In like manner Christian art produced what is called romantic art, which is by many totally misunderstood. The essence of the romantic art depends on the endeavour of man to soar above the sphere of his knowledge; it strives to acquaint us with the unattainable, which no intellect can comprehend.

The opinion will be found correct, that the power of music completes that of language; that the kingdom of the former begins, where that of the latter ends; that without a sweet fancy being itself in the magic of sound, no genuine musical work can exist. If we call Beethoven the master of all masters, the reason is, that he has exhibited, in the plainest view, that striving after the infinite. Every work of art requires a form, but to go so far above it, without annihilating it, was reserved for Beethoven alone. I place him above S. Bach, because the genius of the latter was more immediately subservient to divine worship; because he did not lose himself, like Beethoven, in the magic of sound. I place him above all, because he is independent of words, and lets his inarticulate sounds speak freely for themselves.

Instrumental music, as E. T. A. Hoffmann has justly remarked, is the most romantic of all arts. However, among vocal composers there is more than one who is entitled to stand by Beethoven's side. If he was the mightest in instrumental music, so was Mozart in another sphere. No other opera composer has expressed the romantic spirit as he has in Don Giovanni.

Among the moderns the romantic spirit has appeared in Weber and Spohr: with the former it is almost unbridled; with the latter it is more confined.

Mendelssohn and Löwe are to be reckoned among those of the present day. Yet, in all modern art the free unconscious power of creation has become rare. The intellectual education The intellectual education on the one hand, and the mechanical on the other, plainly exert an injurious influence. That fancy, which makes individuality forget itself, becomes more and more scarce, like that pious childish faith, in which religion first takes root. The age begins to hate the very essence of the romantic, it desires the bodily, the sensual. To satisfy this desire, thousands of musicians are prepared, and ready at all times. With these the very mechanism of music has become living, and the intellect only reckons upon the effect.

A new effect, however, constitutes neither novelty nor origi nality, in a work of art; therefore, that the romantic should be misunderstood was inevitable. We had learned to expect from it outward signs, spirits and wonders, above all things. Thus Meyerbeer's Robert le Diable must be called a romantic opera, though there is not the least trace of the romantic spirit to be found in any part.

Let us then be less liberal with a name which conveys, above all others, such weighty, such mighty praise. Let us consider that the romantic is the inmost essence of music, that it is the mark which distinguishes all modern art from the ancient : hence, in few words, that in our days every work of art meriting the name, must be called romantic, and then that appellation is understood as being the mark of every good work of art in our time.

It will be objected that the term romantic will in fact not at all suit many of our most modern works of art. Alas! such is the case. They have not proceeded from the exaltation of our souls to the infinite; they clave to this earth; they live but an apparent life; they are no productions of the spirit of art, but of intellect, experience, and labour. This is particularly remarked in the greater and more comprehensive works. For small, light pictures, for short, feeling songs, which flash like lightning through the night, the powers of creating and feeling are yet sufficient. But even this losing one's self in a number of trifling designs, without being able to apply one's self to a single great work, is somewhat dangerous. The arts go begging among each other; we seek the matter, being unable to produce it; while Raphael painted the Madonna innumerable times, yet ever new, -ever with animation. We are poor in matter, because the enjoyers of art are insatiable. Thus our matter gradually becomes more real, more prosaic.

Music is a product of Christianity; instrumental music a pro

Fourth Quartet in B flat major, Opera 76, for two violins, viola, and violoncello, Messrs. Watkins, Richards, Sherrington, and Lucas Recitative and Aria, Mrs. Seguin, "In quali eccessi, oh Numi" (Il Don Giovanni).

Grand Nonetto in F major, Opera 31, for violin, viola, violoncello, contra-basso, flute, oboe, clarinet, bassoon, and horn, Messrs. H. G. Blagrove, Sherrington, Banister, Howell, Card, Keating, Powell, J. Tully, and Rae

BOCCHERINI.

MOZART.

BEETHOVEN.

HAYDN.

MOZART.

SPOHR.

Boccherini's quintet is melodious, smooth, and graceful; these are the characteristics of all his compositions: but his productions are often wanting in that originality which alone gives music any chance of being transmitted beyond the second generation. Spohr's trio was performed in a perfect manner, the piano-forte part especially, in which Mrs. Anderson displayed sound judgment, as well as the most finished execution.

received, but though the first violin part was very accurately Haydn's quartet, with the exquisite slow movement, was well played, we could not but wish that it had been placed in Blagrove's hands. The nonetto of Spohr is a very masterly work, and was executed most admirably. The author here displays as much fancy as science, and though Mozart has in this, as well as in nearly all his instrumental compositions, been his model, yet there is no deficiency of what may fairly be termed originality in any part of the present work.

