  SACRED MUSIC.
MR. Attwood’s anthem is, in the strictest sense of the word, devotional, and suited to the service of the church, though the melodies and accompaniments are cast in a modern mould. The school is that of Mozart, influenced by habits early acquired in an English Protestant choir: for the author laid the foundation of his musical knowledge in the King’s Chapel, and finished an education thus happily begun, under the great musician of Saltzburg. This anthem comprises two short movements; the first a larghetto in F, three-eight time; the second rather quicker, in common time, made up of verse and an alternating chorus for the usual voices. The whole composition is evidently the production of an accomplished musician, but the first movement will gain most suffrages; the clearness of the phraseology or rhythm, and the richness of the harmony—full, but not affectedly crowded—cannot fail to please all who possess a cultivated taste. Some, however, may perhaps think that words declaratory of so much wretchedness should have been set to sounds expressive of deeper distress; and we are willing to admit that the minor key, or some mixture of it, would have enforced the sentiment more strongly than an unbroken continuation of the major third. We likewise wish that the singer may always profit by the licence granted by the ad libitum, page 6, and reject the secular flourish set down in the small notes, which would not be quite in character in the chamber; most assuredly is unfitted for the church. No. 2,—in a livery of fawn-coloured satin paper, on which are impressed, in glittering golden characters, the title and epigraph, surmounted by a blazing lyre and cross, the whole inclosed in a border of the same proud metal,—does not introduce itself with that humility, which, both in letter and spirit, the Christian religion inculcates: it proclaims a church superb, not simple, and addresses itself to the eye that loves gaud, rather than to the understanding which despises show. But we shall not quarrel with the author on account of his cover: anomalies in such things are too common to be matter of reproach. The richest clad book we ever opened was a Mazarin bible, and the text was nothing the worse for the magnificence of its clothing. In a preface the author tells us that, ‘of all the liberal sciences, music is the most esteemed on earth, and is the only one that appears to have been admitted into heaven.’ This is comforting news for musicians, but not very consoling to geometricians, grammarians, &c. Oe?a (or great O, as Mr. Cobbett would translatingly call him) is more liberal of words than careful in the use of them; we, however, find some good sense mixed with a great deal of enthusiasm,—some valuable remarks amidst too much verbiage. Thus what he says in his introduction concerning the adaptation of sacred words to airs originally set to those of a ludicrous, nay sometimes of a loose kind, has our entire concurrence. ‘In a large collection of tunes designated as “Sacred Music,” appear sundry compositions dignified with the names of Handel, Mozart, &c.; and which consist of certain extracts from their profane works most unscientifically selected, and united to other extracts to eke out the metre. In one of these “compositions” is recognized the Sancho Panza of the ZauberflÖte, singing one of the songs of Zion to the air of “Das klinget so herlich!” If such “Sacred Music” be not an insult to HIM in whose service it is designed to be employed, it is so to good sense and to right feeling,—it is so to the memory of the illustrious dead whose names it bears,—and it is so to that public upon whose credulity it would impose.’ This publication embraces between thirty and forty ‘Christian Melodies,’ as the compiler terms them, but they are, in fact, harmonies also for four voices, and originally so composed; for the ‘greater part were found in the oratorios, the masses, and other elaborate and similar works of their respective authors.’ Handel, Haydn, Mozart, Graun, and Hasse, are the composers chiefly selected from; and the editor has added a few of his own. Without having examined every one in the collection, but judging from those on which our attention has been carefully bestowed, we can venture to say that they have been made with a due regard to the fitness of the airs to the words, and that the harmonies, where they have been added, are correct and good. This publication is rather novel in its appearance. The paper is extra-sized folio, and the whole fifty-two pages of music are printed from stone, the lithography having been executed by the editor’s own hand. In No. 3, the Anthem has most claim to notice, both on account of extent and merit. It is for a soprano, and what is in choirs understood by the phrase, verse and chorus. The first movement is in F, three-four time; the melody is charmingly natural, but not common, the accompaniment delicate and free from all pedantry. The choral parts are well introduced and harmonious. A recitative leads to a full chorus in common time, the whole in the fugue style, though not in regular fugue, and perhaps more vocally effective on this very account. The words are set with great judgment—no conceits, no false accentuation, every part manifests good plain sense and correct taste. The Psalm tunes are much like other compositions of the kind; they show no extraordinary exertion. The base accompaniment of a 5th in the last bar of the second is not altogether judicious; the 3rd in such a case is far preferable. We need hardly mention the omission of a D in the accompaniment, a few bars before, because it is most likely the fault of the engraver. The note is in the tenor, and doubtless was meant to appear in the organ part. The Chants cannot boast of more new features than the Psalms; but, as a matter of taste, would not the C in the The modulation is into D minor, and surely C would have sounded better had it been sharpened. The rounds are not entitled to much notice; and that the canon is flat and unprofitable, only proves that the composer has, fortunately for himself, no talent for dulness. The Melodies, No. 4, display a goodly disposition both for air and graceful expression, but also show a great want of the creative power, and of experience. We recommend Mr. Wallis to go on writing for a while, but to destroy as fast as he writes. Practice may do much for him. If, too, the poet who is joined in this publication were to employ his thoughts more, and his pen less, for some time to come, he might, perhaps, produce something rather superior to the verses to which he here gives his name. PIANO-FORTE.
