26, Cheapside.) 2. FANTASIA SCOZZESE for the PIANO-FORTE, on the favourite airs of The blue bells of Scotland, and Ye banks and braes of bonny Doon, with an accompaniment for the Flute, ad. lib. by W. T. LING. (Gow and Son, 162, Regent Street.) 3. Le Sentiment d'Amour, a familiar DIVERTIMENTO for the PIANO-FORTE, in which is introduced an admired Irish Melody; composed by J. MONRO. (Pubblished by the Author, 60, Skinner Street, Snow Hill.) THE admirable rondo by Steibelt has drawn forth three imitations that we have seen; perhaps there are many more. One of them was noticed in our review not long since. The present work is perceptibly modelled after The Storm, but not copied from that celebrated movement, and is a very clever composition, with a lively melody running through it, invigorated by some excellent modulations, and diversified by many brilliant passages, that require certain powers of execution, but are not unconquerably difficult for the better order of performers. One of these, in E flat, at page 3, is not the less classical for resembling in some degree an exercise by Cramer. We doubt whether imitations are likely to answer a composer's purpose, if he have profit in view: reputation undoubtedly is to be gained by such a publication as the present, and we shall hope soon to see some works more strictly original by the same author. It does not follow that because everybody possesses the Blue bells of Scotland by Griffin, and the Banks of the Doon by Steibelt, they should not be reset by as many as may choose to compete for public favour with those composers: on the contrary, we are glad to see others enter the lists, for honourable rivalry, though now and then dangerous, is generally productive of some good. We have examined Mr. Ling's Fantasia without any invidious comparison, and wish that he had delayed the publication of it, not for nine years, according to the precept which Horace gives to poets, but nine months; he then most probably would have revised, and might have improved it. Parts of it are good, but the harmony in many places is rather erroneous, and not very pleasant to the ear; for instance PAGE 3. The Irish air in Mr. Monro's divertimento is, "My lodging is on the cold ground," which is indeed very familiar to everybody; and he has made no stranger of it by any of his additions. It is followed by the Isleworth Waltz, and would have been complete had it been preceded by the Brentford-Butts March. 1. Mnemosyne, an AIR with VARIATIONS for the PIANO-FORTE, composed by J. A. MORALT. (Monro and May, 11, Holborn Bars.) 2. ROMANCE, with Variations for the PIANO-FORTE, composed by AUGUSTUS MEVES. (By the same.) 3. INTRODUCTION, and the popular French AIR, "C'est L'Amour," arranged as a RONDO for the PIANOFORTE, by S. POOLE. (By the same.) 4. INTRODUCTION, and the celebrated Irish Melody, "The Bower of Eveleen," arranged with VARIATIONS for the PIANO-FORTE, by S. POOLE. (By the same.) FROM the title of No. 1, and an inspection of the Air and its Variations, we are led to conclude, that Mr. Moralt is not a little indebted to memory for the materials of which his present production is composed. The Romance by Mr. Meves, is quite a bagatelle, and intended, we presume, for only very young performers. No. 3 is an extremely easy adaptation of the French Air printed in the third number of this work, accompanied by an unvaried succession of triplets in the base; but is short, and may suit very young learners. No. 4 pretends to something more than the former, by the same, and therefore compels us to say that it will not bestow on the Author any very splendid reputation as a composer. BEETHOVEN'S OVERTURE TO EGMONT, arranged for the Piano Forte, with accompaniments of Violin, Flute, and Violoncello, by I. MosCHELES. (J. B. Cramer, Addison, and Beale, 201, Regent-street.) Of the music to Goethe's Egmont, set by Beethoven, nothing is known in this country, except the overture, which was performed some years ago at the Philharmonic Society, and by its grandeur and originality excited the warmest admiration in all true connoisseurs of German music, and has never since failed to produce the same result. It was immediately arranged as a duet for the piano-forte by Mr. Watts, and widely circulated in that form. It is now adapted for quartett parties, to whom in its present state it will be a valuable acquisition: but it may be performed on the piano-forte, divested of the accompaniments, with very good, though certainly not with equal, effect. M. Moscheles has arranged this overture so as to omit nothing essential in the harmony: he could not make it easy to execute, but has not crowded it unnecessarily with notes, and it is in a very practicable form. The accompaniments are free from all difficulty. We shall not be expected to enter now into the merits of so well-known a composition; but as a specimen of the manner in which it is arranged, and to give such of our readers as may not happen to be acquainted with it, a single passage as a sample of the whole, we insert the following few bars: 1. HUMMEL'S OVERTURE, Helen and Paris, arranged for Two Performers on the Piano-forte, by W. WATTS. (J. B. Cramer, Addison, and Beale, 201, Regent-street.) 