[1] All, except the first and last paragraphs, from Gerber’s Historisch-Biographisches Lexicon.

[2] In the tenth Number of this work (for October, 1823) we published a lovely quartet from Righini’s Enea nel Lazio. And the present Number contains his overture to Tigrane, which, if the score at all realizes the expectations excited by the piano-forte adaptation, ought to have been familiar to our orchestras long ago.—(Editor.)

[3] In a work entitled Historical Memoirs of Armagh, by J. Stuart, I find a charge against Handel that is stronger than any alleged by Dr. Brown, and which I should feel it improper not to notice before I quit the subject. Mr. Stuart says (p. 548)—‘Some objections may be made to the church music composed by that eminent master, inasmuch as it is sometimes discordant with the meaning of the passages for which it is written. Thus, exempli gratia, in an anthem which comprises the following sentences taken from the Psalmist, the sentiments of David and the music of Handel are both sublime; but the rhythmus of the latter does not correspond with the emphasis necessary for the true enunciation of the former:—“Who is the King of Glory? The Lord of Hosts, He is the King of Glory”—in singing this sublime interrogatory and response, the emphasis is unnaturally laid on the verb is; thus: Who is the King of Glory, the Lord of Hosts, He is the King of Glory. As the question and answer are often repeated, the impression made on the mind of the hearer is, that the respondents are warmly maintaining the claim of the Deity to pre-eminence in glory, which the querists seem obstinately to doubt. Thus the music and the sense of the passage are at variance, and the meaning is sacrificed to the sound.’

[4] See musical portion of the present number.

[5] This Air is given in the German work with the critical article, but, if we are entitled to judge from an arrangement, is much over-praised by the writer, in a paragraph which we have omitted.—Editor.

[6] It was no wonder at all that the cannon made a great noise, and broke the glass.

[7] The Chaconne is an ancient, slow dance. M. GinguenÉ thinks that the word originally was written ciecona, but gives rather a far-fetched reason for this supposition.

[8] The fact is, that his voice which had for years past been much impaired, had now almost entirely deserted him.—Editor.

[9] If they omitted their roulades, it must have been for the purpose of enabling Rubini to introduce his own, for no singer was ever so absurdly prodigal of them as this. And as to his ‘elocutionary style,’ he must have acquired it very recently; he shewed no symptom of it so late as May last.—Editor.

[10] This remark was, probably, aimed at the composer of Der FreischÜtz, of whom Beethoven was somewhat jealous, rather than at Mozart.—(Editor.)

[11] A few years before his death, Beethoven received Arnold’s edition of Handel’s works in score, as a present from M. Stumpff, the well-known harp-maker, from which period his admiration of that great composer seemed to have no bounds.—(Editor.)

[12] Manu propria, with his own hand.

[13] The same civilizing improvements may also have been the means of giving the swans lessons in singing, a possibility which our correspondent seems to have overlooked.—Editor.

[14] For the conditions, see Harmonicon, &c.

[15] But M. de Camus has talked of the pizzicato of the voice! (page 61) a term never before applied to anything of a musical kind, except stringed instruments, and the exact meaning of which he perhaps had not duly considered.

[16] We shall give this song, with a full piano-forte accompaniment, in our ensuing number. Editor.

[17] Published in 8vo. from the original Manuscript, by AndrÉ of Offenbach, who vouches for its authenticity, which, in fact, has never been called in doubt.

[18] ‘Asseyez-vous, mai enfans.’—‘Il n’y a pas de quoi, mon seigneur.’

[19] Balfe is of Irish birth, and his history somewhat romantic. While yet a boy he played a violin concerto at a theatrical benefit in London, but without any marked success. To sing, however, was always the object of his ambition; and, not having the means of achieving his purpose in any other way, he actually walked to Italy, that he might have an opportunity of hearing and imitating the great singers of that country. A few years ago he returned, for a short time, to London, when we had an opportunity of hearing him in the great Scena of Assur, from Semiramide, as well as in a rondeau of his own composition, and some other pieces. His voice was then a bass of two octaves compass, from F to F, combining great power, and very considerable facility of execution. If his subsequent improvement has been in equal ratio to the advances he had made when we heard him; if he has realized the prospects which his voice and style then held out,—the United Kingdom may, at no distant period, claim the first bass singer of the day, as she can already boast of having produced the greatest soprano and tenor of their times.

[20] This opera, our readers are well aware, entirely failed in London; it was hissed off the stage! (Editor.)

