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Madame Catalani will remain in certs, and the rise of the numberless England some time. Nothing, it is benefits which occupy the months to be presumed, but herself would ex from April to August inclusive. This clude her from the King's Theatre. year has witnessed the abandonment
We have now, therefore, leisure to of the Vocal (since 1793 the most look back, and though we trust our fashionable of all
concerts) and the reports have conveyed an adequate suspension of the City Amateur Conidea of the progress of music, in the certs, while the benefits of individetails we have given from time to duals were never so frequent. Intime to the public, still it may not deed, the nights have not been many be superfluous to bring into one com- enough, for some of the profession prehensive view the general and per were obliged to occupy the mornings manent effects of the progression. with music. Now as gratuitous That there will ever be continual admissions to the single concerts are changes in the channels through much more easily obtained, from the which art diffuses itself, is assured to necessity every one feels of having us by the rise of genius in different at all events a full room and making countries, and by the revolutions in connections (often the principal obe opinions and manners which these ject of a benefit), it follows that there possessors of extraordinary talents ef- will be numbers who prefer risking fectuate. The very excess of cultiva- the chance of procuring access upon tion leads to new modifications, for such terms, to the certain and heavy where art is brought to high perfec- expense of subscribing to a set. tion, taste becomes fastidious, the Presuming a family of four persons world refuses to lend its attention to to subscribe to six concerts, it must .any but the finest models and the entail an expense of at least from 15l. finest productions, and hence a de- to 201., a consideration too heavy, gree of natural organic endowment with a great proportion of those who and of enthusiasm and labour in ac- love music, to be expended by any quirement is implied, which few en- considerable numbers. Indeed this joy, and which few can sustain. operates even more forcibly upon Hence too the remuneration required those whom we may term the floating by those who do reach the point of or disengaged body of amateurs, when adequate excellence becomes so ex- it is recollected that the Ancient and orbitantly great, as to be capable of the Philharmonic Concerts, which are satisfaction only from the united con- supported ex necessitate rei, as it were, tributions of large numbers; and here by the nobility on the one hand and again we perceive how perfection the profession on the other, carry off carries in itself the seeds of its own from one thousand to thirteen hundisorder if not dissolution. All these dred subscribers. The oratorios, phenomena are, as it seems to us, therefore, and the single concerts, visibly apparent in the progress both from the abundance of gratuitous music has made and is making in tickets distributed, and from the opEngland, though it is very difficult, portunities of an expenditure adjustnot to say impossible, to say how the ed at the pleasure and according to elements will resolve or combine the occasions of the individual, are themselves.
become; strictly speaking, the most The art. at present appears to frequent and general musical resorts be spreading, at least as much through of the public at large. private enjoyment as through public The Ancient and Philharmonic demonstrations of its power, which Concerts have both been sustained we attribute to the vast abilities re as usual. The one is almost literally quired to sustain the public profes- unchangeable in every part of its orsion operating through expense to ganization. The same directors, the diminish the earnestness of people in same conductors, the sajne band, the general to attend public concerts, at same music, and the same audience the same time that the vast rewards, from year to year. The only wonwhich some artists enjoy are con- der is, that all this sameness does tinually encouraging new competitors not weary the fashionable world, to engage in the contest for ailluence whom novelty alone commonly atand fame. To these causes we trace tracts. But the truth is, that many the fall of established periodical con- of the subscrilers have grown old in
their attendance upon the rehearsal and although at present the effects and the concerts at Hanover-square, are inconsiderable, there is yet some which, like the Baron Thunder- thing done in having awakened the tronkth's castle to his household, is emulation to engage in the defence of with them the best of all possible national character. If the object be concerts, and they lead their children patiently pursued, and patiently supalong in the same path; added to ported, there is sufficient proof in the which, no objection can be raised records of eminent English talent that against the performances, but this it will not be pursued in vain. In single word sameness. The Philhar- spite of all that has been said conmonic has relaxed a good deal from cerning the effects of climate and naits pristine regulation, the perform- tional aptitude, England has produced, ance of instrumental music. In this under all discouragements, both sinrespect, though the institution was gers and instrumentalists, quite equal founded upon the very principle, the to any of Continental growth. In directors fear the effect of want of the mean while, the establishment of variety, and more vocal music is in a national academy ought to lay the troduced, as a necessary relief. In foundation of a national school, and other respects, the concert retains its it will do so if it be properly conducted. extraordinary perfection.*