2. "Oft in the stilly night," from Moore's National Melodies, arranged with Variations for Two Performers on the Piano-forte, by FERDINAND RIES, Op. 136, No. 1. (J. Power, 34, Strand.) 3. DUET for the Piano-forte, selected and arranged from the Der Freischütz of C. M. von Weber, by SAMUEL WEBBE. No. 1. (J. B. Cramer, Addison, & Beale, 201, Regent-street.) 4. A selection from C. M. von Weber's Opera, Der Freischütz, arranged as DUETS for Two Performers on the Piano-forte, by J. C. NIGHTINGALE, Organist of the Foundling Hospital. Set 1. (Monro and May, 11, Holborn Bars.) The THE opening of Hummel's Overture, an andante of one page, is an elegant and delightful movement, that must succeed in pleasing all who have an excitable taste for the art. Those whose feelings are not touched by it, may be assured that they have no taste at all in music. rest of this composition, which is of course the greater part of it, is a very brilliant allegro, in an extremely popular style, divested from those scientific modulations and difficult passages that so frequently are found in the productions of this celebrated author, and quite adapted to the most numerous class of amateurs. Indeed it is so devoid of demisemiquavers and even semiquavers,-there not being more of both together than of pages,—that it looks more simple in construction, and more easy to execute, than it really turns out to be. This overture is very well arranged, a praise that is due to all the publications of Mr. Watts; which consist wholly, we believe, of adaptations. No. 2 is an easy work by Mr. Ries. The air has all the charms that tranquillity of strain can produce, and the variations are in character with the subject; except the second, a vivace, which is entirely out of place, and will be at once discarded by those whose sentiments are in unison with ours on this point. The rest of this duet is very pleasing, and may be placed before almost any performer. Nos. 3 and 4 bring Der Freischütz once again into our view. Mr. Webbe has chosen two subjects for his short duet, that are less popular in their style than most of the airs in the opera, but not without that peculiarity of character which distinguishes M. von Weber from all contemporary composers. Mr. Nightingale has selected the Jaeger, or Huntsmen's, and the Nuptial chorusses, together with the March*; three of the most favourite pieces in the Freischütz, and has put them into an exceedingly easy form. *See Numbers VI. and XXI. of the HARMONICON. VOL. III. Ꭰ FOREIGN MUSICAL REPORT. BERLIN. The performances at the opera during the present season have been Il Barbiere, by Rossini; Die Waise und der Mörder (the Orphan and the Assassin); Die Hottentottin, by M. Benelli; Kiaking, the music by Girowetz, the ballet by Titus; Hamlet, the music by K. von Miltitz; Die Galeerensklaven, by Schubert; Jean de Paris, by Boieldieu; Preciosa, by M. von Weber; Die Unterbrochene Opperfest, (the Interrupted Sacrifice,) by Winter; Joseph en Egypt, by Mehul; Richard Cœur de Lion, by Gretry; Der Freischutz; and Die Falsche Prima Donna, (the False Prima Donna,) by Ignatz Schuster, The only novelty at this theatre, for so it may be called, was the revival of the celebrated and long-wished-for opera, the Matrimonio Secreto of Cimarosa. Too long have our boards been occupied by objects of inferior value, to the exclusion of many of the master-pieces of the art; and it is a subject of great satisfaction to the friends of genuine music, to see that the managers have had the courage to break through the general routine of stage performances, in order to make place for works of a loftier character. But at the same time that we applaud the spirit which has led the conductors to revive this ornament of the old school, we cannot help offering a few remarks upon the manner in which it has been brought out. In the first place, we cannot agree with the director of the music relative to the time which he has chosen for the various movements of the opera; nor, in the next place, can we feel satisfied with the omissions that have been made, for instance, of the beautiful duet in C, in the first act, and