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ALEXANDERs FEAST:
OURS те
POWER or MU SICK.
ALEXANDER’ FEAST:
OR, THE
POWER or MUSICK.
Do Ihe. Oval) JF
Wrote in Honour of St. CECILIA,
By М. DRYDEN.
› Set to Мозтск b Mr HANDEL.
Hear bow Timotheus various Lays Jurprife,
And bid alternate Pajhons fall and rife ;
While, at each Change, the Son of Libyan Jove
Now burns with Glory, and then melts with Love;
Now bis fierce Eyes with fparkling Fury glow,
Now Sighs fleal out, and Tears begin to flow ;
Perfians and Greeks like Turns of Nature found,
And tbe World's Victor flood fubdu'd by Sound.
Pope’s Eflay on Criticifm.
Божа МР) OL N
Printed for J. and К. Tonson in the Strand,
M DCC XXX VI.
[ Price One Shilling. ]
low'd to be the moft excellent of its Kind,
(at leaft in our Language;) all Admirers
СК M of polite Amufements, have with Impa-
tience expected its Appearing in a Mufical Drefs, equal to
the Subject. But the late Improvements in Mufick vary-
ing fo much from that Turn of Compofition, for which
this Poem was originally defign’d, moft People defpair'd of
ever feeing that Affair properly accomplit’d: The Altera-
tion in the Words, (neceffary to render them fit to ‘receive
modern Compofition) being thought {carcely practicable,
without breaking in upon that Flow of Spirit which runs
thro’ the whole of the Poem, which of Confequence wou'd
be render'd flat and infipid. I was long of this Opinion,
A 2 not
рев. GE ack cono Ее
not only from a Diffidence of my own Capacity, but the
ill Succefs of fome ingenious Gentlemen, whofe Alterations
of, or Additions to the Original, prov'd equally ill-judg'd.
But upon a more particular Review of the Ode, thefe feem-
ing Difficulties vanih’d; tho’ Í was:determin'd not to take
any unwarrantable Liberty with that Poem, which has fo
long done Honour to the Nation ; and which no Man can
add to, or abridge, in any thing ‚material, without injuring
it: I therefore confin'd myfelf to a plain Divifion of it
into Airs, Recitative, or Chorus’s, looking upon the Words
in general fo facred, as fcarcely to violate one in the Or-
der of its firft Place: How I have fucceeded, the World
is to judge; and whether I have preferv’d that beautiful
Defcription of the Paflions, fo exquifiely drawn, at the
fame time I ftrove to reduce them to the prefent Tafte in
Sounds. | | | ^
I confefs my principal View was, not to lofe this favour-
able Opportunity. of its being fet го Mufick by thar great
Matter, who has with Pleafure undertaken the Task, and
who only is capable of doing it Juftice ; whofe Compofi-
tions
РО RW Et FS Aw ОДЕ а
tions have long fhewn, that they can conquer even the moft
obftinate Partiality, and infpire Life into the moft fenfelefs
Words.
If this Entertainment can, in the leaft degree, give Sa-
tisfadion to the real Judges of Poetry or Mufick, I Пай
think myfelf happy in having promoted it; being perfuad-
ed, that it is next to an Improbability, to offer the World
any thing in thofe Arts more рейс, than the united La-
bours and utmoft Efforts of a Dryden and a Handel.
N. H.
ALE XAN-
~
4 CANTATA, perform'd at the Beginning of the Second Ag.
| RECIT. ње
ECILIA volgi un guardo —
C Verfo il fuolo Britanno, с fcorgerai
Che con fonori accenti
Rinova in quefto giorno
Del nome tuo fi caro
La gradita memoria, I3
Per celebrar della virtu la gloria:
AR b A `œ
La virtute è un vero Numer Osx vss bs |
Del Mortal nel bafo Монфор sw | |
Chi fi [cofta dal [ио lume
Va dell ombre nel profondo, ПА |
La оттше; Da Capo: ла ~
RE CIA \\ sro. sot) ti
Tu, Armonica Cecilia, XN Stt
Che rapifti col Canto; 57 ме
Che incantafti col fuono;
Fà pur che fia conceffo
A quefto ftuol de tuoi feguaci egrepr
Imitarne i tuoi pregi,
Perche un nobil natale |
Si rende ofcur fenza virtute Uguale;
АКТА.
Splenda Гара in Oriente,
Cada il Sole in Occidente,
Virtu fempre effalterd;
Sia la lingua pit Canora,
Sia la сета рій Sonora,
Oltre il ciel, oltre le felle
Le fue belle
Alte glorie innalzerd..
Splenda l'alba, Da Capo. Вавстт.
ә
Xo. paced. 50 Lou Re dams \'
Carco fempre di gloria ттоз Я
Fu l'altero Tamigi, ebur:
Ed emuló nella virtù nel-merto _
I fecoli paffati ;
E feppe unir con generofo core
Ad Armonica cetra un cafto amore.
AR I A.
Sei сата, bella, «virtute одтоту =
Scherzando alletti 1 со?.
E fe ti unifci a un сајјо amor
I] pregio tuo à maggior.
Un puro ardor, um bel feren:
"Amor, ийй Sojida >
E mille gioie prova il fem:
Perche? та non fi sa.
Sei Cara, Юа Саро.
RECIT.
‘E ben degna di lode
Bella virtute e merta |
Per fe ftefla gli applaufi e ancor maggiore
Ella diviene in un virtuofo amore,
DUETTO.
Trà ampleffi innocenti,
Tra armonici accenti
Virtute fol gode.
Un candido affetto
Sincero diletto
Sol mertano lode
Trà amplefi, Da Саро.
=
ET OIN Eo
+
y GNE уа e - ч 2 mY А
ST ме or KR eum RER АУ ^N Ў
ACO E AU OUT РС
ASPIRE TOT
ALE X ANDERI DUE AST.
2
OR, THE
POWER or MUSICK.
А с T те “ROR Geis
~
RECITATI VE.
W AS at the Royal Fealt, for Perfia won,
By Philips warlike Sòn:
Aloft, in awful Státe;.
The God-like Heroe fate”
7947: On.his Imperial Throne.:.
His valiant Peers were plac'd around ;
— Their Brows with Rofes and with Myrtles bound::.
So
ALEXANDER’s FEAST; 07,
"бо fhou'd Defert in Arms be crown'd.
The Lovely Thais by his Side
Sate like a blooming Eaftern Bride,
In Flow’r of Youth, and Beauty’s Pride.
AIR.
Happy, happy, happy Pair:
None but the Brave,
None but the Brave,
None but the Brave deferves the Fair.
CHORUS.
Happy, happy, happy Рай!
None but the Brave,
None but the Brave,
None but the Brave deferves the Fair.
RECITATIV Е.
Timotheus рјаса on high,
Amid the tuncful Quire,
With flying Fingers touch’d the Lyre:
The trembling Notes afcend the Sky,
And heav'nly Joys infpire.
[4
ee _-< со 1000 Ш
Th PowER of MuSICK. »
[4 Concerto here, for the Harp, Lute, Lyricord, and other In-
firuments.]
RECITATIVE, ассотрапу а.
The Song began from Fove,
Who left his blifsful Seats above,
(Such is the Pow’r of mighty Love)
A Dragon's fiery Form bely'd the God;
Sabini; on radiant Spires he rode,
When he to fair Olympia prefs'd,
And while he fought her {nowy Breaft :
Then, round Weis flender Waift he си,
And ftamp’d an Image of Himfelf, a Sov'reign of the World.
CHORUS.
The liff'ning Crowd admire the lofty Sound,
A prefent Deity! they fbout ar ound ;
A prefent Deity! the vaulted Roofs rebound.
APT Res
With vavifpd Ears
The Monarch hears ;
Affumes the God,
Affetts to nod:- 2,
And feems to fhake the EN
B CHO-
ње | ALEXANDER’s FEAST; 07;
| CHORUS, repeated.
The lif ning Crowd admire the lofty Sound,
A prefent Deity! they fhout around;
А prefent Deity! the vaulted Roofs rebound,
RECITATIVE.
The Praife of Bacchus, then, the {weet Mufician fung;
ОЁ Bacchus, ever Fair, and ever Young:
The jolly God in Triumph comes ;
Sound the Trumpets, beat the Drums:
Flufh'd with a Purple Grace,
He fhews his honeft Face;
Now give the Hautboys Breath; He comes? he comes!
AIR.
Bacchus, ever Fair, and Young,
Drinking "Toys did frf одат;
Bacchus’ Bleffings ave а Treafure, _
Drinking is the Soldier's Pleafure г
Rich the Treafure,
Sweet the Pleafure;
Sweet is Pleafure after Pain.
C H O-
— ____________-__-- -_-_--____________Н___ e ДЦ
The PowER of MUSICK. au
CHORUS.
Bacchus’ Bleffings are a Treafiire,
Drinking is the Soldier's Pleafure :
Rich the Treafure,
Sweet the Pleafure,
weet is Pleafure after Pain.
Во lua TIVE:
Sooth'd with the Sound, the King grew vain ;
Fought all his Battles o'er again ;
And thrice he routed all his Foes, and thrice he flew the
Slain :
The Mafter faw the Madnefs rife,
His glowing Cheeks, His atdent-Eyes;
And while he Heav'n and Earth defy'd,
Chang'd his Hand, and check'd his Pride.
RECITATIVE, accompany d.
He chofe a таоше 1 Моб,
Soft Pity to infüfe.
N [ 4 - 1 р
ALEXANDER’s FEAST; or,
||| At ICR
Не fung Darius Great and Good,
Ву too fevere a Fate,
Fallen from his high Eflate,
| And welt’ving in his Blood:
|| Ву thofe his former Bounty fed,
||| On the bare Earth expos’d he lies,
; | | Deferted at bis utmofl Need,
|
| Without a Friend to стаје his Eyes.
| .
|
| _ He fung Darius Great and Good,
| By too Јесте a Fate,
Fallen from his high Е ае,
And welt’ring in his Blood.
|| КЕСТТАТТУЕ. |
With downcaft Looks the joylefs Vi&or fate,
Revolving in his alter’d Soul,
The various Turns of, Chance below,
And, now and then, a Sigh he боје, | ;
And Tears Берт to How. "e
— v _______-- мо а ава ze
The Pow ËR of Musrckx.- 13
С ЕЦФВЕ О SS
Behold Darius Great and Good,
Fallen, welt'ring in his Blood;
On the bare Earth expos’d ђе lies,
Without a Friend to clofe his Eyes.
RECITATIVE.
The mighty Mafter fmil'd to fee
That Love was in the next Degree;
"I was but a kindred Sound to move,
For Pity melts the Mind to Love:
RECITATIVE, accompany d.
Softly fweet, in Lydian Meafures,
Soon he footh’d his Soul to Pleafures.
AIR.
War, he fung, is Toil and Trouble,
Honour but gn empty Bubble :
Never ending, ЈГ hegitinings \
Fighting fill, and full deftroying у ;
If the World be worth thy scu
Think, O think it worth enjoying :
The vanquifh'd Vittor funk upon hex Breaf су dem
14 ALEXANDERS FHAST} oF,
Lovely Thais fits befide thee,
Take the Good the Gods prowide thee,
War, he fung, is Toil and Trouble,
Honour but an empty Bubble :
Never ending, fiill beginning,
Fighting fill, and ЈИ deffroying ;
If the World be worth thy winning,
Think, O think it worth enjoying,
CHOR 1055,
The Many rend the Skies, with loud Applaufe ;
So Love was crown d, but Mufick won the Саше.
AIR.
The Prince, unable to conceal his Pain, |
баз оп the Fair, |
Who caus d'his Care; |
And figbd and look d, figh d and Took 4 :
Sigb'd and look d, and ба vg 9 гома» чугу
At length with Love and Wine at. once Ена
~ pes
The PoWER of Musick, rj
The Prince, unable to conceal bis Pain,
Саха on the Fair,
Who caus’d his Care ;
And ара and look 4, 1014 and Год,
Sigh'd and look’d, and fighd again.
CHORUS, repeated.
The Many rend the Skies with loud Applaufe ;
So Love was crown'd, but Mufick won the Caufe..
End of the ЕЕ АЯ:
Зете ЭС Би =
>
A C T от ESSE’ END.
Concerto for two Violins, Violoncello, ес.
RECITATIVE, accompany'd.
WOW ftrike the Golden Lyre again ;
5 А louder yet --- and yet a Jorder Stains
RR Break his Bands of Sleep afunder,
And rouze him, like а rattling Peal of Thunder,
CHORUS
Break his Bands of Sleep afunder,
And rouze him, like a rattling Peal of Thunder.
N
RECITATIVE.
|| Hark, hark! --- the horrid Sound
qi Has газ 4 up his Head,
||| As awak'd from the Dead:
iN And amaz'd, he ftares around.
Th Ромекој Musick.» 47
А ЕК.
Revenge, Revenge, Timotheus cries,
See the Furies avife,
See the Snakes that they rear,
How they bifs in their Hair,
And the Sparkles that flapk from their Eyes!
Behold a ghaftly Band,
Each a Torch in his Hand!
Троје are Grecian Ghofts, that in Battle were flain,
And итђитуа, remain
Inglorious on the Plain.
Revenge, Revenge, Timotheus cries,
See the Furies arife,
See the Snakes that they rear,
How they bifs im their Hair,
And the Sparkles that flafo from their Eyes!
RECITATIVE, accompany'd.
Give the Vengeance due
To the valiant Crew :
Behold how they tofs their Torches on high,
How they point to the Perfian Abodes, |
And glirrring Temples of their hoftile Gods t
© А1К.
18 ALEXAKRDER’s FEAST; 07
AIR
The Princes applaud with a furious Toy;
And the King feix d а Flambean, with Zeal to deffroy.
AIR
Thais Jed the way,
To light him to his Prey;
And like another Helen, fir'd another Troy-
C EI QUE S.
The Princes applaud with а furious Foy,
And the King feiz/d a Flambeau, with Zeal to deffroy..
Thais led the way
То light him to his Prey;
And like another Helen, fird another Troy..
IE CL Tes, WNC, accompany d-
Thus long ago,
Ere heaving Bellows dearn’d to blow,,
While Organs yet were mute;
Timotheus со his breathin g Flute;
And founding Lyre,
Сош4 {well the Soul to Rage, or kindle fofe Defire;
GRAND
The PowER of MUSICK. *9
GRAND CHORUS.
At Тај) Divine Cecilia came,
Inventrefs of the Vocal Frame;
The fweet Enthu Гай from her facred Store,
Enlarg d the former narrow Bounds,
And added Length to folemn Sounds,
With Natures Mother-Wit, and Arts unknown before.
CETIBSUDOUCE 1 Г.
Let old Timotheus yield the Prize,
Or both divide the Crown ;
He raisd a Mortal to the Skies,
She drew an Angel down.
CELO. B 797,
Let old Timotheus yield the Prizen
Or both divide the Crown; |
He raisd a Mortal to the Skies,
She drew an Angel down.
End of the Ode.
| Concerto for the Organ: and other. Inftruments. В,
ADD
ALEX ANDERS FEAST; 07,
ADDITIONAL CHORUS.
Your Voices tune, and vaife them high,
Till th’ echo from the vaulted Sky
The blef Gecilia’s Name;
Mufick to Heav'n and Her we owe;
The greateft Bleffing that's below;
Sound loudly then her Fame:
Let’s imitate her Notes above,
And may this Evening ever prove,
Sacred to Harmony and Love,
Е = иа dr
EUTHEMIA;|
POWER of HARMONY, 4
А Роем in BLANK VERSE,
Sacred to thé Memory of а Deceafed вита, | |-
1
| Ordinem Seculerum, tanquam pulcherrimum carmen, Ромејја Deus—Sicur ` | |
| е + 4
| contraria contrariis oppofita, Sermonis pulchritudinem reddunt, ita quadam ` E
è non Verborum fed Rerum Сой tione, Seculi ла ними
| Sr, Aveusr, |
| Жу. роса nn nn 02 Ма nn nA ыы. er UI T ^ m. d.
Р | | ;
То were dis pap in У 00 252 га
The COURT of DISCORD. |
Printed in the Year M DCC LYI, ~ Ros
ADVERTISEMENT.
H E Love of this Subje& firft induced the Author
of the following Lines to make this Poetical At-
tempt ; at the fame Time flattering himfelf with Hopes
of feeing a better from a more able Pen. This (however
mean) Performance will afford him one Confolation, which
| many Authors in this Age cannot fo fafely boaft ; namely,
| that if it gives no Pleafure, yet will it produce no Evil ;
and though he may have offended the fabulous Patron of
Fi&ion, asa Poet; yet refts contented in not difhonouring
|| . the only Сор of Truth, as an Infidel.
#7
AURA AOS н агуу A A A AA ATR AS УДЕУ AIGA
кезе зүн куа ӨКК oes ачуу еа
ЕП Т НЕ МЇ А; |
OR
тъ MIDST rude Chaos, and when ancient Night,
Whelm'd o'er the fhapelefs Mafs her deepeft Shade,
When warring Elements held Variance wide,
And Anarchy confounded Rule God Гроке,
When lo! on Embafly of high Import,
| Divine Eurnemra came, that Seraph bright,
| — Blet Harmony ; (for fuch we name her now.)
| ’Midft the cherubick Hofts loud Voice, апа "па
| The fudden Blaze of Light, o'er this new World
Diffufive, down fhe came; her Harbinger
Fair Symmetry ; fwift to her Charge fhe flew,
Compos'd the Tumult, and eftablifh’d Peace.
Then did the Sun firft beam his gracious Light,
Tranfcendent Bridegroom! then each rowling Orb,
* Beneath her Guidance, led its joyous Couríe
In fpeechlefs Song of Praife ; declaring loud
The glorious Work which God himfelf faw good.
Ihe Power of Harmony, &e. | |
|
|
7.
, |
* The Planets Motions are founded on Harmonical Proportions, Vide Ke//'s Preface. b
|
|
What'ere |
{у 4. )
What’ere the vifible Creation wears
"То gild the Morn, or to adorn the Night,
To her its elegant Compofure owes ;
And where the Tribute for fuch Grace is due,
Silent Expreffion fhews. Beneath her Law
Behold each Creature finds its various End,
Proportion'd to its Nature, and its Kind.
Nothing but Man rejects God's high Command,
Or from the Purpofe of Creation flies.
Ah why reject! why Йу! vain foolifh Man!
Why place fuch Beauty in the Eye of Scorn,
When all Things turn to fair, which Eye can fee ?
Or leave pure Virtue’s Path fo richly deck’d,
To deviate into Mifery ! ah why !
As if the Liberty to act like Fools,
Were the chief Caufe, that Heav’n made us free.
© Harmony thy Empire’s great ! Come Mufe,
With Lyre celeftial, yet alas how faint!
The Silver Cord's exacteft Tunings prove,
The.gentleft Touching,how.unapt! to Пив,
Her Golden Reign, and winning Blandifhments
Refittlefs Lure; how to Obcyíance prompt,
Her magick Scepter {ways ; how chears the Eye,
Or makes the Ear delight ; and gives fair Truth
Such Relifh to the Thought ; with her ипбјећ,
Nor Eye hath ought to chear, nor Ear delight,
And Thought pule-pining, fickens with Difguft,
Loathing all Габе, fave 1 ruth's ambrofial Sweet.