Mr. Horncastle sang Mozart's fine air in a very chaste agreeable manner; and equally correct was Mrs. Seguin in the scena from Don Giovanni. Perhaps had she chosen some more simple air, she would have appeared to still greater advantage. Unfortunately, now, every lady-singer insists on reaching, per saltum, the rank of prima donna, and every vocal piece given is, consequently, such as requires the highest qualifications in the singer to do it justice.

Perhaps when more familiar with it, we may be able to enter into all the beauties which many very good judges discover in its various movements. The trio of Corelli-made of stuff that will never wear out-brought forward again the Young Dragonetti, Howell; and the whole was so well relished by the audience, that it was called for a second time.

We know few things that equal in beauty and skilful contrivance, Hummel's quintet in E flat minor: every part was now performed in an able manner, and listened to with unaffected pleasure.

Mr. Horncastle sang Beethoven's aria very judiciously: the accompaniment would have been perfect had it been rather more subdued. The piano-forte sounds louder to the audience than to the performer, a fact of which few are aware. 'Per pietà' is not

subject of the popular chorus, 'Vive le Roi!' is traceable to a glee by Weber.*

* So much has been said concerning The Siege of Rochelle, and the work has excited so much notice, that we insert part of the letter to which we allude, with some remarks on it by the publisher of the music, together with the reply of the anonymous writer. The first appeared in The Examiner of December the 20th. After some observations on what he had said in a former communication, the author proceeds,

So far from having set an original drama to music, Mr. Balfe, it seems, has taken the plot of his piece from the Chiara de Rosenberg, composed by one Ricci. I invite you, Sir, to the inspection of that opera, which will at once convince you that the Siege of Rochelle is a mere paraphrase of Ricci's work: the order of the music the same, the same meaning conveyed in about the same words, the action of the piece The buffo song and chorus in the commencement has the same Munchausen-like dialogue, "Serpents with bells on their tails," with a chorus at intervals, &c. There is a trio for three bass voices, and a duet, with the production of a brace of pistols from a pair of boots, will be found in Signor Ricci's opera, with a wonderful event. In

the same.

did not operate any change in our opinion regarding it. The scena of Marschner has some striking points, which Mrs. Bishop brought fairly out, but it is a mixed work, consisting of both good and indifferent, and is much too long. Surely it might be shortened without sustaining any injury.

This performance completed the first series of the Concerti da Camera, the institution of which showed a most laudable spirit, and the performers-themselves the projectors-proved that they had not undertaken what was beyond their power to execute in a manner most satisfactory to their numerous auditors, among whom were nearly all the best amateurs and distinguished professors in London.

The success of the Concerti da Camera has tempted another party to announce three performances on the same plan, under the title of

CLASSICAL CHAMBER CONCERTS.

Messrs. Mori, Watts, Lindley, and Dragonetti, have associated for this purpose, and will be assisted by Mrs. Anderson, Madame Dulchen, Mr. Moscheles, Mr. Neate, and Mr. Bennett. The first concert takes place on the 4th of January, at Willis's (or Almack's) rooms.

REVIEW.

THE SIEGE OF ROCHELLE,

A grand Opera, performed at the Theatre Royal, Drury Lane; the words by Mr. FITZBALL; the music composed by M. W. BALFE. (Cramer, Addison, and Beale.)

A QUIET and deliberate examination of the published music of this opera, with time to investigate the composer's designs, to analyse his accompaniments, and study his harmony, uninterrupted by the clamour of a theatre, and unconfounded by the din of drums, trumpets, and trombones, have led us to adopt an opinion more favourable to the work than that which we formed on once hearing it. We find in it greater ingenuity, a cleverer use of the thoughts of others, with bolder and more effective colouring, than were at first apparent: and even two or three of the melodies, not sung in a very prepossessing manner on the stage, stand in a much better light when brought out of the shade which indifferent performance cast over them.