Of this, indeed, there is at present no The rapid growth of foreign music, great hope; but the noble committee and the universal reception and as may possibly be taught to correct cendancy of foreign professors in their manifest and manifold errors, by England, have at length originated the neglect into which the institution a very earnest desire on the part of our must otherwise fall, and which they native musicians to make some stand already, as it appears by their reagainst the inroads of these polished port, begin to anticipate. Nothing and powerful invaders. The King can be more absurd than the delegahimself has shown his desire to en tion of so much power to foreigners courage the domestic cultivation of and so little to the English profession, art, by giving concerts at which the whose efforts must uphold,
and whose entire performance was English mu- interests are so materially affected by, sic by English singers. The Con the establishment of the Royal Acacentores Society, as we have before re- demy. lated, began a series of three con The Italian opera has this season certs for the promotion of the same seemed rather to stagnate, under its object. In the infancy of such an board of noble managers, in every undertaking much ought not to be thing except the access of company, expected—the plan of the British which interest and fashion the most Concerts was exceedingly limited, effectually promoter. The new proand, we regret to say, the enterprize prietorship is now said to be settled, was scarcely conducted with that and Signor Benelli, the ostensible zeal which ought to have character- manager, has set off for the Conized its proceedings. Sufficient en tinent to make fresh engagements. couragement was nevertheless af- It wants some new impulsion. Neiforded to induce the society to an ther have the English theatres made nounce the continuation of their ef- any advance. The state of English forts next year. At the oratorios M. opera is most disgraceful. Nothing Bochsa, the proprietor, yielded to the can be more repugnant to true mugrowing feeling, by abridging the sical feeling, or to dramatic taste, quantity of foreign selection and the than the miserable jargon of dialogue number of foreigners engaged—thus and singing that now disgraces our acknowledging the tendency in the theatres. An attempt, however, is public mind towards the hope of making through the periodical litegiving birth to a national school wor rature to awaken the country to a thy of the country. These facts are sense of its degradation in this parindications of a sense of shame as to ticular. And here we may take octhe supremacy of our continental casion to notice the growing concompetitors, or rather instructors; nexion between literature and the
The directors for next year aru Messrs. F. Cramer, Attwood, Neate, Dance, Mori, H. Smart and Welch.
arts, which promises well for the in- theatres are well supplied by Miss creasing intellectual polish of the M. Tree, Miss Paton, and Miss Poprofession. This we hold to be a most vey. important feature in the character of if then we are able to note any the times, for nothing will so cer- striking fact-any indication of tainly remove the objections which change-it is the struggle between have hitherto been brought, perhaps the English and the foreign artists; with too much reason, against the and so long as that struggle is hocultivation of music, founded on nestly and generously maintained, the disgraceful ignorance of too many we rejoice in it. We would have the of the profession: that stain is in a English musician emulate, not exfair way to be removed, by the ex clude his powerful adversaries, and ample of its eminent members, by, if he can beat them, we shall like the general cultivation of letters as our country and our countrymen so mongst men of all sciences, by the much the better. necessity for knowledge which the progress of society itself demands, Mt. Kalkbrenner has two new publica. and, lastly, by the direction of lite- tions, Gage d'Amitié, Grand Rondo poner rary talent expressly to the deve- le pianoforte avec orchestre (ad libitum) lopement of the philosophy of mu- Op. 66, and a Rondo Villageois, Op. 67. sical art.
The first is dedicated to Mr. Moscheles, How far the range of musical and its merit proves that Mr. Kalkbrenner composition in England keeps pace worthy of himself and his friend. It is,
has taxed his strength to make the offering with the expectations that may reasonably be formed from the universal indeed, a work of genius, combining a cultivation of the science, our read- instrument with sound taste, science, and
perfect knowledge of the powers of the ers will have had ample opportunity judgment in the application of those powers: of judging from our reviews. It added to which every passage exhibits a strikes us that reasonable expecta- fancy and originality we have rarely seen tion is not fulfilled—which we ac- equalled in the best works of this highly count for by the exhaustion of the gifted master. The Rondo Villagcois is a hitherto favourite and principal ob- piece of much less elaboration; it is light, ject of English writers, the oratorio elegant, and interesting, and somewhat in and glee-by the degraded state of the style of Mr. Kalkbrenner's Rondo Pas. opera-and by the demand for ar
torale, but more simple. Both composi.
