Mr. Cohan differs from Handel! The reader has here an opportunity of becoming umpire between the parties.

FANTAISIE, pour PIANO et VIOLIN, sur des motifs du Comte Ory, par C. DE BERIOT et G. A. OSBORNE. (Chappell.)

This is really what it claims to be, a fantaisie, being made up of airs freely treated, their final cadences altered as circumstances required, and combined together, forming one continuous piece, the movements of which change without any break in the time, except an occasional pause of little more than momentary duration.

The airs in the opera, Comte Ory, never had many charms for us, though they are more agreeable in the present instrumental form than in their vocal state,-they are more brilliant; and M. M. de Beriot and Osborne have, by amplifying them, diminished the mannerism which is so apparent in their original shape. This does not come under the description of a difficult composition for either instrument, according to the modern interpretation of the term, though we do not mean to lead our readers into a belief that it is calculated for the multitude. The airs are well selected, and adapted with taste and spirit; the whole is lively, well kept up, and whenever well played this piece will have the majority of suffrages in its favour.

Rendez-moi ma patrie,' the Romance in HEROLD'S Opera, Le Pré aux Clercs, arranged as a RONDO for the PIANO-FORTE, by C. CZERNY. Op. 306. (Mori & Co.)

The subject of this is one of Herold's most pleasing airs, which M. Czerny has converted into a rondo, moderate in length and style, and not exacting any great powers of execution. In parts there is much elegance, but the high, tubby notes of the instrument are too often called into requisition,- -a vice of the present day,—and triplets of semiquavers are so abundant, that the ear is thoroughly weary of them long before the final double bar brings repose. We however hail this, as well as a few other compositions by M. Czerny lately published, as indicative of a change in his own taste, or in the taste of music-buyers. By the time he has achieved his opera 400, he, perhaps, may have become perfectly reasonable and, according to the rate, the almost comet-speed at which he has been going for some years past, he will soon arrive at the number we mention.

MARCH in Robert le Diable,' being No. 1 of Marches of the 1st Vienna Regiment, arranged for the PIANO-FORTE, by J. Strauss. (Chappell.)

This is the veriest bagatelle possible, and only noticed here for the purpose of saying that M. Strauss is now the Magnus Apollo of the Austrian capital: his waltzes, quadrilles, galopades, &c., have more charms for all the beauty and fashion of Vienna' than the works of Musical taste in the south of Gerany composer, ancient or modern.

many is much on a par with that in Italy; it is impossible to adduce a stronger proof of its degeneracy.

1. CAVATINA, Deh! vieni, mio bene,' in the Opera of Buondelmonte, composed by DONIZETTI. (Chappell.)

2. DUETTINO,'Se credi ch'empia sorte,' for soprano and contr'alto, composed and published by the same.

This is the first intimation we have received of the existence of such an opera, and, judging from the present specimens, it is likely that little more may be heard of it in this country; unless indeed its very feebleness should recommend it to the King's Theatre. Both the above may suit those drawing-rooms where whatever is jejune, smooth, and without the semblance of a new thought, is acceptable. The first can never have been denominated a cavatina by the composer, for, as an Italian, he surely knows what the term signifies.

1. DUET, 'The wandering wind,' for soprano and contr'alto, written by Mrs. HEMANS, composed by JOHN LODGE, Esq. (Chappell.)

2. BALLAD, The Slave Trade,' sung by Madame Vestris, in The Two Queens, written and composed by SAMUEL LOVER, Esq. (Andrews, 167, New Bond-street.)

3. SONG,Come to the fairy dell,' composed by JOHN THOMSON, ESQ. (Chappell.)

4. BALLAD, 'Sympathy,' the poetry by BISHOP HEBER, the music by JOHN DANIEL. (Edinburgh, Wood and Co.)

5. SONG,Summer and Winter,' the words by T. H. BAYLY, Esq., the music by JOHN BARNETT. (Chappell.)

6. SONG, Wilt thou be my bride?' written by T. H. BAYLY, Esq., composed by ALEXANDER LEE. (Chappell.)

No. 1 is easy, flowing, and runs chiefly in those thirds which are so consolatory to singers who are not ambitious of encountering difficulties; though the key, E, and an occasional double sharp, will be apt to alarm very nervous people. The duet is elegant, and will certainly find many admirers.

