and a language common to all Europe. His thoughts require no translation: Rossini spoke perfect English on his piano. This point alone makes for a reservation in favour of music; but the reservation never has been made, and never will be made, until Europe is one universal republic, and then there must be an arrangement with the Transatlantic world.

It should, however, in candour have been stated, that to secure any copyright in this country, it must be shown that all due diligence had been used to publish the work in England on the very same day on which it had been published abroad. Still this does not secure to us a work in its original state, as a score, for instance; but Mr. D'Almaine, or any one else, having an assignment of the copyright, may retail out to us songs indifferently arranged, badly set to English words, or dull divertimentos, and silly quadrilles, then forbid our having an opera, perhaps a very fine one, in any other shape.

If the English publisher would print a foreign work in a complete state, in as perfect a state, at least, as the author published it abroad,—and sell it on moderate terms, we should not object to foreigners who live and publish out of England having the right to claim a property in their works in this country. For on this subject we agree with the author of the Diary of a Dilettante, in the Harmonicon for April, 1832, that

The remuneration of musical genius, that is, genius for composition is scanty enough, it must be granted, and it would be for the general interest of society to extend rather than abridge the privileges of composers. If the states of Europe, by enacting protecting laws, would secure to all the right of disposing of their works in foreign countries, as well as in their own, what a stimulus would be given to genius! How many men of talent, who now justly think the profit unequal to the labour, would start forth, if success were followed by adequate reward!—How just, and at the same time how light the tax, were every country called on to assist in the remuneration of those who contribute to the improvement or happiness of mankind! The fact is, that, at present, publishers of all countries, men having no equitable right whatever, reap all the benefit that, upon every principle of justice and policy, ought to be secured to the foreign author, whether literary or musical. It would be no difficult matter to establish an international law that

would give to authors, &c. a certain right in their works in every country, allowing them a reasonable time to dispose of their property, or to publish, and throwing open such works as might be kept back beyond a fixed period. If the reward of genius were in proportion to the happiness it confers, what would have been the due of a Byron, a Scott, a Haydn, a Mozart, a Beethoven? How many fortunes have been amassed by the publishers of their works, and what portion of the profits arising from these ever came into their hands?"

If by the decision of the House of Lords foreign composers shall have a right given them of property in their works in this country, the privilege of importing and selling foreign copies ought, by a clause in the Copyright Act, to be granted to dealers here; otherwise a monopoly as injurious as monstrous would be given to persons who have no knowledge whatever of the art, and no feeling for it, except as traders, and in connexion with pounds, shillings and pence.

The manner, we may here add, in which English words are often set to foreign music is perfectly disgraceful to this country. A publisher engages some musical person to do the work for him, and the chances are that the qualifications of such person for the business are confined to a little writing and reading, and a limited knowledge of the art he professes. Of the sense of the author he is no judge, and as to prosody he is in a state of hopeless ignorance; hence the confusion of long and short, of breaks in the sense, and of those perversions which are so common in the adaptations of Italian, French, and German music, printed in London. Nay, the corrections which have been made in the English text of the Creation, a work of no ephemeral kind, are in most instances disregarded by conductors, therefore rejected by many singers, and the absurd, unintelligible translation made by the German poet is that in general use throughout Great Britain!

6

GLUCK's overture to Iphigénie en Aulide, with the chorus, Que d'attraits!' from the same opera, arranged as a second movement by Mr. Greatorex, pleases the partizans of all schools, and every taste, from the most learned to the most uncultivated and simple. The Queen having been present at this performance, in compliment, most likely, to the selection of her Lord Chamberlain, Haydn's hymn with the English words written and adapted by the late John Crosse, Esq.,-a loyal church-and-king effusionwas performed, with as much applause as ever is elicited from an Ancient-concert audience; perhaps a little more. The convertibility of this composition is remarkable. Written for the inauguration of the late emperor of Austria, it has just been transformed into a dirge to bewail his death. We in England have metamorphosed it into a political anthem, breathing nothing but attachment to protestantism and the crown. A few years hence it may, by possibility, assume a very different form

Coelum, et quodcunque sub illo est,

Immutat formas, tellusque, et quicquid in illa est. The beautiful anthem of Kent was very well sung by the two ladies, and charmingly accompanied by Mr. Knyvett: nevertheless, we cannot but regret that so fine a band should remain in`active while a composition is going on that is so much more advantageously heard in a church, or even in the drawing-room. Mr. Parry, jun., sang the lovely air of Haydn in a very perfect manner. This, till within the last year or two, has remained unknown to the musical world! and many gems of purest ray serene' continue buried in the libraries of collectors, which, were the directors and managers of concerts active, might be brought forth, to the delight of all real amateurs.