particularly of the admirable tenor air in E flat, in the second act. Not satisfied with this, the three female singers also were allowed to spare themselves the trouble of learning the airs allotted to their parts in the second act, and we were obliged to rest satisfied with that of the Count only, with which we could have willingly dispensed. Hence we had the Matrimonio Secreto, without either soprano or tenor air! Could Cimarosa know this fact, he would not rest at peace in his grave. It is to be hoped that, for the future, the directors will be careful not to fall into blunders like these, which cannot but prove injurious to themselves, and offensive to the good taste of the public. No reasons can justify such liberties taken with a work of classical authority, whatever may be done in the instance of the ephemeral productions of the day. MUNICH. The last representation for the season at the Royal Theatre here, took place in July. The whole of the representations given were thirty-seven in number. It cannot be denied that the opera buffa of the Italians, from its fire, its vigour, and the wonderful precision with which the performers act up to each other, possesses a charm peculiarly its own, as we have lately had occasion to witness in the performance of Il Barbiere, La Cenerentola, L'Italiana in Algeri, La Repressaglia, &c. But if we look at the serious operas also, we see abundant occasion for the most exquisite enjoyment. If we had reason to be delighted with Signora Fenzi in the characters of Semiramide, and Elcia in the Mosè, we had no less cause to be satisfied, and even to be still more charmed, with Signora Lalande. This great singer appeared in both the parts above-mentioned, as well as in the character of Donna Anna, in Don Giovanni, of Ninetta, in La Gazza Ladra, as well as in the cha racters of Elisabetta and Agilda. Her expressive style of acting is no less admirable than her singing, and whenever she appeared, she was hailed with the most enthusiastic applause. The concerts given here have presented no novelties. If we might be allowed to venture our opinion, we should say that, admirable as is the manner in which instrumental pieces are performed, and judicious as is the selection made, including most of what is new, and all that is excellent in this department of the art, yet we could wish to see this taste rather less exclusive. Surely that noblest of all instruments, the human voice, might be allowed a more exalted place on these occasions, without being deemed an intruder! DARMSTADT.-Four operas have been produced here, new to this place, Climene, by Kapellmeister Wagner; Merope, by Kapellmeister Mangold; Der Freischutz; and the Olimpia of Spontini. Euryanthe is also on the list of operas to be given. BRESLAU. This place possesses an able musician, in Kapellmeister Schnabel, and an excellent musical director in M. Berner, both of whom are indefatigable in their exertions for the interests of the art. There is here, besides an institution for church music, a Singvereine (Song Association), by which occasional concerts are given. In the former, the town possesses a very superior organist in M. Berner; indeed he may with justice be said to rank among the first professors on that instrument of the present day. Kapellmeister Schnabel presides in the cathedral choir, where he has produced many masses of his own composition, which have been deservedly admired, particularly one in A flat major, which is remarkable not only for the beauty of its song and splendid organ accompaniment, but also from the peculiarity of the circumstances under which it was composed. During the time this place was attacked by the French, the composer and his family were obliged for a time to seek shelter in a deep cellar, where he beguiled the melancholy hours by the composition of this mass. In the vocal institution, M. Berner is the director, and gives instruction in song, as well as lectures upon composition. Besides this, M. Freudenberg has instituted an academy for music, upon a new system, which has created a great sensation here. The professor lately gave two public examinations of his pupils, in which satisfactory proofs were offered of the proficiency of the scholars in playing, as well as in composition. The first class, after affording a proof of their perfect acquaintance with the rudiments of the art, showed their practical knowledge, by putting a given theme into four parts. With respect to the concerts they are led by both the professors, and are chiefly composed of amateurs and dilettanti. Every praise is due for the great correctness with which the music is given, but still it cannot be denied