No. 2 is one of those comic airs to which the fairest of singers, and, we had almost said, the best, gives such irresistible effect. Venus (well represented by Madame Vestris) determines, in spite of acts of parliament, to carry on a slave-trade; but she will deal in men politically free, who not only voluntarily, but eagerly, submit to the silken fetters,-who labour for the sweet harvest of love, not that of the sugar-cane. Venus,' says Mr. Lover-(no pseudonyme, we can assure our readers) is an insurgent by birth,' and opposed emancipation the moment she rose from the sea.

O'er the world, from that hour of her birth,

She carried her slave-trade victorious,
And then to her daughters of earth

She entrusted her privilege glorious.
Unfetter'd, she cried, never leave
'One slave to object to your brave trade;
'While you stand to your colours, believe,

You may always insist on your slave-trade.'

No. 3 is lively and pleasing, but we do not find in it any of those original traits which mark so many of Mr. Thomson's songs.

No. 4,-Bishop Heber's well-known humorous verses set to music— is gay and well accented, but we have in vain searched for a phrase, cadence, or anything else, that can be called new.

No. 5 is perfectly unobjectionable, both as to the composition, and to the setting of the words; the air too is pleasing: but this is only a slight, an almost imperceptible modification of what has been written. over and over again.

The merit of No. 6 is, that it does not pretend to the fashionable foreign style; it is an English melody, and, if not original, is agreeable. We ourselves have extracted some pleasure from Mr. Lee's present song, and believe that it will afford no less to those whose tastes are in an unsophisticated state.

FOREIGN MUSICAL REPORT.
WEIMAR.

OUR muse has not been totally silent during the last summer months, for although our stage and orchestra were closed, and most of our artistes had betaken themselves to their travels, M. Häser, with the means in his power, continued to perform some excellent sacred music. The public attention was greatly drawn to this branch of the art by six lectures given by the venerable M. Rochlitz, from Leipzig, 'On the history of the Vocal Art during the last three centuries.' Rolle, Hasse, Fasch, Graun, Naumann, Haydn, Mozart, Beethoven, Hummel and Spohr, were the heroes of his discourse; the works of these masters he expounded in an excellent manner, and illustrated his lecture by the performance of distinguished, and frequently rare, pieces of music. These were sung by M. Häser's Vocal Union and some amateurs with remarkable precision, and when we consider the short time allowed for studying, that precision was truly wonderful. We cannot be too grateful for these endeavours in favour of religious music. M. Rochlitz was, we believe, the first to whom the happy idea occurred of illustrating historico-musical lectures, by actual performances.

AMERICA.

[The following speculations concerning the birth-place of Paganinisome grave, some turning gravity to farce-have appeared in the American journals whose titles are appended.]

Paganini is said to have acquired a fortune of 7,000,000f. The following singular controversy has taken place in the American papers relative to the birth-place of this distinguished personage.

'The editor of the New Bedford Gazette speaks of Paganini as "The celebrated Irish violinist." If our reminiscences of musical biography are not at fault, the Gazette is mistaken. Paganini is a native of Nova Zembla, we believe. N.B. The Gazette and ourselves are both mistaken; the great fiddler is an Italian.' New York Courier and Enquirer.

Very well, very well indeed! but Paganini is a Sicilian.' New York Times. Not quite right yet. Paganini is a Corsican, therefore a Frenchman, on the authority of Napoleon.' New York Commercial Advertiser. Guess again, Mr. Editor, for you are as much out of your way as your brethren whom you have posted above. Paganini is a Genoese, that is to say, if his own account to the writer of this, in 1832, in Card's

music-shop in the Quadrant, Regent-street [London], is any authority.' Sunday Morning News.