When Mufick ftealing o’er th’ inchanted Senfe
Blends in Accordance fmooth, апа woos the Kar,
Beguil’d to Rapture, and A'tention mute, .
Her Influence guides the String. Ier Meafure lends
Each Colour’s pleafing Force, and points its Bound.
Red's vivid Ray, mild Blue, and airy Green,
With Orange rich, or Violets fober Hue;
t$ 9
By her combin'd, form to the feafting Eye
* Variety of Concord.
From her Proportion, all its nice Effect
The mimic Pencil fteals ; from her its Grace ;
When Art with Nature's Workmanfhip at Strife,
Teaches the long Perfpective to recede,
And mock the Mind's imaginary Sight.
*Tis Harmony adjufts the ftately Pile
Its decent Pride ; beneath her graceful Hand,
The Tufcan, Doric, or Corinthian pure,
Diminifh'd Column, and embold.n'd Frize, |
In apt Difpofal rife ; while each toeach, \
Bearing Relation juft, compofe to View,
Entire Elegance. Her Meafures rule
The Eafe of Motion, through meand’ring Dance, 7
And give its Air of Grace. Sheaids the Mufe p
| | That daring foars, wrapt in poetick Zeal,
** Above th” i У =tun’d Verfe, Я
And Numbers fmooth improve the facred Fire, _
Sweeten each Thought, and fteal it to the Heart, |
Say learned Sages, (for ye beft fhou’d tell) A
|| Whofe nice Infpe&ion fcans the Human Frame, 4m
| And Nature's wife Oeconomy explores ;
| What fecret Harmony, what juft Confent,
| That wond'rous Work compofe ; how Sympathy
Myfterious reigns ; what clofe-uniting Bond,
The Mind and Body joyns ; what (оста! Tye !
When each to each imparts the mutual Plaint,
And both diftemper'd grow. Can ye unfold
How Womb-ftruck Infants, Fancy’s Impulfe wear,
Or how fuch fpeedy Unifon’s convey’d,
Such fwift Vibrations, through what Medium borne,
Ingenious Hoadl-y, learned Hartl--y tell !
What nervine Fluid or what Ether pure !
* Sir Јаас Newton has demonftrated, that the Rays of Light in forming Colours, ob
ferve exact Harmonical Proportions. Vide his Opticks,
| Во т
& & J
Thus while we meditate thy Pow’r divine,
Through Nature's Works and through each lib'ral Ат!
Tow does thy gentle Rhetorick perfuade
The Heart! how fooths thine Influence benign,
Celeftial Harmony ! Bleft is the Man,
Who bent to Нарршеб, with Thee his Guide,
In feber Step, and Thought ferene purfues,
Thy even Vath of Peace ; from fullen Cave,
Of Mope-cy'd Melancholy far aloof,
And frantick Court, of Mirth's voluptuous Crew.
Such Aid aufpicious, melts th’ obdurate Breaft,
Refines each Sentiment; То Friendfhip moves ;
Confirms that fweet Coincidence of Soul;
And rifing Paffion's furious Tide becalms,
То ЛИ Tranquility. Cherifh’d by Thee,
Sedate Reflexion warms the glowing Mind,
Enkindling Holy Zeal. By Thee infpir’d,
The Cherub Gratitude right early wakes,
With Lute prepar’d, and ready Heart fhe wakes,
То Morning Orifon ;. Incenfe of Thanks,
(Oblation welcome tothe Throne of Grace).
From Lips unguiled to the Skies fhe pours 5
While many a Holy and obfequious T'ear,
Does pure religious Love fteal from her Eye,
In tender Embafly of Praife to God.
Clofing with Hymn benevolent, her Tafk, +”
** Glory to God on High—Goodwill t wards Men.’”
By Thee compos'd, Befide her Midnight Lamp,
Summoning Remembrance of Things long paft,
То filent Thought ; fits Contemplation ttill ;
The facred Page of Providence to mufe,.
And trace the wife impartial Напа of Неау'п.
How good and Ш fuch due Proportion hold ;
How Pain's permitted to chaftife the Heart,
To lure us Home from ev’ry wild Purfuit,
And clear the Soil for Virtue's Plants to fpring.
"Thus in Attention bound to Wifdom’s Lore,
She, from Divine zu/aly/is explores,
‘Chis Truth ‘© Tult are the Ways of God to Man.”
ста
Ву Thee refin'd Behold where Patience mild-
With Brow unbent, that feems to welcome Woe,
Befide her ћаду Dial fits to watch,
Time’s ftealing Progrefs to Eternity.
To Lydian Meafures now attunes her Lute,
Pleafing her Grief ; and with complacent Smile
(From Refignation bred, and bleffed Hope, )
Thus humbly prays, ** Phy Holy Will be done,”
Tho’ in mine own Undoing.
From Thee Contentment finds her Hour of Peace
And ponders Zgur's With, that Golden Mean,
T'wixt rigid Poverty and dang’rous Wealth.
Cafting on Vanity а carelefs Smile
She blithely fings ** Thou art my Portion Lord.” >
By Thee dire&ed—lo ! Compafion meek,
Searching the Vale of Mifery obfcure,
From fympathetick Eye benignly fheds
Her Balm of Pity——whilerittrterrder Heart;
Shaping her Sorrow to each Suff’rer’s Woe,
She to her Silver Harp's foft Prelude joins,
Such tender Pray’r ** Return О God of Нойз,?
“© Behold behold thy Servants in Diftrefs.”? +
Then points to Charity her Sifter- T win,
Whoall around her chearful Bounty pours,
Treas’ring to Heav’n ! lending to her Сой!
Security how fafe !
With Thee О Harmony, in rich Керађ,
Feeding her Thought; Holy Defire comes;
In feeming Foretafte of full Heav’nly Blifs,
The fhining Veftal comes; with wiftful Joy,
Perch’d in her Eye ; and rob’din Veftment chafte,
The fleecy Mantle of a Silver Cloud.
With decent Motion and triumphant Grace,
The vanquifh’d Ной of fenfual Luft fhe leads,
In Reafon’s Captive Chain. Like as the Hart
Ву Chace o’erheated, pants for cooling Streams,,
Her Soul fo thirfteth after Thee O God.
* Anthem of Mr, Weldon’s. + In the Oratorio of Т
о!
( 8 )
‘Lo ! to thine Altar bent, the pleafing String
She gladly fweeps, and lifts her Voice to Song.
се Thus have | look?d for ‘I hee in Holinefs,”’
** That I might behold thy Pow’r and Glory." +
Such kindly Influence how few improve!
Yet fuch once fill’d the g od Phzlemon’s Breaft,
Nor leis Fidelia knew 5 “Chat Righteous Pair,
Вей with thy facred Gifts, О Harmony !
Walk'd with their God « Speak ye who beft can се,”
Ye Widows, Orphans, fpeak Ceafe Thou О Mufe,
To Silence beck’ning fee ! their Gentle Shades,
Through feeming Fear of Praife-—Hence Flattery !
The Wife and Virtuous fcorn 1 hee,—Hence to Court—
There meet the gracious Welcome of the Proud.
Маглић fome Villain as ће rots in State,
Call yon Church- Window со record his Arms 5
‘Or point at Fig»res half obliterate,
1n Rain beat Marble, at the Chancel-End,
Upon a crofs-leg'd Lomb.— Go glut his Pride,
And fhow the rufted Buckle wont to tye
The tawdry Garter of his Grandfire’s Knee.
Such abje&t Pomp, Philemon ever loath'd,
Such loath’d Fidelia too,—then гей in Peace
And leta Tear fuffice for all that’s due.
‘OF thefe thy Joys робе ћ, Blet Harmony !
Thy fweet Intufion o’er th’ exalted Senfe,
’Midft Thought of Thee, breathing fuch rich Delight,
Who refts uopleas'd ?—Up to that Sov’reign Light
From whofe bright Beams fuch wond’rous Beauty fprings,
Guide the pure-fighted Eye у Him to behold
Уу hofe Throne is Бойс upon Eternity.
Him to behold, in pure eflential Part,
His Truth, his Love, his Wifdom, and his Blifs.
In fweet Fnragement of се Ба! Love
Him to behold ; and with Him ever dwell,
Eternal Fount of 1 ove, ftill owing forth
Goodnefs Supreme ; around whofe radiant Throne,
+ An Anthem fet by Mr. Broderip. PL 65.
The
© 94)
The burning Seraphs tune immortal Harps,
In endlefs Harmony, in endleis Praife,
Ihe Cou rT ON DESCO R I
Bombalio, Clangor, Stridor, Taratantara, Murmur.
32
О chant in rugged Уеме hoarfe Мой, arife,
How teeming Earth, erft felt her lab'ring Throes,
Where Cheddern Clifts yawn hideous to the Skies,
How Бим па Difcord wrapt in Thunder rofe.
2
The kindly Moon that might fuch Grief гейге.
Eclips’d that Night, and fhun’d her Sifter Earth,.
What woful Change! lo mid her deep Diftrefs,
Sin midwiv'd to the World, that monítrous Birth..
From Hell thus freed, Ъвпав не rocky Fall
Of bellowing 14,,
On dreary Wafte beneath an uncouth Hall,
Blind Chance that bungling Archite& did build..
4.
"Midft fhapelefs Chambers nooking all afkew,
Reign’d D:/proportion harfh, to pall the Sight,
While fable Darknefs ftrives to check all View,
Save where one flanting Squint doth glimmer Light. .
Be
In footy Weed fpotted with Women’s Tongues
Doth crouch the ftorming Queen, in ceafelefs Din.
Of Train infernal heaving Iron Lungs,
The Vaffals of God's Wrath and Slaves of Sin.
6
The Tyger Cruelty befide her Bound
Grinding his Gall doth watch her rucful ‘Throne, .
Guilt ikea thievifh Dog creeps flinking round,
With quivering Jaw that maketh wretcned Moan..
У:
Corruption bafe here plies her golden Art,
And fows Contention ’mongft the {crambling Crew,
While
(56 )
While Falfebood clokes in Smiles his rotten Heart,
With fubtle-brow’d Deceit Staunch Courtiers true.
8.
Here grifly Care on Bed of Thorns doth lie,
Goring his Thought ;—with Luft-ftung Satyrs round
Trolling their Rhymes of fhamelefs Ribaldry
In tunelefs Voice, all gentle Peace confound.
In deep Debauch behold the аана Crowd
From Orpheus’s Skull their Stygian Nectar fwill,
Now murd'ring Shrieks and Blafphemy aloud
Fit Mufick raife, grim Difcord’s Court to fill.
М, до
10.
| Scratch'd fcreaking Saws, fcream through her leaden Ear, E
| While brazen Anvils beat their clatt’ring Clang,
The fhrugging Qucen well-pleas'd fuch Sounds to hear,
| With Jarring Jews-harp joins the jangling Gang.
| IT.
| Thrice happy Ye who arm’d with purer Grace
| Abhorring Filth and curft Ioiquity,
|| With prudent Step avoid this loathfome Place,
| Fraught with the Wrecks of mortal Mifery.
|
12.
Hoarfe Mufe forbear, ceafe thus the Ear to grate,
Now Difcord's Daughter let thy Song rehearfe,
Foul S/ander’s Cave, and witching Craft relate, \
In varied Numbers, tho’ not fwecter Verfe.
Slander з or, the Witch of Wokey.
ee
N aunciente Days Tradition fhows,
A. forry wicked FIf arofe,
| Ihe Witch of Wokey hight, *
Й Oft have I heard the fearful Tale,
[| From Sue and Roger of the Vale,
'Told out in Winter Night.
* А Petrefa&ion in the Cavern of okey fo саћа.
-q т
LS
C тг.
9 & .
Deep in the dreary difmal Cell
Which feem’d, and was y—cleped Hell,
This blue-ey'd Hag was ty'd ;
Nine wicked Elves have Legends fayne
By Night fhe chofe her Guardian Train,
All kennel’d clofe her Side.
3:
Неге fcreeching Owls oft made their Neft,
While Wolves its craggy Sides pofleft,
Night- howling through the Rocks;
No wholefome Herb cou’d here be found
She blafted every Plant around,
And Ы: ега o'er the Flocks.
4.
Her haggard Face fo foul to fee
Her Mouth unmeet a Mouth to be
With Eyne of deadly Leer ;
She nought devis’d but Neighbours Ill, |
On all fhe wreakra ner way кага Wil,
And marr'd all goodly Cheer,
5
Allin her Prime, have Poets funge,
No gaugy Youth, gallante and younge
Ere bleft her longing Arms ;
Hence rofe her fell Defpight to vex,
And blaft the Youth of either Sex,
By Dint of hellifh Charms.
6.
From G/affen came a lerned Wight,
Full bent to marr her fell Defpight,
And well he did I ween ;
Save hers, fich Mifcheif ne'er was knowne,
And fince his mickle Lerninge fhowne,
Sich Mifcheif ne'er has beene.
7:
Не chauntede out his goodlie Book,
He crofs'd the Water, blefte the Brooke,
Then Pater Nofter done,
( #2)
The gaftly Нар ће fprinkled o'er
When lo!’ where ftood the Hag before,
Now ftood a gaftly Stone.
8
Full well ’tis knowne adown the Vale,
Tho’ ftrange may (сет the difmal Tale
Eke wondrous may appear ;
I'm bold to fay, there's never one
That has not feen the Witch in Stone,
With all her Houfehold Gear.
; БУРЕ
But tho’ this lernede Clerke did well,
With grieved Heart, alas I tell,
She left this Curfe behind ;
« My Sex fhall be forfaken quite" .
<< Tho’ Senfe and Beauty both unite”
<< Nor find a Man that’s kinde.”
10.
Now lo e'en as this Fiend did fay, 4 РА
The Sex have found it to this Day, түүр"
‘That Men are wondrous (сапе 5 д.
Here's Beauty, Wit, and Senfe combin’d,
With all that’s good, and virtuous join'd,
Yet fcarce there's one Gallante. ·
її.
Shall fuch fair Nymphs thus daily moan ! N
They might I trow as well be Stone, pid bade.
As thus fo:faken dwell ; пате ми
Since Са он now can Боа ћ по Clerks
From Oxenford come down ye Sparks,
And help revoke the Spell.
12.
Yet йау nor thus defpond ye Fair,
Virtue's the Gods peculiar Care, за Ду,
Then mark their kindly. Voices TA
** Your Sex fhall foon be bleft again?”
** We only wait to find fich Men" `
* As beft defervefich Choice.’? > ii
F I N JUST
"
Пе ә m ae z
LAWS
OF THE
PHILHARMONIC SOCIETY.
1830.
u N ea
y
|
LONDON :
PRINTED BY C. AND W. REYNELL, BROAD STREET,
GOLDEN SQUARE.
LAWS
Philharmonic Society.,
OF THE OBJECT OF THE SOCIETY.
I. The primary object of the Puirmanwowro боствту is the
encouragement of the superior branches of Music, by the
establishment of a Concert, and combining therein the highest
talents that can be procured, for the purpose of forming a full
and complete Orchestra.
OF THE MEMBERS AND ASSOCIATES.
II. This Society shall consist of two classes, viz. Members and
Associates.
“ПІ. The number of Members shall not exceed ‘Fifty; in them is
vested the whole property and sole government of the Society.
IV.
4.
The number of Associates shall be unlimited. All those elected
on or before the 13th of December 1827 shall enjoy, in common
with the Members, the same privilege, both for themselves and
their resident families, of admission to the Concerts. But no
Associate elected after such day shall introduce any Member of
his family at the Concerts, except through the channel by which
honorary Subscribers are admitted.
OF THE ADMISSION OF MEMBERS AND ASSOCIATES.
V. The Members and Associates shall be elected by Ballot.
VI.
"Ге Members shall be chosen from the class of Associates.
VII. No person shall be proposed as a Member who has not attained
the age of twenty-one years.
VIII. Every candidate, as Member or Associate, shall be бола fide
a Professor of Music; he shall be proposed in writing by neither
more nor less than three Members, and his recommendation
shall contain his names at full length, with his address and
qualifications, in the following manner :—
day of 18
We, whose names are undersigned, do, of our own
personal knowledge, recommend A. B. of
as a person whose character and professional ability qualify
him to become [a Member or an Associate] of this.
Society.
DX.
5
No Member or Associate shall be chosen until his recommenda-
tion shall have been read at three meetings immediately prior to
his election, the day of election to be included in this number;
and no ballot to take place until two months after the day on
which the candidate shall have been proposed.
X. Every candidate ballotted for as Member or Associate shall be
duly elected, if two-thirds of the Members present, and voting,
shall be in his favour.
. No election. for Members or Associates shall take place
between the Annual General Meeting in June and the first
Monday in November.
OF THE DIRECTORS.
XII. Seven Directors shall be elected from amongst the Members
at the Annual General Meeting in June, and shall enter on
their offices on the third Monday in July. Three at least of
the Directors newly chosen shall be Members who have not
served in that office during the preceding season; but if more
than four Directors are chosen who have filled that office the
preceding season, the election shall be declared in favour of
those four who shall have the greatest number of votes, together
with the three highest on the list who have not served in the
preceding year. Should any gentleman so elected declare
during the same meeting his determination not to act as Direc-
tor, a new ballot under the above regulations shall immediately
be taken, in order to fill up the vacancy still remaining.
6
XIII. Тће Directors shall Ах the nights of the Concerts for the
ensuing season, and be empowered to engage performers im-
mediately after their election; they shall have the manage-
ment of the Concerts of the Society, and of all matters
appertaining thereto, subject to the control of a General
Meeting.
XIV. The Directors shall have the power of making Bye-laws, for
the regulation of their own Meetings, а copy of which shall be
delivered to the Secretary, and be forthcoming at any General
Meeting.
OF THE TREASURER AND OTHER OFFICERS.
XV. The Treasurer shall be elected from amongst the Directors,
chosen at the Annual General Meeting in June, and shall enter
on his office on the third Monday in July. He shall issue all
the tickets for the Concerts to Ше Subscribers, Members, and
Associates, and receive the money for the same, which he shall
| immediately pay in to the account, standing jointly in his own
name and that of the Trustee, at the Banker's of the Society, He
shall keep a general cash-book of all his receipts and payments,
which shall be produced whenever required by a General Meet-
||| ing, or by а meeting of the Directors. His accounts shall be
presented at the Annual General. Meeting in June, having been P
previously examined by the Auditors.
=
í
XVI. A Trustee shall be elected at the Annual General Meeting
in June, from amongst the Members, in whose name, jointly
with that of the Treasurer, all monies belonging to the Society
shall be invested at the Banker's.
XVII. Three Auditors shall be elected at the Annual General Meet-
ing in June, from amongst the Members, who shall examine the
Treasurer’s accounts previously to their being presented ; two to
form а quorum.
XVIII. A Secretary shall be elected at the Annual General
Meeting in June.
XIX. The Secretary shall attend all General Meetings, the Meetings
of the Directors, and be present at every Concert and Rehearsal.
He shall keep a fairly-written and exact copy of the minutes of
the proceedings of the Society ; he shall issue all summonses
to the Directors or Members, in which he shall distinctly
notify the object for which any Special General Meeting
is convened. He shall also circulate all letters amongst the
Subscribers, &c.
XX. A Librarian shall be elected at the Annual General Meeting
in June: he shall have the charge of, and be responsible for,
all the music belonging to the Society, whilst under his care ;
he shall be present at every Concertand Rehearsal, to distribute
and collect the music, and shall be ready to attend any General
or Directors’ Meeting, if called upon. It shall be his duty to
8
keep the library in. perfect order, and to superintend {һе copyists
employed by the Society.