Webbe's chef-d'œuvre, When winds breathe soft,' was upon the whole very effective, but the quality of the alto voice, and that of the second tenor, not being naturally good, should have been more concealed. Miss Postans sang the highly devotional song from Samson in a very pure style. Her rich mezzo-soprano voice is just suited to this fine air. The suite of choruses from Israel in Egypt was performed most splendidly. In order to hear justice done to these great works of Handel, it is necessary to repair to the Concert of Ancient Music; a right feeling for them seems to be the inheritance of the performers of that establishment, and, certainly, the true tradition of the times is preserved there, and there only. But we admit that their effect is greater when executed by greater numbers. Chorists in vast masses lose their individual defects, they blend into one mighty whole-become a many-hundred-voice power-and produce results that never can be obtained when only a dozen or fifteen are allotted to each part.

Madame Stockhausen in Guglielmi's sacred air would have been all that could be wished, had nature given her more fulness

and strength of voice. This demands a force which she does not possess: but art makes up for the deficiency, by supplying her with a most correct taste, and a neatness of execution seldom equalled. Dr. Croft's grand anthem was admirably performed. This, with Mr. Greatorex's orchestral parts, was in its right place. With such additions it never can be heard in a church; at least, as forming part of divine service.

The overture to Prometheus was ably performed, but excited no interest. Beethoven has not yet been able to conciliate the Ancients. The selection from Jomelli's Requiem (incorrectly called a Service) is, considered musically, calculated to maintain his reputation. The whole is grand and beautiful; except that at the very solemn words 'Agnus Dei,' which ought always to be uttered in an imploring, half-subdued tone, the manner is not entreating, but demanding. The meek dona nobis pacem,' however, atones for the former authoritative tasto solo. Mrs. Knyvett's recitative and air from Jephtha were both most correct and pleasing. Dis dainful of danger' was executed in a very spirited manner. Since first I saw your face,' a delicious piece of quiet harmony, was as nearly perfect as possible. But why call this a glee? The composer, if we mistake not, gives it no such name. Indeed the term, as applied to a part-song, did not, we suspect, exist in his time.

6

The almost unknown song, from the oratorio of Belshazzar, was exceedingly well sung by Mr. Machin. It is certainly a fine composition of the bold kind, but the divisions, so fashionable in Handel's time, are out of date now, and never, even when in the highest favour, have been justified by any reasoning founded on true taste. Madame Stockhausen was thoroughly at her ease in the scena from Le Nozze di Figaro. It suits her voice, her power, and style: but why curtail the recitative?-and the best part of it? The words of the air are nearly unintelligible without the whole of the scena.

The concert was altogether very satisfactory, and the room well filled,-with, as a matter of course, persons accustomed to move in the higher circles.

MOZART. SPOHR. MOZART. MOZART. C. M. VON WEBER.

Quintetto, Clarinet, Two Violins, Viola, and Violoncello, Messrs.
Willman, Loder, Watts, Moralt and Lindley
Terzetto, Mrs. H. R. Bishop, Mlle. Brambilla, and Mr. Parry, jun.,
'Soave sia il vento,' (Cosi fan tutte)
Overture, Euryanthe

Leader, Mr. LODER.-Conductor, Mr. H. R. BISHOP. THE three great writers have so nearly exhausted all the materials requisite in the formation of symphonies, that we must patiently wait till a fresh accumulation shall enable rivals to start up and successfully dispute the crown, now so equally divided between the illustrious triumvirate. Spohr has, we admit, not only advanced the strongest claims to some share of the glory, but may yet push them farther; and our own countryman, Cipriani Potter, has already proved himself worthy to be considered a competitor, and, having plenty of time before him, may, before many years have elapsed, show that England is ready to send a rival into the field. In the mean while a new candidate has risen up in Germany,—Maurer, well known by some excellent quartets, and other works of great merit. His symphony, the first, we believe, that he has produced, was performed at the present concert, and if it did not quite realize the sanguine expectations of many, and justify the very warm eulogiums of a few, it at least does not diminish the reputation which its author has justly acquired. This composition is in F minor. It commences with a Largo, which breaks into an Allegro agitato. A slow movement in D major, full of melody and expression, and though not absolutely original, is by far the best part of the symphony, follows, and is succeeded by a Scherzo, which is evidently an imitation of Beethoven's, in his Sinfonia Eroica. The finale is such a galopade, from beginning to end,-there is so much hurry, bustle, and apparent confusion, especially among the violins, that it would be