We have already given Mr. Balfe the credit due to him for his instrumentation, and for the ability he exhibits in this opera. We have, most willingly, praised him as a harmonist, as one well acquainted with the nature of an orchestra, though we thought, and still think, that he either is too fond of the strepitoso, of noise, or that he unwisely sacrifices his better judgment to the now prevailing bad taste of the public. It seemed to us that the music had not been written to English words, these being exceedingly crowded, and often falsely accented. We have since been informed that the opera was at first set to Italian words, and that the present were adapted to it for our stage. We traced in the whole work the style of the modern Italian school,-discovered at once many phrases and cadences of Rossini, so frequently borrowed from him, and often caricatured, by the herd of his imitators, though certainly better treated by Mr. Balfe than by the compatriotes of the 'Swan of Pesaro.' In a word, we could not view The Siege of Rochelle as so original a work as many have declared it to be; but at the same time did not dream that the composer had in a wholesale manner availed himself of the labours of another, that he had produced a kind of parody on an Italian opera, of which the drama is the same, and the characters nearly similar. Yet of this he is accused. It is stated, but by an anonymous writer, that The Siege of Rochelle is a mere paraphrase of the Chiara di Rosenberg of Ricci.' Moreover, that the

Balfe has any right to be criticised as the composer of an original opera, inasmuch as he has not only borrowed the subject of the drama of the Chiara de Rosenbery, but the musical ideas, from the overture to the finale. I am perfectly aware that several great composers have set poems to music on the same subject-for example, Paisiello and Rossini have both set operas entitled the Barber of Seville. I do not think, however, that the most hypercritical scrutiny will warrant a charge of plagiarism or imitation on the part of Rossini of his great predecessor-no, Sir, not even an idea. "That the Siege of Rochelle is a good opera, remains then undisputed by me; but that Mr. Balfe deserves the credit of being hailed as the first composer of the day, requires some greater effort on his part to maintain than borrowing the ideas of an obscure composer, and then giving them to the public slightly varnished with his own brush. Place the scores of Beethoven, Weber, Spohr, or any other eminent masters, in the hands of Bishop, Horn, Barnett, or T. Cooke, and allow those gentlemen to take the same liberties as Mr. Balfe has with the score of Ricci, and they could each produce you a splendid opera, once a month if needed, throughout the year,―nay, Sir, they would be enabled to find you a brace of fine operas from each one of the above-named composers' subjects; and the operas so produced would only lack one quality, and that quality-not to be found in Mr. Balfe's drama-originality.

'I may be told that the chorus, "Vive le Roi," is an exception, and that Mr. Balfe has not borrowed that idea. I cannot say that he has from Ricci's operathere is certainly nothing like it in the Chiara de Rosenberg; but when I hazarded an observation, that the chorus, " Vive le Roi," might chance to find as much favour with the minstrels of hand-organs as Weber's hunting chorus in Der Freischütz, I had not looked over six glees composed by that same Weber, and published at Berlin, and I was not aware of the fact that Weber had treated exactly the same subject as a glee.

In conclusion, Sir, if a precedent be set up, such as the Siege of Rochelle affords, as claiming to be an original opera, I would recommend Mr. Lee, Mr. Bishop, Mr. Barnett, Mr. Horn, et id genus omne, straightway to hie them to Italy, and return with original operas-nay, I must condole with Mr. Rophino Lacy on his ill-timed frankness in confessing his adaptations. Few of us knew much about the music of Armida, Maometto Secondo, and other operas, even composed by Rossini, which he has introduced; and he might have passed for a composer instead of an arranger, merely by "wearing his rue with a difference," as Mr. Balfe has done. 'OBSERVATOR.'

To this Mr. Beale, a partner in the house of Cramer, Addison, and Beale, publishers of the music, replies, in a letter appearing in the Morning Chronicle of December 23rd. He says:

It was pretty well known that an opera, the libretto [the drama, or text] of which was founded upon Mad. Genlis's novel, Le Siege de la Rochelle, and the music composed by Ricci, was in existence before Mr. Balfe produced his opera, founded on the same subject; and it was equally well known to music-publishers, that Ricci's opera, after having been represented successfully in Italy, was performed in Paris, where it experienced a failure, though the utmost talent, including Grisi and Tamburini, assisted in its representation. In Mr. Balfe's opera there are

very few situations that have the slightest resemblance to Ricci's opera; the whole of the monastery scene is entirely omitted in the Italian opera.' &c. &c.

This, though most likely intended as a denial of what Observator had stated, is not so satisfactory as it might possibly have been, and was followed by the annexed, published in the Examiner of December 27th :

'SIR,-Some attempts have been made to reply to my letter on the subject of Mr. Balfe's paraphrase of Ricci's opera. I expected as much.

