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The Musical. Gem, 1831.

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Published by M N

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THE

MUSICAL СЕМ:

A SOUVENIR

FOR

MDCCCXXXI.

EDITED BY

N. MORI AND W. BALI

de

** Joy and fair time, Health and good wishes ! —SrmaksrEAnE. + 2 >

LONDON:

PUBLISHED BY MORI AND LAVENU,

28, NEW BOND STREET.

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PORTE DIA

rez

omer

1831.

for:

Gem

Musical

The

DEDICATION.

TO HER MOST EXCELLENT MAJESTY ADELAIDE, QUEEN OF GREAT BRITAIN,

&c. &с, &c,

Марам, With feclings of profound respect, we beg leave to inscribe to your Majesty the present volume of Tue Musican Gem, and to testify our heartfelt grati-

tude for the permission so graciously accorded to its Editors Sor its being issued under

the immediate sanction of your Majesty.

That the reign of our beloved Monarch, and your Majesty’s happy participation

in the throne of these reatms, so auspicious, amongst the highest and best interests of the

Nation, to the prosperity of the Fine Arts and the protection of. Native Talent, may long

continue to crown the blessings bestowed by Providence upon the British People, is the

earnest prayer of,

Mapam, Your Majesty's most dutiful, most humble, and

most devoted servants,

N. MORI. W. BALL.

Loxpox, NOVEMBER lsr, 1830.

PREFACE,

Tue Editors of Tue MusıcaL Сем, impressed with a deep sense of gratitude for the high and flattering encouragement bestowed on their former volume, desire respectfully to express their humble acknowledgments for the illustrious patronage by which it was so honorably distinguished, and the many gratifying testimonials which accompanied its progress in the public favor. In preparing their present offering for its course of emulation among the now extensive number of its talented compeers, they confidently hope that their Souvenir for 1831, following in the path over which such flowers have been kindly strown, will be found not unworthy of the share of

welcome to which it aspires in its advance on that which lies before it, at the invitation

of the New Year.

London, November 154, 1830.

ЕЗ CONTENTS.

| Í | К. | | THE WORDS BY THE MUSIC BY PAGE Ж ec»oveomwoossecece Y | Memoir of Madame PASTA........ ... Score nse cede seb es 4429699) 965 1-32 151 асе CAES ERA | * Spirit of Music!” 0000 nennen. «SONGS ә ө onse o «Miss SMITHoocoesesccens eo... Miss SMITH ...... 5 | еее ежа . $ x | : ; SEY Hn a, 9 B. | | The Pride of the Valley ................Ballad.......... С. J. SEYMOUR ............ HIMMEI | * Haste thee, love!” ..cccccce oo» °° sea GUAMACNA .... oe W. E. ATTFELD «+50 0.5. UBER 22208 12 13 | "m Fer Y TESSF š e, PACINL .... 16 di | Serenade— Sous ta fenêtre.” .... ...... Tyrolienne...... LA COMTESSE DE BRADI...... Mile, PACINI 16 La Cachucha......... sie Sense ) Же: ЖИДЕ Sif, aces G. J. Biron A Spanish Melody. . 18 * Look from thy lattice, love.".. ! Memoir of PAGANINE TS aS UE LAS dau Rel rs АЗЫ MO aut k Gains Т 23 | ROIS sue acer RE pallad i o WILLIAM BALL Eos osc ie BELLINI.... 22%. 85 | ! * El amor siempre empieza.”., t sels 242. BOTO af 5 ss To Ws Fi UENIRE, e cas В. AAT же? 81 | The Warning... scs Sss Ii "p т л 7 „ < I | The Troubadour’s Гау........ ......... .Canzonet .... .. WALTER THORNTON, Esq....CIMAROSA...... 34 | Sympathy ЕЕ. АРЕ Ballad 22222 THE LATE BisHoP НЕВЕВ.................... 41 ИН ` тач ‚ | “ Accusa 1 tuoi bei га1.”...... eene Italian Duet.... THE MARQUIS DE BOLOGNA..GABUSSI........ 51 | “ШАНАНеШОйЕ жез 22. ses ce BLOMANCO 20/2000 è WILLIAM BALL........ ....С. DE BERIOT... 43 Memoir. of HUMMEL.... ll... ee ров РР s de 924958499 «diee es 4645 nx nd 9d 13 | “ Неге" a health to that Friend.”........ BOND remercie 49.54 ө s. eo Mrs. H. SHELTON.. 57 || “ Ay, San Амоп!"....., ? TU oes СЫ Belo OR 2 қ. VEMM + CARERS ccs aden 63 Т Тһе Planting of the Vine. . | * Rouse thee up, Shepherd Boy!" ........ Tyrolienne ...... WILLIAM BALL U. ae Mad. MALIBRAN.. 66

“Вай, Buti, Buteli Ба!”............

E Swiss Air. s.s „„ WILLIAM BALL............ F. STOCKHAUSEN.. 71 The Swiss Maiden's Song to the Eagle.

| | Fac-simile of the last page of HANDEL'S MS. of The Messiah ..... cds un ce 00 ново нь а ¿sacos 75

1! Memoir of Mlle. TAGLIONI........... Ap Aon dr e TENOR TET ANE ҚЕРЕК. — WS

i ; | | Souvenir de l'Opera, containing favorite Airs sung by Madame MALIBRAN, arranged Бу... .Т. MOSCHELES.... 77 \ 5 || The celebrated Galoppe à la Giraffe............... SOCOM e а ас c'è ново FIERE эз у oe vs 87 E Eu The Tarantella voee Сал Т de ENT а Me o ERO) ToU. Р opere s 91 i | | Valse Ноартоне, ое ein Фев ас оаа сбое O Te der OS 4 Ç Reydowak and НеубозайЖа,............................. coo... SOA TO TRI CI 94 | i ^ ud EE T A A MEE MEDI UT PETERE EL TE ...95, 96 ЕБ 下 YE oor OCT AY AU КАГА, OT RO wa PDT 97 x “| Galopp-Waltzer................. ESTA AE ATA AO AA A A dire cee eee 98 ty E The Queen Adelaide Quadrilles: the subjects selected from the most celebrated works of, ..J. N, HUMMEL. . .103

LIST OF EMBELLISHMENTS.

I. PORTRAIT OF HIS PRESENT MAJESTY

,

Lithographed by Слост, (Frontispiece.)

П. PRESENTATION PLATE,

Designed and executed by В. J, HAMERTON.

ПТ. PORTRAIT OF MADAME PASTA,

Lithographed by GAUCL (Page 2.)

IV. PORTRAIT OF PAGANINI,

Lithographed by GAUCI. (Page 23.)

У. PORTRAIT OF HUMMEL,

Lithographed by WILLIAM SHARPE, (Page 48.)

VI. PORTRAIT OF MADEMOISELLE TAGLIONI,

Lithographed by Gaucı, (Page 75.)

2

MADAME PASTA.

i i se genius er, i 'e placed her at the sum- Tuıs admirable singer, whose genius, power, and talent, have placed

mit of her arduous profession, was born at Milan in 1799. She became the wife of

Signor Pasta at an early age, and was only in her seventeenth year иен: А ERROR, who met with Signor and Madame Pasta at the house of the celebrated I "^, in Paris, engaged them both for the ensuing season at our Opera-house, Signor Pasta, how- ever, who possesses a tenor voice, never publicly appeared here; the success of the celebrated CRIVELLI, who was likewise brought to England by the same gentleman for that season, left no opening for the employment of any other tenor in 1817 ; and Signor Pasta has since renounced all thoughts of the stage.

In the last-named year Madame Pasta made her first appearance on any stage, at the King’s Theatre, in the character of Telemaco, in MEv kms Opera of Penelope ; and her form, in the male attire she had assumed for her debüt, was much admired. Experience, however, was wanting to the developement of those abilities which have since so greatly distinguished her; and though she showed, most distinctly, the possession of a talent that demanded only a little time and culture, when happier opportunities might favor its display, she withdrew from an arena where the secondary rank of parts to which she had been called afforded but little prospect of encouragement, and, at the end of the season, quitted England to cherish the latent flame of genius and capability amidst the more genial and fostering influences of her native land.