that the finish observable in the better orchestras of Germany, is here wanted; that delicate tint of colouring with which the different parts of a musical picture are made to harmonize together, and which by happily blending softness and power, produces the perfection of the art. In the last concert performed here, Beethoven's symphony, entitled Meeresstille und Glückliche fahrt. (The Stillness of the Sea and the Happy Voyage), was performed with much effect, and in a manner that augured well for the future fame of Breslau in instrumental music. It is to be regretted that there is not a single lady here to enliven these concerts by her voice, which cannot but seem dreary when that charm is wanting. Probably this defect may be owing to a want of good professors hitherto to give a finish to singing; but it is cheering to know that this defect will soon be remedied. We must not forget to mention that M. Berner has been for several years past occupied with several interesting theoretical works, some of which we may hope shortly to see laid before the public. He is, besides, the author of various cantatas, and has produced many valuable compositions for the piano. enough to try the patience of the most indulgent audience. Composers, and all who exercise their talents for the amusement of the public, should bear strongly in mind, that the delight which, like eternal talkers, they feel in hearing themselves without ever growing fatigued, cannot be transferred to the hearers. We observed that this prolixity arose from a repetition of the same motivos, of which the composer seems so much in love, that he cannot for his heart separate from them. In this respect Rossini surpasses all his brethren; this prolixity might be pardoned, if it were limited to simIn the villages around Breslau, music is every where cul-ple airs merely; but when it extends to duets, terzetts, quartivated, particularly that of the sacred kind. Many of the tett, quintetts, &c., so that the principal subject is only served churches have very respectable choirs, where some of the up again in a variety of shapes, the patience of the most best compositions are occasionally attempted. Nothing is indulgent is put to a test, which it requires more than more common than to hear charming national airs in several mortal endurance to support. Experience has taught us, that parts sung by the peasantry, which prove a delightful solace an act which exceeds an hour creates displeasure, one of to them after the labours of the day. an hour and a half fatigue, and above two hours ennui and disgust. GRETZ.-Music continues to gain ground in this town, and to count in its lists an increasing number of votaries. The company of singers here is effective, and the following operas have been performed in a manner not unworthy of theatres of greater eminence; the Italiana in Algeri, Jean de Paris, Otello, Il Barbiere di Siviglia, La Gazza Ladra, Der Freischütz, Joseph et ses Freres, Cenerentola, and Paer's Sargino. With respect to this latter opera, we cannot but remark, en passant, that the whole composition is replete with truth and beauty, and is full of tender romantic effects, which were well preserved in the admirable acting of M. Yäger. The cantilena that reigns throughout this opera is delicious, and bears all the character of having emanated at once from the heart, and its colouring is that of a masterly picture drawn from nature herself. MILAN. There has lately appeared here a new opera from the pen of the young composer Soliva, entitled Elena e Malvina. This composer is already known by his opera Il Capo di Ferro, a composition which he produced immediately on quitting the Conservatory, where he had distinguished himself with much honour. Every one recognised in the young composer no common knowledge of music; his name became at once established, and his talents were immediately called into action in a foreign country. Arrived on the banks of the Vistula, he there ranked among the first professors, and on his return to his own country, gave proofs that his time had been well employed, and that he was still more deeply skilled in the mysteries of the art. Of this abundant evidence was afforded in the opera above-mentioned. Not that we mean to assert that the opera is of the first class, or even attractive as a whole, or that its originality is such as not to allow frequent imitations to be recognised; but the merit of a well-arranged combination of harmonies cannot be denied it, as well as many new forms of melody, and ornaments which are to be allowed a composer, provided they do not degenerate into extremes. In the introduction to the first act, the only objection