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REPORT OF MUSIC.

No. XIV.

ON Monday, February 26, the Philharmonic Society held their first Concert. Sir George Smart conducted, and Mr. Spagnoletti was the leader. The music commenced with Beethoven's Sinfonia, No. 7, which was performed with such pover, precision, facility, and expression, as can be ascribed to no other band n this country. A Fantasia by Hammel, (piano-forte obligato, performed with admirable delicacy and execution by Mr. Neate); an Overture by Ries, (Don Carlos); Haydn's Symphony, No. 8; a Quartet of Beethoven's, and Cherubini's Overture, Des Abencerages, formed the instrumental selection. Upon the whole, it was thought heavy, principally, however, in consequence of Beethoven's two long pieces. We confess we are not so far gone in the extravagance of the present day, as to relish the unconnected vagaries which some admire in the works of Beethoven. The first seemed to us crude, though forcible-and tiresome, though fangiful. The only redeeming portion was the passage led by the basses, and taken up by the various lighter instruments in succession. Upon the merits of the quartet we agree entirely with the silent but sensible adjudication of a lady of rank, who slept profoundly from the beginning to the end of it. The vocal parts of the Selection were from Mozart, Rossini, and Winter; and were supported by Mrs. Salmon, Miss Goodall, and Mr. Begrez. The two latter performers are greatly improved; and in the duet from. Il Don Giovanni, Fuggi Crudel,' Miss Goodall sung with fine science and beautiful expression. It is cu rious that Mr. Begrez, who has now obtained so very respectable a rank amongst the foreign vocalists, should have come to this country with a view to enter the profession as a violinist, and has only since his arrival in England, cultivated his talents as a singer with ardour.

The first Concert of ancient music, under the direction of his Grace the Archbishop of York, was on the 28th ult. Madame Camporese, Mrs. Salmon, Miss Stephens, and Miss

Travis, are all engaged this season, presenting an almost unequalled combination of ability. Mr. Vaughan is the tenor, Mr. William Knyvett the counter tenor, and Mr. Bellamy, in the lamented absence of Mr. Bartleman, the principal bass. It is the attribute of this establishment to be immutable in practice, as well as in principle. It is, indeed, the depositary of the classical purity of muic, and whether we speak of the austere chastity of the selections, or the precision of the orchestra, it is alire the subject of just admiration. Madame Camporese (the wife of a gentleman named Giustiniani) affords the novelty of the season. She sang an aria of Gluck's, and another of Bach's; but although trained to orchestra singing, having only been the chamber singer to Buonaparte, before she visited this country in 1817, she does not appear to such advantage as on the boards of the Opera house. Her style is legitimate; but her voice has neither the richness, the sweetness, the compass, or the facility of the other female singers with whom she here competes. We observe, she changes passages frequently, to avoid such notes as F and G (where her falsette commences) which, although done scientifically, yet speaks a consciousness of want of power, where a female ought to be as much at ease as in any parts of her scale. Indeed her middle notes are by far her best, Miss Stephens sung Ye Sacred Priests with unabated beauty of tone, and, as it struck us, with improved expres¬ sion. These Concerts have gone on weekly, and at the second, Mrs. Salmon gave Sweet Bird with a degree of delicacy, finish, imagination, and art, that decidedly places her above any singer in this country. Miss Travis has a full, delightful voice, and is a well taught genuine English singer, perhaps the only example now existing. But the most extraordinary part of the ancient Concerts is the chorus, which exceeds in force and effect, in consent, in precision, in the pianos and fortes, every thing to be heard elsewhere. At almost all other places a chorus may be defined, a congre

gation of voices, not one of which would be endured alone. At the ancient Concert, it is a finely regulated ebb and flow of vocal harmony, uniting all that is to be expected from a combination of such vast power, with the intelligence and discrimination that bestows, upon solo singing, the principles of grandeur in expression.

