boat-builder at Shields, but dedicated all his leisure hours to his violin. When his term had expired, he determined to devote himself wholly to his favourite art, and soon became able to lead the Newcastle concerts. In this situation his talents introduced him to the notice of the celebrated Avison, author of the Essay on Musical Expression, who gave him instructions in the theory of composition, the benefit of which was soon manifested in an anthem composed by him, and performed at the consecration of the new church at Sunderland. This at once stamped him as a man of genius; the dignitaries of Durham Cathedral invited him to their tables, and his reputation was made. He now undertook the management of the concerts at Scarborough, then a fashionable place of resort, and becoming acquainted with some of the leading performers of the King's Theatre, was persuaded to accept an engagement in the orchestra of the Italian Opera House, and there filled the situation of principal viola nearly twenty years. He first appeared as a dramatic composer in 1778, when he set The Flitch of Bacon, written by the Rev. Mr. Bate, afterwards Sir Henry Bate Dudley, Bart. This led to his being appointed composer to, and musical manager of, Covent Garden Theatre, which responsible office he long filled, and produced most of his operas during the period that he held it. In 1791 Mr. Shield made a tour through Italy, with his friend Ritson, the well-known editor, but renewed his engagement at Covent Garden the following year. He now published his Introduction to Harmony, a second edition of which, with an additional volume on Thorough-base, appeared in 1819. On the death of Sir William Parsons, in 1817, the Prince-Regent, unsolicited, appointed Mr. Shield to succeed him as Master of His Majesty's Band.* Mr. Shield was one of the original members of the Philharmonic Society, though he never took any very active interest in its concerns. This ingenious, elegant composer, and most excellent and amiable man, died in 1829, leaving a widow, but no children; and his remains were deposited in the cloisters of Westminster Abbey. While sweet music, such as that in The Poor Soldier, Rosina, Robin Hood, The Woodman, The Farmer, &c., &c., shall be appreciated,--so long as airs having the merit of The Thorn, The Heaving of the Lead, O! bring me wine,' and Down the bourne and thro' the mead,' shall be listened to, the name of Shield will never be forgotten. SONG-(Page 102). The Parting. Let one fond, parting kiss, ere for ages we sever, Shall it ne'er be pluck'd hence, love?' believe me, ah never, And e'en in the desert a banquet will spread. Will cheer me in absence from thee, home, and friends. These verses were written by the late FRANCIS TOWNSEND, Esq.' one of the Pursuivants of the Heralds' College, a man of considerable learning and talent, and a real connoisseur in music. They were adapted by him to an air in the opera of La Straniera, composed by VINCENZO BELLINI, of whom we only know that he is the living and fashionable composer of Il Pirata, La Sonnambula, &c., and has certainly produced some very pleasing melodies, of which the present is among the best, though he seems unequal to the composition of a whole opera that shall have any chance of maintaining its ground beyond two or three seasons. *When Mr. Shield attended at the Pavilion to express his gratitude, his Royal Highness interrupted him in the midst of his acknowledgments, by the flattering words, "My dear Shield, the place is your due; your merits, independently of my regard, entitle you to it."'—(Harmonicon.) ENGLISH COMPOSERS VERSUS ENGLISH OPERAHOUSE. A correspondence appeared in The Times, in May, which attracted some notice from the musical public, and may lead to important results as regards our native composers. So many are interested in this matter who had no opportunity of seeing the journal in which the short controversy was published, that we willingly comply with a correspondent's request, and reprint it in our columns. It seems to be now necessary that English composers should make a stand, should combine, and even address the throne for permission to open another theatre, if no relief is likely to be afforded them; for it is quite preposterous to suppose that a man of talent, a man whose works are worthy of public notice, will exert his abilities and devote six months of his time, the shortest period that he ought to allow himself-in order to produce an opera, with no other hope of remuneration than that which he may derive from the sale of his copyright. No doubt plenty of persons may be met with to offer their compositions on any terms, but of these how many will be found qualified for the task that vanity or want tempts them to undertake? Probably not one. Or should, peradventure, one appear, is it likely that, after he has made himself a reputation, he will ever again render his services on such unprofitable, such humiliating terms? It may be argued, that our good old composers had no compensation from the theatre for their operas; but let it be remembered that the elder Linley, Shield, Arnold, Storace, and formerly Bishop, held the office of musical manager, and as such received a handsome salary. Also, that it was their privilege to set every musical drama produced in the house to which they were attached. In those days, too, publishers