OF GENERAL MEETINGS.
ХХІ. The Annual General Meeting of the Society shall be held on
the last Wednesday in June; and the General Meeting for
fixing the terms of subscription on the first Monday in
November.
XXII. Nine Members constitute a Meeting for general purposes ;
but no election for Directors and other officers of the Society can
take place except eleven Members are present. And should the
Annual General Meeting be attended by less than eleven Mem-
bers, such election shall be postponed to the day on which such
General Meeting shall be necessarily held by adjournment, and
of which not less than three days' notice shall be given to each
Member.
XXIII. Seven Members, or three Directors, shall have the power to
call a General Meeting, within ten days, and not earlier than
three, after they shall have delivered their signed requisition for
that purpose to the Secretary, to whom the object of such
Meeting shall be specified.
XXIV. General Meetings shall have the power of adjourning from
time to time.
9
XXV. АП questions shall be determined by ballot, if demanded by
two Members present ; upon all other occasions, by a shew of
hands.
XXVI. АП Resolutions shall be confirmed or rejected at the next
General Meeting.
XXVII. No Law shall be altered or repealed, except by two General
Meetings, convened or held by adjournment for that purpose.
XXVIII. No person shall propose any future Law, or the amend-
ment of any existing Law, except in writing.
XXIX. Every Member, at a General Meeting, shall speak standing,
and address himself to the Chairman only.
XXX. In all cases where the votes are equal, the Chairman shall
have a second vote.
DISMISSION OF OFFICERS.
XXXI. The Society shall have the power of dismissing any of its
Officers, at two General Meetings, specially called for that pur-
pose. ‘The notice for the first of such Meetings to be delivered
at least seven days previous to it; and the following Meeting not
to be earlier than seven days after the first. At both Mectings,
held for this purpose, fifteen Members shall be present, and vote,
or the proceedings shall be void.
|
и |
|
4
= За E
10
OF THE CONCERTS AND REHEARSALS.
XXXII. At the General Mecting held on the first Monday in No-
vember, the terms of subscription shall be regulated, and the
mode of admitting Subscribers for the following season shall be
determined.
XXXIII. Each Director and the Conductor shall have two transfer-
able tickets for each Concert, the Treasurer two extra, and the
Leader of the Night, one. The Trustees and Auditors shall
each have one ticket for a single Concert on any night of the
season they shall desire it.
Each Member shall be allowed Eight Rehearsal tickets for
the season, with a proviso, that two of them only shall be sent
in on the same morning. These tickets shall be signed by the
Secretary and by the Members presenting them.
No tickets, except the above-mentioned, shall be transferable.
XXXIV. The Directors shall be empowered to present one or two
tickets for a single Concert, to any person who may gratuitously
perform in the Orchestra, or otherwise aid the Society by the
loan of music, &c.; they may also invite, to one or more Con-
certs, any very distinguished foreign or provincial musician who
shall visit London during the season; but an exact account of
every honorary ticket issued, and the name of every such person
as may thereby be admitted, as well as of those who may be
invited, shall be laid before the Society at the Annual General
Meeting.
11
SUBSCRIPTIONS OF MEMBERS AND ASSOCIATES.
XXXV. Each Member and Associate shall pay, previously to the
commencement of the first Concert in every season, such sum,
or subscription, as shall be fixed at the General Meeting held on
the first Monday in November, immediately preceding such
Concert, or determined at a Meeting held by adjournment from
that day. Any Member or Associate failing to comply with
this Law (except under circumstances hereafter-named) ceases
to be a Member or an Associate of the Society. Those relatives
of the Members and Associates of this Society, who are resident
in their families, and are Subscribers to the Concerts, shall have
the privilege of attending the Rehearsals and Trials of the same.
XXXVI. The nomination of Subscribers is with the Members of
the Society, subject to the control of the Directors; and (com-
mencing with the year 1831) when the number of vacancies is
ascertained, the nominations shall be equally divided among the
Members, and any remainder, that is to say, any number less
than the number of Members, shall be distributed, so far as it
will go, among the same according to alphabetical order; the
allotment of any remainder to begin in each succeeding year with
the name next to that with which the distribution terminated the
year preceding. No list of nominations of Subscribers shall be
allowed unless the Member presenting it shall have taken out
his ticket for the ensuing season previously to the day appointed
12
by the Directors for the receiving of such nominations. In the
Secretary's circulars respecting nominations, he shall request
each Member to send not only the names which he wishes to
propose in order to fill such ascertained vacancies, but likewise
any other names which he desires to introduce, should further
vacancies occur—from which extra lists the Directors shall fill up
such vacancies, taking them іп the alphabetical order in which
the Members names appear.
XXXVII. A discretionary power shall be vested in’ any General
Meeting held previous to the first Concert, to extend the period
for the payment of the subscriptions of such Members and
Associates as may be out of England at that time.
XXXVIII. Female professors shall be admitted to subscribe to the
Concerts on the same terms as the Associates, provided they
have been proposed and balloted for in the manner pre-
scribed for the admission of Members and Associates Each
female Associate shall be allowed to introduce at the Con- \
BF Di ad c as nido Oa
certs, one resident Member of her family, on the same
terms as those fixed for the families of the Members and of
such Associates as shall have been elected on or before the
13th of December 1827.
APPROPRIATION OF THE FUNDS.
XXXIX. After paying the expenses of each season, any balance that
may remain shall be carried to the account of the succeeding
XL.
13
year. The property of the Society shall be vested in the public
funds, in the names of three Trustees, being Members of the
Society, appointed for that especial purpose by a General
Meeting.
HONORARY MEMBERS.
Foreign Professors, of great eminence, may be elected Honorary
Members of this Society, by a majority of Members, at any
General Meeting.
Honorary Members shall have free admittance to the Concerts
of the Society for one season ; but they shall cease to enjoy this
privilege should their residence in England be prolonged beyond
that time. It shall, however, be in the power of the Society to
re-elect Honorary Members.
XLI. If any Member or Associate neglect to pay his subscription
or in any other manner cease to belong to the Society, he shall,
if re-admitted, pay such sum as his subscription would have
amounted to had he continued in the Society.
XLII. Within three months after the death of each Member, there
shall be transferred to his legal personal representative, by the
Directors, Treasurer, and Trustees for the time being, one share
of the Society's stock in the public funds, as it stood on the day
previous to such death, the said stock being divided into as
many shares as there were Members the day before such death.
14
Ви по properties belonging to the Society, the funded stock
excepted, shall be liable to such division. This law shall not
be suspended or repealed, unless three months’ notice to that
effect be given, and unless four-fifths of the Members present
and voting on the occasion be in favour of such suspension or
repeal.
XLIII. The board of Directors shall be empowered to lend to any
Member of the Society, for his own Benefit Concert, any por-
tion of the Library ; but no part of it shall be lent to any other
person, unless by order of a General Meeting.
ТИЕ END.
LONDON:
PRINTED BY C. AND W. REYNELL, BROAD STREET, GOLDEN SQUARE.
~.
AN
OR A TORIO:
As it is Perform’d at the
THEATRE- ROV AE
IN
QO-FEZNT-GA4RJDiEZX,
Set to Mufick by Mr. H A N DEL.
МА ОЕ A GA N AM US
And without Controverfy, great is tbe Myftery of Godlinefs: God was
manifefted in the Flefb, juftified by the Spirit, feen of Angels, preached
among the Gentiles, believed on in the World, received up in Glory.
In whom are bid all the Treafures of Wifdom and Knowledge.
Ша ЧОУ IN TD ROR aN A
Printed by and for J. WAT Ts; and Sold by him at the Printing-
Office in Wild-Court near Lincoln’ s-Inn-Fields.
And by B. Do» at the Bible and Key in Ave-Mary-Lane neat
Stationers-Hall. м DCC L.
[ Price One Shilling. ]
.——— РРА 1 dee —
ра Ui up Diet obl
RECITATIVE, accompany d.
re]
Omfort ye, comfort ye my People,
faith your God ; {peak ye comfort-
ably to Jerufalem, and cry unto
her, that her Warfare is accom-
plifhed, that her Iniquity is patdoned.
The Voice of him that crieth in the Wil-
dernefs, Prepare ye the Way of the Гога,
make ftraight in the Defert a Highway
for our God.
A2 SONG.
4 MESSIAH
SONG.
Every Valley fhall be exalted, and every Mountain
and Hill made low, the Crooked ftraight, and the
rough Places plain.
CHORUS.
And the Glory of the Lord рай be revealed, and all
Flefb fball [ee it together, for the Mouth of the
Lord hath [poken it.
RECITATIVE, accompany’d,
Thus faith the Lord of Hofts: Yet once
а little while, апа I will {hake the Hea-
vens and the Earth, the Sea and the
dry Land, and I will fhake all Nations, ^
and the Defire of all Nations fhall come ;
the Lord whom ye feek, fhall fuddenly
come to his- Temple, even the Meffenger
of the Covenant whom ye delight in, ^
behold he fhall come, faith the Lord of
IONS.
R rM T AT V
But who may abide the Day of his coming?
And who {ай ftand when he appeareth?
For he is like a Refiner's Fire.
Сно-
ИЦ
MESSIAH 4
CHORUS:
And be рай purify the Sons of Levi, that they may
offer unto the Lord an Offering in Righteoufnefs.
| RECITATIVE. |
Behold a Virgin fhall conceive, and bear a
Son, and fhall call his Name Emmanuel,
GOD WITH US.
SoNc and CHORUS.
О thou that telleft good Tidings to Zion, get thee
up into the high Mountains O thou that telleft
good Tidings to Jerufalem, lift up thy Voice
with Strength; lift it up, be not afraid; fay uito
the Cities of Judah, behold your God.
Arife, fhine, for thy Light is come, ата the Glory
of the Lord is rifen upon thee.
RECITATIVE, accompany d.
For behold Darknefs Һа cover the Earth,
and grofs Darknefs the People: But the
Lord fhall atife upon thee, and his Glory
fhall be {ееп upon thee, and the Gentiles:
fhall come to thy Light; and Kings to
the Brightnefs of thy Rifing.
SONG.
б MESS EAH.
S ON С.
The People that айе т Darknefs Раде [een а
‘great Light, and they that dwell in the Land. of
the Shadow of Death, upon-them hath the Light
Shined. Ä m
CHORUS.: ;
For unto us а Child is born, unto us a Son is given,
and the Government shall be upon his Shoulder,
and his Name fhall be called, Wonderful, Coun-
fellor, the mighty God, the everlafling Father, —
the Prince of Peace. | |
| RECITATIVE. |
lhere were Shepherds, abiding in the
Ficld, keeping Watch. over their Flock
by Night.
RECITATIVE, accompany д.
And lo, an Angel of the Lord came upon :
them, and the Glory of the Lord fhone
round about them, and they were fore
afraid.
RECITATIVE.
And the Angel faith unto them, Fear not;
for behold, I bring you good Tidings of
great
MESSIAH в
gteat Joy, which. ай be to all People:
For unto you is born this Day in the
City of David a Saviour, which is Chrif
the Lord. | |
~ RECITATE accompany d.
And fuddenly there Was. with the Angel а
Multitude of the Heavenly Ной, praifing
God, and faying, | Ee Ash
CHORUS.
Glory to God in the Ние? and Peace on Earth,
good Will towards Men. |
REN GE |
Rejoice greatly, O Daughter of Sion, fhour O
Daughter of Jerufalem, behold thy King cometh
unto thee.
He is the righteous Saviour, and he fball [peak Peace
ито the Heathen. . | [Da Capo,
КЕСТТАТТУЋ.
Then fhall the Eyes of the blind be open'd,
and the Ears of the Deaf unftopped ;
then fhall the lame Man leap as a Hart,
and the Tongue of the Dumb а! fing,
SONG 2}
8 MESSIAH
| | TS Ges С Ce ov С
He fhall feed his Flock like a Shepherd: And he Бай
gather the Lambs with his Arm, and carry them
in his Bofom, and gently lead thofe that are with
‚young. | eue d тен
Come unto him all ye that labour, and are heavy
laden, and he will give you Ref. |
Take his Yoke upon you, and learn of him, for he is
meck and lowly of Heart, and ye ай е
- unto your Souls.
Y
CHORUS.
His Yoke в сају, and his Burden is light.
Рози dias роја р II.
я CHORUS
Әр) Ebold the Lamb of God, that taketh
/ away the Sin of the World.
| SONG.
He «vas defpifed and rejected of Men, а Man ој
^ ` Sorrows, and acquainted with Grief. He gave
his Back to the Smiters, and his Cheeks fo them
that plucked off the Hair; be hid not his Face
from Shame and Spitting. [Da Саро.
CHORUS.
Surely he hath borne our Griefs, and carry d our
Sorrows: He was wounded for our Tranfrref-
fions, be was bruifed for our Iniquities, the Cha-
fifement of our Peace was upon him,
And with his Stripes we are healed.
Ä B МУ НО
-----------
nn жр» m MÀ UN 1 4
ша --вг- е EE
А
|
||
il
|||
|
P
^
i \
|
h
||
4
j
10 M E SSTAE
CHORUS.
All we like Sheep have gone аргауз we have turned
every one 10 his own way.
And the Lord bath laid on him the Iniquity of us all.
RECITATIVE, accompany d.
All they that fee him laugh him to {corn ;
they fhoot ‘out their Lips, and fhake their
Heads, faying, |
CHORUS. | =
He drifted in God that he would deliver ЂЕ
him deliver him if he delight in bim.
RECITATIVE, accompany d.
Thy Rebuke hath broken his Heart, Бе”
full of Heavinefs: He looked for fome—
to have pity on him, but there was no
Man, neither found ‚he any to comfort
\
him. | |
SONG.
Behold and fee if there be amy Sorrow like unto his
Sorrow.
RECITATIVE, accompany d.
He was cut off out of the Land ‘of «ће
Living, for the Tranfgreflion of thy
People was he ftriken.
SONG.
=
о _____--
MESSIAH. II
I SONG. |
But thou didft not leave his бог) in Hell, wor фа?
thou fuffer thy Holy One to fee Corruption.
SEMI-CHORUS. |
Lift ир your Heads, 0 ye Gates, and be ye lift up
ye everlafting Doors, and the King of Glory рай
соте 27,
SEMI-CHORU $.
Who is this King of Glory?
SEMI-CHORU S.
The Lord, ftrong aud mighty, the Lord pd 77
Battle.
SEMI-CHORUS.
Lift up your Heads, О ye Gates, and be ye lift up
ye everlafting Digs and the "ON of Glory. fhall
come in.
SEMI-CHORUS,
Who is this King of Glory?
SEMI-CHORUS,
The Lord of Нов: He is the King of EN:
CHORUS,
The Lord of но 5, He is the King of Glory.
RECITATIVE.
Unto which of the Angels faid He at any
B 2 time,
Le
»
= oM en алт en
CTE we — а
C MEN Er te ei
—— ————— ——-— ne ~
helen o3
|
|
4
a
E
i1 |
I |
nm
Vg
|
B
| i
12 M BEES ра Е
time, Thou art my Son, this Day have I
begotten thee? |
Сноков.
Let all the Angels of God «vorfhip him.
КРСТТАТТФЕ. p at
Thou art gone up on high, thou haft led
Captivity captive, and received Gifts for
Men, yca even for thine Enemies, that
the Lord God might dwell among them.
CHORUS ` »
The Lord gave the Word, great was the Company
of the Preachers.
SQ. NG. e
How beautiful are the Feet of them that preach the
Gofpel of Peace, and bring glad Tidings of good
Things. |
CHORUS.
Their Sound is gone out into all Lands, and their
Words unto the Ends of the World.
ходене CSS
Why do the Nations fo furioufly rage together, and
why do the People imagine а vain thing? The Kings
| ФӘ of
---
E
| MESSIAH 13 |
of the Earth rife up, and the Rulers take counfel | |
CHORUS.
Let us break their Bonds afunder, and caf away
their Yokes from us.
together, ата? the Lord and againft his Anointed. | |
| |
КЕСІТАТІҮЕ.
He that dwelleth in Heaven fhall laugh |
them to fcorn: The Lord fhall have them |
in Derifion. |
SONG. |
Thou fbalt break them with a Rod ој Iron, thon
. Jbalt да them in pieces like a Potters Veffel.
ак CHORUS, |
Hallelujah, for Ше Lord God Omnipotent reigneth. | |
The Kingdom of this World is become the || ||
Kingdom of our Lord and ој his Chrift; and |||
he Jhall reign for ever and ever,
King of Kings, and Lord of Lords. Hallelujah.
. : (з C, SAD за)
| Ма с Damm, % У
EON - |
| РАЕТ
~ 19
ne А ААА анн е
||
T
| |
SON е
Know that my Redeemer liveth, and
that he Уай fiand at the latter Day
upon the Barth: and though Worms _
= deflroy this Воду, get та ту Flefb рай.
1 ум God. For now is Сој vifem from the \
Dead, ет ER of them that Лер.
с vom EMEN
pec ee
Cuoxus,
Since by Man сате Deatb,
By Man сате alfo the Refurrection of the Dead,
For as in Adam all die,
Even fo in Chrift Jhall all be made alive.
А E »
г ттт ттт PEIUS cona i p Fe
RECI-
ЕВЕ
ME-SSIAR Dc
RECITATTVE,Haccompany'd.
Behold T tell you a Му егу с We fhall not
all Пеер, Бисте Фай be all changed, in
a Moment, in the twinkling of an Eye, at
the laft Trumpet.
| SON G.
The Trumpet (Рай found, and the Dead Жай be
vatfed incorruptible, and we рай be changed.
For this Corruption muft put om Incorruption,
and this Mortal muft putson Immortality.
| Пра Саро.
| КЕСТТАТТУЕ. |
—~Then hall be ‘brought.to ү the Saying |
thatis written, Death is fwallowed up in TJ
Victory. à' D |
| зна. ^: о ` , B I |
| CaD AISE SL, 1
| О Death, where is thy Sting?
| О Grave, where 1s thy Victory?
t Sting of Death is Sin,
And the Strength of Sin 15 the Law,
16 -MESS 54H
CHORUS.
But Thanks be to God who giveth us the йогу,
through our Lord Jefus Chrift.
SONG. |
If God be for us, who can ђе againft us? Who рай
lay any thing to the Charge of God's Ele#? It
75 God that juftifieth, who is he that condemneth 2
It is Chrift that died, yea rather that is rifen
again, who is at the right Hand of God, ` who
maketh Interceffio 077 for us.
CHORUS.
НД orthy is the Lamb that was Пат, and hath re-
‚ deemed us to God by his Blood, to receive Power,
and Riches, and Wifdom, and Strength, and.
Honour and Glory, and Bleffing.
Bleffing and Honour, Glory and Power be unto
him that fitteth upon the Throne, and unto the
Lamb, for ever and ever. Amen.
Bore а
Books Printed by and for Jo Wats, and Sold by him at the Printing-Office in Wild. Gears
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gi SHE WORKS of MOLIERE compleat in French and Englih in Ten Volumes; +
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МОШЕ КЕ, and Hiftorical Criticifms on each of his Performances, which are prefix'd to the
refpective Plays, pointing out the Time of their Appearance, the Succefs they met with, and `
their feveral Merits. bey } Y x
VOL. I. Containing,
Mémoires. fur La Vie de MOLLERE. | Memoirs of the Life of MOLIREHE.