All nonsense this. For the information of the editor of the New York News, we consider it our duty to state, that Paganini was born at Lynn, in Massachusetts. He is the son of a poor woman who made shoes for Mr. Mudge in that town for many years.' Boston Gazette. 'Well! gentlemen, quill-drivers and learned Thebans all, are you sure that there is such a person in existence as Paganini? But we suppose you'll all reply, "Yes, Miss Watson will swear to that." Miss Watson, indeed! Now we should like to know what-son of his mother would swear to any such thing. No, no, gentlemen, Boeotians all, Pagan-ini is a Pagan, as his name implies, and was born among the land-sharks along the Jersey shore, near Crab-town.' Philadelphia Evening Star.

THE DRAMA.

OUR theatres are undergoing a great though gradual change: the operation is slow, but the result certain. The two immense houses will probably be confined to melodramas, music, and spectacle: the legitimate drama, as it is called, will, let us hope, fix its residence in a building of comparatively small dimensions-one admitting of hearing as well as seeing-exclusively appropriated to it; and farce, vaudevilles, or comic operettas, as well as smaller pieces of all descriptions, will naturally settle in the minor theatres. All this implies, what are now general with one exception, low prices of admission. The new lessee of Covent Garden has had the wisdom to reduce his

terms already, though we doubt whether five shillings and three would not have been better than those he has adopted. Prices of all things are going, or are gone, to what they were forty years ago, and it appears to us that this might have been the rule of theatres. Drury Lane continues unmoved, but the chances are that it must ultimately yield. A Sunday paper, of the conservative kind, is very lofty on the subject,-talks of shillings as if they were maravedis; but however grand and aristocratic the editor may affect to be, we can tell him that many a gentleman of moderate income will take his family-say of six persons-to the play, at a cost of four-and-twenty shillings, who would not dream of such an indulgence at the expense of forty. And there are thousands of persons quite as respectable, in every sense of the word, as the advocates of high prices, who will gladly and often pay a couple of shillings for an evening's entertainment, but will flinch from an expenditure of nearly double the sum.

DRURY-LANE THEATRE

opened on Thursday the 1st of October. The interior has been painted, and the decorations refreshed; additional room has been afforded the orchestra, and a new drop curtain has supplied the place of that which was indeed past mending.

On Tuesday the 6th ult., a New Grand Operatic drama,' entitled Cavaliers and Roundheads, was produced. This is founded on Sir Walter Scott's Old Mortality, whence all the characters, and the chief incidents, are taken; though these are transposed, and sometimes distorted, so as to suit the nature of a theatrical representation. The drama opens with the country people carousing in the change-house of Niel Blane, the piper, on the day of the quarrel between Morton and Serjeant Bothwell, and the wrestling-match between this bold dragoon and Balfour of Burley. Then follows the scene at Tillietudlem, where Morton is condemned by Claverhouse, but saved by the intercession of Lord Evandale, and this is followed by the defeat of Claverhouse's troops. The most striking feature of the second act is the battle of Bothwellbrig: and in the third act is the appalling scene where Morton is in the hands of the Covenanters, and about to be put to death. There is some want of coherency in the whole; but the dramatist has much to do in little time, and cannot enter into details which are so interesting in the hands of a good novelist.

The music consists chiefly of Scottish airs, sung pretty well by Miss Healy, though they were, most of them, 'lugged in neck and shoulders,' according to the phrase. The introduction, from I Puritani, of the polacca, Son vergine vezzosa,' exposed the singer to a comparison highly detrimental to her. But theatrically considered it was still more unpardonable. In the Italian opera it is an outbreak of joy: here it is introduced at the moment when the life of the singer's lover is dependent on a single word! In BELLINI's opera, too, is a duet, a very loud one cer

| tainly, sung, at the full stretch of their voices, by Signori TAMBURINI and LABLACHE: now it is given to Messrs. SEGUIN and GIUBILEI, and being apropos de rien, people wondered how it came to pass that it was so impertinently introduced. The piece succeeded, though it is much too long; a fault which doubtless will be corrected. At the very close of the month, the much-vaunted opera by Mr. BALFE, The Siege of Rochelle, will have appeared.