rash to pronounce judgment on it after a single hearing. That the writer has struggled hard for effect, is obvious; that he has succeeded, we will not venture to say, till a better acquaintance with the movement shall more clearly unfold his design, and enable us to understand his mode of working it out.

Mozart's symphony was perfect; and not less must be said of the overtures. That to Euryanthe should have changed places with Beethoven's; it is too delicate for a finale. Mori played the finest violin concerto that exists, in a manner that no man existing can surpass. This may be considered as a symphony, with a violin obligato, and ought to be used in the place of an overture. Three grand instrumental pieces in one act, with all the power of the brass band called into action, is more than the ear can well bear, unless the tympanum is become sufficiently indurated to stand the shocks of so many and such tremendous blasts.

The quintet of Mozart is that which was heard with so much delight at one of the Vocal Concerts this season. It is beautiful, and was admirably performed. The omission too of the last movement is judicious. It is false delicacy to risk the success of a whole composition from a mistaken respect for the author. Be 'true to his text,' but truer to his fame,' and curtail or omit when the latter is at all likely to be endangered. This was one of Mozart's latest productions, written in September, 1789.

The vocal music was well-selected,—no Pacini, no Donizetti. Mr. Parry, jun., sang a charming air, in E, from an opera of Haydn now almost unknown*, and did it every possible justice. Mile. Brambilla gave the favourite air in La Donna del Lago in a respectable manner. Her voice is powerful and extensive, but she has not the art of so managing it as to make the most advantageous display of its qualities. She was, however, much applauded. Mrs. Bishop, in Spohr's scena, was very successful: she has rarely at these concerts given more unmixed satisfaction. The beautiful terzetto wanted ensemble. Italian and English singers rarely consort well together. And, moreover, we believe Mlle. Brambilla is to be reckoned among those who do not recognize the merits of him whom we-perhaps fondly-consider the greatest, immeasurably the greatest, of opera composers.

ROYAL ACADEMY OF MUSIC.

At

THE Committee for managing this Institution have much obliged the musical world, and done great credit to themselves, by having caused Haydn's Seasons to be produced by the pupils. It was performed on the 11th of April, and had never before, mirabile dictu! been performed in this country in an entire state. least so the book of the words informs us, and we must presume the statement to be correct. The singers were Misses Birch, Dickens, Cooper, Gooch, and Deakin; Messrs. Burnett, Humphreys, Shrivell, W. Seguin, Hallah, G. Le Jeune, and E. Seguin. The whole, vocal and instrumental, was more than respectably performed, and far exceeded our expectations; for it was a bold and laborious undertaking for a party of pupils, of mere learners, to get up a work of such magnitude, not even having had the slightest opportunity of becoming acquainted with its style, its times, or indeed anything relating to it, except what the score furnishes, which, in this case, as in every other, is not sufficiently explanatory for youthful and inexperienced persons, who generally require to be instructed by example as well as precept.

We could not help regretting that the absurd translation of the Baron Von Swieten should have been adopted on this occasion; but on enquiry found that the committee had given directions that the improved version should be used, which accordingly was printed; but owing to some mistake the former was put into the hands of the pupils, and the error detected too late for correction. Hence the first book of the words was obliged to be suppressed, and the faulty text, as it appears in the score, was circulated among the audience.

Between the first and second parts a fantasia for the flute was played by Master Richardson, who executed it marvellously well. If he proceed as he has begun, he will soon become an able substitute for his master, Nicholson, and be prepared to step into his place whenever he shall vacate it.