L'Etourdi, ou les Contre-tems. The Blunderer, or the Counter=P lots.
Lc Depit Amoureux, T The Amorous Quarrel ^
VOL. II Containing,
L'AVARE. The М 18 Е К. `
Les Précieufes Ridicules. “ The Romantick Ladies. ;
Don Garcia de Navarre, ou le Prince | Dox Garcia of Navarre, or the Fealous
Jaloux. i Prince, а
VOL: IIL Containing,
The School for Husbands.
The School for Wives: |)
v The Schenk. for Wives Critici d.
The Impromptu of V etfailles,
L'Ecole des Maris:
L'Ecole des Femmes.
La Critique del'Ecole des Femmes,
L'Impromptu de Verfailles.
VOL. IV. Containing,,
Le Mifantrope.
Le Médecin Malgré Lui.
Don Juan, ou Le Feftin de Pierre.
L'Amour Médecin. `
Le Tartuffe, ou L'Impofteur.
Monfieur de Pourceaugnac.
VO БУКУ
` The Мосћ- Dottor.
The Man Hater. ae
Don John, or the Feafl of the бани, |
Containing, pe i
Love's the bef! Doctor.
Tartufte, or the Zmpoflor.
Squire Lubberly, А
VOL. VI. Containing, і
AMPHITRION.
George Dandin, ou le Mari Con-
fondu. 3
Sganarelle, ou le Cocu Imaginaire.
AMPHITRYON,
беду Dandin, or the РеМе 4 Hus-
рео,
and,
Sganarel, or the Cuckold ји Сенсей, А
VOL УП. Coitaining,
Le Mariage Forcé:
Les Amans Magnifiques.
PSICHE.
The Forc’d Marriages. ү,
The IY аЙ Lowers.
PSYCHE, ı
VOL. УШ. “Containing, —
Le Bourgeois Gentilhomme.
Les Fácheux. |
Le Sicilien, ou L'Amour Peintre,
Les Femmes Scavantes.
Les Fourberies de Scapin.
MELICERTE. |
"Та Comteffe D'Efcarbagnas.
La Princeffe D'Elide.
; LesFétes de Verfailles. |
Les Malade Imaginaire,
sa The Рай о ү
‚ The Hypocbondriach. | шабо» Written
The Cit шута Gentlemen.
The Impertinents. ғ
The Sicilian, or Love makes a Painter,
VOL; IX. Containing, `
The Learned Ladies.
Tha Cheats of Scapin,
CMELIGERTA. | —
VOL. X,
Containing,
The Counte/s of Efcarbagnas,
The Princefs ү, Elis,
еба е 4
ЕН, |
COMEDIES
HE. MISER,
Love in feveral Mafques,
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call’d The Pleafures of the Town.
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The Modern Husband,
The Univerfal Gallant.
Don Quixote in England.
The Coffee houfe Politician,
The Temple Beau.
Pafquin; a Dramatick Satire on the Times.
EN RYZ.
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Love in a Riddle. By C. Cibber, Вар.
By
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ENGLISH AND CONTINENTAL.
bearing upon the social relations of Europe at
large, we must naturally begin with Italy, the
cradle of the art. It was there that music flourished
first, that it took an early direction towards noble
ends, became the devoted servant of religion, and
produced upon this grave, solemn, and sacred
basis those rich and luxurious flowers that now
adorn the domestic and public circles of civil
society.
At present, however—we must not conceal the
fact—the art is on the verge of extinction in the
land where it first took root, notwithstanding the
brilliant stars it daily sends forth to charm the ears
of the musical world.
The cause of this decline must chiefly be sought in
the confused state of public life in Italy, which exer-
cises a baneful influence on the imaginative and сте-
ative faculties of the Italian people in all the spheres
of artistical operations. We thus see the previous
grand and sacred tone of art now entirely banished
from Italian compositions, and Italy’s church music
assume the character of profane cavatinas, alto-
gether at variance with the sacred nature of divine
worship.
Instrumental music, either for great orchestras or
chamber music (music for the Royal Chapel), was
never at home in Italy, the opera being the true and
congenial field where Italian composers always have
distinguished themselves, and still reap popularity
in all countries, as regards the vocal art, or song.
Neither should we have reason to complain of that
partial development if it led to a solid and genuine
tendency, to the expression of inward feelings and
passions ; but the Italian song, though most perfect
in из kind, chiefly aims at secondary ends, at the
mere volubility of the voice, to the entire exclusion
of the spirit of the art, which is thereby transformed
into a pompous charming syrenes of the external
senses, possessing neither heart nor soul, ‘This is
the character which the whole of the Italian music
has assumed ever since Rossini, and to which it owes
that almost universal popularity it enjoys among
all nations, by flattering the senses of the audience
instead of addressing their mental faculties. And
as the characteristic peculiarities of nations consist
more in inward sentiments and way of thinking
than in the manifestations of sensual distinc-
tions, it cannot be wondered at that Italian music is
relished every where in circles where the gratifica-
T treating of the present state of music and its
tion of the senses is preferred to that of the mind
and heart, and that it finds a home equally in Paris,
London, St. Petersburg, and Madrid, as in Naples,
Florence, and Milan.
That such a perversion of principles must bring
about a decrease of power and energy, is a truth
that is already on the point of realization. Ros-
sini, the talented author of that popular style,
has himself found so little inward satisfaction `
or happiness in his artistical occupation, that he
cheerfully renounced it as soon as his pecuniary
end was attained, after having reaped the golden
harvest of the art. Indulging now in the idle com-
forts and pleasures of a plebeian rentier, he plainl
shows by his own life, that this is the highest grati-
fication to be found in the manner he treated tho
art, and that musical enjoyment has no more
signification for him than any other pleasure of
life.* Bellini, his most talented successor in that
sphere, showed himself much more feoble, carry-
ing in his art the enervating efleminacy of his
time, while Donizetti, though visibly inferior in
talent, has accomplished a greater variety in his
compositions than Bellini, owing to the natural
elasticity of bis character, which partakes more of
French playfulness than Italian revery.
Of the other Italian composers, such ns Cop-
pola and the like, but few of their works nro
known, and even these possess so little individu-
ality, as to preclude the hope of their ever пио
taining & permanent hold on the public taste,
though all of them bear the undeniable impres-
sion of high talent, as also the quality of afford-
ing the most delightful field for the display of vocal
excellence. It is indeed this very quality on which
is based the success or failure of ріссов of
that kind ; the song being the widest and most fro-
quented high road on which tho art travels to public
avour among all nations, "Гро admirable charm
of the human voice, it is truo, finds an imme-
diate echo in the hearts of all пера yot it
is the Italian especially who is enthusiastically
fond of song-—a fondness that is still more onhanced
by his euphonious language, as well as the natural
flexibility and sweetness of his voice, In the vir-
tuosoship of singing the Italian will, therefore,
always occupy the first rank in the music of tho
е After a lapse of nearly twenty years, we hony of а now
opera from his pen now In preparation, entitled ‘Robert
Bruce,"
164
present day. It is true that we no longer possess a
Catalani, Pasta, or even a Malibran, while Rubini,
Lablache and others have either retired from public
life, or are already on the decline in their vocal
powers; yet does Italy outrival to this day all other
countries in the number and skill of her singers ;
and names such as Grisi, Tachinardi, Persiani,
Tamburini, Iwanow (by birth a Russian), and Des-
prez (by birth a Frenchman) will always be men-
tioned with respect and admiration by the musical
world, Extended intercourse and pecuniary gain
are certainly the causes that the eminent Italian vo-
calists are more to be found in London and Paris
than in their own country, which is at the present
moment во deficient in native professional singers
of eminence, that foreign artists, such as No-
vello, Shaw and Pixis (a German lady) have not
only played there with signal success, but the
latter has even been found worthy to fill up the
chasm во long felt in the theatre San Carlo, at Na-
Лев, These circumstances, however, do not in the
Jess affect the well-founded claims of Italy to superi-
ority in this art, as it is quite immaterial where the
Italian vocal stars shine, whether at home or abroad;
neither would the foreign cantatrices ever have de-
veloped their vocal powers to such an eminent de-
gree, if they had not previously enjoyed the in-
struction of Italian masters in their profession.
No other virtuosoship besides the song has ever
flourished in Italy, with the exception of that of
the violin, which is go closely related to the human
voice, Indeed, the practice of the violin first
originated in Italy ; and though it has of late been
greatly neglected there, being far more cultivated in
l'rance and Germany, Italy will always have the
lory of having produced the unrivalled Paganini.
ДҮ other instruments, such as the violoncello,
flute, clarinet, and more especially the piano, are
not only but little cultivated, but the virtuosoship
of them is hardly appreciated in Italy. The guitar,
howover, is peculiar to the Italians, for which they
have an unfortunate predilection; and for the mas-
tory of which imperfect instrument they are but little
onvied by other nations. Italian music prevails, in
short, only in those departments of the art in which
singing predominates, and in which, indeed, this
school is greatly in favour with the higherclasses. In
pomp, splendour, and external success it surpasses
every other kind of music, while it is far in-
forior in intrinsic value to that of the French and
German.
In Francethere exists nowa sort of universal traffic
in music, Paris having become the emporium of the
musical art. All nations bring to that market their
eminent talents, by which national styles become so
amalgamated as to obliterate the characteristics of
any particular school.
Cherubini and Spontini have already Frenchi-
Jied themselves in their works accor ing to the
Italian Song.— French Music.
then prevailing taste, while more recently even
Rossini and Bellini (in his * Puritani”), were com-
pelled to adopt some of the features of the French
style in the operas they wrote in Paris. ЈЕ
we include into our present sketch the most
modern productions of the so-called romantic
school of music, as represented by Chopin, Liszt,
and Berlioz, it is evident that the French have dis-
tinguished themselves in all departments of the art,
with the sole exception of sacred music, for which
they do not seem to entertain a great relish. In
Italy, the art is coupled with sensual charms, while
in France it is more combined with wit and reason;
and more especially in the sphere of the opera.
How much the present state of music in Europe is
indebted to French exertion in that respect may be
seen from the following survey.
France possesses the most distinguished com-
pue in Auber, Herold, Halévy, Adam, and a num-
er of individuals of second rank. There is certainly
much that is objectionable in the course that has
been pursued by French composers, but no one can
deny them talent, or doubt that in the opera, and
more especially in the comic and romantic (not
heroic), the French now occupy the first rank in
the musical world. The Italian opera is calculated
to afford sensual enjoyment to the fashionable world,
while the French more appeals to the reason and chal-
lenges reflection, it being that sport of the mind by
which social intercourse receives a piquant season-
ing ; and to this circumstance in particular is owing
the immense popularity attending the so-called con-
versation-opera (such as “John of Paris,” “ The
Ambassador,” “The Black Domino,” “The Pos-
tilion of Longumeau," &c.), where sentimental
excitements are almost entirely excluded. The
French are certainly in advance of all other na-
tions in polite manners and social urbanity, and
they have maintained this reputation, even in the
musical art, with signal success. Even vocal
compositions for the saloon are now almost the
exclusive property of the French by théir culti-
vation of the romance, in which these latter shine
in the same way as the Germans do in the ballad,
and the Italians in the canzonetta and barcarole.
Lafont and Pauseron are among the most po-
pular composers of the romance. Neither have
the French less claim to a considerable portion
of instrumental music, though the symphonie, its
grand foundation, and the true exponent of the
orchestra, is as yet peculiar to the Germans, with
the exception of some stray attempts by Ber-
lioz. he French are not however backward in
fine instrumental music in their operas, and they
have produced most effective overtures and intricate
orchestral parts in the accompaniments. It almost
seems as if the French cannot do without vocal
music, and they therefore indulge in both kinds.
А peculiar species is the ballet music, which is
French Composers.— German Music.
highly appreciated in France, and cultivated even
by the most talented composers, such as Adam
and others. Also in chamber music France has a
most worthy, though solitary, representative in
Onslow, whose inventive powers seem, however, of
late to have somewhat suffered in energy; but he,
of all other composers, approaches more nearly
in quartetto and quintetto the three coryphees,
Haydn, Mozart, and Beethoven. He is by birth
an Englishman, but by education and long re-
sidence a true Frenchman. France is moreover
most advantageously distinguished in every de-
partment of virtuosoship. The causes are mani-
fold but decisive. Paris is the place where the
geniuses of all quarters of the world develope their
art, settle themselves, and acquire a sort of citizen-
ship in their professions. The emulation naturally
arising from it arouses new powers, and produces
reciprocal effects for the promotion of the art.
Neither does the celebrated Conservatoire con-
tribute less to the development of all sorts of vir-
tuosoship. It is a fact, universally admitted, that
the French occupy the first rank їп Europe in the
violin school, founded on the classical authorities
of Rode, Baillot, Lafont, and Kreuzer. These
latter have given rise to a new generation, that has
received some modification if not a new direction, on
the one hand by Paganini, and on the other by the
efforts of the above-mentioned romantic composers.
Beriot has, of the whole modern school, remained
most faithful to the classical perfection of the
above masters; but we must not omit noticing the
names of the distinguished violinists, such as
Vieuxtemps, Prume, Ernst, Heumann, Ghys, and
others, most of whom, though Belgians by birth,
have developed their art in Paris and in the true
French style. Next to the violin, the pianoforte is
pre-eminently cultivated at Paris, though the mas-
ters of that instrument there, are mostly Germans.
Kalkbrenner is a German; Liszt a Hungarian ;
Thalberg a German ; Chopin a Pole; and yet all
of them must be called French virtuosos, as even
Moscheles and Hummel owe a great part of their
celebrity to France. That France can exhibit dis-
tinguished talents also in all the other instruments
—such as Drouet on the flute, Servais on the violon-
cello, &c.—is owing to the Conservatoire, as also
to the excellent large orchestras, which cannot
do without distinguished virtuosos. The French
have frequently been denied efficiency in singing,
but they have in recent times distinguished
themselves also in this department. ‘The Con-
servatoire is an excellent institution also for
vocal musie, and though the head master of that
department is an Italian, Bordogni, the direction
is purely national. The continual rivalry be-
tween the Académie de Musique, and the Italian
Opera at Paris has greatly promoted the develop-
ment of this department,
more especially in the
165
comic and conversations opera.* We thus see the
French now armed cap-à-pie, ready to enter the lists’
and dispute with other nations the pre-eminence in
all the various branches of the musical art, with
the sole exception of sacred music, for which they
seem to have neither genius nor taste.
The Germans have the advantage of cultivating
music in truth and spirit. Music is with them the
imperishable emanation of the heart and soul, and
however much perverted and corrupted their social
relations have become in more recent times, the
world of the mind, the sanctuary of the heart, have
still remained intact with them. German music
still rests on this principle, though ever since her
first great musical heroes, Germany has only pro-
duced two individuals whose names have become
European—Weber and Spohr, of whom the former
is now dead, while the fine elegiacal star of
the latter has long since passed the culminating
oint, and its fading light is now hardly percepti-
ble in the nebulous horizon of the musical world.
Mendelssohn Bartholdy has, however, redeemed
German honour and glory in the musical art.
He may be surpassed by others in point of invention,
but inventive powers wrongly applied lose the great-
est part of their effect, and into this error several
scientific composers have fallen, who otherwiso
might have become his successful rivals. Next to
him may be mentioned Marschner, who has dono
much for the opera; Lachner, who has success-
fully worked in instrumental music ; Reissiger,
who has accomplished something in all musical do-
partments; and Frederick Schneider, who has de-
voted his talents to sacred music. In all these
works the grave dignity of the art is fully preserved.
The German musician certainly courts public fa-
vour like the Italian or Frenchman, but he iu
under the impression that he cannot plense the ub-
lic without also pleasing the artist, and without
giving satisfaction to himself; in this dignified parti-
cular German music still distinguishes itself abovo
foreign music. It is true, these efforts are not
without disadvantages; they resolve themselves
into a sort of pedantic helplessness, or an AST
of scientific modulations, that frequently tire tho
ears of the uninitiated audience. Yet these are
faults neither so frequent nor of such importance
as to justify the renunciation of the very principle,
as has been done by Meyer-Beer who first tried to
be an Italian, then a Frenchman, and finally п сов-
mopolitan in music, belonging to no country and
adhering to no national characteristic in the art,
In the German opera, though nothing remarkable
has been accomplished of late, yet there is nothing
in it that indicates a wrong principle or n false di-
rection. It may be observed, that in IDEEN or
writing seriously, in order to produce an effect,
* The latter implies an opera in which singing is Intermixed
with speaking.
NM
166 Church Music.— Mendelssohn.
something profound or beautiful must be created ;
and that it is easier to please by a superficial, con-
versational tone than by solemn and sensible ad-
dress. Still this circumstance ought not to deter
us from attempting to preserve the grave and dig-
nified tone in the art, when the subject of which
it treats is of a serious and drarnatic character ;
Lortzing in Leipsic is the only one who has in pre-
sent times successfully produced such pieces,
Church music, which seems to be on the decline
in all countries, has taken new root in Germany,
and more especially by the introduction of the
musical festivals. Bernhard Klein, but for hig
carly decease, would have become its chief pillar.
Mendelssohn* (who seems to have more calling for
the opera, but which he rather neglects) has in his
“ Paul” worthily sketched the principal incidents
of his own life, while F. Schneider has in some mea-
sure failed in his efforts, by aiming at too much
Variety and magnitude. Karl Löwe also has re-
cently laboured with great diligence in Church
music, although his style partakes more of the cha-
racter of stage than sacred music.