THE first of the above is the eleventh book of the Album des Pianistes de premiÈre force, and by far the most rational of the collection that has come under our notice, for it is only a new edition of the rondo, justly a favourite one, which has been, and long ago we believe, reviewed in our work. M. Hummel has frequently played it in public, and most of our readers are well acquainted with the composition. It is not clear to us why the composer of No. 2 should have added a diminutive to his rondo, implying either brevity or ease, whereas it is of the ordinary length, and difficult. A short introduction, adagio, promises well for the following allegretto scherzando, the chief movement; but the latter disappoints us; it is in the skittish Mayseder style, and the passages are far from uncommon; though it certainly will be found lively if well played, and comes under the description of brilliant music, by which is understood whatever is quick, showy, and exhilarating.
The introduction to No. 1 has not cost M. Czerny much thought, and his variations on this very popular air are not remarkable for originality, but are devoid of all those absurdities of which we have so often to complain, and are also within the reach of those who do not think it advisable to dedicate half their time to the labour of practising. No. 2 has an introduction in A flat, which enables a moderate player to make a considerable display, provided his left hand can conveniently reach tenths. The March in C is short and simple, and what we have said of the variations to the preceding applies to the present; but these are much easier for the performer. No. 3 takes the Choeur des Joueurs as an introductory movement; the rest of the piece is the same air as No. 1, in F, protracted to sixteen pages in the form of a rondo, but is executed with ability, and the passages are all of a reasonable kind; for it is to be observed, that we have not Henri Herz before us, but his brother. No. 4 is a very pleasing rondo in E; the melody is agreeable and new, and Mad. Cinti’s cavatina, being embodied in the piece, imparts much variety to it. This is by no means so easy for the performer as the foregoing; and some reiterated semiquavers—fit enough for a violin, but not calculated for the piano-forte—are unnecessarily introduced; yet, on the whole, this is a clever arrangement, and such as is likely to be approved very generally.
In every one of these numbers are eight airs, each of which, with the single variation, fills one page only. Now much as we disapprove the numerous variations, or the interminably long ones, which so frequently appear, yet two or three, of moderate length, are desirable, for the sake of that variety which the term implies, and, if moderately good, can never be thought tedious. This is all we have to object to in the present publication, which are of a very useful kind, the melodies being chosen with taste, and arranged with judgment for rather juvenile students. But in truth, really good players need not be ashamed to bestow two or three minutes upon any one of them, for we do not find a single melody among the thirty-two that is not worthy of being listened to by any lover of national music; such music, too, as that of Caledonia.
We have here another publication that will prove of great utility: it is a collection of the most popular modern airs from foreign operas, or by foreign composers—by Mozart, Beethoven, Rossini, Weber, Meyerbeer, &c.,—arranged and fingered for the use of learners almost of the youngest class, and in a manner which justifies M. HÜnten in affixing his name to the work, for he has evidently bestowed an attention on it which proves that he knows the importance of putting only what is correct, and likely to form a good ear, into the hands of children. DUETS PIANO-FORTE.