[21] This was printed some time ago in our work, by consent of the author, who would not allow any other part of the sonata to be republished, fearing that the sale of his Opera VII. would be injured! We give it again, that the sonata may appear in an entire state.

[22] Account of the Commemoration of Handel, page 61.

[23] Ibid.

[24] Present State of Music in Germany, vol. i. p. 346. (1773.)

[25] Ibid.

[26] It was with great difficulty, and only through the most resolute perseverance, that a director of the Philharmonic Society, who had early obtained a copy of this symphony, succeeded in getting it performed at the Philharmonic Concerts.—Editor.

[27] From his Studien in Generalbasse Contrapuncte, &c. See p. 6 of our number for January last.

[28] Those, says the learned Albrechtsberger, who would dive deep into such subtleties, which, he remarks, are now little valued, may consult the second part of the TraitÉ de la Fugue, &c. of Marpurg.

[29]Here the second voice comes in, beginning from the commencement.

[30]The third voice comes in here, beginning from the commencement.

[31] The Author should have used the past tense; Canons are no longer written in this stenographic manner.—Editor.

[32] Among these pamphlets may be mentioned REMARKS UPON CHURCH REFORM, by the Rev. Edw. Burton, Regius Professor of Divinity. LETTERS ON CHURCH REFORM, by the Rev. C. Girdlestone. Principles of Church Reform, by the Rev. Dr. Arnold. A Plan for abolishing Pluralities, by the Rev. G. Townsend, Prebendary of Durham. A few Words on the Episcopal Church and Cathedral Clergy of England, by the Rev. W. L. Bowles. Remarks on the prospective and past Benefits of Cathedral Institutions in the promotion of sound Religious Knowledge, by Edward Bouverie Pusey, Canon of Christ Church. A LETTER to LORD HENLEY, by the Hon. and Rev. A. P. PERCEVAL.

[33] Lord Henley, Plan, p. 17.

[34] At Oxford, these benefits are not merely past and prospective. The three choral schools of Christ Church, St. Mary Magdalen, and New College, are conducted on a liberal and judicious plan, in accordance with the will of the founder. In those of the sister university, every inferior scale of education has been adopted.

[35] Gal. iv. 26.

[36] 2 Heb. viii. 5.

[37] Exod. xv. 20, 21.

[38] Judges v. 1.

[39] Rev. xiv.

[40] Ut vero pueros supradictos habeat capitulum rite institutos, tam morum modestia, quam canendi peritia, vobanus et statuimus, ut unus, qui sit honestÆ famÆ, vitÆ probÆ, et cantandi peritus, ipsis pueris choro destinatis, prÆficiatur magister et rector chori, qui eis docendis et instituendis organis suo tempore pulsandis aliisque ecclesiasticis muniis in choro obeundis studiose vacabit, qui congruam habeat operÆ suÆ mercedem annuam per capitulum designandam et per dictum receptorem exolvendam.

Prospiciat etiam puerorum salute: quorum et in literis, et in mensa et convictu, educationem et liberalem institutionem illius fidei et industriÆ committimus. (Qui si negligens, aut in munere suo fungendo desidiosus, aut in salute puerorum et recta eorum educatione, (ut verbum Dei postulat) minime providus et circumspectus inveniatur, post trinam admonitionem nisi resipuerit ab officiis deponatur et privetur.)

[41] Query, moonlit flowers?

[42] ‘Maria illuminatrix, sine Stella maris.’—Isidor.

[43] Pacchierotti had not yet visited England.

[44] Afterward, Lord Cardigan.

[45] Afterwards Lord Malmsbury.

[46] Printed in an early number of the Harmonicon.

[47] By the way—though it is not common to descend from the artist to his instrument—the piano-forte played on by Mr. Cramer (one of Broadwood’s) was the most powerful and rich-toned we ever heard. Had the alteration in the orchestra anything to do with the effect produced?

[48] We do not forget the song of ‘Mad Tom’ introduced in the first concert, but scarcely feel warranted in considering it a legitimate production of this great composer; indeed, it has never generally been received as such, though not wanting in strong points of resemblance.

[49] The practice of beating time with the bow was introduced into this country by M. Spohr, and he, being a great musician as well as leader, has been, of course, imitated, for we are most industrious imitators of what is foreign: and, in truth, quackery is so much the order of the day, that without a due share of it success is hardly to be hoped for. How many small persons, singers, soi-disant composers, &c., are now-a-days raised to something like importance by grossly open as well as artful and disguised charlatanerie and puffing!—(Editor.)