COVENT-GARDEN THEATRE.

This very elegant house commenced its season on Monday October the 19th, at the very greatly reduced prices of four shillings for the boxes, two shillings the pit, one shilling the lower gallery, and sixpence (!) the upper. Half-price not to be taken at either gallery. No alterations or repairs of any kind have been made, nor were any needed, but a showy allegorical drop curtain has been painted for the occasion, which much puzzles some of the spectators between the acts.

The house was crammed to suffocation on the first night, and considerable disorder was the consequence. Some persons forced their way into the private boxes, and all who suffered from the extraordinary, the alarming pressure, were, naturally enough, very clamorous. The perand offered admissions for any other night to such as might wish to reformance was continually interrupted, till Mr. Wallack came forward tire, adding, but not in a menacing tone, that the police were ready to prevent any breach of the peace. This allayed the tempest. God save Collins, came off woefully, in a stanza which his vanity led him to think the King' was sung, but in a most inglorious manner. One, named he could much improve. The rebuke he received was severe and decisive. Hamlet was then performed, in which Mr. C. Kemble was, as usual, great; and Miss Taylor as Ophelia, if not absolutely perfect, afforded great satisfaction. But as it is not our intention to travel out of the bounds of the musical drama, we shall only add, that previously to the performance of the tragedy Miss Taylor delivered with great spirit, an Address, in which the manager avows his independence and declares his intentions in the following lines. He tell us that he is—

Resolved, by zealous effort, to maintain
The Drama's golden volume free from stain;
And diligent in search of all that tends
To please the stage's best and truest friends:
Not by profuse expense for foreign ware,
But well-rewarded, sterling, native fare;
Substantial dishes served with tasteful spice,
The highest banquet at the lowest price!

Such is the title which the late English Opera House has taken: we wish it more success, now it has a new appellation, than it experienced under its old name. Mr. Arnold's recent losses having been represented to the king, his majesty most considerately granted him a licence for three additional months, with a view to his indemnifying himself. We trust that the gracious and kind intention will not be disappointed. The theatre re-opened on the 19th of last month, with a new piece, The Muleteer's Vow, the music selected by Mr. Hawes, who prefaced the pasticcio with Winter's overture to Zaira, a composition which has been hacked at the King's Theatre, as a substitute, till the ear is become thoroughly weary of it. We had no opportunity of hearing this opera, but should it continue to be performed, it will be duly noticed in our next.

TO OUR READERS AND CORRESPONDENTS.

The signature, C. W., to a letter in our last number, having given rise to an erroneous conjecture, we beg it to be understood that Mr. Charles Wheatstone is not the author of that communication.

ERRATUM IN OUR LAST.

Page 97, column 1, line 3 from the bottom-for montres, read monstres.

NOCTURNE, Les Soupirs de la Harpe Eolienne—(Page 21). From a German periodical work. This is one of the most recent compositions of KALKBRENNER, (see vol. i. p. 4,) whose object, in the short introductory part, is to imitate the wild, unmeasured sounds of the Æolian harp; the reader, therefore, must not, from the irregularity of its harmony, infer any error in the printing. Neither should he be discouraged by the difficulties which seem to arise out of the chromatic harmony, and the passages requiring a great stretch of hand: these will not, on trial, be found so formidable as they at first appear, and the great beauty of the music will amply repay the two or three hours of study which it may, possibly, cost the performer.

OVERTURE, Le Jeune Henri-(Page 24). This descriptive and charming work of the celebrated Frenchor, more correctly, Belgic-composer, MEHUL, (see vol. i. p. 14,) is one of the stock-pieces of the Philharmonic Society, where it is frequently performed, and always cordially welcomed. After the opera Le Jeune Henri had had its run, the overture, which the Parisians were resolved not to lose, was used as La Chasse, in the Ballet of La Chasse d'Amour. Our copy of the adapted overture has an ad libitum violin accompaniment, the few useful notes of which we have incorporated in the present arrangement.