On her arrival in Italy, this strong-minded and superior woman, in the full con- sciousness of what she might become, nerved herself to the task before her; and the whole of her time was passed with unabating perseverance, in the enthusiastic pursuit of study, the hearing of the best performers, and in the sedulous devotion of the knowledge and observation she acquired to the highest requisitions of her art.

After а lapse of four years thus employed, she suddenly re-appeared. Paris was the scene of this her second commencement, and the Parisians at once felt and acknowledged her worth; though it was perhaps hardly to have been expected that her severe and in- artificial style of representation would have found f to an arbitrary mode of acting and expression,

Nothing, indeed, can be more free from trick or affectation than Pasra's performance. There is no perceptible effort to resemble the character she plays ; on the contrary, she enters on the stage the character itself; transposed into the situation, excited by the hopes and the fears, breathing the life and the spirit of the being she represents.

The character of Madame Pasta?s voice is, present excellence of which evinces the richest

On the truth, the force, and splendor of her

avor in the eyes of a people so devoted

as to compass, a mezzo soprano, the and most industrious cultivation. acting, volumes might be compiled of

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unqualified panegyric from the first critical authorities throughout Europe. Never were opinions more unanimous, nor praise in its highest degree more justly earned.

The sensation excited by Madame Pasra’s performances in the French Capital in- duced immediate steps to be taken for bringing her to London ; and she re-appeared amongst us on Saturday, the 24th of March, 1824, as Desdemona, in RossrN is Otello. The manner in which she sustained that character is fresh in the remembrance of her innumerable admirers, She gave it a consequence and effect that enchained the attention and obtained the warmest suffrages of those who were least partial to the Opera itself. Her reputation, indeed, was, on this occasion, established, and she stood the reigning and unrivalled favorite of thelyrical stage. The general audience was captivated by the vigor and truth of her representation, and the musical judges found great cause of commendation in her science, and her chastened judgment, the exercise of which pre- vented too much being done, and left her triumph to be accomplished without the aid of artifice or misplaced execution.

Madame Pasta is certainly not less worthy of distinction as an actress than as a singer. Her expression and gesture are in excellent keeping with her singing ; all three are the offspring of deep feeling and correct judgment. In figure she is rather below the middle size, but is exceedingly well proportioned. — Her features are regular and ex- pressive, and her whole countenance indicates a decided genius for the serious drama.

The principal Operas in which Madame Pasra has appeared in Italy, France, Germany, and England, are Otello, Medea, Camilla, Nina, Romeo e Giulietta, Tancredi, and La Rosa Bianca e Rosa Rossa.

Since Madame Pasra’s last return to Italy, at the close of the season of 1829, her time has been passed partly in retirement on the banks of the Lake of Como, and partly in professional engagements at the principal towns of the Italian and German States, where she has been received with unbounded enthusiasm*.

Her renewed visitto this country in the course of the forthcoming season is confidently expected, and will be hailed by the lovers of the art of which she is so bright an orna-

ment, and by all the admirers of her personal excellence and talent, with sincere w

elcome and delight.

* At Verona the Instituto Filarmonico of that city lately presented PASTA with a medal, having on one side Alterna Vice Triumphans, MDCCCXXX.

And on the reverse, a laurel wreath, with

IVDITHÆ PASTA COLL. AMPHIONVM VERONENSE INTER PLAUDENTES OBSTUPESCENS.

SPIRIT OF MUSIC.

THE WORDS BY MISS SMITH,

Spirit! Spirit! come to me now!

The leaves are trembling on the bough, And the sweet breath of the western breeze Shakes clouds of blossoms from the trees ;

The nightingale, thy fav'rite child,

Fills the air with her warblings wild !

Now is the genial hour for thee:

Spirit of Music! come to me!

Spirit of Melody ! Spirit divine ! Thou knowest, thou knowest my soul is thine !

Grant me a voice whose thrilling tone,

Whose sweetness, may be all thine own ! Give me to touch, by its secret lore,

Hearts that have never been touch’d before !

Thou that dwell’st in the balmy air,

Spirit of Music! hear my pray'r !

Beautiful Spirit!- I call thee again! Oh! let not thy captive plead in vain !

I sue for а power that may. breathe

Calmness and peace! for ] would wreathe Such a mystic spell around the soul

As colder sway shall ne’er contro] !

Come, with thy healing minstrelsy,

Celestial Spirit! O come to me !

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11

THE PRIDE OF THE VALLEY.

THE-WORDS ВУ С. J. SEYMOUR.

Ah! tell me, in kindness, ye spirits that rove

These grottoes, these bowers, dear haunts of my love ! Where is she now? Ah! tell me where!

(Echo) Ah! tell me mhere-—Forbear, forbear !

I hear thee, sad Есно! my dark fate I see;

And The Pride of the Valley returns not to me.

No answers but thine to my lorn heart reply,

No more her sweet music responds to my cry :

I hail her song, alas! no more.

(Echo) Alas! no more,—The charm is o'er! Mourn with me, sweet Echo ! to this lovely shore

The Pride of the Valley returns never more.

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«HASTE THEE, LOVE!”

THE WORDS ВУ W. E. ATTFIELD.

O! haste thee, love, hither the tabors are sounding, The lively guaracha is heard o'er the sea;

My own fairy bark, on the light billow bounding, Waits only, waits only for.thee.

The sweet mandolin, to the castagnet ringing, The dance, gaily woven again and again,

Oh! these shall be thine, love! to memory bringing The pleasures long past of our dear native Spain.

Then haste thee, love, &c.

No longer, my own love, no longer in sadness We'll droop o'er the shadows of moments gone by ; But offer our hearts to the sunshine of gladness,

Whenever a beam shall be nigh.

"The breeze, with its perfumes from grove and from bower,

` Now o'er the dark waters is shedding Из balm; The earth it is breathing a charm on the hour,

And the smile of the heaven is lovely and calm.

Then haste thee, love, &c.

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18 LA CA CEY CRA,

TOOR FROM HEY LATTLICHLOVE, DUETT, ” I ق‎ T УД ZZ

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АА Dies the dim ray, love,— Lo! the night

Dies the dim тау, love,— Lo! the night

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Hither а. way, love, Hither a.....way!

1831

.Hither! and , while thy trembling eye

Brightens with hope endearing, Silently over the wave well fly, Like the swift breeze careering.

Look from thy towr, Why dost thou stay, love?

- Hark!’Tis the hour,— Hie thee away, love,

; Hie thee away! Down the lone stair watchfully stray, love, — Danger lurks there, Haste thee away, love ,一

Haste thee away !

LA SERENADE.

PAROLES DE MADAME LA COMTESSE DE BRADI.

(FROM THE ALBUM OF A LADY OF TITLE.)

Sous ta fenétre je chante doucement !

Laure peut-étre entendra son amant ;

J'attends que l'ombre enveloppe les cieux,

Que la nuit sombre me cache à tous les yeux.

Tu semblais craindre quelque danger pour moi ;

Mais suis-je à plaindre quand je veille pour toi ?

N'attends pas Laure que revienne le jour;

Et que l'aurore surprenne notre amour.

Je crains encore que tu n'entends pas; Reponds moi, Laure, ai-je chanté trop bas ? L’oreille est fine quand le cœur est épris,

L'amour devine ce qu'il n'a pas compris.

LOOK FROM THY LATTICE, LOVE.

THE WORDS FROM THE SPANISH BY G. J. SEYMOUR.

Look from thy lattice, love! look, and see! O'er the dark waters shining, See where my bark draws near for thee— Hasten, for day is declining. Softly afar Dies the dim ray, love: Lo! the night-star— Hither away, love, Hither away ! Ev'ry vain fear Pr'ythee allay, love: Freedom is here— Hither away, love, Hither away !

Hither ! and, while thy trembling eye Brightens with hope endearing, Silently over the wave we'll fly, Like the swift breeze careering. Look from thy tow’r ; Why dost thou stay, love? Hark! "tis the hour— Hie thee away, love, Hie thee away ! Down the lone stair Watchfully stray, love: Danger lurks there— Haste thee away, love, Haste thee away!

Look from thy lattice, love! heedful be! Ere the bright moon arising Flings her broad ray o'er shore and sea, Thy secret path surprising. Ah! thou art nigh, List'ning my lay, love: Tarry not—fly ! Hither away, love ! Hither away ! Ev'ry vain fear Pr'ythee away, love! Freedom is here— Hither away, love, Hither away !