paid a good round sum for the copyright of an opera. When competition was permitted, the musical manager soon found himself in a different situation, and the office, in its original and beneficial state, ceased to exist. Composers certainly ought not to require to be placed in a more favourable position than authors, but their reward should be at least as great, considering of what stuff modern lyric dramas are generally made, and their remuneration in the event of success ought to be as certain, and as fixed in respect to amount. Till some regulation of this kind is established, it will be in vain to expect a permanent supply of good English operas. One now and then, as an exception proving the rule, may be produced, but, as is shown in the case now brought before the public, the successful composer will find that he has no temptation to exercise his talent a second time. The following is the correspondence. SIR,-I perceive by the play-bills that the opera of the Sonnambula is about to be produced at Mr. Arnold's English Opera House. The national feeling and critical acumen evinced in the articles upon the native operas, which successively appeared in your journal, produced the hope that Mr. Arnold was earnest in his professions to abide by the principle of his licence, and to devote his theatre to that it was originally intended for an English Opera House. The cant that an Englishman did not possess sufficient genius to develope a consecutive drama, with appropriate melodies, and corresponding harmonies, one short season sufficed to crush. The Mountain Sylph continues to delight crowded audiences. Mr. Bishop was originally requested to compose music to Mr. Arnold's alterations of Nourjahad. Remuneration was demanded. The answer was, I never will, under any circumstances, set the example of paying composers for their works; I can procure foreign scores for 41. or 5l." Now, what must be the inevitable consequence of this liberal principle? Composers of the first class cannot devote eight months in setting an opera, with the delightful certainty that Mr. Arnold will not depart from his principle, with the additional prospect of an incomplete band, and an inefficient chorus. I am aware that tyros may be found willing to give their works; and Mr. Arnold will, from principle, accept them, and thus make a case, that, from the paucity of talent in native composers, he is forced by principle to procure foreign operas. Now, can it be expected that composers, whose works have stood the test of ever-varying popularity, can be expected to present their labours on the shrine of Mr. Arnold's principle? The music of Sylph has never received one shilling from the theatre. The answer Nourjahad was written gratuitously. The composer of The Mountain may be, there is the musical copyright; the fact is, that in the present state of the trade, there is not a house of business that would venture 2001. for any copyright, however popular it might be. The effect emanates from the same cause. Ex. gr. a foreign work is produced at the English Opera House. Mr. Hawes, from his position as musical publisher and musical director, will naturally prefer foreign to British produce. There is no bonus to be paid for copyright; hence it becomes a policy in the musical director of the English Opera House that foreign works should supersede every thing of native produce. This is the principle of at once putting the axe to the root, and crushing the efforts, and literally starving out both master and tyro. The first cannot live on air; the latter, by having his premature efforts produced, which the improved musical taste will condemn, will perish at once and be no more heard of. Should Mr. Arnold persist from principle in bringing forward foreign operas at his theatre, a step destructive to the interests of native talent,-if Mr. Arnold will not open his theatre from principle, because foreign operas can be got for nothing, I boldly affirm he, to all purposes, forfeits his licence, and instant means should be adopted to have a bona fide English Opera House, conducted upon the same liberal system as the Academy at Paris, feeling assured that the British musical public will coalesce in an effort the object of which is to encourage and protect native musical genius from the withering effects of a monopoly, the principle of which is to crush every honourable effort of the British composer. May 9. I am, sir, your obedient servant, A VERY POPULAR, BUT ALMOST STARVING, DRAMATIC COMPOSER. (Times, May 12.) SIR,-As you have inserted in yesterday morning's Times a letter containing direct charges against the management of the English Opera House, I know that I have only to claim from your justice the right of immediately and fully replying to them. I claim to have made no profession which I am not anxious to act up to in its fullest extent; but my professions are known, and let subsequent facts speak for themselves. The assertion of your correspondent, as to the answers made to Mr. Bishop, is utterly false. No conversation ever passed on the subject; the negociation was entirely in writing, and is extant. The answer to Mr. Bishop's unprecedented demand for composing an opera was simply through a third person-" I have shown your proposals to Mr. Arnold, who merely remarked, I have no reply to a proposition which I consider an insult to