* Velix Mendelssohn Bartholdy was born on the 2rd Febru-
ary, 1509, nt Berlin. He is the son of a wealthy merchant and
bunker, and grandson of the celebrated metaph ysician, Moses
Mendelssohn, author ог“ Phaedon,” and most fntimate friend
of Lossing, At u very early age ho displayed a wonderful
talont for musio, Zelter became his master in composition,
while the genial Ludwig Berger instructed him in the piano,
Itin to this latter that ho was at a later period indebted for
those most invaluable hints and indications which an indepen-
dent genius is alone able to give, and the traces of which are
abundantly seen in the earlier works of the young genius. ‘The
energy of his precoclous musical capacity even surpassed that
of Ши carly history of Mozart, At the age of cight years he
‚layod Шке а master, transposed at sight the fugues of
Бован Bach, read fluently the most dificult partitions and
manuscripts, discovered. the least fault In compositions for
many volees, simply by Ме fine ear, and wis, after Klein, the
acknowledged best accompanist and director on the plano at
Berlin, In his ninth year he first played ata public concert
ut Berlin, and їп the ln your at Paris, whither ће had
travelled with his parents, At that early age he had written
all sorts of compositions, even in the most dificult forms,
and in 1824 his first. compositions were published, They
Were three. quartettos for the plano, with аи оп
the string instruments, of whieh tho third, in G sharp, dè-
eldedly tho best, was dedicated to Goethe, his partieulur пена,
und it still maintains the first rank amongst his works, In
1820 he madon second tour to Paris, his father wishing to соп
sult the great musicians there, and more ир Cherubini,
hefore he would allow him to give himself up entirely to the
musical muse, Jo played there with Ва ог the quartetto in
G sharp, and his future destiny was decided,
Iu the summer of 1827 ho “published hia first grand opera,
“Tho Marriage of Gamacho,” dat acquired him the npplause of
competent jud res, and the publio at liso: А few years after-
wards he acaufrad, In company with the distinguished singer
and netor С, Devrient, In. Berlin, the merit of drawing from
the oblivion of more than а century the grind passion-musie of
Sebastian Bach, It was he who fntroduced it into the singing
academy of Berlin, in 1820, in a reformed style, from whenee
it has since gone forth to the world at large. “He now travelled
for three years through France, En land, and Italy, Пе reaped
lory and fame in all places, and did honour to his own country
зу his performances, At Paris, he succeeded in having exe.
cuted, ЛА the Conservatoire, his overture to Shakespeare's
“ Midsummer Night's Dream," whieh he had written at Berlin
while in his 17th year; and despite the attacks of a jealous
ind mereenary criticism, his triumph was complete. Also as
а mere performer Mendelssohn frequently exhibited himself
in publie, but less in the character ofa professional yirtuoso
In instrumental music, the Germans have at all
times occupied the first rank, and more especially
how that it is nearly entirely banished from
France and Italy. ‘The s mphony seems to have be-
come hereditary to the Germans. Even Cherubini
has failed in ‘his attempt to introduce it into
France. The symphony is a work in which the
'
German musician tries to find indemnification for
the wrongs he endures in his artistical life. He
starves, and writes a symphony to get bread; his
publisher, however, finds no customers for it; he
still goes on writing symphonies for the mere loye
of the art, proud to occupy a small corner in the
throne of a Haydn, Mozart, or Beethoyen, and in
this way vast quantities of composition of real and
solid excellence are lost in the stream of competi-
tion, and the impossibility of having them pub-
lished or performed before the public. Every Ger-
шап musician of any standing now writes sym-
phonies, many of which, though unpublished, are
frequently far superior to those which issue from
the press.
But German talent for harmony is appropriate
than a classical and profound performer, After his return from
his travels, he gave a series of concerts in his native place,
for the benefit of benevolent institutions, in which he most
successfully showed himself partly as a composer and partly
Re dns in the most manifold and varied directions,
Not linding ample sphere ог operation at home, he repaired to
Düsseldorf, where he undertook, in company with Immer-
mann, to establish a stage on purely вејеп ће principles, Тће
task, however, failed, and he commenced conducting at great
musical festivals at home and abroad, a character which he
has since maintained, in addition to that of a first-rate com-
poser in secular and sacred music. It is not the place here to
pass in review his manifold works, but we may safely assert
that Mendelssohn would have occupied the first rank amongst
the composers of all times and all countries, had music
been a science instead of an art. АП the scientific capacities for
music Mendelssohn possesses in a degree not even equalled by
Mozart; but as to his ал са! capacities, he possesses them
equally with the majority of high-talented musicians, viz.,
power ofinvention, and tasteful ¢ elivery ; he certainly fulfils
n both the claims of the most noble develo ment of taste and
talent, but is deficient in wermth and enthusiastic feelings,
Which can only emanate from the innermost recesses of genius,
The reflection of hig art we clearly see in his works, and
more especially in his ** Paul," This latter is а work of
serious solidity, of the most developed practical knowledge, of
noble judgment, and of the most scrupulous consideration of
all the means and their effects to complete and appreciate the
subject, but it lacks withal religious animation and genial in-
vention, We find in it the studies from Bach, Handel, and
even Klein; we find these studies used and recast with inde-
pendent judgment, but this well-tilled soil has produced no
plants of peculiar originality, Mendelssohn's inventions have,
no doubt, an individual physiognomy, but such we see also in
common everyday phenomena and who would dare to be
зо unjust аз to rank Mendelssohn's works amongst these latter?
lis other noticeable compositions consist of works Гог the or-
chestra, chamber music in the more limited acceptation, piano-
forte, and song. Among the first are distinguished three overtures
to the ** Midsummer Night's Dream,” the“ Hebrides,” and the
“ Handsome Melusinian." The first is the most successful and
most popular of all his works. The romantic sketches, he
has treated with particular skill and success, Also in several of
his works of chamber-music, in the quartettos for the stringed
instruments, and a grand octetto, this genre is repeatediy met
with, and the above-mentioned quartettos .belong not only to
his own best com positions, but also to those of modern times
renerally, Mendelssohn having acquired the first rank after
leethoven, Mozart, and Haydn in all compositions where
Science is combined with refined taste,
German Composers.— English Music.
not only for the full orchestra, but also for the finer
species of chamber-music. In the quartetto Spohr
surpasses Onslow, and at his side Mendelssohn
occupies an honourable place, beside Fesca (died
1826) and Е. Ries (died 1838). In the same way
as the romance belongs to the French, in like man-
ner the ballad belongs to the Germans, and names
such as Mendelssohn, Spohr, Reissiger, Lówe,
Taubert, Kücken, Bauck, Lachner, and Proch are
honourably known to the musical world, though
they cannot stand comparison with the past mas-
ters, such as Weber, Zelter, Berger, Klein, and
Schubert. The German transposes his instrumental
music also to virtuosoship, and it is he alone indeed
who still writes real instrumental pieces for his
virtuosos, especially for the pianists. Virtuosoship,
like composition, is with the German chiefly musical,
in other words, the German virtuoso pays less at-
tention to superfine, brilliant, technical accomplish-
ment, than to the services to be achieved for the
musical art generally. It is only in most recent
times, that the German pianists, simply because
Parisian fame bas been continually before their eyes,
have pursued a different course. Thalberg, Henfelt,
Dreyschock and others have respectively chosen a
certain mechanical direction peculiar to themselves,
while performers such as Mendelssohn, Taubert,
and others, still adhere to the better principle, trying
less to conquer special artificial difficulties than to
enter into the spirit of all masters. The same may
be said of the German performance on the violin,
the accomplished representative of which is now
Karl Müller in Brunswick. It is devoted to the
true art, and Haydn's, Mozart's and Beethoven’s
quartettos, great violin concertos and concentrated
sonatas, are more important tasks to Müller than a
concerto of Beriot or an étude of Paganini.
Players, such as Beriot, Prume, and others may
therefore by the brilliancy of their style charm the
ear for a while, but their success cannot be lasting.
It is the same with the German song :' it devotes
itself to the thing itself, to the characteristic har-
mony of the art, but it can be hardly said to suit
itself to the sweet process of flourishes and shakes
so well understood by the Italian, who charms
thereby the world of fashion and elegance, and to
which the German will for ever remain more or
less a stranger. Germany, however, is not without
its great cantatrices. Schechner has remained un-
rivalled, Sontag united both species, while Schroder
Devrient, and Lind have delighted the audiences
of London and Paris by the German style of their
vocal art, Neither were Bader, Devrient, Wild,
Dobler and others less famous in the art in their
time. At present, however, the number is very
limited. The most distinguished heroic singers
in the German style are probably Tichatrchek (in
Dresden), Staudigl* and Mantius, while for the great
* Joseph Staudigl was born 1807, at Wallersdorf, in Lower
167
dramatie style, Miss Fassmann is a phenomenon.
Also Miss Schlegel (in Leipzig), Sophie Löwe,
Lutzer, and Lady Hasselt аге deservedly famous
names, though they have cultivated their talent
more in the Italian than the German style.
Of the other Northern countries the following
composers deserve honourable mention, viz., Weyse,
Hartmann (of Copenhagen) and among the vir-
tuosos Ole Bull (of Norway), who is, however, con-
sidered by some more charlatan than virtuoso,
'That the English are not a musical people, is a
prejudice contradicted by everyday experience, and
one has only to take notice of the numerous con-
cert rooms and places for harmonic amusement in
the Metropolis to be convinced of the unfairness
of the assertion. There is not a rising virtuoso or
musical performer of eminence in any corner of the
globe whose talent is not duly, ay, and more than
duly appreciated and well rewarded in England,
Neither is there wanting native talent and genius
enough to create a school of their own, if suflicient
encouragement were given to development by the
higher classes, who often prefer the performances of
a middle-rate foreign musician to those of a first-rate
native, John Field,} the greatest pianist that ever
lived, delighted and astonished the audiences of
Moscow and St. Petersburg, instead of those of
London and of other large places in England. In
vocal talent Shaw, Novello, Albertazzi,{ are Euro-
Austria. He early showed а good voice, but less inolination
for musie than drawing, for which he possessed admirable
capacities, When he grew up, he at first intended to devote
himself to the church, and actually entered on his noviciato in
the convent at Melk, where ће gained the favour of the prelate
for his sonorous bass voice, Но had the best prospects be.
fore him, but he suddenly contracted a dislike. to the clerical
profession, and became а medical student, Want of the means
of subsistence, however, soon forced him to have again то»
course to his voice, He was chosen chorist at the Court Opera
at Vienna, where he soon developed his talent, and the part of
Pietro (in ** Massaniello"), in which he first appeared, gavo
such general satisfaction, that he has since been variously om-
sloyed, and is universally now considered аз one of the most
his nguished bassos, who moreover carefully avoids the errors
of the modern school,
+ Не was born in 1780, in England, was a pupil of Clementi
and is still considered by impartial judges the greatest of all
modern pianists, MMs skill consisted less In the mastery of the
fingering dificulties (which no one could deny him) than in the
most charming melody, and utmost degree of execution of ull
that he played, It was said of him that “ he plays tho onsiont
thing in such a manner as to become the most dificult, In
Moscow and St, Petorsburgh the Риђи лещи Ми instruo-
tion, as it were, with gold, and he tu paid [00 roubles (42) for
each lesson, He Is, however, во eeeen rle In his hablts, that ho Iu
not unfrequently in pecuniary embarrassment, owing to his
fits of indolence, which кани last for soveral months,
during which ће refuses the most ueratlve offers, Ше In also
distinguished. ns а composer for hin flne, harmonious, and
apirited lyric melodies, in which he has no equal, In his four-
teenth year, he published a sonata which he dedicated to
Clementi, His notturnos, little melodious pieces for the plano,
have spread throughout Europe, after having been first mado
known In Germany by Lenzer, nre to this day unrivalled,
though many have tried to imitate him,"
+ Albertazzi possesses n beautiful alfo or contralto voleo, and
distinguishes herself by her noble playing and acting, Rosina,
in the ** Barber of Seville,” 18 one of her most dell htful parts;
also in the part of Gizelle, in the recent opera of the ** Night
Dancers” dy Loder), she sang and acted with her usual tact
and judgment, and entered fully into the spirit of her part,
pe
ner er arm ti te ee
У
it
168 Present State of Music.
pean names, and an Allen might grace the vocal
stage of any place in Europe. Neither is there any
lack in the talent for composition. The English
glees are acknowledged to be unrivalled, while in
the more serious and orchestral compositions,
Darnett, Benedict, Balfe, Loder, Wallace, and re-
cently also Lavenu, have shown by their original
conceptions that with a little perseverance, and more
especially encouragement, the creation of an English
scliool in music 18 quite possible., Talk indeed of
the want of public taste for music! Why, the very
large stages, formerly devoted to the so-called legi-
timate Drama, have now become opera and concert
halls, while even the minor theatres find it necessary
to intersperse the play with song and music for the
amusement of the million.*
The music of the present day is a strange mixture
of beauties and deformities, of sublime and absurd
notions, of admirable and trivial impulses.. And
ret it is most closely allied to the whole practical
life of the present age. Nay, music has decidedly
become the favourite art of the day; and however
much the public now takes an interest in painting,
the cultivation of the latter has nevertheless remained
as yet the property of regular artists, being practised
far less by amateurs, than music, which now be-
longs to the essential parts of education. Music
and French are the first qualifications required of a
governess., Every young lady (on the continent,
also young gentlemen) is now forced to her instru-
ment, no matter whether she has talent for it or
not. ‘Thus music, that was formerly shut up in the
sanctuary of the professional, has now become
ouo of the household deities in domestic circles.
This has both its good and bad points. By
n general diffusion of musical knowledge, a cer-
tain shallowness in the art is almost inevitable, as
it cannot be expected that music for the million
should be profound, and: thoroughly resting on
scientific principles; but it has also on the other
hand the advantage of opening to these millions the
Clara Novello possesses an excellent soprano voice, and her
delivery In clear, euphonious, and dellcate, though somewhat
cold. Мемории, induced her to go to Germany їп 1838; in
tho winter 1838-1890 she sang with much applause at concerts
In Lelpsie ; thence she repaired to Berlin, where she met with
equal success, ПРО made a tour through Italy, she again
тоотпой to Berlin In 1840, where she excited still more enthu-
biain, but soon spoiled It with the public by rather exorbitant
demands, an netlon that checked her progress of success also
ut St, Petersburg, She exhibits peculiar force in the delivery
of Handels huile? which she sings with an unparalleled charm
nnd grace.
Shaw has made but a short stay, in company with her hus-
band (a painter), on the continent, but has left behind a Matter-
ing Impression. She possesses a wonderful contralio voice of
the finest quality, with a corresponding delivery. She too was
Induced by Mendelssohn to до to Leipsic, where she fully sup-
plicd the place of her predecessor, Novello. Noble grace is ex-
pressed. in her zou as in the whole of her being, and she
зія most. admira ily the serious alto nirs of Handel in the
“ Messiah," ** Samson," Хо, From Leipsie she went to
Berlin, Dresden, Vienna, Milan, &c,, and sang everywhere with
gront rh Hause,
* Within one single week in last month two new Operas
Appeared, with complete success; The Night Dancers," by
Loder, and " Loretta," by Lavenu,—both by Englishmen,
knowledge of one of the finest, and most soothing
of all the arts. Some are of opinion, that the
charm of sound or music is natural, and acces-
sible to all, even to the uncultivated ear; but
they are mistaken.. Music has no parallel in ex-
ternal nature; there is nothing in it that might at
least prepare the mind for the higher mysteries of
the art.. In the other arts, and more especially in
painting, drawing, and sculpture, a certain standard
of judgment may be derived from mere observation
of nature. He who observes attentively trees, the
sky, men, &c., may acquire the capacity of forming
a tolerably correct opinion of the works of painters
and statuaries, the grand secret of these arts con-
sisting in the skill of imitating in an ennobled form
objects of nature. It is nearly the same with poetry ;
history and life being the two great standards
of her operations, in which every rational being
is more or less initiated. Neither is the whole
of our scientific education less connected with
poetry, and there will hardly be found at the pre-
sent time a man of information incapable either
of forming a sound judgment on poetical works, or
of composing some poetical effusions of his own.
But it is quite different with music. The degree
of preparation we obtain by and from Nature in
sound is hardly of any cat whatever. Nature
certainly possesses sounds, but in such an unartis-
tic degree, as to render her more sublime in noisy
uproar than soft tones. The roaring of the thunder,
the whistling of the stormy wind, &c., by which
Nature acts upon our ears, is only a mechanical
power, and the production of melody which she
affords us in the singing of birds is so insigni-
ficant as to possess no musical moment whatever,
We must on the contrary transport ourselves en-
tirely from the sphere of uncultivated Nature, before
we can enter the region of music as an art; as such
music speaks to us in hieroglyphical characters,
with which we must become very familiar, before
we can undertake to interpret its true mean-
ing. And to acquire such a musical knowledge
а regular course of preparatory study is necessary,
without which the most learned and universal
education will be of no avail whatever to the under-
standing of music. Some cesthetical but unmusical
philosophers* have thus entertained the most erro-
neous views with regard to the musical art; which
they have treated more as emanating from Nature
than acquired by study. We are therefore glad to
see the study of music now comprised in the pro-
spectuses of education, though it may prove with
many but an idle and unprofitable task. There is in
music, as in all the other arts, a double enjoyment,
internal and external, or moral and sensual; the
one is life and the other death to music. ‘The great
Ovenstiernat is said to have parted with his son,
* Hegel, Schlegel, and others.
+ Bornin Upland, in Sweden, in 1583,
——
т —
Musical Festivals. 169
who was about making a tour through Europe, with
the following words :—“ Go forth and see with how
very little wisdom the affairs of the world are man-
aged!" a truth that still holds good in the 19th
century in reference to music. То one wise man there
have ever been ten, a hundred, and perhaps a thou-
sand fools ; and why should it be different in music?
Rossini, Bellini, and cantatrices thrilling forth sweet
shakes and flourishes have a decided majority in an
audience, bat still this opposition ought not to dis-
courage any one from striving to attain a truly grand,
beautiful, and sacred style which must in the end
prevail, simply because it rests on the immutable
principles of harmony, while that of their oppo-
nents is as changeable as the fashion and imagina-
tion from which it has sprung.
Musical festivals belong to the creations of the
19th century for the promotion of the art. Be-
tween them and musical representations there is
an essential difference. In large cities, such as
London, Paris, Berlin, Vienna, &c., there can be no
musical festivals in the proper sense of the term.
Musical talents are there accumulated to such an
extent as to produce almost every day in the year a
musical festival on even a larger scale than the
special ones. In large and capital towns great
musical performances are brought about by the
will of one or a few individuals who are at the head
of the management; but musical festivals, in the
more limited acceptation, simply imply a co-oper-
ation of many isolated talents for one common
object, which is of a threefold character— they
aim at an artistical amusement, at social intimacy
and intercourse between the various members,
and at rousing the sense and taste of the public
to an appreciation of the art.
There can be no doubt that there existed musical
festivals, or something approaching them, at an
early period, but it is only in modern times that
they have become both popular and customary.
Their origin is chiefly owing to two individuals—
H. George Niigeli, of Switzerland, and Cantor
Bischoff, of Frankenhausen, in ‘Thuringia, the
former of whom first introduced them into Swit-
zerland, where social and political relations greatly
favoured such an institution. None of the places
in Switzerland is important enough to establish
musical performances on a large scale from its own
resources, while, on the other hand, the circum-
stance that all the towns lie so near each other,
that the beauty of the country continually invites
the inhabitants to make occasional excursions, and
in which Swiss hospitality is at all times ready to
give a hearty welcome to both native and stranger,
were in themselves sufficient motives to centralize
the few scattered talents in music. We have not
been able to ascertain the exact. year in which the
first musical festival took place in Switzerland,
though it must have been in the. first years of
the present century, Nügeli having several years
before made all the necessary preliminary ar-
rangements and preparations for that purpose in
his singing schools. Thus far it is certain, that
when such a festival had taken place at Zürich,
in 1812, it was spoken of as something usual
and customary throughout the cantons. Neither
would Germany have been much behind in the pro-
motion of an institution so well suited to the Ger-
man spirit, if the desolating wars of that period had
not threatened to blast such a tender flower of peace.
Notwithstanding, however, the sad prospect before
him, Cantor Bischoff resolved to introduce similar
festivals in Germany. ‘The difficulties attending the
preparation for a musical festival in the present
day are comparatively insignificant compared with
those attendant on the first arrangement of such
a festival, when beginning, progress, ways and
means, effect, reception, success, and expenses, aro
mere matters of speculation. ‘I'he first festival un-
dertaken by Bischof took place on the 4th June,
1804,* and the second, after a long interval,
on the 20th and 21st of June, 1810, owing to the
disturbances caused by tho tumults of the war, Of
the success of the first festival, we possess no
information whatever; but the success of the se-
cond was so brilliant and decisivo that it excited
general sympathy, enthusiasm, and imitation.