* This word, which is not to be found in in short, to anything that is graceful or pretty. style, cachucha means that part of the quiv and are sung frequently by the water-carri

The cachucha solo, danced either by a music peculiar to this dance ; which is sometimes imp

t The celebrated Senora MercanpOTTI (now Mrs. and 1823, made her first appearance in La Cachucha at th

any dictionary of the Spanish language,

In the dialect of the Gittanos, or gipsi er in which Cupid puts his darts. In the ers from the above-named province w man or à woman alone, though better suited to the 1

assloned, sometimes sprightly, and some

Носнеѕ BALL), so highly admired at house when only fifteen years of

LA САСНОСНА*.

Tengo yo una cachuchita Que navegando de noche En echandole los remos Parece que voy en coche Vamonos china del alma Vamonos à Puerto Real Vamonos

Que para pasar trabajos Lo mismo da aqui que allà

Vamonos,

Mi cachucha en alta mar А todos vientos camina Y nunca va mas ligera Que cuando va de bolina Vamonos china del alma Vamonos a la caleta Vamonos

Veremos los guacamayos Con fusil y bayoneta

Vamonos,

Tengo yo una cachuchita Que me la dio un cachuchero, Vaya, una cosa bonita

Con muchisimo salero Vamonos china del alma Vamonos al melonar Vamonos

Y en el caminito, haremos Entre los dos un telar

Vamonos.

is ordinarily applied to a favorite damsel, a bird, a little cap, and, es of Andalusia, the same term signifies gold. Ina more elevated above song it means a boat. The songs of this class are various, ho ply in the streets of Cadiz.

atter, is admirably calculated to accompany the medley of times gracefully calmt.

at the King”s Theatre during her short engagement in 1822

age.

23

PAGANINI.

Tue fame of Мтсото PAGANINI, as the first of Violinists, has long resounded throughout Europe. Travellers of various nations have concurred in verifying amongst us the wonders told of this great master; and the most skilful professors of music, familiarized to the display of excelling talent, have pronounced him not only to be beyond all precedent afforded us “ by tale or history,” but so far to have out- stripped all living rivalry, that no description can do justice to the powers which distinguish him from every other artist of our time.

This extraordinary man, the son of an eminent professor of the violin at Genoa, was born in that city in the year 1783. He commenced taking lessons from his father when very young, and was then placed under the tuition of the Director of the Orchestra, Giacamo Costa, by whose assistance his musical knowledge was rapidly advanced. While yet a boy, he quitted Genoa for Milan, to avail himself of the instructions of Alexander Rolla (at that period justly accounted the first violinist in Italy), from whom he received so much advantage, that in 1792, when only eight years of age, he gave concerts, and at twelve became known as a composer. Shortly after, he was named leader of the band at Lucca; he was then fourteen ; from thence he removed to Naples, where his performances were attended with extraordinary success.

In 1805 Paganini entered the service of Napoleon’s sister Eliza, Princess of Lucca and Piambino, in the capacity of director of the orchestra; and, when she became Grand Duchess of Tuscany, he followed her to Florence, where he became the object of unbounded admiration. Having, in consequence of a wager, one night led an opera and played a solo on а violin with only two strings, the third and fourth, it is said that the Princess suggested to him the idea of composing a concerto for the fourth string, after she had heard him draw such surprising tones from it; and also that she had much difficulty in persuading him to avail himself of his talent. This, however, was the origin of those tours de force he has since accustomed himself to make on his instrument, and which, in coupling so much of eccentricity with the science over which his mastery is so absolute, have given the performances of Paganini a fame and character perfectly unique, It was in 1810 that he for the first time gave, at a court concert, his variations on the fourth string, the extent of which he had carried to three octaves, by means of harmonic sounds. This novelty succeeded prodigiously, espe- cially when he had made it public, which he did at a concert given by him at Parma on the 10th of August, 1811.

When Paganini became known to Rossini, the latter, who plays all kinds of instru- ments, is said to have been so captivated by the talent of the Genoese, that for six months he devoted himself to the arduous and not unsuccessful study of the violin. Meyerbeer, the celebrated composer, once underwent an equal fascination. Не was оп the point of quitting Florence for Naples, where he was going to bring out one of his works. That town, which he had never yet seen, held out a double attraction to him. He was eager to enjoy its delightful climate ; but he heard Paganini, and both Naples and his opera were forgotten. Paganini travelled through Tuscany; Meyerbeer fol- lowed him, and heard him eighteen times before he could prevail upon himself to leave him. Ina country where all are musicians, where they have music at every moment in the day, and where consequently they care but little for concerts, Paganini attracted

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crowds everywhere, and excited a universal enthusiasm. At Milan, during one visit,

he gave nineteen concerts in succession, and without diminution of bis audiences ; in Germany, where many obstacles were arrayed against him, he enjoyed similar triumphs ; at Vienna, the rooms were not large enough to contain the concourse ; and at Berlin, where the opposition was still greater, the same circumstances were repeated, and the farewell that he received at his eighteenth concert consisted in an invitation to remain there for ever. At Dresden, Frankfort, Leipsic, Breslau, Prague, and Stutgard, he turned the heads of the cold inhabitants of the North with the same success, At

Warsaw, the Polish dilettanti, on the day of his departure, assembled to the number of

eighty, about half a league from the town, and Elsner, the Director of the Conservatory, presented him, in the name of the party, with a gold snuff-box bearing an inscription tributary to his unrivalled talents. This was in 1829. Thé limits of this brief sketch will notallow of our citing those extraordinary instances of the surprising’ genius aud abilities of Paganini which are so well remembered at the various places he has visited, particularly at Rome, at Verona, and at Milan ; at which latter city a memorable exem- plification of his superiority was affordèd in a trial of skill between him and the celebrated Lafont. In fact, his execution was so wonderful, that Lafont, who has a just claim to great talent; no longer doubted the power of the daring Genoese to conquer

impossibilities*. 13-942 2:

The latest accounts of Paganini represent his reception everywhere throughout his renewed tour in Germany as enthusiastic in the extreme. It is confidently stated, that he will shortly appear in the French capital, and from thence proceed to London, where the highest interest is excited by the unanimous accounts we have received of his great abilities, the fruit of a genius and a perseverance which have achieved for him a reputa- tion unequalled in the annals of the art.

- E * і `x.

* Mr. F. Cianchettini, who was present at the contest where the public judgment conferred new wreaths on Paganini, Justly says: “М. Lafont, having acquiesced in silence to such a decision, does not diminish one iota of his acquired fame; as not only himself, but every living violinist who dares to enter into rivalry with Paganini, will be prostrated.” - |

э

T As “Envy will Merit as its shade pursue," it is not to be supposed that disappointed Mediocrity has traced without calumny and imputation the path of Paganini, Rumors, propagated by malevolence, of his having, at some period, undergone a long incarcerationfor a crime committed under the excitement of "domestic jealousy, “and of te owing all his talent to the leisure of imprisonment, were at one time prevalent in Italy, and even preceded him to Vienna, where a great number of the credulous inhabitants became prejudiced against him, He demanded an enquiry from the Austrian Government, and the result proved the absurdity of the charge. It had its origin, however, in a mistake: a Polish violin-player, who had been arrested for debt at Milan, having been the person with whare name that of Paganini had been confounded amid the exaggerations of report. S * Bine n a MEME зра FERA he is SEE above the middle height: his dignity. Long black curling hair shades his ud Pise a Pa x my à ыы. у: nne Qu remarkable. His позе is prominent, and his long Wd thin " i te = ves Va roy stri и = тай Бал шш; cu Tee dan de жы ип = has the pei of what physician gall the without being disagreeable, is not prépossBeing E. жәй S ж aep Locas m рв physiognomy, E^ MEANS do de i i 122 Vn sight, becomes attractive so soon as > is animated, He has

р or some years he has suffered from an affection of the chest.—Vide

* Some Account of th iolini ic ini ; LE e celebrated Violinist, Nicolo Paganini, translated from the French of С. Imbert de

Paganini's compositions аге numerous, and and present striking combinations of profound tenor, and bass, have been well known in Italy

are progressively increasing. They abound in charming melodies, skill and characteristic originality, His quartets for two violins, for fifteen or eighteen years.

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ROSALIE.

THE WORDS BY WILLIAM BALL.