tions are entitled to very high commenda. rangements of foreign works dif
tion. fused through the Italian opera, and
A favourite Dutch song with variations for variations, in preference to ori- for the pianoforte, by J. N. Hummel ginal pieces of a higher stamp; toge- "The subject is rather singular, but it has ther with the supremacy of great nothing very striking or agreeable in its foreign players, like Kalkbrenner and melody. The variations are constructed Moscheles, and of the popular ele- with superior ingenuity and contrivance, gance of Latour. The quantity of and demand neat and delicate execution. music published is, however; prom imagined with great elegance. The whole
Var. 8 is a Larghetto of beautiful expression, in such a succession as the vast sums composition bespeaks the mind and hand
of a master. expended upon public and private
Messrs. Clementi, and Co. have publishmusic would seem to imply. Bartle ed three compositions of Beethoven: A man is yet without a successor, and Grand Sonata, op. 111. Sonata, op. 90, and there is no tenor likely to occupy a collection of eleven little pieces in various Braham's place in the theatre, or styles, under the title of Trifles for the Vaughan's in the orchestra. Mr. pianoforte. The first Sonata is a piece of Sapio is a man of considerable ta- great elaboration and difficulty. The se lent, claiming, as it were, a middle cond is less complicated, and consequently station between these two great less difficult, but is full of beautiful ideas, singers, but wanting the absolutely finely and scientifically elicited. The thirdfixed style and perfection that should named publication will, perhaps, enable entitle him to succeed to the honours the learner to form a better idea of the
composer's style, than even his more celeof either, though perhaps with as brated works; they resemble the sketches much popularity as any singer now of a painter, inasmuch as they exhibit the enjoys. Neither has Miss Stephens first ideas, and the rough outlines of more nor Mrs. Salmon a rival, though the complete and more finished productions.
We are happy to perceive amongst the accompaniment for the pianoforte. The new music, a second and improved edition piece was played by the author at the Phil. of Mr. Clementi's variations on the Irish harmonic concerts. It is calculated for air, “ the Sprig of Shillelah." We never performers of great execution, but Mr. meet with any modern music which so com Nicholson has very judiciously added a sepletely unites the grandeur and beauty of cond stave, more adapted to acquirements of simplicity with all the resources of musical a lower rank than those for which he is him. learning in such perfection as do the works self so justly celebrated. of this great composer. Introduction and The arrangements are, Selection 3, of brilliant Rondo for two performers on the Mr. Bochsa's arrangement of Pietro pianoforte, by J. Moscheles, op. 54. A spi- l'Eremità. Book 1 of the airs from Ricrited and beautiful composition full of me ciardo and Zoraide, arranged for the lody, expression, and animation. pianoforte, with an accompaniment for the
Grand march, with an Introduction and flute, by Mr. Latour, and Six select airs Rondo for the pianoforte, by J. S. Peile, from la Donna del Lago, for the pianoforte is an agreeable lesson, having much pleas- and Aute, by Mr. Sola. The Aute part ing melody and variety.
is here made rather more important than Mr. Holst has printed a series of four in any of the selections which we have yet lessons, consisting of airs with the variations. seen from this opera. The following airs The themes are, the Tyrolese air-Scots have been selected from Rossini's opéras, wha hae-Sul margine d'un rio-and, Le and arranged for the pianoforte, by Camille Vaillant Troubadour. They are intended Pleyel, in an easy style. All'idea di qual for beginners, and are of course in the metallo-Una voce poco fa-Ecco ridente easiest style.
il cielo, all from Il Barbiere di Seviglia, Mr. Nicholson has published an Intro- and part of Amor possente nome, from his duction and six Variations for the flutė on Armida. the Fall of Paris, with an ad libitum
THE HAYMARKET THEATRE.