At the charitable Concert, held at the Mansion House, on the 1st of March, patronized by the Queen, an audience to the immense number of about 2,300 persons assembled. The performance was more a spectacle than a Concert, for the necks of all present were stretched to gaze on her Majesty, rather than to listen to the music; the most extraordinary part of which was a trio for the horn, clarionet, and harp, by Puzzi, Willman, and Bochsa. Neither Miss Corri, Miss Stephens, nor Mr. Braham were able to attend; the first being seriously ill, and the two last prevented by their engagements at the theatres. On Saturday, the 10th of March, the King's Theatre, in the Haymarket, was opened with Rossini's Opera, La Gazza Ladra. Mr. Ebers, the bookseller of Bond-street, has been induced to try this hitherto unprofitable adventure, and has chosen Mr. Ayrton (of whose eminent talents we have before spoken) to superintend the stage management. It is said that a sum of 4,000l. has been presented to Mr. Ebers, by certain noblemen and gentlemen, as an encouraging douceur to undertake the enterprize. He is the lessee for one season only; and consequently, it is to be hoped, will not be engulphed in those perilous law and chancery suits, by which the receipts of the concern, since the erection of the present house, have been nearly swallowed up. His scheme of management is spirited; his assistants, in the leading departments, men of ability; and the performers engaged, persons of first-rate reputation. His chance for success, therefore, is placed upon the surest foundations, that foresight, energy, and talent can design.

We shall prefer introducing to our readers the several performers as they appear, to parading the names at once-a course which will enable us to describe their several merits more justly than we could find space

to do in one article, besides giving us the advantage of prolonging the interest. The band is led by Spagnoletti, and comprehends nearly all the most distinguished instrumentalists. La Gazza Ladra is the Maid and the Magpie of our stage, and was originally taken from the French. The story therefore is too well known to need repetition. In the Italian, the great outlines are faithfully preserved; and where the piece differs from ours at all, it is in the adaptation to national manners, which a drama must necessarily undergo, to fit it for reception amongst people whose property it becomes by adoption. For, though in consequence of the supremacy in music which Italy bears, other nations are content to receive her musical dramas in their entire state: that privilege can scarcely be said to be enjoyed by any other people, and is doubtless the attribute of her unrivalled sovereignty in the art.

This Opera has been esteemed amongst the most scientific of Rossini's compositions; and, if this remark be true, La Gazza Ladra affords another proof that science and interest are not synonymous terms; for we think the music is deficient in that property which has hitherto diffused such a lustre over the works of this brilliant composer-namely, in those bright melodies which fill the fancy, and attach themselves to the memory. With the exception of Di piacer, there is not a song that has the smallest claim to fix the imagination, or awake the feelings, and the concerted pieces are by no means of the highest order. In them and in the duets, especially, Rossini has attempted (as indeed he has before) to describe agitation of mind by various arpeggie,-combinations the least favourable to vocal expression. And although we dare not pronounce that he has failed, particularly when we call to mind the duo, E ben per mia memoria, between Pippo and Ninetta in the second act; yet we entertain the strongest doubts, whether the ear can be reconciled to the difficulties and apparent abruptness of such passages, however philosophically consonant the expedient may be to the theory by which music is held, to raise emotions by analogies and resemblances. On a whole,

then, we think far less of this Opera than Il Tancredi, or even Il Barbiere di Siviglia; for it neither rises to the grandeur, visible in many parts of the first, nor to the lightness, vivacity, and spirit of the last; but rather halts, like the language of some of our heavy sentimental plays, between the dignity of Tragedy, and the animation of Comedy.

What La Gazza Ladra wants in musical excellence, is, however, made up in dramatic interest, particularly in the beautiful personification of Ninetta, by Madame Camporese. This lady's countenance cannot perhaps be esteemed handsome, either in its individual features, or in its general contour; but never, surely, did any face possess such power of instantly expressing, by sudden and beautiful transitions, the passing emotions that may be supposed to affect a mind of extraordinary sensibility, under the variety of situation and of feeling incident to the character of the unfortunate Ninetta. Our eyes were rivetted to her features, and we had no desire to remove them; indeed, while Camporese was upon the stage (which is nearly from the beginning to the end of the Opera) we scarcely saw or heard any thing else.

Madame Vestris (in male attire) supports the character of Pippo, a fellow servant with Ninetta. Her voice is a contralto, but is scarcely entitled to the high commendations lavished upon it. Nor has her style (originally imperfect) been improved by acquaintance with the English Theatres.