"The music of Mr. Balfe's "grand original opera" has sold wonderfully well: and the music-sellers are naturally anxious to give every support to whatsoever may make money, bad or good-genuine or spurious.

Among the most vivacious in defence of Mr. Balfe's originality, stands Mr. T. Frederick Beale, in the Morning Chronicle.

'This gentleman gravely informs us that great composers frequently set poems on the same subject to music. I believe I quoted the instances of Rossini and Paisiello. But he has failed to quote "the old Critic," as he ought, to prove that great authors have sometimes the same ideas, and that there is frequently some "damned goodnatured friend" who finds it out. In Mr. T. Frederick Beale's angry epistle, it is stated that Paisiello and Rossini composed each of them an Il Barbiere, and that Zingarelli and Bellini each composed operas on the subject of Romeo and Juliet. I defy Mr. Beale, or any other man interested in the affair, to show me any piece in those operas which has the least inclination towards plagiarism. No musical idea of the composers on the same subject has the slightest analogy. Now, Sir, what reasonable, unbiassed man will pretend to tell the public, that Mr. Balfe would have imagined the "Buffo song and chorus," the "Buffo duet" (the pistol and boot affair), and the "Trio for three bass voices"-if Ricci had not previously hit upon the same ideas? Yet Mr. Beale, omitting these three remarkably prominent features, gravely tells us that the monastery scene is certainly not composed by Ricci, therefore it is impossible to tax Balfe with plagiarism. But Ricci's ideas and effects are, nevertheless, in Balfe's overture, aud in those three above-named pieces, and Mr. Beale does not deny it. In short, Sir, if those who are curious in such matters will get the Chiara de Rosenberg, they will quickly ascertain, that these two great men have hit, unfortunately, on the same ideas very generally.

'Mr. T. Frederick Beale has not said one word on the subject of the chorus "Vive le Roi," and Weber's glee-nor does he attempt to deny that Mr. Fitzball had the task of setting poetry to music. In short, in condescending to notice his feeble letter, I fear I am wasting time upon a man of straw.

Of Ricci's operas we have seen two, in neither of which do we perceive any other resemblance to the style of The Siege of Rochelle, than such as must occur in the music of those who imitate the same original. We have never met with Chiara di Rosenberg, therefore can offer no opinion on the question in dispute: we have sent abroad for the opera, and shall have more to say on the matter when qualified to enter into the subject. In the mean time we must observe, that the author of the accusation has rendered himself very responsible, not only to Mr. Balfe, but to the public, and is bound to substantiate his charge, by entering into particulars, by pointing out the parts said to be borrowed, and placing them in juxtaposition, if possible, with such portions of Ricci's opera as, it is alleged, have furnished the English composer with his best materials.

We now proceed to notice in detail the various published pieces of The Siege of Rochelle, according to the order in which they are per

formed.

OVERTURE. This opens with a short Adagio in c, a correct and not ineffective introduction to the principal movement, an Allegro. in c minor, the whole of which is decidedly à la Rossini, and calls to memory the general character of the overture to Il Barbiere di Siviglia; though it would be unjust to charge the English composer with anything like direct plagiarism. The passages he has actually adopted are become public property, in Italy especially, and have been at every body's service during the last ten or dozen years.

SONG, Travellers all, of every station, a chattering comic air, which, avowedly, was at first set to Italian words, and thus sung by Lablache. It is entitled to no further remark.

CHORUS, Vive le Roi!'-the most popular piece in the opera, and certainly well contrived for stage effect. It is simple, with a stronglymarked rhythm, therefore understood and felt by the whole audience. A harp accompaniment, effective in the theatre, is omitted in the present adaptation, in order, perhaps, to reduce the bulk of the publication. The following is part of the subject:

This is the only really tender air in the opera; the compass is moderate for a soprano voice, and to those who admire music of which feeling is the characteristic, the present song may be recommended.

RECIT. Why seeks my soul?' and CAVATINA, Hope once more.' The recitative is brief. The next movement, In vain my soul her image flies,' is in fact the Cavatina: the last movement is an Aria. The whole, musically considered, is well written, but has oft been thought before,' and frequently better expressed. The words are too often repeated; where two or three notes might advantageously have been set to one syllable, each note takes a syllable to itself, a fault which cannot be too carefully avoided in setting any northern language to music. The author here makes Valmour say, 'My only joy is grief,' a declaration which should have been explained, for the benefit of such dull folks as critics. Perhaps a joke was meant; then Mr. Balfe ought to have given a comic turn to the music. By-the-way, the composer in this writes the Italian language as sensibly as his co-operator does the English:-e. g. coll. Sves.' (page 4); con dolce' (page 6).