than ever ;-and when he turns that This little theatre has been court- extremely full and plaintive moon of ing the public with Sweethearts and his visagesad, yet of a harvestWives for the last three or four hue,-it is most strangely moving ! weaks pretty successfully; and Lis. The comedy of Sweethearts and Wives ton, who generally finds “ his old must have been profitable to all clothes sit easier than his new," has parties ;-to Mr. Kenny-to Mr. worn the habit of Billy Lackaday Morris-to Mr. Liston-and to the till it fits him to a T. All the points, public. and imperfections, and incoherencies There was a new farce acted one of the character are now worn away, night, which made no way with the and Liston is as easy as an old glove audience, though Mrs. Chatterley in his hobby-de-hoyish sentimenta- and Mr. Vining clubbed their little lity. He is not, as he always is at loves—and Harley and Liston the commencement of a new piece, clubbed their large wits, to help it sharing himself with the public be- on, The plot was Spanish and the fore the scenes and the prompter Spanish are not in luck just at this behind them ;-but "custom, having time-in spite of Liston and Sir Roworked the matter into his memory, bert Wilson. Love and jealousy, has given him leisure to taste the the inseparables in Spanish plots, luxury of woe. And never, surely, made up the two acts. And a more did an alderman gloat over the ver- clumsy jumble of mistakes and follies dant fat of turtle, as he cloys himself we have seldom seen. The dialogue with fat sighs and unctuous tears. was better than that of farces in geThe latter you can fancy trickling neral,--and approached nearer to the down his cheeks, like that old dialogue of comedy than was desirsherry of yours
down the glass ; able :--a farce ought to be upon and his sighs come up heavily laden “the touch and go” throughout ; from his heart, as though they were and its language should rush on helwound
up: and lifted out by the ter skelter without halting to parry crane of his neck. He hangs over point or defend itself. Comedy has his book more weeping-willowish leisure, and the night before it. But
farce is short-lived-flits about the the month; and we are happy to be midnight hour-plays late and deep able to record a disposition on the and ought to have its quick wits part of the public to reward those esabout it. Liston played an old Spa- ertions :-indeed the comfort of the nish Father-frilled like a bantam- house is now so increased, that unyet a hearty old cock nevertheless. tenanted boxes are not to be looked All he had to do was to abuse his for. tough lofty wife, which he did in A new Melodrama, founded on good set terms. Harley was a ser Mrs. Shelley's grand incoherence of a vant-certainly out of place; Mrs. novel, called Presumption, or the Chatterley, who iş an easy pleasant Fate of Frankenstein, has been actress, when she keeps her voice brought out with a success as strange together, looked rather prettily as a and mysterious as the being which it young Spanish lover, and had all the brings before us. The audience ease, assurance, and pettishness of crowd to it, hiss it, hail it, shudder ladies in that line. But we are wast at it, loath it, dream of it, and come ing our time over a dead farce !- again to it. The piece has been Readers, we forgot to tell you it damned by, full houses night after was damned—and as a farce, de- night, but the moment it is withservedly, wholesomely, well damn- drawn, the public call it up again, ed! There were snatches of wit, and yearn to tremble once more begleams of humour, which we could fore it. There are very few of our have wished to see spared; but readers, we conjecture, who have not as there is no damning to order, read the novel of Frankenstein,-by -no letting the better part turn stealth, at night, or in some misKing's evidence,-we were compelled shapen hour. To them, therefore, to see the whole lost. The farce was the image of the young Frankenstein, called Spanish Bonds," because with his mad aspirations after knowthey rose but to fall, we presume, ledge, must be familiar ;-to them, for we could really detect no other his long and dangerous studies, his reason. The Waterman at the Hack- fearful labours,- his work of creation dey-stand, who said his name was must be known. To them also, at a given him because he opened the thought, must rise that hideous jumCoach-doors, --is the only person qua- bled being, which Frankenstein gives lified to account for this damned faroe life to, and which starts at all hours having been christened after Spanish and at all places upon the two terBonds.
rified' victims-Frankenstein and the Simpson and Co. have opened a reader. The description of the first counting-house at this Little Theatre dawn-the first tremulous motion of and Terry is, if possible, more life, is in the novel frightfully amusing than ever. The real city given :--and on recurring to it, we merchants-built as he is, dressed as are only surprized that any Melohe is, unaffected as he is, was never dramatist (the wildest going) should before brought on the stage. Terry ever have thought of bringing it out is the man :-fresh out of Robson's of the charmed book to the stage Directory. His head is powdered as and we are astounded that such an if it were used to it-his coat has no attempt should have been attended theatrical cut, no fashionable turn in with success. The management of collar or skirt; but there he stands this part of the novel in the drama is unadorned-and adorned the most. really the most perfect masterpiece Mincing-lane in one eye; and Mark- of Melo-dramatic ingenuity that we lane in the other ! The lover of ever in any piece or on any stage theatricals that has not seen Simpson witnessed. We say this unreserved. and Co. may depend upon having a ly and decidedly, pleasure in-store superior to any he
We do not think it necessary to has already enjoyed.
give the plot of the drama, since we
are sure we should be merely haPresumption ; or the Fate of Franken- rassing the reader with a twice-told stein.
tale :-some alterations were necesThe exertions at this theatre to sarily made—but the leading features give amusement to the public have of the original work (features which, been manifold and unceasing during once seen, can never be forgotten)
THE ENGLISH OPERA HOUSE.