At the second festival (at Frankenhausen), in
1810, Spohr was one of the chief leaders. ‘The
great vocal and orchestral talents of all the neigh-
bouring places were collected, and the number
of visitors was immense, Social" pleasures went
hand in hand with musical enjoyment, ‘Tho meals
were taken at a common board, songs were given
in the open air, and musical performances and
amusements joined all hearts in cordial convi-
viality. So great was the public enthusiasm and
impatience, that a similar stival was given tho
following winter, on tho 10th and 11th Jan. 1811,
and if possible with still greater success and public
sympathy. "ће next festival was held at Erfurt, on
the 15th and 16th of August, 1811, (to enhance the
celebration of the birchaday of Napoléon,) but which
the “Moniteur” announced was solely given to
commemorate the emporor’s birth-day. After tho
restoration of peace, it was again at Frankenhausen
that a great musical festival was held on tho 19th
and 20th of October, 1816, and from that date
the series of annual festivals by Bischoff has been
uninterrupted; and, having become subsequentl
music director at the theatre of Hildsheim, Bischoft
has given similar festivals ACRI at. Hildshoim,
Hanover, Helmstadt, &c., most of which ho arranged
at his own cost and risk.
The most essential fruit however of these exor-
tions was a progress in the public Jove and cultiva-
е Itseems to have been coeval with the first Swiss festival,
Opinions, therefore, differ as to the origin of these festivals,
ac сина
170 Influence of Musical Festivals on the Art.
tion of music, though it became at the same time
clear, that по particular good could result from
such festivals if they were not conducted with the
co-operation and at the expense of all the members
collectively. In this manner were subsequently
formed the musical festivals in the various parts
of Germany, and in 1819 were seen such fes-
tivals on a grand scale, held partly in the Rhenish
town, such as Elberfeld, Düsseldorf, Cologne,
Aix-la- Chapelle, &c., and partly also in the Hanse-
atic and Baltic towns, Lübeck, Hamburgh, Ros-
tock, Wismar, вс, The musical festival at Qued-
liesberg in July, 1824, held in conjunction with the
celebration of the centenary birth-day of Klopstock,
was of vast importance to the musical art, That
festival obtained an historical importance by the
presence of several of the greatest German mas-
ters in the art, who participated in the task of the
day ; amongst these were Weber, Spohr, and F,
Schneider, To add to the institution a lasting
character, the so-called Musical Union of the Elbe
was here founded; Magdeburgh, Halberstadt,
Quedliesberg, Halle, and several other places hay-
ing agreed to hold by turns a long series of
festivals, and Schneider having been chosen per-
manent director of the music. his choice roused
the jealousy of Hane, music director of Halle, who
folt his merits slighted by the preference given to
Schneider; the consequence was, that ће withdrew
from the union, and founded another musical
league, called tho Thuringian, transferring the fes-
tivals to Halle by aid of the artists of Berlin. There
is hardly now a place of any importance in Ger-
many that has not its regular festivals, in the
proper sense of the term, at some time or other.
The great musical festivals. in England are simi-
lar to tho German only in external form. Here (in
Mngland) they form enterprises less for the interest
of the art, than speculations for the support of
some benevolent institution independent of the art,
and they cannot therefore, though extremely grand
in their results, be at all confounded with the
fostivala in Germany. Such gigantic festivals as
are held in Manchester, Birmingham, Norwich and
other places, to which a Mendelssohn, Spohr, Ma-
libran, Beriot, Moscheles, Lablache, Grisi, and
other brilliant stars in the profession, native and
foreign, have lent a helping hand, are things not to be
thought of in poor Germany, where love for the art
alone induces artists from yarious parts to meet
at a certain place and contribute their mite both in
money and talent towards defraying the expenses
attendant on such festivals,
Krance has hitherto done little or nothing towards
the establishment of such festivals ; some such at-
-tompts have, it is true, been made at Strasburg ;
the place however, we must remember, still bears
the German physiognomy, despite the French regu-
lations in it.
The importance of the musical festivals for the
art itself is great and manifold. 'Тће sense for
more profound creations in music has thereby been
awakened, and rendered intelligible to the public
to a degree never before thought of. The
effects of the art are brought into operation, not
merely during the short and transient period of
Ше few days the festivals last, but chiefly during
many years of previous study and practice, by
which alone the various members are enabled
to take ап honourable share in the performance
of the day. Formerly, the realization of a mu-
sical performance on a large scale was only pos-
sible in some of the larger towns possessing
within themselves the means and resources re-
quisite for the execution of such a plan; by the
introduction of the musical festivals, however, such
performances have become practicable even in
small and remote places. The spread of musical
knowledge amongst the masses by means of these
festivals re-acts likewise in its turn as an addi-
tional stimulant to the energies of the artists them-
selves; the active power of genius usually gains
fresh strength by the knowledge that its creations
are appreciated, and it is chiefly the musical fes-
tivals that haye brought to light the works of the
great masters, which would otherwise have moul-
dered on the shelves and stifled the genius of their
creators. In larger places, or at courts, the art
is the servant of princes, or of the corrupted taste of
а spoiled and enervated society, despising all that
is great, serious, energetic, and deep. From the
Opera stages only the decline of the art is to be ex-
ected, and the baneful influence has indeed already
begun its sad work. But whenever the enthusiasm
of the masses has been excited, and the better edu-
cated have become their guides and leaders, the
cause has always RHET a truly dignified cha-
racter; and во it is with the musical festivals
(more especially on the continent), which alone
have already put a check to the progressive cor-
ruption of the art. It was these festivals chiefly
that procured for the first masters of the age—
such as Schneider, Klein, Ries, Löwe, Spohr,
and others—the opportunity of trying their ta-
lents in a field that is entirely independent of
the rough judgment of a sensual public, fond
of show, sight, and spectacle. Even Mendels-
sohn, despite his great fame and talent, could
only have brought his greater works into reputa-
tion by the musical festivals, whither are turned the
eyes of all younger composers of genius who wish
to achieve something great in their profession; and
we heartily wish that festivals of a similar form and
character could be brought about in this country,
where, we are sure, such an abundance of native
talent would be developed, as at once to give the
lie to the old prejudice, that the English are not a
musical people.
г
|
—r —
Descriptive Music.— Vocal Music. 171
The affinity that exists between sound and colour
has also founded a relationship between painting
and music, and introduced into the region of the
former various terms derived from the latter, and
vice versé. We thus hear of tone in colours, har-
mony of colours, &c.; as also on the other hand of
descriptive music, picturesque melody, &c. Music
is an art of time, and can remind us of space, only
in an indirect way, i. e. partly by а certain analogy
that generally exists between visible and audible
objects, and partly by the effect which the modu-
lation of sound produces on the imagination, in-
vesting objects called forth by one sense with the
properties of those of another; and indeed such an
effect is in reality produced in the Morning Scene,
musically described in the opera of the “Swiss
Family,” by Weigl. Still more difficult, and at
best very imperfect, is the task of representing
sound upon canvass: in all instances, moreover,
where as in pictures of battles, attempts are made
to represent the thunder of the cannon, etc. the
art miserably fails, and it is precisely the same with
music, which as an art is still more degraded by an
effort to imitate mere noise, In illustration we will
remind the reader of the reply of Agesilaus, king
of Sparta, who, ona friend desiring him to hear
an artist who imitated most strikingly the song
of the nightingale, said, “ I have heard the nightin-
gale itself.”
The two chief divisions in theory of vocal and in-
strumental music are still more apparent in practice
or execution, where music is given either pure and
simple, or ornamented and interspersed with ar-
tificial elements of a heterogeneous character,
words, thoughts, (consequently poetry) are well
suited to vocal music; the singer finds already
before him a union of the two arts, and he
must therefore not only pay particular attention to
both in the execution but bring with him and de-
velope also the necessary talent and judgment, for
both, i. e. he must be a musical artist. The dra-
matic singer ought to possess these qualities even to
a far higher degree, as he must comprise in his per-
formance the plastic and imitative part of the
art by which also the poetical element 18 expressed.
'The instrumental virtuoso, on the other hand, has
only to cultivate the purely musical field, in which
are given the mere outlines—the general features
of the expression, but never any fixed notions
or strongly defined ideas. All the attempts that
have been made in more recent times to intro-
duce such positive exhibitions in instrumental
music, or instrumental virtuosoship, rest on sheer
charlatanism, and only in a few rare instances
have the general colourings obtained a certain de-
gree of speciality, and that only with regard to par-
ticular poetical compositions, in which the music
БАЕТ rather Ше melodramatic art. In this
sense are written Haydn's musical descriptions,
Beethoven's Pastoral Symphonies and Eroica, Me-
hul’s Hunting Overture and Mendelssohn's Overture
to the “ Midsummer Night’s Dream,” But though
it is clear, that it does not lie in the nature of in-
strumental pieces to express thoughts in a precise
manner, instrumental composition and virtuososhi
must nevertheless be considered as perfect an
independent spheres of themselyes, and thus a clari-
net or flute-player, however strikingly his skill may
produce a resemblence to singing, stands, nover-
theless, in closer connection with the virtuoso of
one of the most dissimilar instruments, the piano-
forte, for instance, than with the vocalist.
The modern school of singing is replete with ex-
aggerations of all kinds, and in the same way as
complaints were made in the previous period, from
about 1815 to 1822, of the still coldness that pre-
vailed in the delivery of the cantatrices of that day,
in like manner we have now to complain of the
other extreme of affectation and exaggeration in
the delivery. The cantatrices now rarely produce a
strictly pure tone; but apply in all parts the so-
called tremolando, piangendo, &c., aud to such a
degree as to convert natural sounds into a truo
caricature. Nay, the aberration of the Italian
singers goes even so far, as purposely to produce in
moments of high passion impure and incorrect
notes, to indicate the excessive degree of pain, grief
and bewilderment that incapacitate paap e rom
knowing what they sing, or what notes they pro-
duce.
But the present period seems to be unfavourable
in another point of view; the nineteenth century
seems to have exhausted itself during the first
quarter, in the production of truly great and fino
voices. Vocal organs similar to those of a Catalani,
Milder, Schechner, Pasta, and Malibran, are in vain
sought for throughout Europe. "ho best voices of
the present day are hardly to be compared to tho
middling voices of that grand vocal period, the cul-
minating point of which was about 1826—1828,
Such periods of decline are, however, not uncommon
in the history of the arts, and we must console our-
selves with the prospect of a better state of affairs,
and more especially since the period of degeneration
has already lasted for some considerable time; and wo
have no doubt, that with the re-appearance of truly
grand voices, capable of. dispensing with exagger«
ated points, a more noble style of singing will like-
wise be introduced. But we will not play the part
either of the historian or the prophet, our business
being here only with the art in its present condi-
tion, and more especially as regards instrumental
music. Instrumental virtuosoship, (unlike vocal,
which has much retrograded within the last fifteen
or sixteen years), has on the contrary, risen to an
almost giddy height in the various directions it hag
pursued; this is particularly the case in the me-
chanical deyelopment and cultivation of the powers
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172
of execution, which are certainly the basis, but not
the last end of virtuosoship, but which our modern
virtuosos mistake for it. This development and
practice of the powers of execution on which
our virtuosos pride themselves so much, may be
considered more as a step backward than forward
in the art, and thus it is indeed with the arts
generally. Magnificence and splendour in the
plastic and building arts haye at all times been
more or less opposed to internal beauty, while in
music, brilliancy of execution is always a sign,
that the creative faculties of the period are weak-
ened. And ready as we are to admit the services
done to the art by our virtuosos in point of practical
expertness, we cannot but lament the injury inflicted
thereby on the productive powers of the artists,
which by far outweigh the slender though shining
advantages of the virtuosos.
The pianoforte is of all instruments the one of
which the mechanical practice has in our times,
attained its utmost ана unsurpassable degree of
development, In the other instruments, such as the
violin, «с, certain schools introduced by the masters
have continued unchanged for some considerable
epochs, and have generally passed away only with
the appearance of a new generation, while the piano-
forte has during one single period passed through
во many methode and schools, and in such rapid suc-
cession, as to enable us to speak now of several
schools simultaneously, without regard to time and
periods, every one of the various masters havin
pursued a direction quite peculiar to himself, anc
entirely distinct from that of others. This latter
characteristic of modern virtuosoship, has often,
and not without reason been termed irregular play,
meaning, performance not resting on any defined
principles or exercises, but creating difficulties and
themes at mere random, without any positive con-
nection with a leading notion, and merely rush-
ing, not without abruptness, from key to key in
order to sharpen practical execution, Chopin must
bo ДҮШ the first who introduced this lawless
style, To connect this new character in the piano-
forte with important names we shall group them
historically, which compels us to turn for a while
to the past.
Muzio Clementi may be considered as the founder
of the pianoforte school; the previous adepts, such
as Sebastian Bach, Emanuel Bach, and Scarlatti,
belonging more to ane players. It was Clementi
who introduced the harpsichord into the concert
snloons, Mozart, would no doubt have ranked as
his contémporary,—if his fame as a composer had
not eclipsed that of a mere performer, Clementi
lived to see a school rising in Germany on which
he had acted more by example than theory. 'To
that new school belonged Dussek, Himmel, Prince
Louis Ferdinand, Wolf, and in his earlier years also
Beethoven. Steibelt marks, by his own person,
Virtuosos on the Pianoforte.
the relation that existed in that period, between
an able, brilliant, and worldly career, not free from
charlatanism, and a true artistical life. But Cle-
menti has also founded another school of his own,
the influence of which has reached the most recent
times; its four most celebrated representatives are,
John Field (an Englishman, but residing in Russia,)
J. B. Cramer, (the founder of the literary études for
the pianoforte) in England by the composition of
his able exercises, Ludwig, Berger, and A. A.
Klengel. Of these Field (died in January, 1837)
was perhaps the greatest player that ever lived as
regards execution, charm, and brilliancy of delivery.
Cramer has maintained for a long time the first rank
as a player in England. L. Berger (died at Berlin,
1839) was the most original of Clementi's pupils,
both in play and composition, and the only one who
transplanted the school of his master by distin-
guished pupils of his own. Klengel has early
turned from the virtuosoship of the pianoforte to
that of the organ, and acquired the reputation of
the most scientific and systematic composer. Of
the pupils of that school only two of L. Berger
have obtained a great name in the present day:
Mendelssohn Bartholdy and William Taubert,
both of whom had been educated at Berlin. Of
the former we have already spoken in the preceding
pages, and we would here add, that his name as a
composer has eclipsed his virtuosoship as a perfor-
mer, though in the skill of playing at sight he is
only surpassed by Liszt alone. Taubert, on the
other hand, has turned more to the fine play
of the Clemento-Berger school, so full of charm and
sweetness while in the adagio he is the most distin-
guished of the living players in that line. The
character of the school from which he has arisen
has been most faithfully preserved in him. No
pupils of note are known of Cramer and Klengel.
Among Field’s pupils only two have acquired any
fame, Passy in Stockholm, and Karl Meyer in
St. Petersburgh. At the side of that school, which
may be characterised as thatof principle and delivery,
another developed itself, to which is now chiefly
owing the vast extension of the mechanical basis
of the pianoforte. It took its origin in Vienna from
Hummel (died October, 1837) and Moscheles: the
former is celebrated as a composerand elegant player,
and the latter as a. quick, fiery, and piquant per-
former, while both are most dexterous and talented
in free fantasias. Czerny their contemporary prac-
tised with great success as teacher and methodical
layer. According toa current report, Meyer-Beer
ln exercised considerable influence over these men.
He was himself a pupil of Bóhmen Lauska in Berlin,
who, together with ‘Tamaschek in Prague, may be
called the secondary representative of Dussek's
period. Meyer-Beer’s talent had distinguished it-
self, like that of Mendelssohn, at a very early age,
and he performed on his arrival at Vienna, with such
„ A м i »
* ri ER
SN À———— ——Mrn-
Modern Style on the Pianoforte. 178
originality and brilliancy, that even Hummel and
other masters there, were induced to modify their
style after his. Meyer-Beer, however, soon gave
over pianoforte play, while Hummel and Moscheles
remained the coryphees of that school by play and
composition. To the second rank in that school
belong M. von Bockelt and Czerny, and in their
early career also Liszt and Thalberg. The effects
of that style soon spread all over Europe, and
formed a kind of supplement to Clementi's school,
by adding to it a most complicated treatment in the
mechanism of the instrument. In the middle, be-
tween these two styles, a third in pianoforte virtuoso-
ship had developed itself in Germany, which, though
quite independent, exercised nevertheless greatinflu-
ence on the musical world at large, and is partly still
in existence. Itwasavirtuosoship foundedon scien-
tific harmony and principle, and at the head of which
stood C. M. von Weber, an eminent player, as also
F. Ries (died January, 1838), pupil of Beethoven.
Both have done much for the instrument, less by
their performance than their compositions. In the
same time that such excellent powers had been deve-
loped in Germany, England, and Russia, France also
was not backward in producing a new and fine school
out of the well regulated instructions of the Con-
servatoire, chiefly headed by Adam the elder, and
out of the musical traditions, as it were, which
Clementi, Dussek, Steibelt, and others have left
behind in Paris. That school arrived at its culmina-
ting point under Kalkbrenner, who still forms the
highest pitch of a system reduced to principles
and fundamental exercises. In the same way as
French life generally presents the most finished
forms, in like manner French virtuosoship exhibits
the most accomplished varieties. All that taste
and fashion can claim has been achieved by Kalk-
brenner; next to him stood Herz; although the
antagonist of the former in many points cannot
withal deny the national character of the school.
The pupils of that system are very numerous:
Halevy, Adam, Berlin (the younger), Osborne, &c.
belong to it.
'This was the state of the pianoforte about four-
teen or fifteen years back. The laws for that instru-
ment had been established in various directions,
and filled with so many rich and ingenious elements
as completely to exhaust all the forms. But the
impression, or rather the feeling that there was no
longer anything new to be discovered or developed
in these directions first led Chopin in Paris to pursue
a new course, in which the most curious and strange
deviations from the previous styles were adopted.
At first, they met with the most strenuous opposi-
tion, and were characterized as merely arbitrary
aberrations; but it became subsequently evident
that there had been an internal motive, which time
itself had matured, and that Chopin had carried
through his principles with spirit, talent, perse-
verance and strict consequence. He thus became
the creator of a new species of pianoforte play.