The lovely day is closing,

'The quiet eve descending,

And now, from toil reposing Beneath the sun-set tree,

Our village maids, my fairest, Their rural songs while blending,

Entwine, of sweets the rarest,

The bridal wreath for thee,

My own dear Rosalie !

My humble home, to-morrow,

With me, my lov'd one, sharing,

From ev'ry anxious sorrow There shielded shalt thou be, And bless the fav'ring Pow'r, 4% * Our hearts; our-vows endearing, + 2 That gave, in happy hour; The bridal wreath to thee,

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THE WARNING. “EL AMOR SIEMPRE EMPIEZ

TRANSLATED FROM THE SPANISH

. a к n BY У: В ATTFIELD. ' tà a à; > ВОГЕКО*,

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Love, that from flower to flower | | Forsport delusive flies, El amor siempre empieza

> Р А 9. >

Knows but a joyless hour, Por algun chiste,

That soon in sorrow dies. En sugeciones media, Y acaba triste. Ye, who the charm would borrow

That faithful bosoms share, Por eso es bueno,

Ye, who would shun that sorrow, Para evitar tristezas,

Of that vain sport beware! > Huir del chiste.

* Tur BoLero:—This favourite Dance of the Spanish people; which is of а more noble and restrained character than the fandango, is e xecuted two persons, male and female. It comprises five divisions ; namely, the paseo, or promen: ida a sòrt of preparatory movement; the traversias, or

crossing, which reverses the places of the dancers : ; and then the diferencias, which demands а с hange of steps. The

traversias, or back again, is then followed by the Jinales, which is succeeded by the bien parado

‚a graceful display of attitude or position by the couple who are dancing. The air of th bolero is sometimes set tothe time of 2 2; atothers 5. The music, which abounds with cadenc es, is susceptible of

great variety, and bears some resemblance tothat of the polaca. The subject or melody of this de

ance may be altered at pleasure ; but its peculiar accent, its time, and its flourishes, must be well

measured: the latter are termed false pauses. The steps of the dolero are pe

always, as it were, ben marcato, or “clearly and stronglv defined. W boleras.

rformed terre-ä-terre ; they are either sliding, beaten, or retreating ; being

hen the boleros are sung, and accompaniéd- by a guitar, théy are called seguidilla 4

Seguidillas means only sequel or continuation зй $ the air being

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* The word BOLERO, saltationis Hispania genus, is derived from the verb

volar, or from the Spanish noun volero, which is the same as volador, the sense of which has probably been

applied to the bolero, from the lightness with which it oughtto be exectited.”—Brasts.

31

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THE TROUBADOURS LAY.

THE WORDS BY WALTER THORNTON, ESQ.

The Spring's lovely blossoms their odours are breathing,

The Morn's fairy mists from the blue lake are wreathing,

And о’ег its light wavelets the soft breezes stray.

When May's bright hours our songs renew,

To yon fair tow’rs, with homage due,

A band of blithe minstrels, we take our glad way:

Awhile, then, my dearest,

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And home we return with the wreaths of the day,

With store of praise from chieftains high,

And gifts to please a maiden’s eye,

Our prizes, our treasures, we'll haste to display !

And thou, O my fairest ! Shalt gather the rarest,

And share the success of thy T’rroubadour’s lay.

40

SYMPATHY.

THE WORDS BY THE LATE BISHOP HEBER,

A knight and a lady once met in a grove,

While each was in quest of a fugitive love; A river ran mournfully murmuring by, .

And they wept in its waters for sympathy.

* Oh ! never was knight such a sorrow that bore !" „ “Oh! never was maid so deserted before !” <“ From life and its woes*let us instantly fly, 4 $

* And jump in together for company !” J g 3

They search'd for an eddy that suited the deed, But here was a bramble, and there was a weed :

“ How tirèsome it is!” said the fair, with a sigh:

So they sat down to rest them in company.

They gaz'd on each other, the maid and the knight :

How fair was her form! and how goodly his height !

* One mournful embrace," sobb'd the youth, “еге we die :”

So kissing and crying kept company.

“Oh! had I but lov’d such an angel as you !" * Oh! had but my swain been a quarter as true !"

“To miss such perfection how blinded was I !”

Sure now they were excellent company !

At length spoke the lass, 'twixt a:smile and a tear:

“The weather is cold for a watery bier,

** When summer returns we may easily die ;

“ Till then let us sorrow in company."

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But here was a bramble, and there was a weed ;

"How tiresome it is!” said the fair,with a sieh, -

So they sat down to rest them in company. Fer They gazd on each other, the Maid and the Knight; How fair was her form, and how goodly his height! “One mournful embrace,” sobb’d the Youthj'ere we die!” So kissing and crying kept company.

3 “Oh, Had I but lovd such an angel as you!” “oh, Had but my swain been a quarter as true!” "To miss such perfection how blinded was 1!” Sure now they were excellent company! = Atlength ‘spoke the lass, ’twixt a smile anda tears * The weather is cold for a watery bier; When summer returns we may easily die — Till then let us sorrow in company?”

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47

“ІТ IS THE HOUR."

THE WORDS BY WILLIAM BALL.

It is the hour, the lovely hour, From weary cares when lone and free, My pensive soul awakes her pow’r,

And flies afar, my love, to thee !

When Ev’ning leads her gentle store Of hues divine o’er sea and shore,

Oh ! then’s the hour, the lovely hour, &c.

When all the stars, with glories new, Are seen to leave their secret bow’rs, As if to share, in worship due, The incense of our breathing flow'rs, And that sweet ray, that falls like balm, Seems ev'ry earthly plaint to calm,

Oh! that's the hour, the lovely hour, &c.

48

J. N. HUMMEL.

JoHANN Nepomuk Hummer, whose celebrity as a Composer for the Piano-forte, and whose skill and talent as а performer оп that instrument, are of the highest order, was born at Presburg on the 14th of November, in the year 1778. His father, who was a teacher of music at the Military School of Wartberg, put the violin into the hands of his child when only in his fourth year. Instructions in singing and on the piano- forte followed, and in a very short time his progress distinguished him above all his fellow pupils. Atthe abolition of the above institution, M. Hummel removed to Vienna, where the precocious powers of his son soon engaged the attention of all the Connoiseurs, and it was agreed that the youthful wonder should be placed under the immediate care of Mozart, with whom he remained two years. When only nine years of age, he рег- formed at a concert given by that great master at Dresden; and in the following year he played in public at Cassel : in both of which places he was received with enthusiasm. He then visited, with his father, the principal cities of Germany and Denmark, and passed the years 1791 and 1792 in England, where he published his Op. 1, which was engraved on copper, and dedicated to the Queen. In 1793 he returned to Germany, where, in that and the ensuing year, he performed at various towns, with prodigious success. At Vienna he began the study of composition, under Albrechtsberger, and subsequently cultivated, under the able Salieri, that of the dramatic department of his art. In 1803 he accepted the place of Chapel Master in the establishment of the Prince Nicolas Esterhazy ; and his first Mass was honored by the entire commendation of the celebrated Haydn. The genius of Hummel now also manifested itself in compositions for the Ballet and the Opera of the Imperial Theatre, and several of his productions were received with the highest approbation. From 1811, when he quitted the Prince's service, he settled himself in Vienna; occasionally, however, making short excursions to Berlin, Leipsic, &c. being every where welcomed with enthusiastic applause, as the most extraordinary piano-forte player of the day. From the end of the year 1816 to 1818, he was Chapel Master to the King of Wirtemberg, and afterwards resided in the same capacity at Weimar, in the service of the Grand Duke. In 1821 he made two great journeys to St. Petersburgh and Moscow, and another to Holland in 1823. In the spring of 1830, the long-indulged expectation ofa visit from Hummel to the French capital was fulfilled ; and in the month of March last he gave a Concert in the Salle Chantereine, which was attended by all the distinguished amateurs and professors in Paris, and where he performed a new grand Concerto and a Fantasia with the most decided success. From Paris he proceeded to London, with the decided reputation of being the first in his line that the continent of Europe can at this time produce. His re-appearance in this metropolis was hailed with infinite delight by all the musical and fashionable Cognoscenti, and his first concert took place in the great room at the King's

& Lavenu, 28 New Bond SÌ

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Published. by Mori

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49

Theatre, on the 29th of April. It is hardly necessary to say that he showed, in his performance, his entire command over the instrument, his thorough mastery of all styles, and the rich fertility of his resources. His second concert was distinguished by his playing, with M. Moscheles, a duet for two performers, by Mozart ; the execution of which was as perfect as was to be expected from twosuch masters. Like the former, this concert terminated with an extemporaneous performance, upon a theme which had been furnished by one of the company, and which he finished with the very air, The Plough-Boy, which, forty years ago, he performed here when a boy ; though he now treated it in a very different manner. The conclusion of this was one of the most splendid displays of piano-forte playing ever heard, and left an impression on his auditory which will never be effaced.