THE opening adagio in B minor of No. 1, is of the expressive kind, and if played with much nicety and great feeling, will be effective; though we trust that all persons who wish to discourage whatever tends to vitiate musical taste will at once cut out the run of thirds in semitones forming part of the cadenza, which, like all passages of the sort, only serves to remind us of that half-suppressed cry which a fit of the tooth-ache, or colic, sometimes extorts from the most patient sufferer. But the author seems to have exhausted himself in this movement; the second, molto vivace, in D, though, in some respects, clever, and exhibiting very bold modulation, will never have any attraction for those who think that air and grace are essential in musical composition. This is not an easy work; but we must add that the notation—the avoidance of apparently short notes—is a proof of M. Hummel’s clear understanding. Composers, in general, are not aware of the difference, in point of difficulty, which may be made by mere notation. Writing demisemiquavers and shorter notes is, commonly, either mere pedantry or sheer ignorance. Sometimes, we grant, they are necessary, but in nine cases out of ten they may be avoided, as in the present instance, by words indicating great rapidity; or by putting a bar through the C marking common time. But the metronome (which M. Hummel, like a man of sense, always uses) is the surest and best guide. Mehul’s overture is a great favourite in French theatres, and not devoid of something like dramatic effect, but as a piano-forte duet, as drawing-room music, it is very jejune indeed. If Beethoven had never written but in the style of the Archduke’s march, his name would not have been heard beyond the confines of day-schools or Margate libraries. This is an easy, common-place affair; but, perhaps, quite good enough for the triumphs of the illustrious Rudolph, whoever he may be. What is meant by ‘KÖnig Stephan’ we pretend not to guess. Our King Stephen thought his unmentionables too expensive at a crown: we hold that his namesake’s march is much dearer at half the sum. We will not, however, imitate the son of the conqueror, and call the vendor by foul names. M. Diabelli’s ‘Delight’—(what can be meant by so nonsensical a title?)—is, if we may judge from No. 4, to make babies play in duo. These very little pieces keep the hands in one position, being limited to the compass of five notes: so far they may answer a good purpose, and they are not disagreeable. VOCAL.
The Duet, No. 1, possesses just that kind of silly prettiness which probably will sell it. No. 2 is a very pleasing, easy melody, well accompanied. No. 3 exhibits all the independence, the originality, and feeling, which are so conspicuous in this Lady’s ‘Illustrations.’ The words are Goethe’s, but we conjecture that the composer intends them to apply to the expatriated Poles, whose miseries have excited her strongest sympathy. There is all the enthusiasm of genius in this, but no want of method. We do not, however, see why the whole should not have been written in three-crotchet time. No. 4 is a very spirited air, with a well-judged accompaniment, but it will inevitably be compared with the author’s ‘Sea,’ and thereby suffer, for the task would be no easy one to produce any thing at all equal to that brilliant composition. Let the present be judged by its own merits, and it will be generally approved. It is short, not difficult to sing, and suited to a tenor or a soprano voice. No. 5 is, in fact, a ballad of four stanzas, the melody short, but repeated. It is gentle and elegant, rather À la Haydn, and would be easy, but for a double sharp or two, at which singers who accompany themselves are apt to start. Let us, however, recommend them not to be dismayed; the song is full of feeling, and will repay their trouble. No. 6 is a very sweet melody, in the rondeau style, with an agreeable Scottish tinge, and accompanied in a lighter manner than is usual with Mr. Lodge; though there are glimpses of harmony here and them that show his incli The words of No. 7 ought to sell the song. The reasons why a young maiden should not agree to be metamorphosed into a star, a flower, or a fish, are quite cogent and reasonable. The air is light, as it should be, and very simple. No. 8 shows a strong effort to produce new harmonic effects: the modulation in the very first two bars from C to A flat is rather sudden, and somewhat startling—e. g. but anything is better than triteness. The air is free and agreeable, with an accompaniment in the guitar manner. We cannot, however, add that the words go quite smoothly and well to the melody. The composer of No. 9 writes with much feeling, and his air is pleasing and appropriate, but he has injudiciously separated some of the words, and not very accurately accented others. No. 10 certainly does not rise above mediocrity, either in music or words. No. 11 is correct and graceful, rather than striking or new. On No. 12 we really can bestow no praise, however qualified; the words and music are nearly on a par with the lithographed vignette, but of the three, the music is least obnoxious to criticism. HARP.
THE first of the above is the Pas de Cinq, the second the Valse des DÉmons, and the third the Choeur DansÉ, from the opera now performing in all parts of Europe, though certainly with variable success. But the pieces selected by M. Labarre are universally admired, whatever may be, according to different tastes, thought of the work in its entire state. These are all arranged with a view to general use; all unnecessary difficulty, therefore, is avoided, but not at the expense of the author’s intended effects, which are as carefully preserved as the means afforded by a single instrument render possible. HARP AND PIANO-FORTE.SIX WALTZES, composed by HUMMEL, arranged by N. C. BOCHSA. (Chappell.) THESE are the well-known waltzes, Op. 91, written by Hummel for the piano-forte only, and now converted, with considerable address, into very effective, yet perfectly easy duets for the two drawing-room instruments. |
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