POLONAISE-(Page 34),

arranged in Germany as a duet, but originally composed for a single performer, by

MICHAEL, COMTE D'OGINSKY,

a nobleman, senator, and privy-councillor of Russia, as well as a knight of many orders. Passionately fond of music, he not only distinguished himself as an amateur performer of the highest class on the piano-forte and violin, but by his compositions, which, though consisting chiefly of polonaises and romances, show him to have been a man of refined taste and superior genius.

It is related of the Count, that he was strongly attached to a lady who preferred his rival. Resolved not to survive his disappointment, he asked, as a last and only favour, that he might be permitted to dance with her the first polonaise at the nuptial ball. For this purpose he prepared the expressive composition which now appears as a duet, during the performance whereof he ill dissembled the agony of his mind, and when it was concluded, he rushed from the presence of her who could alone have rendered life valuable to him, and shot himself *."

There was another noble dilettante of the same name, the Prince-General (Hettman) of Lithuania. He wrote the article Harpe in the first edition of the Encyclopédie, and suggested to Haydn the idea of the oratorio of The Creation. He died at St. Petersburg, about the year 1789.

MINUET AND TRIO-(Page 36).

is used to distinguish the twelve symphonies written for Salomon's concerts from all others by the same composer.

AIR-(Page 38).

HANDEL'S lessons for the harpsichord, published by Walsh under the title of Suites de Pièces pour le Clavecin, were written between the years 1718 and 1720, while the composer was residing at Cannons, the seat of the Duke of Chandos, near Edgware. The well-known air now given forms part of the fifth suite of the first set. We have restored the subject, which in the late editions has been somewhat altered, and damaged, though, by the modern and clearer notation here adopted, it is rendered more easy to the performer. We have likewise affixed the true signature. In Handel's early days it was the absurd custom to put three sharps, or three flats, at the clef, though the key required four. This was done to cheat the performer with an appearance of ease, while the difficulty, of course, remained.

Within the last thirty years, or some such time, the present air has acquired the title of The Harmonious Blacksmith. We never heard any reason assigned for this, till a few weeks ago, when the following paragraph appeared in some of the newspapers.

"HANDEL'S MUSICAL BLACKSMITH.-There are probably few persons who are acquainted with the facts which induced this great composer to write the piece just named. It may be necessary, however, to remind our readers, that Handel at that time resided at Whitchurch, and in that neighbourhood the blacksmith, whose name was Powell, also lived. After a lapse of nearly a century, the identical anvil and hammer with which the manworked have been discovered in the yard of a wheelwright, named Jordan, at Edgware, and are now in the possession of Mr. Wylde, one of the choristers [gentlemen] at the Chapel-Royal. When struck, the anvil still gives out the same sound which afforded so much pleasure to the composer; and this, with other circumstances, proved its identity. It appears that, at Powell's death, his property was sold, and the anvil passed into the hands of a man named Dormer, also a blacksmith; it afterwards became the property of an individual who married a relative of Dormer, and who, at a later period, sold his business to Jordan, from whom it was obtained by Mr. Wylde."

The drollery of all this need hardly be pointed out; and we shrewdly suspect that the story of Pythagoras and the discovery of musical intervals, as related by the erudite Nicomachus, was at the bottom of Mr. Wylde's dream. An anvil, however musical its propensities, is gifted with but one sound,-or, at the utmost, one chord, for its harmonics may, peradventure, be heard in company with the generating sound: how then is it possible that said anvil, admitting its friendly wish to inspire the composer, should have suggested more than a note, with perhaps its 12th and 17th to its neighbour, Handel? The author of the fable ought in prudence to have found several anvils, a party of eight, at least, for an A sharp was indispensable in such a concert. With this number, and an active blacksmith or two, something like an air might have been hammered out; provided that said anvils had been And as to rhythm, or measure, this must have depended on the C