common sense *." I accept the works of tyros? Yes; in a dramatic sense, both Mr. E. Loder and Mr. J. Barnett were tyros when I last season produced their works. Nourjahad was Mr. Loder's first dramatic attempt, and I venture little in asserting that Mr. J. Barnett's name was only known to the public as the composer of some very clegant airs, and I do not recollect one drama by which his name acquired distinction or even notice. Thus my thankless attempt to establish English music on the stage produced the fortunate result of introducing to public notice and to fame at least two tyros. The composers, who declare that music should at this moment be remunerated by the proprietors of the theatres, are somewhat in the condition of a husbandman, who should refuse to sow seed for an uncertain hope of harvest. English music is not yet sufficiently attractive to enable a management to pay for it. Let a school be formed, the opposing cant eradicated, and native art become a fashion, and the composers will not have to solicit remuneration; it will be offered to them. But they should not rip up the goose for the sake of the eggs:-they should not negatively and positively throw obstacles in the way of an establishment, the success of which (if any) must become their success, or indulge in unfounded attacks, because they are not disposed to encounter the toil, which genius of every kind and in every age has had to contend with. I produce the Sonnambula for these reasons;-First, to afford a native female artist of great talent, and even higher promise, an opportunity of singing music, in which she has already made herself proverbially eminent; and surely there are other interests in so complicated a concern as a theatre, to be considered as well as those of English composers. Secondly, I produce it, because I have no opera complete in the house, by an English composer, except the one underlined in my bills, and in actual preparation by Mr. Rodwell; and I am not sorry if this event collaterally tends to oppose the system of reducing the national drama of the two patent houses (so called) to one company, expressly engaged for the support of one foreigner, after fulfilling very little more than two-thirds of the season. As to the composer of The Mountain Sylph, he actually did receive money from the theatre, by means of an improvident bargain, indeed, with the author of the words, whereby the literary and musical profits were equally shared; but that the bargain is a bad one, clearly proves that a composer is better paid than a writer; and when I state on the authority of Mr. Hawes, the publisher, that the ultimate gain of the composer upon that work, supposing him to have made no such bargain with his author, must probably be from 300l. to 400., and possibly much more, I venture to say that eight months of the life of a man devoted to his art, even if it should take so long a period, and called by the exercise of it into fame, are not very poorly remunerated. The attack upon Mr. Hawes, I feel to be particularly unhappy and uncalled for. Admitting that it were his interest that foreign music should be performed here, which I do not perceive, (for a good copyright must be more pro This is rather rough language. Every composer has a right to ask what he pleases for his services, and every manager has a right to comply or not with his demand; but courtesy requires that an answer be sent to terms proposed. (Editor.) I have it from distinct authority that a party is to be formed to oppose the first representation of the Sonnambula here, and that this piece of enmity is to arise from the British Musicians! I fearlessly leave my cause with the public. I know that I am now acting, and to the best of my power have acted, for the interests of national music. The production of Der Freischutz, and the series of foreign operas which followed it, called into existence the energies of English composers the expense, time, care, and trouble, devoted to subsequent native talents have fostered them. That a very popular dramatic composer' should be almost starving', is no reproach upon me.-If very popular, either there is no remuneration for popularity of this sort, and I cannot therefore afford to give it, or, having enjoyed the reward of popularity, the possessor has used his chances improvidently. The appeal he has made is neither graceful nor modest-least of all true or friendly to the cause; but if he can find a well-constructed drama, and can add to it popular airs, and masterly harmonies, I think he will find that its production at the English Opera House would enable him to put as much money in his purse, as would supply the decent necessities of an artist for a year to come, at all events. With this I may leave him. I am, Sir, your obedient servant, SIR,-I shall only reply to Mr. Arnold's letter so far as regards his assertions as they apply to myself. The allusions generally levelled at the paucity of existing musical talent in this country, I do not feel myself called upon to combat. The public will judge whether his assertions are borne out by the fact. Mr. Arnold applies to me the epithet tyro.' Now if his memory still serves him, he will find that so far back as 1825, I produced a musical piece called Before Breakfast, and many others at his theatre; and during the last ten years, I have composed music to more