The room was very well filled. In the royal box was the Margravine of Hesse-Homberg (late Princess Elizabeth), accompanied by the Archbishop of York, the Marquess of Ailesbury, the Lords Saltoun and Burghersh, Sir Gore Ouseley, Sir George Clerk, Sir

Andrew Barnard, &c.

* This will shortly appear in the MUSICAL LIBRARY.

written opera.

The overture, in D minor, and in two movements-an adagio and an allegro, is evidently by an élève of the modern German school. At first hearing it appears sombre, and, in truth, the minor key is too prevalent; but it improves on acquaintance, and will meet with great favour from the numerous admirers of recondite music.

No. 2 is, in our opinion, the most spirited, well-sustained huntingsong of modern days. It must be admitted that we do not now meet with much music of the kind, a fact which we hail as an indication of the moral improvement of the people, with whom the taste for the chase is certainly on the decline. But the song is the legitimate offspring of a drama, the action of which is supposed to take place in a semi-barbarous age.

There is more of elegance than novelty in No. 3, though there are some new and charming points in the accompaniment, and the whole is easy for the singer.

No. 4, an accompanied recitative and air, is a most masterly, beautiful composition. Hermann discovers that his captive, against whom he had formed unhallowed designs, is his sister! His horror at the crime he was about to commit is expressed in the recitative; and we call attention to the modulation throughout this, as well as to the fine, solemn adagio in E. The air, in E flat, is a mild, lovely hymn of repentance, addressed to the holy Virgin. We can bear testimony to this having drawn tears from the eyes of many, when sung-and most feelingly it was sung-by Mr. Phillips, at the English Opera-house.

Quite as effective as the former, though in a different style, and still more marked by originality of conception, is No. 5, a short, simple fragment, sung by Hermann (Phillips), disguised as a mendicant. The following passage is, as well as others, most striking:

VARIATIONS BRILLANTES pour le Piano, sur une Cavatine de LA STRANIERA de BELLINI, composées par L. NIEDERMEYER. Op. 18. (Chappell.)

This is an air in an opera by Bellini, brought out unsuccessfully at the King's Theatre. The variations are five in number, besides a finale, alla Polacca; and there is an Introduzione of very ordinary fabric. The variations are difficult, and really we hardly know what else to say of them. So little difference is to be traced in modern productions of the present kind, that, verily, the publishers might save themselves some expense were they to put new title-pages to whatever is from two to five years of age, and thus send forth the old sheets; for purchasers in

general would blindly buy, and not one in three would detect the trick put upon them.

AMICIZIA, GRAN MARCIA, composed by G. LIVERATI. (Mills.) A spirited, agreeable march, with trios and coda. We strongly recommend this to our readers for two reasons:-first, because it will be found to be worth the couple of shillings expended on it ;-secondly, and chiefly, because it is a kind gift from Mr. Liverati to a very old and respectable orchestral performer, unquestionably the first in his line, and irreproachable life, without being able to make any provision for who at a far-advanced age, and after having industriously passed a long himself and an only daughter, is now labouring under circumstances that have subdued his independent spirit, and rendered it desirable that his friends, as well as the admirers of musical talent, should make some little effort in his behalf. His desires are so moderate, and his wants so few, that a tolerably extensive sale of this publication will produce the means of affording him all the assistance that a modest person, of very frugal habits, can ask or require.

THE VOCAL SOUVENIR, for 1835, by Mrs. HENRY MASON. (J. A. Novello.).

Four Canzonets and one Duet are comprised in this publication, and add another proof to the many given within the last few years of the. progress made and making in music by amateurs. Each and all of these compositions would be highly creditable to an experienced pro-fessor; and many who are denominated musicians, who even hold a respectable rank as such, would find themselves taxed beyond their. means, were they called upon to produce any thing equal in design and execution to what has here emanated from one who has studied the art merely as an accomplishment.

The first, The Farewell, is a good air, with a rich and well-written accompaniment. The second, Think not of me in pleasure's bright... hour,' is a graceful melody, when taken slowly; but we beg leave to ask whether larghetto would not better have expressed the author's. meaning than andante? Doubts on such a subject will never arise when good sense shall prevail, and the metronome be referred to, as a matter of course. The third, The Song of the Bride, is gay, and very pleasing; and here the poetry contributes much to the effect of the song. But the latter suffers now and then by a misplaced pause, in the division of the word together,' for instance, at page 2. The fourth, a duet, is simple and easy in the vocal parts, somewhat less so in the accompaniment. The passage at Sweeter far than moon or stream,' (page 4) is good, and would have been better had the lower notes in the accompaniment been given to the second voice. The last, 'Ye burning stars,' has cost more labour than any of the preceding, and, as often happens in such a case, with less profit. The study and effort are too apparent. Nevertheless it is, technically speaking, cleverly written.