DUET, Well, if I must speak my mind! A lively conversationpiece, in two movements; the last a waltz, and a very common one. The whole indeed is suited to that part of the audience, whether in pit, box, or gallery, which is more moved by a dance-tune than by the sweetest melody or the richest harmony.

DUET and QUARTET, I am alone again! The theatrical effect of this musical dialogue would have been good had the words been set with any respect for accent, and had about half the number been written to the notes. The following is a fair sample of that kind of accentuation and of that multiplicity of syllables, which damage not only the present composition, but many other pieces in the opera:

Oh! virgin, his each earth-ly joy, For him I Parts of this, however, are clever; but every now and then an Italian audience would be apt to cry out, Bravo, Rossini !'- Bravo, Meyerbeer!'-and, if our memory does not deceive us, the subject of the accompaniment, running through, is to be met with in a German overture often performed at the Philharmonic Concerts.

QUARTET, LO! the early beam of morning.' We now turn to what is, in our opinion, the most original, the most pleasing work in the opera; and though not very elaborate, could only have been produced by a good musician. The annexed is the subject, first sung as a solo, then combined with a second part, and afterwards woven into a quartet:

The accompaniment, as performed, is by well-tuned bells and a harp, the effect of which is very pleasing. The notes are given in the printed copy, but the imagination must supply the want of the real instruments. SONG, When the merry dance prevails. An exceedingly pretty melody, in two movements; the first, larghetto, not the worse for beginning in a manner become English by adoption, though ending in a phrase hundreds of times used by Rossini. But, alas! the words in the second movement are so cruelly tortured, by the mode in which they are accented, that half the pleasure which the music might afford is lost, and a kind of indignation supplies its place.

BALLAD, My cottage near Rochelle. In a mercantile sense, this is by far the most meritorious effort of the composer, for it sells best. It is pretty, we grant, and though formed of common materials, is not

TRIO, Time is on the wing,' here printed in the key of F, and adapted for soprano, tenor, and base, though originally written in E, for three base voices; an agreeable glee-like composition, the melody clear, the whole easy to sing, easy to understand, therefore sure to meet with admirers.

AIR, 'Twas in that garden. A charming air, exhibiting some original traits, among which, a modulation from D to F sharp, page 1, is not the least remarkable. The skips too, in the last bar but one of the same page, are new and pleasing. But the commencement of the air will remind every one of a Scottish melody.

DUET, When the reveller is come.' There is certainly much passion in this, but expressed in the ordinary Italian manner: though there are some bold harmonies mixed up with the passages commonly used on such occasions; and occasionally a Weberian modulation leads us to hope that we are about to be introduced to the German school. The illusion, however, does not long continue,-Ausonia predominates. DUET, The feeling heart.' A spirited composition; though the words, as in so many other instances, are much too numerous for the notes, and the accentuation is again of the most erroneous kind. But for such drawbacks,—and serious evils they are-considerable effect would be produced by this, in which are clever passages, and two or three sequences that call up very pleasing recollections of the olden time of music. We must, however, add, that these are not the only reminiscences; others abound, which deprive the duet of most of its claims to the merit of originality.

DUET, Once a wolf, so fables say,' an ingenious imitation of Cimarosa's' Se fiato in corpo avete.' The melody is good, and the accompaniments are full of vigour, shewing the pen of a master. At page 3 is a semitonic progression not very accurately noted: ascending by flats is quite contrary to rule, and very inconvenient to the singer. But the author seems to have soon repented of this, for on giving the subject to the second voice (page 5), he adopts the orthodox, and best, mode. The former may be an oversight.

The defects of The Siege of Rochelle are, a want of tenderness in nearly all the melodies; an excess of power-of loudness-in the accompaniments; the words are too numerous for the notes; the accentuation is often fatally erroneous; and the composer has too often called in to his assistance phrases, cadences, and whole passages, that have long been worn threadbare. On the other hand, the opera displays much knowledge of music, an active, vigorous mind, a boldness and richness of harmony, and a freedom in writing, which altogether lead us not only to hope for, but to expect, much from the future efforts of the author. One thing he has to fear, the extravagant, fulsome praises lavished on him by the newspaper press. If Mr. Balfe believes all that has been advanced in that quarter, he must suppose himself at the summit of perfection, a persuasion which, almost infallibly, would at once arrest his progress towards that degree of excellence, which, doubtless, he wishes to attain.