The attendance on the above occasion was immensely great; and on the 21st of June, when, from his stay being limited, his farewell concert was announced to take place, under the patronage of the Duchess of Clarence (her present Majesty), such was the desire to hear him, as it was likely no other opportunity would be presented, that the room was filled immediately after the opening of the doors*.

Mr. Hummel shortly afterwards quitted London for the continuance of his tour through Europe, which we understand to be preparatory to his finally settling in his native country, in the honorable enjoyment, with his family, of that handsome fortune which his talents and industry have acquired, and his habitual prudence has secured for the comfort and independence of the remainder of his life.

The scientific skill of the works of Hummel, which are very numerous, is every where acknowledged ; and many excellent judges rank his compositions with those of Haydn, Mozart, and Beethoven. He has produced several Masses, which are held in the highest estimation. Amongst his pieces for the piano-forte his Grand Duet for two performers is a masterpiece, replete with originality and beauty ; and his Concerto in A minor is undoubtedly one of the finest productions for that instrument ever given to the musical world.

His dramatic works are Helene et Paris, a Ballet; Das Balebte Gemählde, ditto ; Sappho of Mitylene, ditto; Diana ed Endimione, a Cantata; Le Vicende Ф Amore, Opera Buffa ; Mathilde, Opera in three acts ; Der Zauberring, Pantomime; and the Opera of Mathilda von Guise.

* M. Hummel, at this Concert, played his own Sestet in D minor, a Rondo Brillant, the Duet of Mozart for two piano-fortes, with M. Moscheles, and concluded with an extemporaneous performance.

+ The number of the published works of M. Hummel amounts to more than a hundred ; among which, his Grand Septet, and the Concerto in B minor, are entitled to particular distinction ; as are also his Concerto Les Adieux de Paris (Op. 110), and the Grand Concerto, Op. 113.

50

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. . . . > te! Ac---cu-sa i tuoi bei rai, da---ver des.tato a..mo.re, Ac...

| | cusa i tuoi bei rai а?а ver destato a.. mo -re Per... do--- na--

| cusa i tuoi bei rai d’a--ver destato a--mo-re Per

26

scherzando

57

29

LES À ДО АЛЕНЫ TO THAT FRIEND? LES LI » р È € OMA e S foe x Made e Ly. Жж Henry. Hel tor € e

VOCE. I | Con Spirito ‘©’ Tis not While the fairy breeze

ry xD |

E PIAN Я

e

cani 2° Bet om ee

io

ue E UE DIET ; sà TS VIPER. E Uie RT) RS i iia Ment Xi

= SEA

S press, —

‚When dangers and mountain wave

high

15

tempest

Я - © ж n dv 8 只 Ф -ш z ry ‘è

1en

Fr

con anima .

Herés a

sa health!

> e

Her

God bless him!

health to that Friend

2% © =

= piu lent f TI TR EUR =: Г: 2 “лам ER È т N M N né ера ———

"Twas thus, when my path was oer

a tempo cdi PE A N EEE \ ME жш ae GS 2554 eee Pr onnipotente CES =) N KS. ШЕ / 0 YEE L eee WITWE BEI. ANNOS. лалы жылыны. A BETEN сызы ғ. me ҰРЫНЫ” ЕЗ” BFIN r= 6-97 ығыса Wo) SII У Ала SED ¿Awa — ee ی‎ ASE EL - SCT" ael

М: Ed A (GEE? A mr A A AI A e o) бе. ==: IT Ш — = co - PERS CP мықыны DEI en kawa px. ^ СЕТ TAI SES KEY TT LS 一 u ee ee A ыоҗттл=с RT LEE ery NA PON k

DI ж . =. A en — Sr? ا‎ ES —— a end TEE ЖІ SOTA PIO? PAL A MATE | N U TE TE 2 | 一 = ATA каза AAA саайда ی‎ isn ымы

SENA AAA] A Is” pr BET SP © F. FRE A. E Pei EA er ВИ Bs: GPL aw wa TZ RL SE ج‎ 9. —| ы کد‎ зы) AA ¿y am DU s= WEIT I TEXAS GEL AU IS کی‎ La M olere d STE сан s = | chosen one came to re..lieve or to share The sorrows that burthen'd my PE LE PLE A AAA FOSS ES SS A IEA OSATO ASA A vn HS 4 L L , 1.29 — m i mw ЕНЕ LAS re ee_tr po recite io ae ii AS Wa a ZI a Tee Te eZ Y ي ا‎ = A AA uum À

Е rn BEE

| EI TEL ED Za ae a... Е. < ea eT — шл EEE. NUN

тя — | "ъл. ГА AS SS wa | TER POP ¿AA DA

1

ze

2- ł de..

> € con anima

health to that Friend! God

; May blessings unnum-ber N >

es a

Her

—

. . ` 5 nd who is true in the hour of distress! Heres a

e

ver, On the fri

( a n.

IN с i

him!

time make my feeling of gratitude less bless

scend, and for e

й

bt A Na zl à hu Me M

“HERE’S A HEALTH TO THAT FRIEND!”

(FROM A LADY’S ALBUM.)

"Tis not while the fairy breeze fans the green sea That the strength of the bark may be known ; And 'tis not in prosperity's hour that the truth

Or the fervor of friends can be shown.

No! the bark must be prov'd when the tempest is high,

When dangers and mountain waves press ; The friend, when the storm of adversity's nigh,

For the touchstone of Friendship's distress.

Here's a health to that Friend! God bless him ! .

"Twas thus when my path was o'erclouded and drear,

And friends had all shrunk from the test, That the chosen one came to rélieve or to share

The sorrows that burthen'd my breast.

Past guilt may yet cease to be thought on ; but never Can time make my feeling of gratitude less:

May blessings unnumber'd descend, and for ever, On the Friend who is true in the hour of distress!

Here's a health to that Friend ! God bless him !

REZO, SAN ANTON.

THE PLANTING OF THE VINE.

THE WORDS FROM THE SPANISH BY W, B.

Santucho piadoso

Gentle neighbours, join with me! Gentie neighbours! $ Qué ösalregalarse © | | Holy Saint Anthony, prosper our labours ! Por mortificarse |

Con vino precioso

i rlw re thee :

Holy Saint Anthony ! we bend before thee ; De cuerpo fhoristródó ~ E in chada bariga.

Ay, San Anton! |

Hear! we implore thee.

ü

Oh ! be thy blessing granted ; We bid the infant tree, Which here our hands have planted, In honor rise to thee: қ

Бі muestra la frente Armada un marido Que en valor ha sidô Qual toro valiente У de astaa luciente

Accept the gifts we render, * And guard this nurseling tender. Holy St. Anthony! &c.

Se adorna y toriga. |

- 45 Ау, San Anton ! Ere long, with clusters teeming, - -

Oh! may its sweets impart ^

-

Si quando, se inflama El joven cadete Peinando el copete |

New courage, all redeeming, To cheer the drooping heart, And nerve for battle glorious | : А NU A par de madama ， The hero’s arm victorious。 ;

Y su asedio trama Holy St. Anthony ! &c.

A toda fatiga.

` Ay, San Anton ! Rear high its leafy bower, PAS

And, when to court its shade Shall come, in weary hour, Some hapless pilgrim maid, Dear Saint! thy pity yield her, { And ’пеа our Vine enshield her. Holy St. Anthony! &c.

|

st san An--

dI < APRI

|

> АШЫ = I

Gentle Neighbors! „Я quel que a ten...

san «n... ton! san An ..- ton!

HO... << Py Saint Antony! Ho .......ly Saint An.tony

| |

Ay,

|

a N x NS ER N E S Ÿ y N

x Join with me, Gentle Neighbors!