that can be advanced, is its unreasonable length. The excellencies are conspicuous, in a terzetto, a duet, and in the finale, though not in an equal degree. The first act met with considerable applause, but the composer risked much in extending his subject to so unconscionable a length; for a space of two whole hours is surely The second act has the advantage of being shorter than the first, but with the exception of the duet between Elena and Malvina, it did not produce any very great effect. The performers exerted themselves on this occasion in the most praise-worthy manner, particularly Madame Belloc, Signora Fefta, and Signor Galli; the voice and acting of the latter is above all praise. FLORENCE.-Teatro della Pergola. The company at present here consists of Prima Donna, Adelaide Tosi; Musico, Gio. Battista Velluti; Tenor, Domenico Reina; Buss, Luigi Biondini. The first opera given, was Mayer's Ginevra di Scozia, in which, according to the very laudable and consistent practice, now so prevalent, many pieces of music foreign to the piece were introduced. But after all it did not please, and particularly as the principal singer, Velluti, was indisposed, and sung wretchedly out of tune. After this was given Mayerbeer's Crociato in Egitto*, which was brought out by the master himself, and enriched with a new duet. This opera was received with great furore; during the first three evenings, the Composer was regularly summoned to make his appearance at least four times during the course of the piece, in order to receive the congratulations of a very full house. The singers were also called to share the same tribute of applause; nay more, we are assured that on the first evening, the impressario himself was destined to partake of the same honours. Among the singers, the great favourite is the Signora Tosi, of whom the public form the greatest hopes, and who had the good fortune to enjoy, during a whole year, the instruction and advice of one of the greatest singers of the age, the Chevalier Crescentini. Her advantages are many, both as to voice and person; the former is of the soprano kind, impressive, sonorous, and of very considerable compass; the latter is full of beauty, accompanied with great grace and modesty of deportment. There can be no doubt but she will become greatly renowned in her profession, and may be said to be almost the only living representative of the school of the great Crescentini. She had already obtained a very enthusiastic reception in Turin, and would have still more increased her fame there, had it not been for the circumstance of the closing of the theatres, in consequence of the death of King Victor Emanuel. She has however succeeded in establishing her reputation at Florence. * See page 2. Lord Burghersh, His Britannic Majesty's Minister at this place, lately gave a grand fête here: part of the amusements consisted of an opera composed by himself, in which Signora Tosi, Signori Velluti, Reina, &c., performed. VENICE. The season here began with the Zelmira of Rossini, which, however, obtained but little success; it was followed by the general substitute of this composer's failures, Il Barbiere, which was very effectively performed, and succeeded in soothing the disappointment felt in the instance of the other opera. After this was given the Adelina of Gennerali, which is rather a favourite. But the great attraction has been the Crociato in Egitto, a new opera by Mayerbeer, and which was received with great furore. We shall find an early opportunity of giving more particulars of this masterly composition *. AMSTERDAM. We hear that a considerable improvement has been effected by an artist of this city in the French horn. He has contrived a mode, by which a transition into a variety of keys can be expeditiously effected. This was formerly managed by means of additional pieces which were screwed on or off as circumstances required; it is now effected without the necessity of having recourse to these means. This will be of great consequence in the orchestra, as it will prevent the interruptions necessarily attendant on the present method. PARIS.