than thirty dramas, many of which were operas, viz., the Carnival at Naples, the Pet of the Petticoats, &c., independently of having been composer and director to Madame Vestris' theatre. This portion, therefore, of Mr. Arnold's letter, which states that I was a tyro in 1935, will be appreciated in the same ratio as the truth and delicacy by which it was dictated. That I have been paid for the music of the Mountain Sylph, I utterly deny. The strongest evidence I can produce, is an extract from Mr. Arnold's own letter (March 20, 1834), to the author, during the negotiation for its production. On receiving back the improved MS., with a letter written by Mr. Barnett, renouncing all claims for remuneration from the theatre or me for his music, I shall consider our bargain concluded.' I now call on Mr. Arnold, or his treasurer, to prove by receipt, or any other document, that I received a shilling from the theatre, or that I was in any way connected with the pecuniary arrangements of the Mountain Sylph. Mr. Arnold's simile of the Husbandman and Harvest,' without wish ing to detract from the metaphor, is singularly unhappy, when applied to non-payment of composers, for were the husbandman convinced, however excellent the crop, that there would be no market for its sale, would he be induced to bestow his labour on the cultivation? I should think not. Mr. Arnold complains that his attempt to establish English music has been met by ingratitude. I have no hesitation in saying that, but for the determination of English composers to counteract the effects emanating from Mr. Arnold's principle of not producing English works, and to procure a licence for a genuine English Opera House, neither Nourjahad, nor the Mountain Syiph, nor any but foreign works would have been produced; their production was a sop to the Cerberus, and to crush for awhile their well-combined efforts. I deny ever having communicated my intention of composing an opera for Mr. Arnold's theatre gratuitously; how could I in justice to myself do so, when I was distinctly assured that composers would not be remunerated; for however devoted to my art,' I possess not the secret of existing upon 'air?' The only means to get at the eggs,' is to rip 'the goose.' up The futile excuse for bringing forward the Sonnambula, because there Had was no English opera ready, is a corollary from a wrong datum. the manager acted with common justice to native composers, the dilemma would not have existed. As to the sale of the music of the Mountain Sylph realizing from 300l. to 400l., I shall be most agreeably disappointed should such be the case. I can only state, from the trifle I have received, I can have no moral reason to expect even a moiety of that sum, for at this moment, after repeated letters to Mr. Hawes for a statement, I have not succeeded in procuring the debtor and creditor account. I am now neces sitated to commence legal proceedings, to arrive at the knowledge of really what I am to expect. I am, Sir, your obedient servant, JOHN BARNETT. (Times, May 16th.) SIR,-Having allowed my opponents the opportunity of attack, it is but fair that your columns should be open to my defence. I am well aware of the tedious length to which such disputes are likely to run, but you have given them the first word, and I trust you will allow that I have a right to the last. I will answer the points of Mr. Barnett's somewhat intemperate letter seriatim, but briefly. I stated that the composer of The Mountain Sylph received remuneration from the theatre, not directly, but by means of an improvident bargain with the author, by which literary and musical profits were to be equally divided. Where is the reply to this? I find only an unworthy evasion. He [who?] denies what I never affirmed that any direct arrangement was made with himself to pay for the music. A composer must have a drama which will in a great measure be sacrificed to the musical effect. Where is the payment of the author to come from? From the composer himself? In addition to the extra expense, time, trouble, and risk of operas, is a manager to have the disadvantage of doubling his payments for the piece? Mr. Barnett says there is no market for the sale of his productions. Are there no musical publishers? And has it been the custom to seek any payment for English music, except from them? And does he expect me, at the commencement of a severe struggle in favour of his own interest, to take upon myself a new burden of expense? Mr. Barnett, on his own showing, was entitled by bargain to receive nothing from the theatre for the Mountain Sylph. Bearing this fact in view, I beg leave to request your attention to the following letter; and to ask whether it does, or does not, contain the offer of another opera, upon what may fairly be construed similar terms: "29, Soho-square, Sept. 29. "MY DEAR SIR,-Allow me to present you with a copy of the Mountain Sylph, which I have taken the liberty of dedicating to you -first, because you were my earliest patron, the recollection of which will always weigh gratefully upon my heart; and, lastly, because, at the risk of great losses to yourself, you have most magnanimously taken up the cause of English music, and have produced the first legitimate English operas in your theatre. 