper to defer the festival to the 26th, 27th, and 29th of May, which seems to have been for its advantage; as many persons who ventured to go to Westminster Abbey in warm weather would not have had the courage to go thither ⚫ in cold. Impressed with a reverence for the memory of Handel, no sooner was the project known, but most of the practical musicians in the kingdom eagerly manifested their zeal for the enterprise; and many of the most eminent professors, waiving all claims to precedence in the band, offered to perform in any subordinate station in which their talents could be most useful. By the latter end of February, the plan and necessary arrangements were so far digested and advanced, that the directors ventured to insert in all the newspapers the following advertisement: Under the Patronage of His MAJESTY. In Commemoration of HANDEL, who was buried in Westminster Abbey, on the 20th of April, 1759-On Wednesday, the 21st of April next, will be performed, in Westminster Abbey, under the management of the Directors of the Concert of Ancient Music, some of the most approved pieces of Sacred Music of that great composer. The doors will be opened at Nine o'clock, and the performance will begin precisely at Twelve. "And on the evening of the same day will be performed, at the Pantheon, a grand miscellaneous CONCERT of Vocal and Instrumental Music, consisting entirely of pieces selected from the works of Handel. "And on Saturday morning, April 24th, will be performed, in Westminster Abbey, the second Oratorio of the MESSIAH. "Such is the reverence for this illustrious master, that most of the performers in London, and a great many from different · parts of the kingdom, have generously offered their assistance; and the orchestra will consist of at least Four Hundred Performers, a more numerous band than was ever known to be : collected in any country, or on any occasion whatever. The profits arising from the performances will be applied to charitable purposes. The directors of the Concert of Ancient Music have opened books to receive the names of such persons as are desirous of encouraging this under aking, and will deliver out the tickets for the several performan es, at ONE GUINEA each." The organ used on this occasion was that now in the cathedral of Canterbury, for which it had recently been built by Green, and was lent to the directors by the Dean and Chapter of that church, previously to its erection in the place of its destination. The keys of communication with the harpsicord, at which Mr. Bates, the conductor, was seated, extended nineteen feet from the body of the organ, and twenty feet seven inches below the line of the first set of keys by which it is usually played. To convey them to so great a distance from the instrument, without rendering the touch impracticably heavy, required uncommon ingenuity and mechanical re sources. In celebrating the disposition, discipline, and effects of this most numerous and excellent band, the merit of the admirable architect who furnished the elegant designs for the orchestra and galleries must not be forgotten; as, when filled, they constituted one of the grandest and most magnificent spectacles that imagination can delineate. All the preparations for receiving their Majesties, and the first personages in the kingdom, at the east end;-upwards of five hundred musicians at the west, and the public in general, to the number of between three and four thousand persons, in the area and galleries, so wonderfully corresponded with the style of architecture of this venerable and beautiful structure, that there was nothing visible, either for use or ornament, which did not harmonize with the principal tone of the building. But, besides the wonderful manner in which this construction exhibited the band to the spectators, the orchestra was so judiciously contrived, that almost every performer was in full view of the conductor and leader; which accounts, in some measure, for the uncommon care with which the performers confess they executed their parts. The whole preparations were comprised within the western part of the building, or broad aisle; [the nave.] At the east end of the aisle, a throne was erected in a beautiful Gothic style, and a centre box, richly decorated and furnished with crimson satin, fringed with gold, for the reception of their Majesties and the royal family; on the right hand of which was a box for the bishops, and on the left, one for the Dean and Chapter of Westminster. Immediately below these two boxes were two others; one, on the right, for the families and friends of the directors, and the other for those of the prebendaries of Westminster. Immediately below the King's box was placed one for the directors themselves. Behind, and on each side of the throne, were seats for the royal suite. The orchestra was built at the opposite extremity, ascending regularly from the height of seven feet from the floor, to upwards of forty from the base of the pillars; and extending from the centre to the top of the side aisle. 6 The intermediate spate below was filled with level benches, and appropriated to the early subscribefs. The side aisles were formed into long galleries, ranging into the orchestra, and ascending, so as to contain twelve rows on each side; the fronts of which projected before the pillars, and were ornamented with festoons of crimson morine. At the top of the orchestra was placed the organ, in a Gothic frame. The choral bands were principally placed in view of Mr..Bates, on steps, seemingly ascending into the clouds, in each of the side aisles.. Of the eare and intelligence with which preparations were made for these performances, some judgment may be formed from the single circumstance of the music-books that were provided for each day; as two hundred and seventy-four were requisite for the first performance in the 'Abbey, &c., not one of which was missing, or mislaid; nor was an instrument wanting during the whole Commemoration.' It appears that there was but one general rehearsal for each performance, but there were several drilling rehearsals for the choral performers, at the Tottenham-street Concert-room, now the Fitzroy Theatre. The rehearsals were turned to account, by admitting auditors at half-a-guinea each. 'Foreigners,' says Dr. Burney, particularly the French, must |