-The Sacrifice Interrompu having been frequently interrupted by the colds of M. Leon, the manager has struck at the root of the evil, by obtaining from the authors permission to suppress the part of the Ecuyer, which he performed. These gentlemen made no difficulty in acceding to the sacrifice, and what is singular, the public has never perceived this double excision. The dilettanti of the Louvois are all in rapture: Rossini is at last named manager of the Theatre Italien. It is affirmed that the first act of authority exhibited by the Maestro was to propose an engagement to Madame Rossini, who offered no objection to its acceptance:-" Women, be subject unto your husbands." M. Cherubini has just given in his resignation. MM. Lesueur, Berton, and Boieldieu have given in theirs; we have` reason to fear the departure of the latter for Russia. What in the meanwhile will become of the Ecole Royale de Musique? There is no other hope but in the interference of the august protector of the arts. An ordinance which he has coudescended to issue, is said to furnish a favourable augury in this matter. In order to make M. Habeneck a proper compensation for the flourishing state in which he has left the Opera, in regard to the singing strength of the house, the Minister de la Maison Royale has just appointed him joint-director with M. Cherubini of the Ecole Royale de Musique. He thus suddenly becomes the leader of the Lesueurs, Bertons, Boieldieus, Kreutzers, Baillots, Plantades, &c. It is moreover said, that M. Habeneck, impressed with all the importance of the place which he is about to occupy, has solicited permission from the minister to be admitted as a pupil into MM. Reicha's and Fetis' classes of counterpoint and fugue, and into that of superior composition under the control of MM. Berton, Lesueur, and Boieldieu*. The German theatre in this city is ordered to be shut, by a decision of the authorities. A quarrel between two female performers has occasioned this measure. The last songstress engaged by the manager excited the jealousy of the donna, who had long held possession of the public favour. The partizans of these ladies became violent: an obstinate conflict took place in the theatre, and the sub-director of the local police, assisted by a great number of his agents, attempted in vain to quell the tumult: it became necessary, therefore, to introduce soldiers into the pit, and force the combatants out of the doors. The new singer, who was thus opposed, possesses gaiety and originality of his acting, are as highly appreciated real talent, and a brilliant voice; but she is a native of Holland, and the amateurs, most of whom are of German origin, refuse to listen to any performer who is not of that nation. MALTA. The celebrated Sigmund von Praun,-at present a Roman Count, and Knight of several orders, possessor of various prize medals, and member of several philharmonic academies,-who, from his earliest years, attracted the attention of the fashionable world, by his acquirements, and his wonderful progress in the arts and sciences, has been equally successful in the field of music, and has acquired the reputation of being one of the first violinists of our time. He lately paid a visit to this Island, and afforded the friends of music a great treat. He gave three concerts, two in the royal theatre, and one in the Palazzo Castiglioni. The loud applause with which he was greeted, was a proof of the enthusiasm which he had awakened in the audience. On the second evening, at the conclusion of a concerto which had called forth all his talents, a crown of laurel was contrived to be lowered down upon his head, and a printed ode, composed by the poet Cesare Vassallo, was circulated about the saloon. Some dilettanti have not hesitated to declare that, in the youthful Praun, Paganini has no mean rival of his fame. We learn that this artist is about to proceed on his musical travels. See page 2. Zuchelli has appeared again in La Cenerentola, since his return from Italy. His excellent intonation and taste, the as ever. The jury of the opera† have received unanimously the music of Pygmalion, composed by M. Halévy, a pupil of M. Cherubini, who gained a prize at Rome, and whose talents are full of the most brilliant promise. The authors of the words have added new characters to the lyric scenes of J. J. Rousseau, and introduced more action. Signora Schiasseti has appeared in the character of Isabella in L'Italiana in Algeri: her success was great, but Mlle. Cinti is still remembered in the same with pleasure. Zuchelli is admirable in the part of Mustapha, and makes us forget Galli. Curioui continues to perform, and has often appeared as Osiride in Mosè, with some success; but he is not very popular here as a singer. Mad. Mombelli, who pleases so much in the Cenerentola, does not produce any effect in the part of Elicia. The serious opera is not calculated for her voice. *This severe sarcasm will doubtless be understood by the English reader. (Ed. Harm.) + At the Académie Royal de Musique, the pieces offered to the theatre are examined and judged by a certain number of officers attached to the establishment, who form a Jury. This English word is now adopted in France. |