In future-for we hope to meet this lady again in print-we recommend Mrs. Mason not to carry the voice so high. In the present state of our concert-pitch, a, for general purposes, should be the boundary: even this is a note which ought to be sparingly used, and never held out.

THE CAMEO, containing SIX SELECT SONGS, of progressive compass, calculated to facilitate the gradual extension of the voice. The Poetry by the best Authors. (Chappell.)

The author of the present work has attained the object set forth in his title-page; these songs may certainly be made to answer the intended purpose, provided the design is to form a low voice. There is not much variety in the melodies, but they are exceedingly easy, and rather agreeable. Why not, however, have named the composers of them, if they are, as stated, selections? And we would also ask whether any good reason can be assigned for not letting us know the source of the poetry? We seem to recognise the airs, though they appear to be disguised; and as to the verses, they are quite strangers to us, though by the best authors.' We fear, therefore, that our memory begins to fail; or that our reading in poetry has been of a still more limited extent than we humbly supposed.

ANALYSIS of PRACTICAL THOROUGH-BASS, by EDWARD CLARE. (Purday.)

The multiplication of unnecessary books is an undoubted evil, and we consider this as an unnecessary book, it containing nothing that has not been said over and over again and often in a more methodical, better manner. In fact, unless the work before us is intended as a kind of syllabus, or a collection of propositions to be demonstrated by a master, we cannot discover what possible use any one can make of it. For those who already understand what is called thorough-base want not the information which the author gives; and such as are ignorant on the subject will not, without an able expositor, gain any satisfactory knowledge from his precepts.

The arrangement, too, is unfavourable to a learner; it is unsystem

⚫ SIGNOR MARIOTTI, of 37, Broad-street, Golden-square, the excellent and wellknown player on the trombone, who is now between eighty and ninety years of age.

atic and the rules, in type," are detached from the examples, which are in plates at the other end of the book.

In music, as in other sciences, there are few rules without exceptions; but Mr. Clare gives no exceptions. What then will be the surprise of a learner, on being told that the resolving the sharp seventh descending is highly offensive to the ear,' though he finds this very interval resolved, by falling to the flat seventh, in the works of every good composer? The general rule is quite orthodox, but it is obvious that the exception ought to have been stated.

The rule (page 8), that when any of the essential notes appear in the treble, the figures that should represent them need not be used,' cannot be admitted. Figures imply the whole of the harmony, including of course the upper part, therefore every figure employed in the representation of a chord must be invariably used. When the upper part is given, it is for the purpose of governing the progression of the melody, not in order to supersede the use of figures. It will, doubtless, be understood that we are now speaking of thorough-base only. If all the harnony be written in the upper part, it is not only unnecessary, but perplexing and absurd, to put any figures whatever over the base.

་

Consecutives are thus defined (page 9): Two parts moving at an equal distance from each other, and in similar motion.' If they be moving, and at an equal distance, the motion must be similar. This, however, is only a pleonasm. But, when the writer adds, all consecutives are forbidden by the strict rules of harmony,' we must beg leave to demur, seeing that consecutive sixths, and fourths, and thirds, are among the commonest and greatest beauties of harmony.

In the same page it is said, that all dissonances require to be blended with consonances, to give satisfaction to the ear.' Every composition in two parts is in contradiction of this. Again, it is said (ibidem), that all discords should be prepared, if possible. Surely the author is aware that the chord of the seventh, and its derivations, are continually used without the slightest preparation. In the very same page we are told of an imperfect common-chord! A common-chord must be perfect: the perfection of the fifth is essential, is the sine quâ non, of a commonchord. The chord of B, D, F, to the base B, is not a common-chord, but the second inversion of the seventh, one note being omitted.

These, and a few others, are, most probably, oversights; but in all didactic works the utmost precision is of vital importance, and in such cases haste or inadvertence cannot be admitted as an excuse for error.