TEN PLA

An-to-ny prosper our labors! ton san An-ton lo ben-- di-ga!

bend be = fore thee, Hear we im--plore thee Hear,

ton lo, рей ¿Ai о-в ga! San An-ton lo ben-.- di

San An. -

we implore ton lo bendi

= 7 . Oh! be thy blessing Étant ed! We. bid the in fant Tree

San-. tu cho pia-..da.... 80. Que 0--sa

Which

here our “hands Bie planted In

5% -nor rise to thee Por ток 22-8 - Car. -Se

--по рге--с%0. -Süs

кебе ы ке - 一 一 en RUD MAA RE, PALOS арыя Di DE | Г Жа | | Le

— =.

cept the gifts we render And guard this nurse ling ten... der De сиет...ро mons —truoso E in cha... da ba----ri

Y 4 a : Pr Ere long with clusters teem--ing, Oh! May its sweets im..part Si mu...es...tra la fren--te JAr...ma..da un ma...ri..do,

all re.-deeming, To cheer the droop-ing heart, ha...si-.do, Qual 40 va-...liente ,

nerve for bat-tle glorious The He..ros arm vic....to de as — tro lu--cien--te, sea--dor--na Y tos ri

Rear high its lea-fy bow..er, And when, to court its shade, Shall Si quan-do mas seinfla-ma El j ca...de--te.. Pei

come, in wea-ry hour, Some hap..less Pil-grim Maid, Dear do el co ..pete, A de ma-..-da--ma

su я se dio Ғға--та, A

,

ome 3 Le

fair, C es monts,

oi

m

sommet

Vi

iodle di

id, in the morn. sur le di

toi

ig and old sive Iodle

! For the pastures prepare, And thy fleecy trea. hyou: der le

ne гаја compte tes blancs moutons П faut les. me....

rd Bo

© 4 a Я ey 34 = м A 27 B E] 4

Lead them fort sans tar.

р, Shephe où jeu. ы

t

>

tre,

ROWSE T

9

9

ИУ] U 3 4 AS | N | BR NS KD Al + ПМ hi

aaa

1,6. way; lad! а way to the moun. ліп!

‚ countin

Rouse thee u _ve , pai

bed

EE

Hear ye not, as they pass by the е... cho.. ing rock, The En.tends tu les pas lourds et me Su ---res des Beufs: du Ber_

herds. .men so mer”. ri -ly sing---ing And the bright sil ver bell of the Le chien et la hour lette "Et du roi des troupeaux, du be.

King of the flock,At the head of his company. ringing? Rouse thee

vi-- goureux, l'argen. .tine et blanche clo. >: chet. te, Lé___ve

A, up Shepherd Boy! Forthe pastures prepare Andthy f leecy trea..sures counting, toi jeune enfant! compte tes blancs moutons Il faut les me... пет ` pai..tre

Lead them forth young and old, in the morning fair, Come a-way Lad! away to the Sans tar ает. --lè... ve toi sur le sommet des monts, Le jour vient. de pa....

&2:]

= ae XE

- 1 Iodle di iodle di oi oi. See where, yon. -der the light-footed То е di iodle di oi oi. ~ Le chas..seur qui pour suit l'agile

mountain. j... tre,

|

и hunter appears! Al--rea-dy the bu..gles are sound -ing And lo from the et fin chamois a deja pas s? la ` mon.... tag...ne . Le Seigneur que le

б

castle the gay cavaliers, On their coursers IEA 2-5 bounding. Rouse thee cor appele au fond des bois . а . quitte за noble cám. -pag..ne Lé ..ve

ERTEILT TTS

« ROUSE THEE UP, SHEPHERD BOY!”

TRANSLATED FROM THE FRENCH ВУ W. BALL.

Rouse thee up, shepherd boy! for the pastures prepare, And, thy fleecy treasures counting, Lead them forth, young and old, in the morning fair :—

Come, away, lad! away to the mountain !

Hear ye not, as they pass by the echoing rock, The herdsmen, so merrily singing ?

And the bright silver bell of the king of the flock, At the head of his company, ringing ?

Rouse thee up, shepherd boy! &c.

See, where yonder the light-footed hunter appears ! Already the bugles are sounding :

And lo! from the castle the gay cavaliers, On their coursers, so gracefully bounding !

Rouse thee up, shepherd boy! &c.

69

TYROLIENNE.

Léve toi, jeune enfant! compte tes blancs moutons ; Il faut les mener paître ; Sans tarder, léve toi, sur le sommet des monts

Le jour vient de paraitre.

Entends-tu les pas lourds et mesurés des bœufs ? Du berger, le chien, et la houlette ? Et du roi des troupeaux, du belier vigoureux ?

L'argentine et blanche clochette ?

Le chasseur qui poursuit l'agile et fin chamois A déja passé la montagne; Le seigneur, que le cor appelle au fond des bois,

A quitté sa noble campagne.

MESES MET TN TENOR ees

Rl

EE

THE SWISS MAIDEN’S SONG TO THE

EAGLE*.

THE ENGLISH WORDS BY WILLIAM BALL.

Where the craggy upland tow’rs O'er the glacier, bright and high, Lo, the King-bird ! where it soars, Wheeling through the azure sky. Speed, О speed thee, Wild one! heed thee, To thy rocky covert hie : Mountain Eagle! swiftly fly From the marksman's fatal eye, Mountain Eagle! swiftly fly !

Ranger of the trackless air ! Fast thy homeward pinion ply, Or the proudest feather there Soon will in the valley lie. Speed thee, rover ! Or my lover Will thy reckless play espy. Beauteous Eagle! swiftly fly ! Shun the marksman's fatal eye, Mountain Eagle! swiftly fly !

Ere the frighted echoes ring, Nerve those regal plumes of thine, Or the finest of thy wing, Hapless Eagle! will be mine. Speed thee, speed thee, Wild one! heed thee, To thy rocky covert hie : Mountain eagle ! swiftly fly ! From the marksman's fatal eye, Mountain Eagle ! safely fly !

SCHLAFE LYSELI.

(sw Iss.)

Buti, Buti, Buteli bu !

Lÿseli thue tyner auglein zue, Müest nit gryne Lue, die fryne

Guete Merdeli gryne nit,

Schwyg we d'fryne werde wit.

Buti, Buti, Buteli bu !

Schlaf, mys Lÿseli, schlaf bis gnue ; 'S müetti achtet, We's scho nachtet ;

'S mütterherz wett scheldwacht stah,

Das nüt Bóses, zu der cha.

* [t will be perceived that this song is not a translation, the Editor having attached to the melody a subject which he imagined likely to be more generally acceptable. The words of the original (** Schlafe Lyseli") are, however, preserved.

TE RN

h.*

a... zure sky.

Li..se.li thue tyner . au.gle.in xue.

аи. ..gle іп xue

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Oer the gla.cier, bright and high,

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iB it soars, Bu!

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Bu...ti, Lo,-the King Bird! where

ace SWISS MAID

Where the craggy up

t.ly fly! wit

fly! wit wer..de

..de

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To

swift ._ly wer.

a PIES Schwÿg, we d’frine

Mountain Ea

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Fast fea------ther

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Speed thee,

,

air! reck __less

bis

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Bun..te.. li

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track Vids

schlaf

bu, К ИИИ е КЫ шк е жылы. “cs Ог proud ..est lie grue; thy ’smiit...ter...cherx

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Бап бег Bun..ti,

pin. Soon schlaf,

1831

— AE, ар — ее — ar ан == === و جو‎ = ¡AA ern = —— E | -

` ` ~ > Beauteous Ea...gle! swift. у Ну! Shun the Marksmans das nit Bö__ses zu der cha. ^s müet. ter... cherz woth я nn N N — k + === == m == e АА — ЕЕ 55 E жыш | --- 2484 — AN и I 1 =E A > — — таслау. tal eye, Moun..tain Ea. --gle, swift. ly fly! Schild wacht stah, das nut Bò... ses xw. . der cha. | | : Y === O A == t —x pura ^

=== === == == Sm | EAE BA an ==

Ere the frighted echoes ring,

Nerve those regal plumes of thine, Or the finest of thy wing,

Hapless Eagle! will be mine. " Speed thee, Speed thee, wild onetheed thee,

To thy rocky covert hie, Mountain Eagle! swiftly fly

From the Marksmans fatal Eye!

r@——m

a

SMA JE A ED LR д2

FAC-SIMILE OF THE LAST PAGE OF HANDEL’S MS. OF THE MESSIAH.