will of the hearer, who may have counted the strokes of the hammer in fours or in threes, accordingly as he was in a march or minuet mood. We do not absolutely deny the fact that Handel stood by Mr. Powell, the blacksmith, and counted his thumps on a horse-shoe,-one, two, three, four,-but, as lawyers would say, the proof is not complete. In sober earnestness, then, we advise Mr. Wylde not to meddle with cold iron' again, unless he can make out a better case than the preceding, which may find a corner in some future wonderful magazine, but must not be allowed to establish a footing in musical history.

ARIA-(Page 21).

Infelice in tanti affanni,

Più non sperò alcun ristoro;

Ho perduto il mio tesoro,

Tutto, oh Dio! per me fini!

Disprezza è fida amante,

Spargo in vano i miei lamenti; Chi mai vide trà vivanti, Sventurata al par di mi.

Composed by CARL FRIEDRICH ZELTER. (See vol. ii. p. 41.) We are indebted to the Harmonicon* for this fine aria, the editor of which work says, that it is from a MS. scena in his possession, beginning "Oh Dio; se in questa istante," and entirely unknown in this country.. The air now given,' he adds, is but

a small portion of the whole, which would have been too long for insertion; and, indeed, without orchestral accompaniments much of its effect is lost."

ELEGY-(Page 24).

Ye woods and ye mountains unknown,
Beneath whose pale shadow I stray,
To the breast of my charmer alone
These sighs bid sweet echo convey.
Wherever she pensively leans,

By fountain, on hill, or in grove,
His heart will explain what she means
Who sings both from sorrow and love.
More soft than the nightingale's song,
O, waft the sad sound to his ear,
And say, though divided so long,

The friend of his bosom is near.
Then tell him what years of delight,
And tell him what ages of pain,
I felt, while I lived in his sight,
I feel till I see him again.

The author of the above lines is unknown to us. The music is the fifth Elegy, op. 3, of WILLIAM JACKSON, of Exeter, (Vide vol. ii. p. 25,) which we have transposed from E flat, to suit female

voices.

ROMANCE (Page 28).

Oh! forbear to bid me slight her,
Soul and senses take her part;
Could my death itself delight her,

Life should leap to leave my heart. Strong, though soft, a lover's chain, Charm'd with woe, and pleased with pain. Though the tender flame were dying, Love would light it at her eyes;

Or, her tuneful voice applying,

Through my ear my soul surprise.

Deaf, I see the fate I shun;

Blind, I hear I am undone.

others. He likewise furnished Handel with the libretto of the Italian opera Rinaldo. In 1709 he became master of the Theatre Royal Drury Lane, which title, it is to be presumed, was equivalent to that of manager. Afterwards the management of Covent Garden was added to that of the other theatre, and he seems to have directed the affairs of both in a manner highly satisfactory to all parties. Mr. Hill is introduced in the Dunciad, but in a manner that may almost be considered complimentary. He died in 1750.

Sweet honey-sucking bees, why do you still
Surfeit on roses, pinks, and violets?
As if the choicest nectar lay in them,
Wherewith ye store your curious cabinets.

Ah! make your flight to Mellisavia's lip,
There may ye revel in ambrosian cheer,
Where smiling roses and sweet lilies sit,

Keeping their spring-tide graces all the year.
Yet, sweet, take heed! all sweets are hard to get;
Sting not her soft lips: O beware of that!
For if one flaming dart come from her eye,

(Was never dart so sharp) ah! then you die!

These verses are among the many lyrics of the Elizabethan period whose authors remain unknown. The music is, in general estimation, the chef-d'œuvre of JOHN WILBYE, one of the greatest of madrigal composers. (Vide vol. i. p. 62.) It is divided by the author, into two parts, or portions, the first whereof is given in the present part: the second will occupy the first pages of the next, so that the two may join in binding.