THREE BRILLIANT WALTZES for the PIANO-FORTE, composed by W. B. WILSON. (Cocks and Co.)

Allemandes, courantes, passacailles, and chaconnes, once had their day: the wheel has turned, and brought quadrilles and waltzes uppermost. What will follow it is impossible to say, but the probability is, that the ancient dances, a little altered, must return, and that the next generation will tread in the steps of their ancestors. As it is now utterly hopeless to expect that a dozen young people of both sexes can assemble in an evening without speedily falling to waltzing, there must be a fresh supply of music kept up, to meet the demand, and the better the music the more bearable the nuisance of always finding the drawing-room in a bustle, if not in a dust, from tea-time till the hour of retirement for the night (more properly than ever called the time for rest) arrives. Cela étant, we are glad now and then to meet with good compositions of this kind, such as are now under notice, which do not partake of the triviality that is so usual, and yet are far from difficult, whether to read or to execute. The three waltzes are detached, forming separate publications. The first is in B flat, the second in E flat, the third in a flat, and are all intended, we conclude, to be performed consecutively, when the waltzing is briskly kept up.

HARP.

These were interspersed with several duets, trios, and arias, from L'Enlèvement du Sérail, Figaro, and Tito, and the whole concluded with, the finale to Cosi fan tutte, excellently performed, which excited the lively desire of seeing that opera again revived on our stage. On the same evening M. Ries opened a second series of quartets, and met with general applause. The composer C. F. Müller, a Dutchman by birth, has been named. by the Brazilian government Court-Composer to the Emperor Pedro II. VIENNA.

The Musical Unions gave their first grand concert on the 30th of November. It was well opened by Kapellmeister Lachner's excellent first symphony. That gifted composer is at Mannheim, and though the composition went off well, there was cause to regret that he was not present to conduct. A chorus from Assmayer's oratorio, Das Gelübde (the Vow), was well sung. A dilettante performed with great taste an adagio and rondo on the violoncello. To say that the overtures to Ariodante by Mehul, and a chorus from Handel's Solomon, met with applause would be superfluous, as their merit is too well acknowledged to warrant a different reception.

We cannot help mentioning some private concerts which have taken place here, though it may not be strictly the etiquette to record such things in public; but we were so charmed by the excellence of what was given, and the real delight with which it was received, that we think it a want of duty to remain silent. The music, strange to say, was neither by Rossini, nor Vaccai, nor Herz, nor Donizetti, nor Hünten-no! but by Beethoven, the immortal Beethoven! Here, in a circle of about 150, are to be found all the real admirers of the great master; and the manager of the concert deserves the warmest thanks for selecting such pieces as would remain unnoticed by an audience less select.

The 14th of December was distinguished by the Union's second grand concert. One of Haydn's symphonies was followed by an air from Tancredi. We marked the contrast. A pupil of the Conservatorio proved himself a genuine master of the oboe. The whole ended with Reissiger's overture to Yelva and Lachner's oratorio of Moses. The Union also on the 21st of December commenced a series of Pupil Concerts. These have a doubly beneficial effect; by inspiring the students with courage requisite for performance in public, and by giving the public itself an opportunity of judging of their progress. This first concert went off exceedingly well; one young violinist in particular showed a talent far beyond his years, in the execution of some variations by Mayseder. On the same evening Mile. Amelia Hirsch gave a concert, in which she displayed great skill in piano-forte playing; while an overture by her instructor, Payer, did great honour to its com

poser.

The Musical Society of the Empire gave us exquisite delight by the performance of the whole of Beethoven's music to Egmont, while an elucidatory poem by Mosengeil, adapted by Grillparzer, was recited. The public were so charmed, that they desired a second performance; and this accordingly took place. The orchestra showed itself worthy of the great work it had undertaken, and even seemed inspired by the spirit of the composer. M. Anschütz deserves mention for the correct style in which he delivered the elucidatory poem. The second Pupil Concert was held on the 16th of January. Haydn's symphony in D was admirably performed. Hummel's Te Deum was correctly executed both by chorus and orchestra. There were also a solo on the violoncello, of which the introduction was the best part; an overture to an opera by Ries, 'Die Raüberbraut,' which was rather a chaotic composition, though excellently performed; and the Credo from Beethoven's first mass, which was too difficult for the occasion, and consequently did not give satisfaction. M. Benesch gave a concert on the same day. In a concertino and variations he showed himself master of his instrument. His wife also shone as a pianist; chiefly however in the

FOREIGN MUSICAL REPORT.
BERLIN.