Tue inestimable treasure to which the editors of this work have been kindly allowed access, for the purpose of making the accompanying transcript, is the private property of His Majesty, and is deposited in the Royal Library. When the celebrated M. Neu- komm visited London in 1829*, impelled by his veneration for the mighty genius of Handel, he obtained permission to inspect the manuscript, and the musical world was surprised to learn from the statement of that gentleman, who had interpreted the memoranda of the great composer, inserted in some of its pages, that the divine Oratorio of The Messiah was written in the incredibly short time of twenty-one days. It was commenced on the 22nd of August, 1741, and the first part was the labor of six days, the second of nine, and the third of six ; the final page bearing testimony to its having been finished on the 12th of September. The rehearsal took place on the following day, and on the next, as indicated, * the marvellous work? was publicly performed.

The book of the Oratorio is perfect in all but the latter half of the “ Overture”? and a part of the opening recitative of “ Comfort уе my people.” At the end of the volume appear some supplementary sheets, comprising— How beautiful are the feet,” for five voices ; the Air “Their sound is gone out; 2? and the Chorus on the same subject.

ہہ

* Sigismond Neukomm, born in 1778 at Saltzburgh, the city which gave birth to Mozart, was a disciple of Haydn, who treated him Hike a son, and at whose recommendation he was appointed Maestro di Capella at St. Petersburgh, in 1804, but in which situation the climate did not long allow him to remain, He enjoys independence, and journeyed through England and Scotland for the purpose of enlarging his stock of general knowledge. His compositions, some of which are of the grandest character, are as yet but confinedly known in this country; but there can be no doubt of their ultimate advance to high celebrity. A sacred canon, * Praise be to Him,” composed by M. Neukomm, was introduced at the Birmingham Musical Festival of 1829. —HARMONICON.

+ The following pieces appear in the MS. allotted, by names written in pencil, to the eminent performers under- mentioned, « Thus saith the Lord of Hosts.” .......... « For behold darkness shall cover the earth.” eee piere sa o oe e e oMr, REINHOLD, * But who may abide.”.. “ He was cut ofl.”....

pa È Li edi SO И

«O thou that tellest еее аЛа оо аи нее арене Mrs: CIBBER, <“ There were shepherds.”........................ cases esses MES. CLIVE,

{ This appears to have been first intended for Mr. Beard; but his name is struck through, and that of Signora Avolio written in pencil instead.

Taectmulegfthe last Fage of Handel 5 MS. of the Oratorio of the Messiah.

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FAC-SIMILE OF THE LAST PAGE OF HANDEL’S MS. OF THE MESSIAH.

Tue inestimable treasure to which the editors of this work have been kindly allowed access, for the purpose of making the accompanying transcript, is the private property of His Majesty, and is deposited in the Royal Library. When the celebrated M. Neu- komm visited London in 1829*, impelled by his veneration for the mighty genius of Handel, he obtained permission to inspect the manuscript, and the musical world was surprised to learn from the statement of that gentleman, who had interpreted the memoranda of the great composer, inserted in some of its pages, that the divine Oratorio of The Messiah was written in the incredibly short time of twenty-one days. It was commenced on the 22nd of August, 1741, and the first part was the labor of six days, the second of nine, and the third of six ; the final page bearing testimony to its having been finished on the 12th of September. The rehearsal took place on the following day, and on the next, as indicated, ** the marvellous work?’ was publicly performedt.

The book of the Oratorio is perfect in all but the latter half of the ** Overture” and a part of the opening recitative of “ Comfort ye my people.” At the end of the volume appear some supplementary sheets, comprising—** How beautiful are the feet,” for five voices; the Air “Their sound is gone out; £” and the Chorus on the same subject.

ہہ .ا

* Sigismond Neukomm, born in 1778 at Saltzburgh, the city which gave birth to Mozart, was a disciple of Haydn, who treated him like a son, and at whose recommendation he was appointed Maestro di Capella at St. Petersburgh, in 1804, but in which situation the climate did not long allow him to remain, He enjoys independence, and journeyed through England and Scotland for the purpose of enlarging his stock of general knowledge. His compositions, some of which are of the grandest character, are as yet but confinedly known in this country; but there can be no doubt of their ultimate advance to high celebrity. A sacred canon, “ Praise be to Him,” composed by M. Neukomm, was introduced at the Birmingham Musical Festival of 1829.—HARMONICON.

+ The following pieces appear in the MS. allotted, by names written in pencil, to the eminent performers under- mentioned, « Thus saith the Lord of Hosts." .......... ic « For behold darkness shall cover the earth,” vits exse ie s EIS SEEN ENDEN

. Mr. Low.

* But who may abide.”.. Илл nua cut ER Eme: алу <“ O thou that tellest.”..........». ..4..4....... .. Mrs. CIBBER. « There were shepherds.”..,......... uses see Mrs. CLIVE,

{ This appears to have been first intended for Mr. Beard; but his name is struck through, and that of Signora Avolio written in pencil instead.

76 MADEMOISELLE TAGLIONI.

AMoNGsT the fair votaries of Terpsichore whose talents and attractions in the ballet department of the French stage have, from time to time, within our recollection, shared the highest honors of public favor, we know of no one who Ваз enjoyed а celebrity more unanimously accorded than the lovely danseuse whose portrait we accompany with this slight memoir.

Mademoiselle TAGrIoNI is of Italian extraction. She is the daughter of a dancer many years attached to the ballet establishment of the French opera, and who was an early pupil of the celebrated Courow, father of the favorite Massaniello of our King’s Theatre. SALVATOR TAGLIONI made his debut on the boards of the Academie de Musique in the April of 1806. His son РА UL, who had been distinguished by his rapid progress in the saltatory art under the same able tutelage, and the youthful Marie, who, following in the same track, had created the most anxious expectations on behalf of her first public essay, appeared together on the stage of the new Parisian Opera-house, on the 23rd of July, 1827, and were welcomed with immense applause.

The reports that had followed the retirement of Bıcorrins, who had so long engrossed the public admiration, soon ceased to be felt amidst the excitation awakened by the graces of TAGLIONI ; and the succession of characters in which she proceeded to develop all the resources of her art was only a series of triumphs which seemed, without assumption, to distance all competition, and to give assurance of the prize of undivided popularity in the path assigned her, and in which it was her happiness to enjoy the fortu- nate superintendence of the parental eye.

After considerable difficulty encountered in negociation with the powers that sway the destinies of theatrical favorites in /а bonne ville de Paris, the long-desired congé was obtained, and Mademoiselle TAGLIONI (who was accompanied to London by her father) was introduced to an English audience on the night fixed for M. Laporte’s benefit, at the King’s Theatre, the 3rd of June, 1830, when the house was completely filled, and the appearance of the accom plished stranger was greeted with an enthusiasm not adequately to be described*,

TAGLIONI unquestionably combines the finest requisites for eminence in her art. The union she displays of muscular ability with the most feminine delicacy of frame and figure is truly extraordinary. A charming simplicity, the princi pal characteristic of her demeanor on the sfage,—an utter absence of that false consequence and bombast of carriage and manner which have so peculiarly marked too many artistes of our time, and a native grace and matchless precision in her movements, even those in which the most astonishing difficulties are conquered, and which yet appear to demand of Aer no effort, leave us delighted with the fairyism of the lovely being before us, seemingly no “mortal mixture of earth's mould,” and enchant us into forgetfulness of the unwearied perseverance and application by which, in aid of the lavish gifts of Nature, such unri- valled excellence has been attained.

It is expected that Mademoiselle TAGLIoNI will renew her visit to the British Metropolis in the forthcoming season of 1831.

* "The character chosen on the above occasion was Flore in Didelot's revived ballet of Flore et Zephyr; and it is needless to say that her success, like her performance, was perfect. She afterwards, during the short period of her

stay, which was confined to three weeks, appeared in La Somnambule and in the dances in Guillaume Tell: and such was the attraction at the Opera-house towards the close of her engagement, that the most persevering efforts, and offers perfectly unprecedented, were made b re an extension of the term for a week, and even for a day. Taglioni had taken her farewell; but it was at length finally announced that she would once more appear, on Saturday, the 26th of June, when, it was understood, she would leave London immediatel у after the performance,

and that a vessel, engaged on purpose, was held in waiting to convey her to France. The important news, however, of the death of the King, arrived in the course of the day, and the theatre was shut.