THE ECCLESIASTICAL CHOIRS OF GREAT BRITAIN AND IRELAND. [Continued from page 8.]

No. II.-ST. PAUL'S.

In the endeavour to trace the history of the origin and endowment of the choral body of this cathedral, more difficulties presented themselves than were anticipated; but the information to be obtained is exceedingly scanty, and Dugdale, from whom we expected to

draw much valuable matter, has rendered us little, if any, assistance in our inquiry. From Malcolm's Londinium Redivivum we have derived some aid, but are more indebted to the researches of a lady of much learning and indefatigable industry, for what knowledge we have gained on the subject, than to all the other authorities we have had the means of consulting. This able inquirer, whose strenuous and not unsuccessful efforts to ameliorate the condition of the choristers, or singing-boys, of the cathedral, afford the most undeniable proofs of a powerful understanding and a benevolent disposition, has, in her accurate and useful works*, collected a number of facts which are very satisfactory and complete in regard to the provision made for the education and support of the youthful members of the church, if they may be so designated+; but of the lay vicars and organist she has said nothing, they being unconnected with the points and interests which she undertook to investigate and advocate. The Registrum Eleemosynaria D. PAULI Londinensis, printed by that lady, from a manuscript in the Harleian Collection, and appended to her volume, also supplies much useful information, rendered still more valuable by her numerous explanatory notes.

From these sources-not very fruitful ones as they relate to our immediate purpose-we have gathered the following particulars concerning the choir of this great establishment. But we must here premise, and the observation should be borne in mind by the reader of all our subsequent articles on the present subject, that anything like a regular musical history of our choirs only commences after the suppression of the monasteries; in fact, until the reign of Henry VIII., no English cathedral music worthy of mention had existed, and we may reasonably consider Tallis as the father of our church harmony. It is true that various masses by Fayrfax, Marbec, Tye, Taverner, and others, some of which were written in the reign of Henry VII., are still extant; but they are unproducible as compositions, and of no value except to the musical historian or the antiquary.

The establishment of St. Paul's consists of a dean and three canons residentiary, who form the chapter; a precentor, twentysix prebendaries, twelve minor canons, two of whom are called cardinals, six vicars choral, one being the almoner, and eight choristers, or singing-boys. The organist, as such, is not recognized, he being one of the vicars choral, though receiving additional emoluments for the duty he performs‡.

The endowments of this church are rich: the deanery is supposed to be worth 4000l. per annum, and is generally given as an augmentation of one of the smaller bishoprics. The emoluments of the canons residentiary are estimated at rather more than half those of the dean. The office of precentor, though now almost a sinecure, is one of great responsibility. This dignitary, as first chantor, is governor and leader of the choir; his duty is to elect the choristers, and provide them a singing-master; to superintend their musical education, and to take care that the whole service be reverently and correctly performed.'-(Liber Statutorum.) His remuneration is liberal in the extreme, and derived from fourteen houses in and near St. Paul's Church

6

yard, together with the valuable manor and rectory of Bishop's

Stortford, Herts.

The value of the prebendal stalls varies very considerably. Finsbury is the richest. Dr. Wilson, a late prebendary, had 5001. a-year settled on himself and his heirs for ninety-nine years, before he granted any leases. The present annual value is stated at 1800 per annum, and is held by Dr. Percy, Bishop of Carlisle. The poorest stall is Portpool, valued at a very small

sum.

The minor canons were incorporated by Richard II., who augmented their maintenance by a grant of divers lands and rents.' The livings held by them are of various value; among these, Cripplegate is worth at least 18001. per annum. Some do not exceed 2001. They nominate two persons to fill any vacancy in their own body, of whom the dean and chapter must elect

one.

The vicars choral have lands, houses, tithes, and quit-rents belonging to them (jure ecclesia); but cannot let any without the

*Correspondence, Legal Proceedings, and Evidences respecting the Ancient School of St. Paul's Cathedral, 4to., 1816. A brief History of Cathedral and Collegiate Schools, 4to., printed in 1827, but only privately circulated.