Previously the pianists only endeavoured to bring
to greater perfection, and to work out in richer detail,
some well known themes, while now their task is
ever to produce something new themselves, Rule
and principle are now considered as obsolete and
untasteful, and anomaly is the fashion in the inven-
tion of new forms, which are often bizarre, but
sometimes also beautiful, and still more frequently,
striking and piquant. Chopin having once given as
it were a local name and habitation to this new style,
the pupils of all regular schools were compelled to
pursue the same course, Among these, eminent
talents have been developed, and some virtuosos of
the new style of Chopin, such as Thalberg, Liszt, and
Henselt even excel На in play. Thalberg, at first
adhering to the Vienna school, has ever since 1832
assumed a power and character of his own. Но has
brought the fundamental conditions of play, viz.,
energy, fine stroke, rapid execution, ant self-con-
fidence, to an eminent degree of development, and
expresses these qualities by forms peculiar to him-
self. Liszt by nature an enthusiast, (and at one
period even a fanatic,) has carried the eccentric
forms of his genius to their utmost extent. He is
without doubt the most spirited and original player
who has imprinted in virtuosoship all tho sound and
weak points of the whole period in a most remarkable
manner. А. Henselt (of Nüremberg) of Hummel’s
school, has, amongst the above named, apparently
the most distinguished talent for composition, com-
bined with themost finished and vigorous mechanical
development. Е. Dóhler, born at Berlin but educated
at Vienna, is also a votary of that new system (if
charming confusion may be called во), but his ta-
lents are rather inferior to those of tho former. Ho
has adopted in his play the elegance of Kalkbrenner
and the piquant vivacity of Herz; his line, however,
is only that of distinguished talent, while Liszt,
Thalberg, and Henselt are geniuses of characteristic
peculiarity. Dreyschock (of Prague) has also pur-
sued a peculiar course of his own, with remarkable
talent and perseverance. He possesses incredible per-
severance, rapidity, and vigour, and more especially
in the octave fingering, and leaping from key to
key, but his play is deficient in style and clovated
system. This new course indicated by Chopin,
has been pursued by the following adepts in its
most varied ramifications, and also ac opted by many
less eminent players of the pianoforte, all of whom
having tried to produce in that fashion something
that savours of originality, but which is"in fact re-
plete with absurdities, from sheer want of great
imaginative powers, which in some measure supplies
the neglect of harmonic principles in the great
masters, This new style has now been extended
to nearly all the compositions and virtuosoship on
the pianoforte, with the sole exception of those of
2.
О SM > k „=
en in 9 А - А 7
174 Organ and Organists.— Prospects of the Future State of Music.
Mendelssohn, who may be said to form the only ор-
position to this new style.
Of the great female players on the piano in the
present day, may be named, Blahetka of Vienna, a
pupil of Moscheles; Mme. Belleville-Oury, a pupil
of Herz, and considered the greatest player of the
day; Schauroth, lady of honour of the Court of
Munich; Eder of Vienna. То the most distin-
guished of the new school belong Clara Wieck and
Camilla Pleyl, a pupil of Kalkbrenner. These two
occupy the first place in modern virtuosoship, in
addition to Miss Boherer in Hanover, whose preco-
cious musical talents are said to surpass all that has
been heard of hitherto of a similar БА еШ,
The organ is closely related to the pianoforte,
The virtuosoship upon this igantie instrument,
which constituted fap the true criterion of
the musician, and contributed to establishing the
reputation of a Bach and Handel, has only in
very recent times again become somewhat iore
general in Europe. In the 16th century performance
on the organ had been articularly developed in Italy
by the brothers Gabrieli, and still more so by Егевсо-
baldi, who counted in 1614, at St. Peter's in Rome,
an audience of upwards of 30,000 souls. Con-
temporary with the same flourished in German
S. Scheidt and J. J. Froberger, both from Halle,
and the latter celebrated as a pupil of Frescobaldi.
At present, Thuringia, Saxony, and Silesia are the
only quarters where the study of the organ is car-
ied Uh with zeal and love. "ће most distinguished
living organists who still adhere to the schools of
Bach and Kittel are, G. Chr. Apel, organist and
music director at the University of Kiel, C. Е. Г.
Woyso in Copenhagen, Rink in Darmstadt, F,
Schneider in Dessau, J. Schneider in Dresden, and
a younger brother of the same at Hirschberg ; but
the greatest reputation in the perfect mastery of
instrument is possessed by Adolf Hesse in Breslau,
pupil of Berner in play, and of Spohr in composition.
He has trayelled much, and earned at all places
fame and applause. There has of late been esta-
blished an organ school at Berlin, which has already
produced eminent players, such as W. Bach, Е.
Grell and Haupt, who is particularly grand in his
pedal-play, and in which he has but one rival,
Weyse in Copenhagen.
Virtuosoship has upon the whole made immense
progress in the present century, in all the mechani-
cal requisites, while the number of efficient players
has now vastly increased in comparison to the past.
Hence the difficulty of acquiring particular distinc-
tion in play, the complicated tasks allotted by the
composers to the orchestra imperatively claiming
first-rate instrumentalists in that arena. To be
now a member of a good orchestra, is in itself a
testimonial of talent and efficiency in the art. But
whether this condition will not undergo a change in
consequence of the disproportion that exists between
the immense labour and perseverance now indis-
pensable for the acquirement of virtuosoship, and
the little glory, and still less pecuniary remunera-
tion that await the former, is a question that de-
Serves serious consideration. It is not improbable
that these vital considerations may after a while in-
duce the virtuosos to turn from the mere mechanical
course, devote themselves more to the esthetical
beauty of the art, and try to impart to the hearer a
noble enjoyment instead of a mere staring admira-
tion : in that case, both the art and the artists can
only be the gainers by the change,
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PREFACE.
WueEN а man sits down to write a critique on such performances
as are about to take place at Westminster Abbey, he ought to
examine, carefully, his own mind, as to whether his opinions are
likely to be influenced by any motive, save that of setting forth to
the world a true and impartial account ; nothing extenuating, nor
setting down aught in malice; but endeavouring, as far as possible, to
render unto all their due.
This, I fear, can rarely be the case with those who аге in the
habit of writing accounts of public performances. One can generally
detect in their remarks а lurking partiality for some particular party
(for, unfortunately, party spirit runs as high in music as in politics),
which, of course, leads to the inference, that there is a secret interest
4
in upholding certain individuals, and lowering others. Now, there
surely can be no occasion, because Miss A. or Mr. B. happen to
be a little hoarse or nervous, to give out to the world at large that
nothing was ever heard so bad as their performance ; nor, on the
other hand, is it quite consistent with truth, to aver that Mrs. C. or
Signor D. (whom we will suppose to be the favoured ones) outrivalled
the syrens, or put Orpheus himself to the blush. Such criticisms
injure the cause of music, as well as the individuals concerned ;
“ Prythee, avoid them.” Again, should a disinterested person
undertake to write an account, if he be not well acquainted before-
hand with all the musie, he will scarcely find himself equal to
the task (however good his taste may be) of forming a correct
judgment from one, or even two, hearings; for if his soul be very
susceptible of all those extraordinary emotions which can be felt,
but hardly described, during such a performance as the present,
he will probably find himself in such a state of mental excitement,
that the impressions, as they are formed, will succeed each other
so rapidly, that at the conclusion he will be unable to commit to
paper an intelligible account of what he has heard.
It has, therefore, occurred. to me, Solomon Sackbut, Chorus
Singer, No. —, that Iam much more likely to be above all sublunary
5
motives (for I verily believe my seat in the Abbey is nearer the
moon than the earth) than many of those who, although high
in the profession, are placed far below me ; and having been present
at all the private rehearsals during the week before, I feel that
I am prepared to note those points in the Chorusses, where the
finest effects may be expected.
SOLOMON ЗАСКВОТ.
London, 18th June, 1834.
PREPARATIONS FOR THE FESTIVAL.
Fon many weeks back, the labours of the Committee, in selecting the
Band and Chorus, had been incessant, and, as may be imagined, Messrs. Hawes
and Harris had not a few difficulties to contend with, in making their choice
from such numerous applicants, and where the conflicting interests were so
various. ‘The Band, according to the printed list, consisted of 223 performers ;
whereof 180 were from London, and 48 from the Country. The Semi-Chorus
and Chorus contained 358, whereof 900 were from London, and 158 from the
Country, making a total of 581; to which, if we add 19 for the principal
singers present at any one performance, the grand total will be 600. I believe
several more were afterwards added. Few amateurs were admitted. Amongst
those who obtained that distinction, were Mr. B. Bates (the son of Joah Bates,
who conducted the Festival in 1784), Mr. Hurlock, and the Secretary of the
Madrigal Society, Mr. Oliphant.
On Monday, the 16th instant, and two following days, there were private
Rehearsals at Wornum's Rooms, in Store Street, where the whole of the Chorus
8
attended ; and, in the opinion of all present, whether performers or audience,
the simple effect of 300 voices, without the Orchestra, in the magnificent
Chorusses from Israel in Egypt, was grander than their combined effect, as
heard in the Abbey ; not, of course, in body of sound, but in unity of idea, which
the different sounds of a band tend frequently to injure. I must here remark,
that I never saw a better Chorus Master than Mr. Harris. It would be unjust
to say less of him, for it was the generally expressed opinion of every one
in the room.
On Thursday morning, the 19th instant, a private meeting was called at
the Abbey, more for a rehearsal of seats, as Sir G. Smart facetiously observed,
than of music; the effect of one or two Chorusses was tried, but I think, upon
the whole, the feeling was rather that of disappointment.
|
|
|
Морз МО ВА
REHEARSAL, 20¢h Juxx.
PERFORMANCE, 24th JUNE.
THE FESTIVAL commenced with Handels Anthem, composed for the
Coronation of George II., in 1727.
In reviewing the works of Handel, one cannot help admiring the simplicity
of all his conceptions; for instance, in this Anthem the Symphony begins with a
sound almost resembling the extempore preludizing of Instruments, and proceeds
for about twenty bars through a succession of simple chords, into a species of
arpeggio, while the King is anointed. The accompaniment then takes a more
united form, during the alegro movement, expressing the joy of the people on
the occasion; and as soon as the ceremony is completed, the united burst of
instruments and voices, at the words God save the King, is enough to turn
the heart of the most inveterate democrat: the expression of loyalty can go
no farther.
It was well judged by the Directors, to place Zhe Creation in the first da уз
list. Compared with those of Handel, there is little of dignity or grandeur
about the Chorusses; and if it had followed Israel in Egypt, would have
appeared very tame.
10
Тће Introduction to this Oratorio, representing Chaos, is a fine specimen of
descriptive music. Every thing at first is in confusion; the very elements have
their representatives in the orchestra ;—the rushing of the waters, the shrieking
of the blast, and the angry grumbling of the distant thunder, may be distinctly
heard; until the whole, as if wearied with the tumult, gradually subsides into a
heavenly calm, preparatory for the great work that was about to take place.
Тће veteran Bellamy, who sang as a boy at the last Festival, gave the opening
.Recitative. In the succeeding Chorus is the well known burst after the words
Let there be light, and there was light. The effect of the sudden „fortissimo is
no doubt very striking; but I question ifit would produce any thing like the
same sensation a second time in any individual. Would it not have been better
had the word Light been represented by a short note, instead of the prolonged
sound of a whole bar? Nota bene, this remark is hazarded with all due humi-
lity. The next Chorus is emblematic of the effects of that blaze of light which
caused the first of days, whereat the evil spirits fled affrighted to hell's dark abyss,
and “а new created world sprung up at God's command." The piano with
which the last quotation was given by the Chorus was delicious. ‘The fair world
seemed to lie before us in all its primeval beauty.
The Chorus, Zhe Praise of God and of the Second Day, is wanting in
dignity sufficient for the glorious Hierarchy.
\
We now come to a few single songs. .Phillips's Rolling in foaming
Billows would be effective in a concert room; but for the first part of such a
11
song in Westminster Abbey, a performer ought to have at least twice the
voice of Signor Lablache. The instrumentation throughout is exquisite. After
the roar of the foaming billows, how beautifully the smooth gliding rivulets
are represented by the alternate murmurs of the Flute and Clarinet.
Madame Caradori is just the sort of modest and unassuming singer that is
sure to please an English audience. She sang With Verdure clad very sweetly.
Our o/d friend Braham (I hope he will pardon the appellation, as he cannot
deny the fact) next made his appearance before a public which he has delighted
as a first-rate singer for the last forty years.
The Recitative, In Splendour bright, was given with his accustomed fire.
The sound of the Organ diapasons, where the moon is described as walking forth
in silent majesty, was very striking.
In the Trio between Miss C. Novello, Vaughan, and J. Sale, little was to be
heard except the Treble voice; but the Chorus, The Heavens are telling, made
up for the deficiency. The early part of this is generally considered common-
place, but the working up at the end is magnificent.
Madame Stockhausen is a first-rate singer in her way, that is, if it had been _
requisite to have Swiss Airs with variations at the Festival; and here I will take
the opportunity of remarking how very unnecessary it appears to me to have
gone to the expense of having the Italian singers at all. Surely Mrs. Knyvett,
12
Misses C. Novello, Stephens, and Masson, with Mrs. E. Seguin, might have sung
all the principal parts quite as well as need be; for, after all, few people went to
hear any thing but the Chorusses.
After the Trio, and Chorus, The Lord is great, came the Recitative, descrip-
tive of the Creation of the Animals. It was a bold flight of Haydn, and in the
opinion of many he has carried the descriptive in music rather to the borders of
exaggeration. Mr. E. Seguin has the most splendid Bass voice amongst our
native singers; and it must have been flattering to him to hear, from all quarters,
that he sang so well on the present occasion. His intonation, which in so large
a space is difficult to manage, was correctness itself. I will not say that he has
not defects in his style, for they have often been pointed out to him by public
criticism. Why will he not amend them, and become the first of English Bass
singers 2
Achieved is the glorious Work, is a complete Musical Festival in itself‘:
there appears a general emulation amongst the different voices and instruments,
who shall most worthily celebrate the praises of God. The points in this Chorus
were taken up with astonishing precision.
When the examination of Chorus singers was so strict, that out of two hun-
dred who were tried in one day, only about a dozen were selected, what are we
to think of the choice of Mr. W. Robinson, of Dublin, to take a prominent part
in the Trio, Ox Thee each living soul awaits? The public are of course indul-
gent towards veterans like Bellamy, and J. Sale, from a recollection of former
18
times; but the musical profession may well think themselves aggrieved, when
they see a stranger brought forward with such slight pretensions to be called a
singer.
Mr. Hobbs gave the Recitative, In rosy mantle, with his usual sweetness
and purity of tone, but his style was more like that of a despairing lover telling
his pathetic tale to the moon, than descriptive of the effects produced by the
dawn of one of the first of Creation’s mornings young and fair.
In the Chorusses which are interwoven with the Duet between Adam and
Eve, the same soul-stirring sensations were excited as in Achieved is the glorious
Work. Voice appears to vie with voice in magnifying the Creator; while at
intervals, in the almost imperceptible rests which occur in the vocal parts,
might be heard as it were the answer of Heaven's dread artillery, declaring to
all the nations of the earth that their thanksgivings were accepted.
There is little else to notice in this Oratorio, except Mrs. Knyvett's Song,
О Thou for whom I am, to which the Violoncello accompaniments, by the
incomparable Lindley, appeared like the distant sounds of an Жоћап Lyre.
The Duet, Graceful Consort, is a great deal too long, and the last move-
ment is very common-place and vulgar.
The concluding part of this day's performance consisted of a selection from
Handel’s Oratorio of Sampson, commencing with the Chorus of the Priests of
14
Dagon, Awake the Trumpet’s lofty sound. Ably did the Trumpeters (with the
unrivalled Harper at their head) acquit themselves ; and, mingling their inspiring
strains with the roar of the Tower Drums, produced altogether a mixture of wild
and savage sounds, such as might be supposed to accord with the superstitious
rites of the idolaters.
То this succeeded Total Eclipse, one of the master-pieces of that “ mighty
master” Braham. The person, whether man, woman, or child, who can hear
this unmoved, must have a heart like the nether millstone. It is usually said
Braham is a stick of an actor. "Tis true his figure is bad, and his movements
on the stage are not very graceful; but give him a dramatic scene, like the one
in question, and show me the actor who will infuse a tithe of Braham's spirit
into what he represents, or who will embody so completely before an audience the
ideas of his author. Here we see Sampson led forth blind, a spectacle to the
assembled multitude, complaining in the bitterness of his soul of the loss of sight,
that first of blessings.—T'otal Eclipse '—The very unison of the instruments in
the first two bars express the words; then the voice, quite alone in the same
notes, conveys an idea of the most complete desolation. The conception of the
singer is, throughout, the most perfect that can be imagined. The writer of
these remarks has wept over the tragedy of Siddons and O'Neil, has sympathized
nearly to suffocation with the almost too natural acting of Miss Kelly, and has
blubbered like a child at Matthews's personification of Monsieur Mallet; but never
does he experience the same intensity of feeling as during Braham's performance
of this song, and JepAtha's Vow.
15
In the Chorus, О jirst-created Beam, at the words “ Let there be Light,"
it is worth while to compare the manner in which the two great composers
represent the same idea. To my mind, Handel succeeds best.
Phillips sang Honour and Arms very well, but I would far sooner have
heard him and Braham in the spirited Duet, Go, baffled Coward, which was
omitted.
Fixed in His everlasting Seat, was marred for want оба proper understanding
between the Chorus and Semi-chorus, as to which represented the worshippers
of Jehovah, in contradistinction to those of Great Dagon. ‘The orchestral effects
in this Chorus, during the pauses of the voices, were again tremendous.
The next thing worthy of notice, was the well known Dead March, in
which Mr. Chipp's Drums produced the sound of a 64-pounder. І donot like
the Bassoon part; it seems to break in too abruptly on the legato movement of
the other wind instruments.
I must pass over Let the bright Seraphim, in solemn silence. Why did Miss
Stephens make all her most sincere admirers regret her re-appearance, after a
nearly total secession from public life? Harper never played the Accompaniment
better. The day's performance concluded with the Chorus Let their celestial
Concerts, which, though last, is far from being least in the Oratorio.
SECOND. DAY.
REHEARSAL, 25th June.
PERFORMANCE, 26th June.
Tur Second Day, like the first, commenced with one of Handel’s Coronation
Anthems, The King shall rejoice. It is not so good as Zadock the Priest,
but contains many fine passages. The Semi-chorus part, Exceeding glad, is
beautiful, and was well sung.
An Aria from Davide Penitente was selected for Rubini. This is one of
Mozart's works, that is little known in this country; I do not recollect ever
hearing any of it done in public, except a Trio for two Sopranos and Tenor,
Tutte le mie speranze: it is throughout very elaborate, both in the vocal and
instrumental parts. I cannot, with truth, say that Rubini’s execution of it was
at all remarkable. Italians of the present day are surely the least general
musicians of any in the world. They appear unable to discriminate between
the lackadaisical lover-like style of the opera, and the reverential style of the
church ; both requiring pathos, but of quite a different kind. Every thing with
them is theatrical and exaggerated, tending solely to ап exhibition of their own
individual qualifications, generally at a sacrifice of common sense, and a total
destruction of the author's intention. I am speaking, of course, of the present
generation: those who remember Mara, can tell a different tale. А selection
| from a Mass by Beethoven, followed. "This comes the nearest to Handel of апу
| of the sacred pieces yet performed. The slow movement is expressive of the
| deepest devotion, and the chorus, God is great in Battle, is quite inspiring.
|
| The two Masses by Haydn and Mozart, require no particular comment. |
I до not think them good specimens of either master; nor did they appear to
give much satisfaction to the audience, or to the performers themselves. |
Zucchelli's Solo in Haydn, No. 2, was certainly like church music, but the | |
remainder (as are most of the quick movements of masses that I have beard) |||
might as well have been the finale to a comic opera.
The less we say about Sir J. Stevenson's Thanksgiving the better ;— Е
Requiescat in Pace.
In the Air sung by Miss Betts, the accompaniments for the violin and ||
violoncello are in that peculiar style of quaintness which characterize so much |
of the music written a century ago. The wailing sounds of the violoncello,
that most pathetic of all instruments, accord well with the words, Of, who can
hear of Egypt, and not shed а tear ? while the lively replies of the violin in the
| two last lines are very expressive of joy, at being released from bondage on the
Nile.