It now remains to be seen whether the charge brought against Mr. Balfe, of having made so unjustifiable a use of Ricci's opera, and of Weber's glee (as it is called), can be brought fairly to proof. He cannot, if innocent, remain satisfied with his publisher's attempt at refutation: the would-be joke, about Ricci's Avventura di Scaramuccia, is flippant enough, but no argument.

FAMILIAR DIALOGUES on THOROUGH-BASS and HARMONY, &c., illus. trated by numerous Examples and Exercises, by J. Jousse, Professor of Music. 12mo. (D'Almaine & Co.)

How many volumes on what is termed thorough-base have been published during the present century, and yet how few have maintained their ground or proved really serviceable! We are perplexed when asked to recommend a work on the subject, being acquainted with none that we consider adequate to the intended purpose. Those who really understand the science of music seldom know how to write, and such as are skilful in writing rarely possess deep and practical musical knowledge.

The very term thorough-base ought to be abolished, and the word harmony substituted for it. Thorough-base only implies a playing from a base having figures over it, which now is scarcely ever practised, except by cathedral organists, and not always by them. Harmony includes all that is meant by thorough-base, with much more, and is universally applicable in music.

Mr. Jousse's work is as valuable as most others that have fallen

under our notice. He is what is understood by the word orthodox and repeats what has been said hundreds of times before, without making an attempt to improve, though there is so much to ameliorate, or to throw the smallest gleam of new light on what yet continuès involved in such unnecessary obscurity. He does not seem to have been aware that whoever, in this thinking age, wishes to write a work on what is called the theoretical part of music, and hopes to be read, must proceed on a plan almost diametrically opposed to that which is still, and has so long been, followed.

We have said that the author of the present volume has the merit of being generally correct. He has, however, been guilty of one inadvertency of some importance in theory, namely, at page 19, in stating that the chord of the 7th is an immediate product of the sonorous body. According to all hitherto established rule, sonorous bodies give but the 12th and 17th-or, when reduced to least terms, the 3rd and 5th. Much will be disclosed when our knowledge of acoustics is more advanced than at present: the harmonic 12th may perhaps give its 3rd, and thus the 7th will be produced. But this is mere hypothesis: the 7th is not yet admitted as a natural harmonic.

1. BRILLIANT VARIATIONS, for the Piano Forte, on a Waltz, by COUNT GALLENBERG, composed by G. A. OSBORNE. Op. 13. (Chappell.) 2. RONDO À LA VALSE, composed and published as the preceding. The very elegant waltz of Count Gallenberg, in a flat, is well known, and has often been taken as a theme, but never, that we recollect, been treated in so appropriate and graceful a manner as now. The varia tions are all, except the last, what we should denominate expressive rather than brilliant: by the latter term we are, unhappily, taught to expect passages of mere execution, of no meaning, such as patient plodding will always master, and few have patience to hear; but the present work, though requiring a performer able in every sense of the word, is calculated to please, not to astonish, and every really good player will find that it will secure to him willing listeners, who will regret, not pray for, the concluding note.

No. 2 is a clever composition, in which we meet with something like originality. After a short introduction, the subject, a waltz in E flat, commences, and is ably and effectively pursued; the modulations are good, and the interest is kept up, through nine pages, to the very end.

We do not often meet with a ballad so well conceived and so elegantly written as The Fisher's Wife;' there is nothing of a common kind in any part of it, but much that must be highly approved by critical judges, and that will be more admired by the musical public at large, the more it is known. The compass is limited, and both melody and accompaniment are easy for the performer.

No. 3, in the Scottish manner, is full of feeling: the poetry is in a pleasingly melancholy strain, and the composition, without being sad or heavy, is in every way well adapted to it. This and No. 2 we recommend to the notice of our readers: they will infallibly please all who possess an unsophisticated, pure taste.

The review of Hogarth's Musical History, and other works, in our next.

FOREIGN MUSICAL REPORT.
BERLIN.

MUSICAL affairs began to assume a lively aspect towards the middle of October. A new star appeared in the firmament of song: we allude to Mad. Masi, whose talent at singing in the modern Italian style was universally recognized. In the readiness with which she executes passages she resembles Sontag: she is, however, behind her in nature, although she possesses much grace. The concert given by MM. Gabriëlski at the Freemasons' Lodge has been followed by a second given by MM. Reis, Mawrer, Böhmer, Just, and Taubert collectively: these four gentlemen have combined to give a series of musical soirées. What was newest and most remarkable at this concert, was a composition by the talented M. B. Gross of Dorpat, Variations on the O pescator dell onda, admirably performed by the four artists. The execution by M.