M. De Ville is the only singer really new to the town. He is a bass, and his voice is tolerably powerful, but a little coarse; and his manner of bringing it forth, by no means of the best kind. His mouth exhibits any shape, except that of the bocca ridente. He took the part of the father of Ninetta, but neither the music nor his singing were calculated to make any very strong impression. Rossini has filled this character with florid passages, which none but the lightest voices can execute with effect. Torri, Ambrogetti, Placci, Romero, and Signora Mori are engaged; and the amiable and accomplished daughter of poor Naldi, is, we understand, to appear

in Cosi fan Tutti, which will be the next Opera produced. The Corps de Ballet is not within our department, but we may barely mention that it comprehends some of the most splendid names in Europe; and that the celebrated Fanny Bias will come to England towards the middle of the season. Mademoiselle Noblet is at present the first dancer, a most beautiful and graceful woman.

The Oratorios at Covent Garden and Drury Lane Theatres commenced on the 9th of March; at the former, under the conduct of Mr. Bishop, and on the succeeding Wednesday at the latter, under Sir George Smart. The Selections continue to present the same intermixture of sacred and comic.-Handel and Don Giovanni, as formerly. Why keep up this mockery of Lent entertainments?

At Covent Garden, a new grand Triumphal Ode, in honour of the first Anniversary of his Majesty's accession, was performed with twelve harps; and at Drury Lane, a requiem with thirteen, but the requiem far surpasses the ode. We can very clearly see why Mr. Bochsa, so celebrated a harp player himself, should out of mere love of his instrument, imagine effects, and write for thirteen harps. But why Mr. Bishop should write for twelve, except from some stimulus applied by a knowledge of the fact, that Drury Lane was to exhibit more than one orchestra of harps, is not so conceivable. If our conjecture be founded, it affords a curious proof, not only of the necessity of competition, but of competition in the same linewhich managers feel! Concerning the excellence of these performances, nothing need be said. They embrace much the same Selections, and the same principal performers from year to year. The grand improvement would be to shorten their terrific durations; but the million love quantity dearly.

The Vocal Concerts (under the immediate patronage of the King) commenced on the 16th of March, upon the grand scale of former seasons. To the English vocalists, are added, Ambrogetti, Camporese, and Miss Naldi. The performance hegan with the Commemoration Anthem, and the Selection contained a

new duett, by Mr. W. Knyvett, which was sung by Mrs. Salmon and Miss Stephens; a new concerto by Lindley, and a new harmonized air by Mr. Greatorex. The rest was classical music, but well (we had almost said too well) known. If the support now afforded to these Concerts declines, it will be because sufficient search after novelty is not manifested, particularly in the songs, duets, and glees. We know how difficult it is to struggle between the claims of novelty and prescription, but with the great mass of hearers, novelty has it hollow.

Poor Bartleman is yet too ill to sing. This reminds us that Madame Feodor is dying at Paris, from having constantly taken acids, with the design of reducing the tendency of her habit to obesity. Europe will thus be deprived of one of its finest vocalists.

The City Amateur Concerts concluded last week, with the eclat that has attended their whole progress. They will certainly be renewed next winter.

Several benefit concerts are announced. Mr. Hawes will have a night on the 2d of April, and Mr. Begrez, on the 17th of May. That of the Cramers is also early in the same month.

Miss Wilson has played Rosetta in Love in a Village, with considerable attraction; a Miss Hallande, at Covent Garden, is rising also in estimation. Her voice is sweet and good, and her style at least unpretending.

The publications are scarcely so numerous as usual at this season.

The Old Highland Laddie, arranged as a rondo for the piano-forte, by Mr. Griffin. This is a spirited piece, but there is a want of connection, which gives it more the air of a collection of cadences than a regular composition.

Mr. Moss has arranged Piu dolce e placido, a chorus in Tancredi, as a duet for the piano-forte, but with no additions of his own.

Mr. Latour has adapted selections from Il Turco in Italia, by Rossini, for the piano-forte and flute. The opera was brought out at Paris last year, but is little known in this country. The airs, under their pre

sent form, bear a strong resemblance to Rossini's most popular compositions. Mr. Watts has also adapted several airs from Il Barbiere di Siviglia for the piano-forte and flute.