A VARIETY of musical incidents distinguished the last week in January.
At M. Möser's soirée were performed one of Mozart's symphonies, the
overture to Coriolanus, and Spohr's symphony, Weihe der Töne (The
Consecration of Sounds). Considering the difficulty of the music, the
execution was admirable; but the applause was but moderate.
the 26th M. Möser solemnized Mozart's birthday, as is his annual
custom, by a concert, in which the instrumental pieces were the sym-
phonies in c major, the quintet in a major, and the concerto in D minor.

On

The sisters Goldberg gave a concert on the 4th of January. Their brother Joseph (just thirteen years of age) possesses extraordinary ta lents, which have been put in the right way by his instructor Jansa. The boy plays in a chaste style, and, considering his age, even with mind. His sisters sang only foreign compositions. The concert was well attended, and the applause great.

Josephstädt Theater. On the 18th of December was performed Kreuzer's opera, Der Taucher (the Diver), which was successful, Mad. Kraus Wranitzky played at this theatre, and to the approbation of all, introduced her splendid bravura. Whether this be exactly fitted for the stage, we will not here decide. A new singer, M. Mellinger, made his appearance, and excited much attention. His voice is excellent, and will yet improve; his acting is miserable. Surely acting is part of the qualification of a dramatic singer?

Hofopfern Theater.-Gluck's classical opera, Iphigenia in Tauris, was given on the 17th of December. We are happy to say that this fine, never-old composition was rewarded with a crowded house, and the singers with the greatest applause. A little comic opera, Die Quäckerfamilie (the Quaker-family), with music by Neuling, appeared for the first time on the 2nd of January; it went off without any particular eclat, as is the fate of most operellas. The part of Robert the Devil has

acquired fresh lustre from M. Wild's admirable performance; indeed, the whole opera was gone through with success rarely to be equalled. Der Wahnsinnige auf St. Domingo (the Madman at St. Domingo), a new opera, has been produced here. The music is of the most commonplace order, and nothing but M. Wild's performance could have given it the slightest interest. DRESDEN.

M. Rolla gave his concert on the 12th of January. The pieces performed were the overture by Stunz, which had often been heard before, but on account of its interest and skilful management is always listened to with pleasure; a concertino by Pechatschek, played by M. Rolla; extremely difficult, but admirably performed; an aria by Rastrelli, sung by Mad. Schröder-Devrient (her execution and feeling deserve the highest praise-the composition itself is not without merit); variations for two violins by Maurer, played by M. Rolla and M. Winterstein. The composer of this is well known, and the piece was equally pleasing to the violinists and the audience. A young man of so much zeal and talent as M. Winterstein is seldom heard; both the performers deserved, and we are happy to say received, the most tumultuous applause.

The second part opened with an Aria by Bellini, sung by M. Zezi. This was admirable as far as the execution was concerned, but we regretted that something better had not been selected: it was from La Straniera, and only adapted to the stage. Then followed, a Divertimento for the Violoncello by Kummer, played by M. Schlick. We have cause to regret that he is one of those modest persons who appear in public as seldom as possible, and thereby deprives the public of considerable pleasure. His playing is of the very first-rate order: he belongs to the Kummer school, but shines less in the soft than in the energetic. A Duet from Rossini's Semiramide was beautifully sung by Mad. Schröder-Devrient and M. Zezi. The whole concluded with a Fantasia by Maurer, played by M. Rolla. This is the composition of a master, and was performed in a masterly manner.

The friends of music were delighted on the 12th of December by the excellent performance of the finest parts of Mozart's Idomeneo, and some pieces from Cherubini's Faniska. Idomeneo is inferior to none of the master's operas in richness of melody: the effect of the choruses is most ravishing, and the recitative of the greatest dramatic truth. The execution was admirable; and M. Scheble, the director of the Cecilian Union, deserves the most grateful acknowledgment for the care he has bestowed in getting up such a performance. M. Schmetzer contributed much to the success of the whole.