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LANDLERS.

The Landler is the Austrian Country Dance, or Waltz of the German peasantry. The music consists of two divisions or phrases of eight bars each, composed in the

time of 4. Very frequently the second part is merely a transposition of the first into another key.

THE MAZURKA.

The Mazurck, Mazur (pronounced -Mazour), or Mazurka, derives its. name from Mazovia, one of the most beautiful provinces of" Poland, known particularly for the hilarity of its inhabitants and their fondness of this dance, which is so antient that it is difficult to fix the time of its origin.

Many of the tunes bearing this name haye a minor and major strain ; and these are generally sung. Those selected. for dancing are very characteristic: the time of them is š, but slower than the Waltz, and they, should be performed. with. energy and dignity. me nas À i Vd

The figures of the Mazurka are most CORAM danced by four couples: they may be varied according to the fancy of the leader or first gentleman who begins them, whose movements are afterwards imitated by the others; generally NE and ending by that which the Poles call kolo, or hands round: 5%. i

It would be difficult to give here а sufficient explanation of the steps and Ie: in which the Mazurka should be performed, particularly to those persons who have never witnessed this interesting national. dance. Of the former the most characteristic for the gentlemen is called, in Poland, holupca, a name taken from the metal heels com- monly worn in that country, and which they strike, whilst dancing, to mark the time. The lower class of Poles often sing the airs during the performance of this dance.

As there are a great number of fancy figures used in the Mazurka, 1t has become necessary to particularize some, in order to give to this dance a degree of regularity, without which it would become difficult to comprehend wherever newly introduced.

A series of figures, as danced in the first circles, has therefore been-published’ by Monsieur Guynemer, which will materially assist the acquirement of the Mazurka in this country.*

It is necessary to observe, that, in order not to protract too much the length of the dance, it is customary to limit the number of figures i in a set to thr ee; and, to avoid re- peating the same tune too frequently, it may be changed with every néw figure.

* A selection of original Mazurkas, dedicated, by permission, to His Grace the DUKE of DEVONSHIRE, by Mon- sieur GUYNEMER. Published at Mori and Lavenü's,

100

THE GALOPP-W ALTZER.

The Galopp-Waltzer, or Gallopade, deduces its origin from the Cossacks. Within the course of the last few years it has gained high favour in the festive circles of the dif- ferent Courts and Cities of the Continent, and has been, more or less, the rage in every town in Europe enjoying the influence of pleasurable society.

This popular Dance, in its progress to this country, has undergone certain modifi- cations, and acquired various peculiarities from the nations it has visited. Its principal distinctions may now be said to present three several species of Gallopade; viz.—the Russian, the German, and the French. "Тһе former is the bolder and more spirited of the three; the second is more regular, the time being marked at every step; while the preference due to the more graceful and less fatiguing character seems to be accorded, by general consent, to the third. “Тһе movements of the French Gallopade, when correctly danced, with regular turns, &c. are elegant and easy, И moreover enables any number of couples to join in it; and, notwithstanding it comprises only two figures, yet it may be continued for any length of time, as may be found agreeable.” Various adjuncts have been introduced from time to time amid the accompanying music, such as the rattling of small bells, the cracking of whips, straps, &c. but these, together with the fancy spurs of some of the foreign Gallopaders, cannot obtain any lasting admission into the ball rooms of this country. The exhilarating character of the Dance itself has no doubt materially assisted its reception with us; the highest countenance having been afforded to its advance and dissemination in the British Metropolis and at the principal watering places throughout the kingdom.*

THE TARANTELLA.

The Tarantella, as adapted for private parties, is performed by four couples, standing in two lines across the top of the room ; the gentlemen in the centre, facing their partners, after the manner of the old Beotch Reel. It comprises as many successive movements as there are measures and repeats in the music, of eight bars each ; viz twenty: the Da Capo being played to the four last movements of the Dance. The Dance, however, may be continued or repeated as long as may be found agreeable. The Figure simply consists of squares, described in various ways, introducing many characteristic and highly-pleasing steps, peculiar to the Neapolitans.

* Various sets of Gallopades, with figures authorised by the first professional teachers, may be had of Messrs, Mori and Lavenu, Publishers of this work.

101

The Tarantella, on its appearance at the King’s Theatre in Deshayes’ popular Ballet of Massaniello, exeited much attention, and its performance, though it has now under- gone so many repetitions, is always honored with the greatest applause.

The Fandango, which enjoys the highest favoritism among the dances of Spain, owes its origin to the Moors, who brought with them from Africa the Dance of the Chica, from which it offers but little variation. The subsequent dominion of the Spaniards in Italy introduced the Fandango, among the Neapolitans, who, incorporating with it evo- lutions habitual to themselves, produced, from this mixture of styles and movements, the far-famed Tarantella, which, of all modern Dances, is the liveliest and most diver- sified. Its name is generally supposed to have been derived from the Tarantula, a venomous spider of Sicily. Those who have the misfortune to be bitten by it are said to have no other means of escape from dissolution than violent perspiration, which forces the poison of the body through the pores. As exercise is the principal and surest method to effect this relief, it was discovered, by repeated experiments, that music was the only adequate incentive to motion on the unhappy sufferers. It possessed the power of making them leap about until extreme fatigue put an end to their exertions ; they then fell, and the perspiration thus occasioned seldom failed of effecting a radical cure. The liveliness of the music adopted for the performance of this kind of miracle, the strong emphasis carried through the measure, its reiterated triolets, and the vivacity of the movement combined, are capable of electrifying frames whose total derangement appears on the point of depriving them of animation. Whether the Tarantella Dance was first used as a remedy for the bite of the spider, or whether the attitudes and gestures with which the music inspired the afllicted, gave the first idea of forming them into a Dance, it is impossible to determine; but it owes its origin unquestionably to that complaint. Various testimonies have been afforded us, by travellers of high repute, on behalf of the power of this Dance, in removing the danger, which (judging from the most terrific symptoms) has appeared to menace the life of the sufferer: Claritio and Serrao, two Neapolitan Physicians, state that they have proved, by various experiments, that all that has been said with regard to the fatal nature of the bite of the Tarantula spider is false, and denounce the terrible accounts given of it as arising from ignorance and prejudice, and propagated through channels to which no credit should be attached,

THE REYDOWAK.

The Reydowak is the native dance of the Bohemians, and is found disseminated throughout the Austrian states. Its name rather implies its original appropriation to balls en masque; but the sprightly character of the Reydowak has gained acceptance

102

for it among the national festivities of every grade. It was first introduced a few months ago in London, at the Prince Esterhazy’s, when the Prague Minstrels played at Chandos House ; and excited no small degree of attention. The first part of the dance, com- prising sixteen bars*, and composed in 4 time, is that of the promenade, or walking movement. The second, containing a similar number, is in ?, and called the Reyi dowatzka : this is the waltz. Тһе music of the latter portion is the same subject, or tune, altered or compressed into another measure, The figure.of the dance is nearly the same. with that of the Valse Hongroise. .

LA VALSE HONGROISE.:

The national Waltz of the Hungarians is one-of the most pleasing Dances i in Europe, and, in the country from whith it takes its title, is performed on festive occasions with equal zest by the magnate and the ‘peasant. Its distinguishing movements, when executed with any tolerable accuracy, never fail to please; being characterized by a sim- plicity and elegance which have deservedly placed it among the most favored and fash- ionable*dances of the Continent. The Kalamaykat of the Sclavonians and the old Valse Hongroise have an affinity which scarcely admits of any retrospective difference, and: their melodies, of. any long standing, are frequently found to be the same. Тһе Hungarian Waltz has been e received with pleasure when presented in our ballets: and. Rossini. has, with his usual,taste and brilliancy, assisted. its successful introduction in his popular.opera,of Guillaume Tell. ` JJ.

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* “Sixteen bars,” ¿ e. two parts of eight parts each; sometimes the first and second eac h repeated; „апа sometimes the first part repeated with the second played once, und then Da Capo.

+ Kalam-aika, or Dance to the reed or pipe.

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