[50] By the Countess of Tankerville.

[51] Afterwards George the Fourth.

[52] There is some great mistake in this. From the year of the Commemoration it was resolved to enlarge, not contract, the scale, and each succeeding season saw an augmentation, till the number of performers was gradually increased from between 500 and 600, to nearly 1000. (Editor of Harmonicon.)

[53] We cannot understand by what process of reasoning the author of this article would set about to prove that the hero of a lyric drama should have a base in preference to a tenor voice. We admit that he should not on any account be a soprano; that it would be better that he be not an alto; but here our objections cease. (Editor of Harmonicon.)

[54] ‘The reason that moved the king to this act of munificence was a singular one. The parish had chosen him their churchwarden, and he executed the office for two months; but at the end thereof he grew tired of it, as he well might, and presented the parish with that noble instrument which is now in the church.’—Hawkins’s Hist. v. 60.

[55] ‘In the time of the Duke of Somerset’s chancellorship at Cambridge, during the discontents of several members of that university at the rigour of his government and paucity of his patronage, Tudway, himself a malecontent, and joining in the clamour, said, “The chancellor rides us all, without a bit in our mouths.” Nor did the wicked sin of punning quit him even in sickness; for having been dangerously ill of a quinsy, and unable, for some time, to swallow food, the physician who attended him, after long debates and difficulties, at length turning to Mrs. Tudway, said, “Courage Madam! the doctor will get up Mayhill yet—he has been able to swallow some nourishment.” On which he exclaimed, “Don’t mind him, my dear, one swallow does not make a summer.”’—Burney’s Hist. iii. 459 note.

[56] In our next number, we shall give a very clever article from the ‘Westminster Review,’ on the subject of Harmonics, which really leaves nothing more to be said on the subject, and saves us the trouble of analysing the works now before us.

[57] The son of John Christopher Schmidt, Handel’s copyist and managing man. Dr. Burney has given a list of four oratorios composed by Smith, but takes no notice of Gideon, which is not mentioned in either his or Hawkins’s History of Music.

[58] Hawkins’s Hist., v. 407.

[59] Burney’s Hist., iii. 619.

[60] Dr. Philip Hayes was, with the exception of Bright, the Essex miller, the most corpulent man of his time, and his obesity, instead of being the result of good temper, was the cause of rather an irritable disposition; but he was an honourable man, and perfectly master of what is commonly called the theory of music. He died very suddenly in London, in 1797, aged about fifty-eight years, and was interred in St. Paul’s Cathedral, the gentlemen of the King’s Chapel, and the choirs of St. Paul’s and Westminster Abbey, attending the funeral.

[61] From the Restoration in 1660 to the year 1805, but seven persons filled the office of Master of the Children; they were, Captain Henry Cook, Pelham Humphrey, Dr. Blow, Dr. Croft, Bernard Gates, Dr. Nares, and Dr. Ayrton. (Editor.)

[62] These consist of two complete Services, each comprising a Te Deum, Jubilate, Nicene Creed, Kyrie Eleison, Magnificat, and Nunc Dimittis, and several Anthems. (Editor.)

[63] ‘Instructions to my Daughter, for playing on the Enharmonic Guitar, by a Member of the University of Cambridge.’

[64] Agreeing with our correspondent as to the paramount importance of melody, we differ from him most materially on other points. We say this, lest it should be inferred from our silence that our opinion on German music generally, and on that of Handel and Mozart in particular, is in unison with the sentiments Mr. D. Walker has here avowed. If he had only said that the accompaniments to vocal music are too commonly injurious, because almost always played too loud, we should at once have agreed with him.—(Editor.)

[65] In more vulgar minds, the combinations of harmony and the power of the orchestra excite also notions of pomp and majesty, because such minds are more readily excited in this way by noise than by nature and truth; and the same persons would be more delighted by a large picture, or a large palace, than by a small one, however exquisite.

[66] Or, I may add, than the beautiful and simple forms of their letters with those hooks and angles with which Gothic taste has decorated them and made them truly its own.

[67] The words and accompaniments are by John Crosse, Esq. F.S.A. late of Hull; and the whole, in score, appears in our volume for 1825, p. 229.—Editor.

[68] How much good music is to be found in our libraries, that is utterly unknown to the public! It is a curious fact, that an entire opera by Haydn, the full score in his own hand-writing, and which not only has never been performed, but has never been seen, except by very few persons, is now in the possession of a gentleman in London! It was composed for the King’s Theatre, but never paid for, therefore never delivered.—Editor.