66 I only hope that the English composers will profit by the advantage they have derived by your opening a field for them to exercise their talents in-for myself I may venture to speak. I am at work, and hope Ι to produce something that shall not diminish the good opinion you have of, ་་ "My dear Sir, yours, "S. J. Arnold, Esq." "JOHN BARNETT." I also request your readers to look at Mr. Barnett's highly flattering dedication to myself of the music of the Mountain Sylph, and at the advertisement which succeeds it, in which he distinctly calls that opera his "first humble effort-his first attempt at legitimate opera," and then to determine whether I was reprehensible in calling Mr. Barnett, before its performance, a tyro-a term by which I certainly never intended to convey offence. I am, Sir, your obedient servant, S. J. ARNOLD. (Times, May 18th.) MUSIC AS AN AMUSEMENT TO THE LOWER ORDERS. To the Editor of the Supplement to the Musical Library. SIR,-I will make no apology for offering a remark on an article in a recent Number of the Supplement to the Musical Library, on Music as an Amusement to the Lower Orders,' as you have therein said one or two things which it appears to me have been in some degree suggested by my own observations on the church-music of Haydn and Mozart. Thus you observe that, To the superiority of Catholic church-music over our parochial psalmody is to be attributed the superior aptitude and taste for harmony so conspicuous in Catholic countries.' Now it is not so much to any superiority in the music of the Catholic, to that of the Protestant church, that this better taste is to be attributed, (for few things can, in my opinion, be more beautiful than much of the psalmody of the Established Church,) as to the more desirable forms in this respect of the Catholic worship, which have been retained in the cathedrals, and which admit of a greater quantity as well as variety of music, and this moreover without the necessity of any departure from the most rigid simplicity, which, whatever may be the ornate and florid manner of much of the music of the Catholic church, is abundantly proved by the style of our own cathedral services. No one, for instance, that has ever felt the power of those beautiful chants and chorâls that constitute so large a portion of the cathedral service, but must at once be aware of what they are capable of effecting, in training the public ear, and early conveying musical impressions of the simplest and most beautiful kind. Of course, however, no such proceeding as their general introduction into public worship could take place, until it be deemed expedient to appoint another set of functionaries to the administration of the vocal portion of it, than those who at present have possession of the churches. Let it ever be remembered, however, that it has been mainly, perhaps solely, to the judicious retention of these and other forms of the ancient church, in the cathedrals, that England is indebted for its eminence in that style of music in which alone it can fairly challenge a comparison with the great masters of Italy and Germany. It is an undoubted fact, at the prevailing ignorance of which one cannot but wonder, when its importance, and the gratification it is so well calculated to afford to the national pride, are considered, that from the English church-writers it was that Handel drew so much of his deepest inspiration. This is very well known to all whose knowledge enables them to judge. The rest may be referred to the old anthems and cathedral services, particularly to those of Dr. Croft, where the student will discover the germs of many of Handel's finest choruses. It is said that when Mr. Wesley was reminded of this resemblance, he replied, that Handel had made a diamond of what he had found a pebble only, an observation in which I suspect he will get few to concur; for what sort of a 'pebble' that must have been which Handel deemed worth his while to convert to a diamond, the public may be very safely left to conjecture. In the mean time we are informed by the press, that Merry England is written down an ass from St. Petersburgh to Lisbon,' to which flattering appellation it appears, from the same authority, there is nothing for her but to submit and have her pocket picked into the bargain*;' to which comfortable alternative she may, I think, fairly demur, while she has such a fact as the above to throw in the teeth of her critics and scorners. Again, you observe that The blame (of our degeneracy) rests chiefly on the police laws, and on the harsh manner in which they are frequently administered. These, rigorously interpreted, as they too often are by the magistrates, virtually forbid the innocent recreation of music, by refusing licences to such houses as provide it for the amusement of their customers, &c.' This can at most only apply to the lower classes, whereas the imputed deficiency pervades the whole frame of society. Waving this, however, I would ask how it has happened that no laws were ever required to restrain the labouring classes from holding mechanics' institutes and literary societies in the public-houses? and wherefore it is that musical knowledge alone can be inhaled only with the fumes of gin and tobacco? for until this can be satisfactorily shown, the policy of relaxing the laws which prohibit music in the public-houses may, I think, at least be questioned, especially when it is further considered, how ready