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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 oba 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 allluence 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 subscribers 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 somewhich, 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 arv Messrs. F. Cramer, Attwood, Neate, Dance, Mori, H. Smart and Welch.

NEW MUSIC.

arts, which promises well for the ine 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 hos cultivation 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 a- 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 Villagcois, Op. 67. sical art.

The first is dedicated to Mr. Moscheles, How far the range of musical and its merit proves that Mt. 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 rea, indeed, a work of genius, combining, a sonably be formed from the universal perfect knowledge of the powers of the cultivation of the science, our read. instrument with sound taste, science, and 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 exhanstion of the gifted master. The Rondo Villageois 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 Pasopera-and by the demand for ar

torale, but more simple. Both composi

tions are entitled to very high commendarangements 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, pro imagined with great elegance. The whole

Var. 8 is a Larghetto of beautiful expression, digious. Nor do performers rise up in such a succession as the vast sums composition bespeaks the mind and hand

of a master. expended upon public and private music would seem to imply. Bartle ed three compositions of Beethoven: 4

Messrs. Clementi, and Co. have publishman 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 selent, 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 the leamer to form a better idea of the

named publication will, perhaps, enable entitle him to succeed to the honours 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.

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THE DRAMA.