[69] The composer’s intention is, to bring to mind this consolatory promise, by a musical phrase familiar to all lovers of Handel’s sublime Messiah.

[70] The musical critic in the Examiner makes himself merry with our opinion of RUBINI’s singing. To differ from so profound a judge is, no doubt, a proof of great hardihood, not to say presumption, but our temerity is not without other abettors besides the Spectator; a Sunday print of the very day on which the Examiner is pleased to be jocular, had the boldness to handle the Signor rather roughly; and two, if not three, other papers—not contemptible ones—have been rash enough to hint that he is not quite so perfect a singer as a few French journals and our facetious friend so unhesitatingly assert. Moreover, if the sprightly critic will condescend to consult some of those who have made music the chief study of their lives, and have a due portion of cerebral matter in their craniums, he will find that our opinion is tolerably well backed though certainly it differs much from that entertained by many members of CROCKFORD’s, and by divers lady-singers who are deeply learned in the opera songs of the last dozen years.

[71] We have inadvertently stated this to be from the 4th Grand Concerto.

[72] Treatise on the Construction, Preservation, Repair, and Improvement of the Violin, and all Bow-Instruments, together with a Dissertation on the most eminent Makers, pointing out the surest marks by which a genuine Instrument may be distinguished, by Jacob Augustus Otto, Instrument Maker at the Court of the Arch-Duke of Weimar. Translated from the German, with Notes and Additions, by Thomas Fardely, of Leeds. 66 pages in 8vo. (Longman, Rees, Orme and Co.) 1833.

[73] Repairing a damaged one would have been a more logical expression; but whether the author or his translator is answerable for the phrase, we cannot pretend to say.

[74] What mathematics had to do in the matter, we cannot guess. (Reviewer.)

[75] An amateur of Liverpool.

[76] Of Liverpool.

[77]

[78] The melody of this is founded, the composer tells us in a note, on the chimes of St. Mary’s clock, at Cambridge, which are as follows:—

This tune was invented by the Rev. Dr. Jowett; and the drolls of the University, from the moment or its birth, called it Jowett’s jig.—Editor.

[79] Since the above was set up, we have discovered that this is not a new composition, though it may have been newly published. It is now too late conveniently to take out the article.—(Editor.)

[80] Master Frederick Arthur Gore Ouseley, son of the Right Honourable Sir Gore Ouseley.

[81] He is, however, still living.

[82] In his PrÆceptiones Musices PoeticÆ: see Ravenscroft’s Brief Discourse, 1614, p. 1.

[83] Memoirs of Dr. W. Hayes, Dr. Arne, Lord Mornington, Dr. Cooke, Dr. Nares, and Dr. Callcott, will be found dispersed throughout the eleven volumes of the Harmonicon.

[84] In a memoir of Mr. Spofforth, written by a friend, and prefixed to a collection of his glees now publishing, it is stated that he became actually organist of Lincoln Cathedral, an error which the author will doubtless be happy to rectify.

[85] Outre-meuse, at LiÉge.

[86] Orlando di Lasso, as the Italians and English call him.—Editor.

[87] A circumstance which had escaped our recollection when we stated this to be the first attempt since Dr. Cooke’s.

[88] Zelter was brought up as a builder. It may be interesting to mention, that Felix Mendelssohn was his pupil. Goethe speaks of ‘the incredible talent of Zelter’s most astonishing pupil.’ This was written when Mr. Mendelssohn was a child.—Translator.

[89] ‘Charles Sackville, eldest son of Lionel, Duke of Dorset, a Lord of the Treasury,’ (in 1746).

[90] ‘Sapperment’ is a very common and rather homely German exclamation of sudden surprise, scarcely susceptible of translation, but somewhat similar to the English word ‘zounds.’ The Germans, moreover, as Mr. Russell correctly states in his Travels, observe a regular degree of decimal gradation in the use of their ‘Sapperment;’ viz.—Sapperment (simply) 1 Sap, Hundert Sapperment, 100 ditto. Tausend Sapperment, 1,000 ditto. Hundert Tausend Sapperment, 100,000 ditto: which latter term, as may be supposed, is only applicable to a state of amazement a hundred thousand times greater than what would be expressed by the simple exclamation of ‘Sapperment.’ The Germans are a calculating people, even in their oaths.