Taubert of a piano-concerto, by Chopin, is deserving of like honourable mention, since the performer proved that nothing is too difficult for his powers. At the Theatre Royal, many little half-Italian Operas have been given, to make use of Mad. Masi. The first of them is the Kapellmeister and Prima Donna, put together by Carl Blum.

As October advanced, musical affairs increased in importance. We had Rossini's Moses performed at the Königstadt Theatre. It was not remarkably successful, which we think is mainly attributable to its being played in the old form, while at Paris it has been totally remodelled, and thus become one of the most brilliant works of Rossini. At the Theatre Royal the progress of the month brought new vocal phenomena to light. M. Wigand from Frankfort appeared as Tristan in Jessonda, without any striking success, but yet sufficient to be named with honour. Madlle. Beutler acted Donna Anna in Don Juan, and thereby two faulty judgments were displayed, viz.: her own in selecting the part, and the managers in allowing her to perform it. Vices of this nature, like virtue, bring with them their own reward, for the piece was universally hissed.

All this was followed by a tremendous incident; we mean the performance by the Vocal Academy of Goethe's Faust with the late Prince Radzivill's music. This composition, in conjunction with the powerful poem, has made an extraordinary impression. The music is, considered by itself, rich in fanciful invention; and it is adapted to the words in the most deep and impressive manner. About the conception of several single pieces there may be different opinions, but the whole is a great work, the result of a great mind; and enthusiasm for the poem has strengthened, elevated, and preserved indefatigable all the powers of the composer. The critic must not begin hair-splitting about this or that particular piece, but regard the whole great attempt,-look at the EVENT. Such a creation of art is an event, and one of no small importance, the animation on its account will last a whole generation, as well as the powers of the composition.

M. Zimmermann has been giving quartet-soirées, and the month of November has been enlivened by the opening of those of M. Ries; they were held alternately every Monday at the Hôtel de Russie. M. Decker as pianist has associated himself to the first gentleman, and M. Taubert to the second: these play the classical chamber-music. On Monday the 2nd of November, M. Ries' quartets opened with one by Haydn in G major, Mozart's in E major for the piano-forte, and Beethoven's in D major. The latter was played very finely.

At the Theatre a little son of our musical director, Möser, has been heard with great applause. He played a rondo, by Mayseder, in a manner so chaste, and with such gracefulness, that we would have congratulated many an old player who could have done the same. At the Königstadt we have had a new singer, M. Wolfram,-he may suit the Opera Buffa, but certainly will never, like Orpheus, move stones by his singing. At the Theatre Royal, M. Eichberger appeared as Robert le Diable and Masaniello, M. Hauser as Bertram and Figaro, and both met with applause.

HALLE.

The musical director to the University, Dr. Naue, instituted the third grand Festival, which commenced on the 20th and ended on the 23rd of October. The direction of the musical performances was consigned to Dr. Fr. Schneider. The solo parts were sung by Madlle. Vial of Turin, Madlle. Lägel of Gera, Madlle. Rose from Quedlinburg, Mad. Helmholz of Halle, M. Nauenburg of Halle, MM. Diedike and Krüger of Dessau. As instrumental artists we had M. Tretbar, clarionetist, from Brunswick; as violinists, MM. Urbanech and Tomassini, of Berlin, M. Lindner, MM. Apel and Bartels, of Dessau; as violoncellists, MM. Drechsler and Lindner; as horn player, M. Fuchs, of Dessau; and as trombonist, M. Queisser, from Leipzig. The Orchestra consisting of the Dessau Hof-capell, several musicians from Berlin, Brunswick, &c.; the resident amateurs and the Hallesch orchestra, might together with the vocal chorus be estimated at 400 persons. Among the greater orchestral compositions may be enumerated—a symphony by Beethoven (No. 4); a grand festival overture by Lindpainter (composed for the occasion); another by Schneider; and a third by Mendelssohn. On the second day Schneider's Oratorio, Absalon was performed by the whole body assembled.

DORTMUND.

On the 1st of October, the instructors of the Märkisch Union solemnized their fourth Festival. More than 300 singers, under the conduct of M. Engelhardt assisted in the performance. Above 2000 persons, including M. Ober-President von Vincke, attended on this occasion.