most people are to avail themselves of any plausible excuse for the indulgence of a vicious habit. Allowing the desirableness, however, of removing these obstacles to knowledge, the difference must be sufficiently obvious both in the nature and amount of the musical instruction to be obtained in public-houses, and that to be derived from an habitual attendance on the cathedral service, and a knowledge of its simple and impressive effects, imbibed with the earliest impressions of infancy; for who will deny the influence of these in forming the taste as well as character? and thus, from the nature and extent of its hold upon the public mind, it is that so much might be reasonably anticipated from the church. Music-meetings and musical societies of all kinds, whatever may be their reaction upon public feeling after their establishment, are to be considered as the offspring rather than the father, as the effect rather than the cause of the diffusion of taste. It is the moral obligation so generally felt of an habitual attendance on public worship from childhood upwards, that gives to the church its peculiar power of becoming the parent of musical knowledge. To maintain, therefore, that public taste could possibly long remain in its present degraded state; that the noises that go by the name of street-music, the yellings in public-houses, and the shouting in drawing-rooms, could coexist for any length of time with the general restoration of the choirs, is to contend that light and darkness are identical. Nor can it be denied, if indeed music have the 'humanizing' character which has been claimed for it, that public morals as well as taste must be benefited by the change. You maintain that, acknowledging the musical aptitude of catholic countries to be attributable to the superiority of catholic church-music over our own,' this cannot account for our notorious inferiority to the Lutherans and Protestants of Germany.' But then the Catholics and Protestants bear nothing like the proportions to each other in this country that they do in Germany; and hence the superior knowledge of the German Protestants may be more readily accounted for from the reflected light upon this subject thrown from the catholic church, more especially as, it would seem, you are not prepared to deny their inferiority to their Catholic brethren. Let me remind you, moreover, that for myself I never contended that the musical degradation of England was to be attributed solely to the events and facts I have referred to; that they afford one very material clue to it, however, it will, I think, be difficult to deny. Yours, &c. S. E. New Monthly Magazine. nearly the present period. His voice is a smooth, musical barytone; his style is pure, if we may be allowed to judge from his present performance, and we know that he is an excellent musician. Mr. Balfe appears to us to be destined to occupy an important station as a vocal performer. Avison's concerto, which abounds in sweet melody, was executed in a most appropriate manner, a manner peculiar to these concerts. The madrigal of Morley always has charms for those whose tastes. have been formed in a good school, and remain unsophisticated. In Mozart's magnificent aria, La Vendetta,'-of which Rossini's 'La Calunnia' is so excellent an imitation-Signor Lablache displayed all his power of voice, and his judgment as a singer. A very interesting concert ended well with the grand chorus from Samson. HANDEL. PERGOLESI. AVISON. T. MORLEY. MOZART. Song, HANDEL. Song, Signor Lablache, La vendetta,' (Le Nozze di Figaro.) Chorus, Fix'd in his everlasting seat,' THE Queen, accompanied by the Landgravine of Hesse-Homberg, was present at this concert, and obliged to stand through the toooften-repeated ceremony of God save the King.' Like a cordial, this hymn is excellent on certain occasions, but, as is the fate of all cordials, loses its efficacy by being too freely used. The anthem, written for the coronation of George II., went off remarkably well. Its melodies, though bearing the marks of age, are yet very natural and pleasing. In the grand scena from Don Giovanni, Madlle. Grisi was both tender and energetic, but occasionally forced her voice till it became not only too loud for the place, but also harsh. She generally seems to forget that the area of the King's Concert-room is not one fourth that of the King's Theatre.Here, in cool grot' would have been perfect, had the upper voice not triumphed too much in its power. In a glee all should be of one mind and of one strength; if any part affects independence, or preponderates, the union is dissolved, the charm is broken. Signor Lablache's Non più andrai' was quite delightful his was the happy medium between the tameness and excessive vivacity with which an operatic air is sometimes sung in an orchestra. The trio of Handel was admirably played by Messrs. F. Cramer, Lindley, and Dragonetti. The Spartan Glee,' as it is called-though we doubt whether Lycurgus would have recognised it is a curious and pleasing composition; but the parties were not quite agreed: the three tenses, the past, present, and future, differed almost as much in the glee as they do in the grammar. The second scena of Mozart only wanted a little infusion of tenderness in parts of it, to be every thing that could be wished. In nicety of execution and in correctness of intonation, it is impossible to surpass Madlle. Grisi in this bravura, but we have heard it sung with much more feeling; by Mad. De Begnis, for instance. Gird on thy sword' was splendidly performed. The selection from Acis and Galatea, excluding Love in her eyes,' and Heart, the seat of soft delight,' is not the best that might have been made; any part of this serenata, however, is acceptable. In 'O ruddier than the cherry,' Mr. Phillips always shows how thoroughly he understands the intention of both poet and musician. After The flocks shall leave the mountains,' should have been placed Avison's concerto, for The many rend the skies,' so immediately succeeding the trio, sounded like a shout of triumph over poor Acis, whose brains had just been dashed out by the Monster Polypheme*.