+ The choristers throughout the Registrum Eleemosynaria are called indifferently Pueri Elemosinarie, or Clerici Elemosinarie, and sometimes Parvu Clerici.

By a recent arrangement, a sixth vicar choral is to be added; it is likewise determined, that the successors of the present organist shall have a separate salary, and no longer be classed with the choral body.

dean and chaplain's concurrence under seal. (Malcolm, iii. 19.) These altogether not amounting to a sufficiency to secure the services of eligible persons, the salaries are increased by what is called the cupola money, or money taken for shewing the different parts of the church. This is divided among the minor canons, the organist, the vicars choral, and the vergers, in the following proportions:-The organist, whose salary as such is only 60%. per annum, receives a fifteenth share; the vergers a twenty-second share. The remainder is divided equally among the others, according to the number of attendances. The salaries of the vicars choral from these different sources may be stated at from 120l. to 150l. per annum, for which they are required to attend twice daily. But they are allowed to provide deputies for the six alternate months, whom they are obliged to pay out of their emoluments. The present vicars choral are-

HAWES (who is also Almoner), and
GOULDEN.

The dean and chapter have recently engaged another singer, at a salary paid by them (said to be 50l. per annum), whose name is Hawkins; and, as before stated, whenever the present organist has a successor, this officer will be separated from the body of vicars choral, which will then consist of six vocalists.

6

The almoner is master of the choristers, whom he maintains and prepares for the service of the choir. It appears from an affidavit of Mr. Hawes, the present almoner, entered in the Court of Chancery in 1814, that he engages to teach all the choristers the theory of music, and the four senior boys to play on the harpsichord*; and to pay a proper person to instruct them to read, write, and cast accounts, the sum of twenty guineas per annum.' The present dean, Dr. Coplestone, soon after his appointment, directed that the eight choristers should be wholly maintained (boarded and lodged) with the almoner. The total revenues of the school are now about 340l. per annum, exclusive of fines on renewal of leases, which may average 401. or 501. more, making the allowance for each of the choristers about 481.

per annum.

This school, says the lady before alluded to, is amongst the most ancient in the kingdom, and no author, she believes, has attempted to trace its origin; but there is one payment still continued to the choristers, for their commons, 11. 10s. 4d. per annum,' which bears internal evidence of its Saxon origin, and was a rent-charge, at the rate of seven-pence per week, upon the manors assigned for the general sustentation of the canons and other ministers of the church.

The members of the cathedral at its foundation were, a bishop, thirty major canons, twelve minor canons, and thirty vicars (vicars choral), now reduced to six, or, in point of fact, five. The deanery was founded and endowed by Canute; the dignities of magister scholarum, precentor, or chantor, and treasurer, were founded, or at least endowed, after the conquest. Hence it will appear, that when the administration of the revenues of our cathedrals was in a purer state, thirty voices were not thought too many for the due performance of the duties of the Metropolitan Church. When, however, St. Paul's was rebuilt on a much grander scale,-when music was become an art of more importance, and the sacred compositions demanded greater skill and more power, then the number of those to whom its execution was committed, who were expected to impart to it all the majestic effect that it was calculated to produce, was reduced to the number of five! of which, experience justifies us in asserting, one, at least, out of the set, is always incapacitated from assisting, either by the effects of age, or from those disqualifying colds to which singers are necessarily more liable than persons of less

What strange notions the dean and chapter, or the precentor, whose peculiar duty it was to look to this engagement, must have entertained of the theory of music! Teaching the theory to children who had not yet been instructed in the use of any one musical instrument! This learned body, or individual, does not seem to have understood the difference between simple elements and abstruse science.

We cannot mention the name of this most excellent prelate without adding, that he is doing everything for the amelioration of the cathedral generally, and of the choir in particular, that lies in his power. No doubt he has many prejudices and difficulties to contend with, but we trust that his powerful mind and strong sense of justice will enable him to overcome all obstacles which obstinate error or blind selfishness may throw in his way.