Bellini's opera Norma was performed here at Christmas, at a great concert, with a double orchestra, and produced an imposing effect. Mad. Fischer-Achten, Mlle. Halbrieter, MM. Schmetzer and Fischer sang the principal parts. On the 7th of January the opera was brought on the stage for the benefit of M. and Mad. Fischer. Another new opera, from Scribe's Visite à Bedlam, composed by M. Rosenhayn, a young musician of this place, has been received with favour.

BRÜNN.

Mile. Stetter has been singing here, and met with general applause. We have also had a great Musical Festival, for the benefit of some unfortunates who have been burnt out; it was successful.

PRESBURG.

A Musical Festival has taken place here, at which 192 members united their efforts to perform Haydn's noble Creation. The Churchmusic Union, which has always shown its predilection for classical compositions, as well as the very correct orchestra, deserve great praise, and the thanks of all who love what is good and beautiful in music. STUTTGARD.

We have been much gratified by Adolph Schimon, a young pianist, We imagine that there must be some mistake in this:-raise a sum in frugal Germany to erect such a building! (Editor)

The concerts here have been ordered badly enough; two have been held per diem, in which were repeated again and again the modern insignificant music, with now and then a piece from Beethoven, the latter not at all suiting the public taste. M. Berlioz has given several concerts, the performers of which were chiefly Germans; but alas! the French will prefer Bellini to Beethoven, and Berlioz is not the man to set them in the right way. We must not, however, omit to mention the third concert given by the Conservatoire, in which the Credo from Beethoven's last mass, the same composer's symphony in c minor, and Mozart's overture to the Zauberflöte, were played in the highest degree of perfection.

Der Freischütz has been performed at the Theatre Ventadour; it was well filled, and has made a kind of epoch. Bellini's Puritani was given for the first time on the 23rd of January, and the theatre was crowded. The success was great, and the singing of Tamburini, Lablache, Rubini, and Grisi, met with general applause. The scene of the opera lies in England, after the death of Charles the First.

NAPLES.

Donizetti's latest opera Buondelmonte has been produced here without much success. Some pieces were, certainly, effective, as far as concerns the music, but the libretto was intolerable. We have had an opera by Vignozzi, The Bride, performed at the Teatro Fondo, which was eminently successful; and another at the Teatro Nuovo by F. Raninhoph, called Love and Confusion, which was decidedly the reverse:

The celebrated pianist, M. Döhler, gave a concert here, and shewed that his fame had not been ill-gotten. He met with universal applause; and his portrait has been struck in copper. He departed on the 10th of January for Lucca.

Frezzolini has made no great hit here, although a part in The New Figaro was composed expressly for him.

On his Majesty's birthday (the 26th of January) Ruggiero, a new cantata by Curci, was performed at the Teatro San Carlo.

VERONA.

On the 25th of November died, aged 76 years, Don Luigi Beltrame, better known among the admirers of church music by the name of Guido. Many of his pupils have done credit to his name, and have since united with others in performing a funeral solemnity composed of pieces from his own works.

PIACENZA.

Paganini, on the 10th of December, gave a concert on the very same boards where he almost began his brilliant career. Of course everybody was enchanted.

opera,

THE DRAMA.

KING'S THEATRE.

ON Thursday the 16th ult., the gloom which the wretched state of the company, the troupe, diffused over every part of this house, was, so far as performers were concerned, dispelled. ROSSINI's finest semi-serious La Gazza Ladra, was performed; Fernando, TAMBURINI, Giannetto, IVANOFF, Podestà, LABLACHE, Pippo, Mlle. BRAMBILLA, and Ninetta, Signora GRISI. We cannot imagine a more complete gettingup, as regards principals; and the result, the choruses only excepted, was almost excellence itself. The only drawbacks-if such trifles may be so considered-were, that LABLACHE could not look vicious enough for the salacious, vindictive magistrate, and IVANOFF wanted a little more animation, more of a true lover's warmth. If GRISI has not the power to rouse him, his heart must indeed be surrounded by a Siberian atmosphere. He, nevertheless, sang his part delightfully. His voice is so musical, his intonation so perfect, and his manner so pure, that as a vocalist he can hardly fail to please universally. The chorus was very weak and faulty: the band efficient, led by MORI, who succeeds SPAG

NOLETTI.