* Pergolesi's fine sacred song-his Sanctum et terribile,' set to English words-introduced to the subscribers a new singer, Mr. Balfe, whose qualifications are of a very high order. Some ten or a dozen years ago he appeared, when a boy, at Vauxhall, as an extraordinary youthful violinist. He then went into Italy, where he has been studying singing, and sometimes performing, up to * See page 38. Recit. Miss Lacy, 'IfI give thee honour.' Let me wander.' (L'Allegro.) Trio, Protegga, O giusto cielo. (Il Don Giovanni.) KNECHT. (Redemption.) HANDEL HANDEL.. }(Reden Sposa Euridice.' }(Orfeo.) Quartet and Chorus, Then round about.' (Samson.) GLUCK. BEETHOVEN. The Queen was present also at this concert, with whom came the Duchess of Cambridge, Prince George, and a young Princess. The frequent attendance of royalty at these performances, brings, as a sure consequence a great addition of the nobility; and those who take delight in moving in the same atmosphere with the haute société, have now, as in days of yore, abundant opportunity of being gratified at the Ancient Concerts. The introduction to Joshua, and chorus, were as perfect as usual. Mr. Braham's Total Eclipse' was what it always has been: we could perceive no difference. Admirable as the succeeding chorus is, and well as it is always executed here, we cannot but wish that all the wind-instruments now in use were added at the words, and light was over all.' The effect of this, with no accompaniment but of the violin kind, feebly aided by a couple of oboes, is meagre in the extreme; especially as we now are accustomed to the glorious burst by which Haydn presents the same image to the mind. We have always thought that Handel let slip a grand opportunity, in not employing in this chorus all the power he had at his command: he had trumpets, trombones, and drums (the latter bad, certainly), and with such strength he might have done what he left to be achieved by his successor. Jomelli's graceful aria, never before heard in this country, was most delicately sung by Mrs. Bishop. After which a new candidate for vocal fame, a gentleman of university education, appeared, with a good prospect of success in his newly adopted profession. Mr. Knight's voice is a powerful tenor, of ample compass, and his manner is that which is generally the result of a cultivated understanding. But he was ill advised in the choice of the piece: he is not, at present, equal to In splendour bright; and it was impossible not to institute some comparison between the debutant and him who had so recently, and in so unrivalled a manner, sung it under the very same roof. Miss Lacy sang the lovely air from L'Allegro very sweetly. The two movements, in such opposite styles, are a test of a performer's ability, and she stood it most satisfactorily. The air from a mass of Mozart had been sung by Sig. Ivanoff, at the Abbey Festival. It was now assigned to Sig. Rubini, whose performance of it bore no comparison with that of the Scandinavian vocalist. The Credo, &c. which followed, was, in every way, grand. The charming overture to Samson is always, and will continue to be, heard with pleasure. The same may be asserted of the short terzetto from Don Giovanni. The air from Davidde Penitente was performed at the late Festival in the Abbey, and, though melodious, is not one of the best specimens of the composer. Mad. Malibran is indebted to Lord Burghersh for the two pieces allotted to her: the fine aria of Cherubini exhibited all the best qualities of her voice; and the scena from Gluck's Orfeo displayed her passionate style of singing to the utmost advantage. It were to be wished that she would refrain from the use of the shake, more particularly in the lower part of her voice. This is now a tramontane ornament at best, and hers is anything but perfect. The lovely Madrigal was very effective. Miss Postans, in Winter's solemn and charming Preghiera, proved that we need not seek foreign climes for a rich contr'alto voice. Her style, too, is chaste Mozart's movement, from his first mass, never is heard but with delight, when so sung as on the present occasion. Mr. Phillips gave the air from the Pasticcio oratorio, The Redemption, in a most noble manner. We, however, prefer this in its original state: Nasce al bosco,' as introduced in the opera of Ezio, is one of Handel's finest opera airs. The Hallelujah from The Mount of Olives made a good conclusion to an excellent performance, and terminated a most successful season. The prosperous state of the Ancient Concert must be a subject of congratulation to all real lovers of the art. It was the nurse of music, and the school of English musicians, at a time when aid was most needed, and is now the best bulwark against the attacks which feeble Italian song, supported by the least intellectual of the fashionable world, is daily and actively making in all that is noble and worthy of preservation in the art. Duetto, Madame Caradori Allan and M. Ivanhoff, Tutto ap- ROSSINI. prendi, (Guillaume Tell) Concerto Violin, in B minor, M. De Beriot DE BERIOT. DONIZETTI. BEETHOVEN. Leader, Mr. WEICHSEL.