We next come to Luthers Hymn. It has perhaps attained to greater
| celebrity than it deserves, owing to the grandeur of the idea, and the extraor-
| С
18
пагу powers of the singer. The introduction of the trumpet obligato at the
conclusion of each strain, has often been reprehended. Still the effect is fine;
and although the execution of these few notes may appear easy, scarcely a
trumpet-player, that I have ever heard, can be depended upon with certainty,
except Harper.
Grisi's attempt at singing a movement from one of Haydn's Masses, was
a regular failure on the rehearsal day. She most probably expected the
rehearsal to be similar to that of one of Pacini's Operas, where a Prima Donna
may take what liberty she pleases, and seemed much astonished at the strictness
of time observed by the band. "То say the truth, what she had to execute was
much more like a hornpipe than a Mass: what Haydn could have been thinking
of when he wrote it, 1 know not; but it would puzzle any one to
form a connection between such music and the words, Zhou, Christ, alone
art holy.
Тће remainder of this day's performance was entirely from the Oratorio of
Israel in Iogypt. "Те time of the opening Chorus, And the Children of Israel
sighed, was, perhaps, rather too agitatd; but the burst of voices at the
different points, when Their ery came up unto God, was electrifying. In the
next Chorus, They loathed to drink, Handel shows his wonderful skill. The
idea of loathing is most forcibly represented, not by discordant sounds, as mere
manufacturers of music would represent it, but simply by peculiar intervals in
the different parts, strongly indicative of disgust; for instance, that of the
leading passage Бу е tenors, from D to Е flat below.
19
Miss Masson, as well as Miss Romer, sang the parts allotted to them very
correctly; but with such Chorusses as there are in this oratorio, an angel from
heaven might sing the Solos without being attended to.
We next arrive at one of the most splendid triumphs of the Double Chorus,
viz. He spake the Word—He spake the Word, pealed forth from one side in a
voice of thunder. He spake the Word, was re-echoed with redoubled energy by
the opposite body, combined with all the power of the orchestra ; after which, the
point, And there came all manner of Flies, was led off in unison with the
violins, and taken up in succession by the different voices, till fancy almost
conjured up clouds of destructive insects buzzing and swarming in every
direction.
Immediately after this, came the Hailstone Chorus, in which the double
effect was again tremendous. Най seemed positively to run along in the midst,
while the alternate bursts from each side, at the word Fire, was (if I may so
express it) a perfect blaze of sound. I had supposed until now, that my nerves
were pretty strong, but during these two last-named Chorusses my voice faltered
more than once, from strong emotion; and with many others I know the
feeling was similar. ‘The next Chorus, Не sent а thick Darkness, is of a
different nature, though nearly as powerful in effect. ‘The deep diapasons of
the organ, which was extremely well played by Mr. Turle, the Abbey organist,
were appalling; it seemed as if a thick curtain of * darkness that might be felt,"
was falling gradually around, while the blood curdled at the wild and uncouth
nature of the accompanying modulations.
20
After the description of how the first-born of Egypt were smitten, with
what exquisite relief follows the movement, Вий as for His People, He led
them, forth like sheep. А calm comes over the mind, and one may fancy, with the
aid of a little imagination, the Israelites wending their way in safety to the
shores of that sea, which was so soon to overwhelm their enemies. The grave
majesty of Пе rebuked the Red Sea, is in strict accordance with the idea; and
although the music at the words, He led them through the Deep as through a
Wilderness, may be perhaps a little too erratic, it is very fine; but must ђе
executed with the utmost precision, as on the present occasion, to be perfectly
understood. When The Waters overwhelmed their Enemies, there commenced
a rolling of double basses in triplets, that conjured up to the mind’s eye, the
wild roar of wave succeeding wave in horrible confusion, accompanied with the
rattling of chariot wheels, the neighing of steeds, the shrieks of the drowning
multitude—in short, a chaos of tumult, which ceased not, until (Леге was not one
of them left.
Messrs. Phillips and Machin sang the Duet, Zhe Lord is a man of war,
in a very superior manner. The latter gentleman will be a great acquisition to
the musical world, if he remains here, and acquires a little more polish
in his style.
The beauties in all the Chorusses in this Oratorio are so numerous, that
I had nearly overlooked that exquisite passage, All the Inhabitants of Canaan
shall melt away. The words, shall melt, are repeated successively by all the
voices in a pathetic strain, while at the unison of the tenors and basses, They
21
all shall be as still as a stone, the effect of that stillness is wonderfully well
given, while his people pass over in safety.
The waters have covered them, they sank into the bottom ! The very
notes are ponderous, and seem to sink as they find utterance.
At the conclusion of the Oratorio is the Thanksgiving of the Children of
Israel, Sing ye to the Lord, to the Solo of which poor Miss Stephens was quite
unequal. Even Mrs. Wood used to find the effort painful; but the Chorus, as
usual, made up for all defects. The Horse and his Rider was never more
splendidly sung. Without exaggeration, I almost believed, at last, that the
intervening space between the Double Chorus, was the Red Sea itself, where
horses and riders were rolling over each other in inextricable confusion, while
we on each side were celebrating the praises of him who had led us through
the deep.
TILDERDTDYY
REHEARSAL, 27th June.
PERFORMANCE, 28th June.
Tur Third Day commenced with Haydn’s National Hymn, adapted to very
indifferent words. (For the York Festival, in 1825.) This is, no doubt, a fine
composition, but does not rank above any of the good old Psalm tunes, and
certainly is not the sort of piece to be done at a Festival, where all the requi-
sites for the finest order of part singing were in such perfection. Why did not
the Directors choose something in the style of Orlando Gibbon's Hosanna to the
Son of David, and thereby show the pre-eminence of their own countrymen in
church music? for I do maintain, without fear of contradiction, that we have
in this country, from the time of Tallis and Bird downward to that of Croft and
Greene, finer music in the true ecclesiastical style than all the masses of Haydn
and Mozart put together. For real church music, amongst foreign composers,
we must go back to Leo, Clari, Iomelli, and Palestrina. Of some of the Solo
singers in this Hymn it would grieve me to say what I think. I do not blame
them half so much as the Directors, who could permit the possibility of a
failure where nothing should have been entrusted, except to experienced persons.
After the foregoing, it was quite a relief, to hear the inspiring strains of
Judas Maccabeus, beginning. with the opening Chorus, in which the passage
Grant us а leader bold and brave, was given with great effect.
28
Mr. Bennett sang О Liberty (accompanied on the Violoncello by Lindley),
in a very chaste and correct manner; still he was rather too sleepy over it. The
song is an invocation to liberty, not a lamentation over the loss of it, as any one
might have supposed, from his singing.
Old Lindley is the prince of Violoncello players, but he ought not to intro-
duce such a cadence as he did, except in his own solos, where, of course, he may
do as he pleases. If he only knew as well as I do the general feeling of an
audience as to his genuine playing and his cadences, һе would never make
another—at all events in a song. In the Trio and Chorus, Disdainful of
Danger, the Drums and Trumpets, as I have before observed, produced an
extraordinary sensation during the silence of the voices, and seemed to stimulate
the singers to fresh exertions. The invocation to the Deity in the next Chorus,
Hear us, О Lord, was given with all the fervour of supplication, and at the
same time with the determined spirit of men who were resolved on conquest, or
a glorious fall.
Out of compassion for one of the singers in the Duet, O never bow we down,
I shall say nothing about it. Тһе Chorus, as usual, was magnificent. With
what firm resolution each voice led off, We never will bow down to stock or
stone, while afterwards the grand crash, We worship God alone, was an union
of voice and sentiment worthy of the glorious subject of their adoration,
To keep up the interest of the story, next came Braham, in the character of
Judas Maccabeus, calling on his: countrymen. to follow him. It was a perfect
dramatic scene. Sound an Alarm, shouts Judas, with the utmost power of his
н)
24
stentorian lungs. Immediately the alarum is sounded by the glorious Trumpets
of our friend Harper and his brazen band. It is then easy to imagine the assem-
bling of the multitude, while the Chorus reply, We hear the Call. Indeed the
crash which follows Sound an Alarm is enough to rouse the most arrant coward
on earth.
Mrs. Bishop sang From mighty Kings with a good deal of natural spirit,
by which I mean to designate that kind of animation totally distinct from the
meretricious stage manner which passes current for the genuine feelings of
nature, but which is only in use amongst those who have not an atom of genius
or nature in their composition.
Fallen is the Joe, is another fine Chorus, commencing with a strain of
triumph. А little farther on, where the word ‚fallen is sung pianissimo, a
degree of pity seems to be excited for the prostrate enemy, which is again lost
in the exulting shout, So /ай thy foes, О Lord. It would require volumes to
detail the descriptive beauties of such Chorusses. Those who wish to enjoy
them, must hear, and think for themselves, for words cannot give an adequate
description.
See, the conquering Hero comes, is too well known to require any remark.
Some of the Solo voices were here again at fault.
In the Motett, Ne pulvis, we had an opportunity of hearing Tamburini in
a different kind of music from what he is accustomed to; but was he different ?
No; it was operatic singing throughout. Those of my readers who recollect
--”.
25
Bartleman, and the intensity of feeling which he threw into sacred songs, will
comprehend my meaning; there was with him a total forgetfulness of self, his
whole soul being absorbed in the subject before him.
Grisi’s execution of a Laudate Dominum by Mozart, with the Organ
obligato by Dr. Crotch, was very finished; but the Directors had much better
have saved her salary. The pleasures which her performances gave to the
audience could have been mighty little.
After the many criticisms which have been written on Jephtha’s Vow, it is
almost presumptuous to attempt any thing new. During the last twenty years
I myself have heard Braham sing it scores of times, but never better than now.
The best criterion of his undiminished excellence, was the deep attention of the
audience, and the tears which might have been observed, not only in the eyes
of the fair sex, but also trickling down the rougher cheeks of the lords of the
creation. Like Jephtha himself, Г can no more; the rest must be left to
imagination.
The Dixit Dominus of Leo is a most perfect specimen of past writing, and
the manner in which it was performed, made every one regret that there had not
been many more such in the programme of the F'estival.
The opinion I had formed of Ivanoff in the Opera was confirmed by his
style of singing to-day, in Mozart's Litany in B. flat. Не is possessed of genuine
taste, and intuitive feeling for what is good in music.
D
poeme
26
In the selection from Beethoven's Mount of Olives, the grand feature was
the Hallelujah Chorus. If Handel had never written the one in the Messiah,
this might have been considered the finest thing of the kind ; but it will not bear
comparison with that master-piece. "There is too much difficulty of execution
in the fugue, owing to the rapidity of the time, for performers ever to sing it
with comfort to themselves; and when that is the case, it is impossible that
the sublimity of the idea can be maintained.
Few persons in the Abbey, with the exception of those who are well
acquainted with the works of the old masters, had ever heard Purcell’s Anthem,
Behold, I bring you glad Tidings. It commences with a Bass Solo, in which
is a difficult. passage of two octaves from E to E, which was well executed by
Phillips, although he has hardly sufficient depth of voice. The Trio, Glad
Tidings, expresses in so simple a manner the feelings of a joyous heart, that it
seemed to be the extemporaneous ideas of the singers while uttering the notes.
The succeeding contrast of the verse and Chorus, Peace on earth, and glory to
God on high, is sublime, although simplicity itself. The concluding Hallelujah
is not of so elevated a character as it should be.
After an inspiring Recitative by Braham, followed by a very spirited March,
in which the small military Drums played their part to admiration, came the
grand Chorus from Joshua, Glory to God, descriptive of the fall of Jericho at
the blast of the Trumpets. ‘There is not а semi-quaver in the whole of it without
its meaning—not a syllable without its proper accent and expression. The
strong cemented walls, even of the Abbey, seemed to vibrate; and when the
c
27
ponderous ruin falls, the terrific Clangor stridorque tubarum (I cannot find
words strong enough in English), coupled with the thunder of heaven and the
roar of the tempest, upon the pedals of the Organ, produced a combination of
awful sounds sufficient indeed to make {Ле nations tremble.
After this, Pergolesi's beautiful air, О Гога have mercy, was quite soothing.
How expressive of utter helplessness is the first part! It is perhaps invidious to
draw a comparison between Phillips and Bartleman, but I am sure no one who
has ever heard the latter, can forget the tones of voice in which he supplicated
for mercy, nor the gradual increase of joyous feeling which seemed to pervade
both mind and body when he came to the words, But my hope hath been in
Thee; I have said, Thou art my God.
The double Chorus in Solomon, From the Censer, concluded this day ; and
in none of the splendid compositions that I have had occasion to notice, were the
distinct effects of the two Choirs and the Orchestra heard to greater advantage
than at the passage, Heaven blesses David's son, happy, happy Solomon.
FOURTH DAY.
REHEARSAL, JUNE 30th.
Perrormaxce, Jury Ist.
Tut; MESSIAH constituted the performance of the last day. To borrow
the words of a celebrated foreign musician, the very Overture seems to represent
the stately march of some mighty giant, while the flimsy compositions now a-days
called Overtures may be compared to pigmies crawling beneath his feet.
Гог the first time since the commencement of the Festival, Braham was out
of tune, in Comfort ye my People ; but before the conclusion of the Recitative he
recovered himself, and sang Жоелу valley shall be exalted as well as ever.
B 1
Mr. Machin lost none of his previously earned credit, by his manner of
singing Who may abide? It was impressive, without being heavy; and his
execution of the running passages was very correct. Ап opportunity occurred
shortly afterwards of. comparing him with Phillips, who sang, The people that
walked in Darkness. The latter of course carries ау 'ay the palm for finish, and
elegance of style; but his voice is not near so good as that of Machin. Much
has been said about the propriety of Mozart's Accompaniments to the Messiah,
99
especially in this song. Му own opinion in this particular instance is, that,
beautiful and elaborate though they be, they rather mar the simplicity of Handel's
ideas by their constant motion.
As usual, the burst of voices and instruments at the word wonderful, in
the Chorus, For unto us a Child is born, occasioned a simultaneous start
amongst the audience. It is one of those sudden shocks that makes the heart
leap to the mouth, and causes a feeling almost of suffocation.
The accompaniment to the Recitative, And suddenly there was with the
Angel, may be considered as descriptive of the golden harps on which the
angels are supposed to preludize, before commencing the magnificent Chorus,
Glory to God, and on earth peace, and again, at the conclusion of the
symphony, dies away by degrees, as if Cherubim and Seraphim were vanishing
amidst the clouds.
Rejoice greatly, requires a singer of much greater power than Caradori
—she does not shout with the spirit of a daughter of Jerusalem.
Miss Masson has precisely the voice suited to the Air, He shall feed his
flock. There is a pathos about it which reaches the heart at once. То my
mind, she sang far better than Stockhausen, to whom was allotted the second
verse. Nothing can be more affecting, than both words and music.
The first part of the Chorus, Surely he hath borne our griefs, is truly
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30
expressive. The latter part, in alla breve time, pleases as a mechanical fugue,
but nothing more.
In spite of the objections to the agitated accompaniment of the Chorus,
All we like sheep, 1 question if it did not produce as much effect as any of the
foregoing.
He trusted in God, is splendid, whether considered as a mere fugue, or as
descriptive of the words; there is derision in the very intervals by which the
notes proceed,
Why did not Braham sing the Recitative, Thy Rebuke hath broken his
heart; and the Air, Behold and «ее ? Often has he drawn tears from crowded
audiences by his exquisite pathos. With Vaughan, what was it? I am sorry
to say—Blank—blank—blank.
In the Chorus, Lift up your heads, it is a good idea to make the Semi
Chorus sing, Who is the King of Glory? it affords such a fine opportunity for
the Full Chorus to burst in with the reply, The Lord of Hosts—He is the
King of Glory.
The Lord gave the Word, is marked andante allegro, which is an
example of the real meaning of these words—smooth and flowing, but in a
joyous manner. In modern music they are generally held to be synonimous
with slow and quick.
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The Air, How beautiful are the feet, is somewhat similar in character to
He shall feed His Flock. Miss Clara Novello sang it with her usual correctness,
and purity of intonation; what a pity it is that she will not allow one an
opportunity of giving her praise for a little more animation.
The symphony of the Air, Why do the Nations ? is a hurricane of rage
and fury; but Phillips has not voice enough to keep up the idea. Oh that
Lablache could have been in his place.
Тће Chorus started off with such determined vigour, at the words, Let us
break their bonds asunder, that you could have sworn they had all been
previously bound hand and foot, and had simultaneously come to the resolution
of bursting the cords with one violent effort. ‘There being no introductory
symphony, I could perceive it act like an electric shot on the audience.
The want of Braham was again felt in the song, Zhou shalt break them
in pieces. It requires more spirit than any in the Oratorio. In hearing
Braham give out the note A ledger line, and its octave, at the words, Thou
shalt dash them, Y always used to see before me an armed host, dashed in
pieces by the iron hand of some mighty magician; on the present occasion,
no such delusion took hold of my mind. I do not like the accompaniment of
flutes in this song ; nothing half so soft should be heard. ‘That instrument in
the list, with a horrid Greek name*, and with probably as horrid a sound, would
have been more appropriate.
+ The Ophicleides.
——„—
ea ee eee а
I will not attempt to give an idea of the Hallelujah Chorus, it must be
heard and felt. It has always struck me, that the finest part is where the
trebles and altos sing in unison, King of Kings, and Lord of Lords, the
basses and tenors all the time replying Hallelujah, which passage is repeated
four or five different times, the trebles rising a note gradually, until it seems
impossible to go farther. The winding-up, where all the voices join in the
Hallelujah, together with the stringed instruments, sackbuts, psalteries, and all
kinds of music, is overwhelming. My blood ran cold, and I felt as if I could
have died with pleasure the next moment.
I know that my Redeemer liveth, appeared to be such a confidential
communication from Miss Stephens to that portion of the
audience immediately
in front of her, that I am incapable of remarking upon it.
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It was observed on every hand, that Bellamy had sung on all the days.
Surely, Phillips, Seguin, or Machin, might have been allowed to sing, The
Trumpet shall sound. It was not fair, “ and that’s the plain fact,”
as poor
Terry used to say.
However, it is none of my business, and therefore I 5
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more, Harpers trumpet was, as usual, beyond all praise.
Mrs. E. Seguin may, perhaps, think herself aggrieved that she had so little
to do, while others, with less qualifications, were put more forward; but she
may be assured of this, that the public are in general better judges than
professional singers suppose them to be; and although mere sound without
sense will attract for a little while,
а sterling musician will always succeed in
the long run.
33
The song, If God be for us, which is usually considered an ungrateful one
to sing, was in her hands by no means ineffective. It can be no disparagement
to sing any thing that Handel wrote.
The concluding Chorus, Worthy is the Lamb, was sung with undiminished
vigour on the part of our country friends. No sparing of breath was per-
ceptible, although it was the eighth day of hard work. The beam of a steam
engine could not move with greater precision than the fugue ;—it was wonderful !
The last Amen seemed to vibrate through the Gothic arches, as if the sound
desired to linger a little longer in the sanctuary where the praises of the Deity
had been so worthily celebrated.
Thus ended the greatest musical treat that the inhabitants of London may
witness for many years; and greatly are they indebted to Sir G. Smart,
Messrs. Hawes, Harris, and Parry, for their exertions in planning and carrying
into execution, a Festival which has, I trust, convinced our own countrymen,
as well as foreigners, how immeasurably superior to those of any other composer
are the works of the immortal Handel.
FINIS.
LONDON :
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