DRESDEN.

On the 7th of October, a grand musical Festival was held in our Frauenkirche, (our Lady's Church,) when 2000 persons attended. This first attempt turned out so well, that we have no doubt about a repetition. M. J. Otto directed the whole. About 80 instrumental players and 400 performers altogether, might be enumerated.

GÖRLITZ.

At the church of St. Peter and St. Paul, on the 7th of October, the first vocal Festival of the Oberlausitz Union took place. M. Blüher, the

entrepreneur and director of the whole, had contrived that two choruses, the male, consisting of 300 persons, and another consisting of about 100 alto and soprano voices, should appear in two indifferent spots,-sometimes together, sometimes alternately and sometimes independently,and sometimes with, sometimes without instrumental accompaniment. An arrangement which was as novel in the idea, as it proved successful in the issue. The choice of pieces performed was equally praiseworthy. There were vocal pieces by Händel, Fr. Schneider, Seyfried, Blüher, In spite of several adverse circumBergt, Romberg, B. Klein, &c. stances, the performance equalled the general expectation, and had a visibly powerful effect on the numerous audience, many of whom came from a considerable distance.

THE DRAMA.

DRURY-LANE THEATRE.

No change has taken place in the performances at this theatre since our last. The Siege of Rochelle and The Jewess have been given uninterruptedly every night, and, till very late in the month, full houses have crowned the exertions of the manager. The real attraction, however, during great part of the time, has been the latter piece:-gorgeous pageantry, including a troop of real horses, alone, in the present state of the public taste (the play-going public, we mean), will prove an allurement for any considerable time. We learn from good authority. that the Siege of Rochelle would never have paid its own expenses after the first four or five nights, had not The Jewess, or some equally popular piece, been joined with it.

An opera, by Auber, the Bronze Horse, is in preparation, but will not be brought out till nearly the end of the present month.

COVENT-GARDEN THEATRE.

THE present managers are, we hear, satisfied with their receipts, and have no cause to regret the reduction of prices; we, nevertheless, are convinced that the old terms of admission-five, three, and two shillings, would have been the true medium. To these, we predict, both theatres will at length come.

Three or four new pieces have been produced at this theatre, two of them with music; but the latter, whether as regards quantity or quality, has not been of sufficient importance to render any account of it an object worthy of our attention.

ST. JAMES'S THEATRE.

TOWARDS the end of last August there stood in King Street, St. James's, an old building, nearly in ruins, known by the name of Nerot's Hotel. In a few days it had entirely vanished, and thirteen weeks after, a new theatre, complete in all its parts, and constructed for duration as well as ornament, appeared on its site, and was actually opened to the public on Monday the 14th of December.

The history of this new establishment may be related in few words. Last spring, Mr. Braham obtained from his Majesty the promise of a license for a new musical theatre, to be open from the first of October till the end of March. He then purchased the above-mentioned extensive freehold premises, for the sum of 6,000l, and having engaged Mr. Beazley, the well-known architect, to carry his building intentions into execution, the structure was begun, finished, fitted up, and opened, in the marvellously short period of time before stated; at an expense, it is said, of 22,000l.

A description of this new theatre we borrow from the Sun newspaper, which seems to have obtained its information from a professional and authorised source.

The façade is of the pure Roman architecture of the middle ages, and, though not very extensive, will present, when completed, an extremely chaste and elegant appearance. The portico is composed of six Ionic columns, supporting a stone balustrade; behind which, and sustaining the main cornice of the front, is a range of Corinthian columns, with a richly-embellished entablature of the same order. The centre of the building is appropriated to the box entrance: at the extremities, right and left, are approaches to the pit and gallery. The box visiters pass through the portico into a small entrance-hall, leading by a handsome flight of stone steps into a vestibule adjoining the dress circle, whence two circular stone staircases ascend to the upper boxes and saloon. The front will not be stuccoed until the approaching spring. When completed, it is intended that the entrance-hall, the ceiling of which is carved, shall be supported by four imitative marble columns, between which, in niches, are to be placed six figures from the antique.

The interior comprises two tiers of boxes, with slips on each side of the gallery. The dress-circle, of sixteen boxes, is kept considerably lower than in any other theatre, so as to place the spectator as nearly on a level with the stage as possible. To effect this the back part of the pit has been sacrificed, the space under the boxes affording only standing room. On each side of the pit, nearest the stage, are two private boxes, which command a perfect view of the performances, and behind