-Conductor, Mr. H. R. BISHOP. A new performer, and the re-appearance of a deservedly favourite one, proved great excitements in the present concert. We will first speak of the former, in doing which it will be found that we differ much from some contemporaries, in whose opinions we are generally inclined to concur. M. Servais distinguished himself while an élève of the Conservatoire at Brussels, and is one of the very numerous foreign musicians whom the present spring season has drawn to our metropolis. Whether or not he expected to find London Eldorado, we cannot say, though we are pretty sure that if his expectations were sanguine on this point, he has by this time felt no inconsiderable disappointment. The wealth of our fashionable world is commonly lavished on a few favourite opera singers instrumentalists who visit our shores remain comparatively unnoticed; to have any chance of success, they should add to whatever portion of talent they may possess, a large quantity of charlatanerie, and give potency to this by a liberal quantity of indirect advertisements. M. Servais' tone is nasal, a defect very common in foreign violoncellists, and his incessant sliding imparts a drawling, whining effect to every bar of expression that he executes. He is ambitious of mastering difficulties; hence he attempts everything, though he accomplishes but little in a finished manner. His arpeggios want clearness, his double stops are confused, and in his bravura passages is more of scuffle than of that distinctness which alone renders tours de force bearable. As some compensation for this- and very redeeming the quality is-he possesses great feeling. Were his portamento less redundant, we should admit that his instrument sings more than that of most players, in or out of England. His composition was an air with variations, and so far below mediocrity that the directors ought, at the rehearsal, either to have prevailed on him to make a better choice, or to have declined his services. It is injurious to all parties to be squeamish on such occasions. The artist himself suffers more than his hearers in being tacitly encouraged to perform what managers, if they have any opinion, must know will surely make an unfavourable impression on a well-judging audience. M. de Beriot, who has not been heard in this country since 1832, performed the concerto which, at the sixth Philharmonic concert of that season, produced so striking an effect. We then thought him the greatest of violin players, and his performance now not only confirmed our former opinion, but convinced us of the truth of a remark made by a very sagacious man, that, up to a certain period of life-a period which De Beriot is far from having reached-an artist cannot stand still; he must either improve or deteriorate. That M. De Beriot is not in the latter predicament will by all be granted; it follows, therefore, if the premises be admitted, that great as he was before, he is still greater at the present time. His concerto is a noble composition, a work which, placed as it was between two of Beethoven's finest productions, lost nothing by its position, but was admired for its own sake, independently of the advantages it derived from the little less than magic skill of the principal performer. Weber's scena was new to us; we must hear it again before we venture to pronounce any judgment on a work which seems to have more in it than at first appears. Mad. Caradori did it full justice. The scena of Spohr loses some of its effect off the stage, but is a composition of great thought and true expression, and was sung in a manner which proved that Mr. Phillips had studied the words as well as the music. The merit of Rossini's last opera, Guillaume Tell, is beginning to be felt. Such music will be known and admired when the Bellinis" and Donizettis are clean forgotten. It was very well sung; as was the eternal Vivi tu. But why was the latter admitted into the programme? Did not the directors know that this has been hacknied on the stage, and in every concert, public and private, ever since the first performance of the opera, till the ear loathes it, notwithstanding Sig. Ivanhoff's sweet voice and unaffected manner of singing? The two symphonies were admirably executed. Spohr's gains at each performance. That of Beethoven, a universal favourite, needs no remark. Mendelssohn's overture, every bar of which displays genius of the first order, and the not less imaginative overture to Fidelio, were specimens of the capability of this band. But the latter, fine as it is, considered as a composition, is less appropriate to the drama than that at first composed to the opera. The Duke of Cambridge, one of the earliest patrons and promoters of the Philharmonic Society, was present at this performance, and expressed his delight in a very audible manner. |