Mr. Bochsa has given us a Fantasia for the harp, in which he has introduced The Last Rose of Summer, with very elegant variations. He has also arranged Fra tante angoscie, with variations for the same instrument, with much spirit; but the air is somewhat obscured in the second and third variations.

The Sisters, a duet for the pianoforte, and an old air with variations by Mr. Cutler, are pieces for beginners. The first is very spirited, and they are both superior to the generality of easy lessons.

Mr. Burrowes is employed in arranging Handel's choruses as duets for the piano-forte. Four numbers have already appeared, containing "Oh the pleasure of the plains,' "Welcome mighty King," "The Hallelujah," and "Glory to God."

It

Four of the songs from Don John, or the Two Violettas, now performing at Covent Garden, are published,two by Mr. Bishop, and two by Mr. Ware. Far from his native mountains torn, by Mr. Bishop, is a song of pretension, tolerably sustained. is remarkable for acadenza concertante, in which the voice is accompanied by the several wind instruments in succession. All that can be said for this concert is, that it is new, but against it may be urged, amongst many very strong objections, that the composer has left the chance of effecting, at the end, what he ought to have accomplished during the progress of the song.

The other songs are just pretty. One of them introduces the very favourite French air from Boieldieu's Chaperon Rouge, Depuis long tems, which is incorporated with the English song.

In Celia's Face, a duet for a tenor and bass, by Mr. Webbe, junior, is an elegant imitation of the style of a more classical day than our own, in a line much required; and it will form a valuable addition to the duets for such voices, which are

scarce.

MONTHLY REGISTER.

ABSTRACT OF FOREIGN AND DOMESTIC OCCURRENCES.

ALL the interest of foreign affairs since our last communication on the subject, consists in the details of the Austrian and Neapolitan contest. The Austrians seem determined to enforce the principles of the Holy Alliance, and the Neapolitans as determined to resist them. Every preparation appears to have been made at Naples to meet the advance of the invaders, such as the cutting down of trees, the breaking up of roads, and the organization both of regular forces and militia. The regular troops of General Pepe are said to amount to 35,000 men, and his militia is also numerous. The forces of General Carascosa are very considerable; but he and Pepe are not in communication. The Austrian General Frimont was on the Abruzza frontier with an army consisting of no more than 50,000 men; but what this force wanted in number it made up in valour and experience - its soldiers were the select of the imperial army, and had served in all the trying campaigns of the late war. The reserve of the Austrians under General Lederer had remained in their position on the Po. It appears, however, that his Imperial Majesty will have ample occasion for all his troops and Generals, as it was supposed that the Anti-Germanic spirit was very general throughout Italy. Piedmont had actually risen; and it was said, that the forces which the King of Sardinia had assembled at Turin, to check the Piedmontese, had joined the revolutionary cause, and demanded the constitution of the Cortes. The Prince of Carignan and General Gifleuga were dispatched by the King to appease the troops, and attempt a compromise by a tender of the French charter. This, however, was refused; and the Ambassadors themselves appear to have joined in the refusal, and hoisted the revolutionary banner. In the mean time, numbers of French officers have passed the Neapolitan frontier, and

tendered their services to the people of Naples. Such officers, who have served in so many campaigns, must prove of inestimable service in such a crisis. We find this enthusiasm has not been confined to the French. At one of the late sittings of the Neapolitan Senate, one of their principal subjects of discussion was a tender of service from the English General Sir Robert Wilson, which was in the end gratefully accepted; and the rights of citizenship were unanimously conferred on him, preparatory to his receiving an high command. As far as can be collected, it has not transpired that the English Government mean to adopt any party in this struggle. A motion of the Marquis of Landsdown in the House of Lords for an address to his Majesty, praying that he would use his influence with the Allied Sovereigns for their interference to prevent results which might ultimately disturb the peace of Europe, was negatived by a majority of forty-seven. But on the other hand, in answer to a question put in the House of Commons, Lord Castlereagh declared, that it was the intention of his Majesty's government to preserve a strict neutrality; and on a motion made by Sir Robert Wilson for the production of a letter written by our Ambassador, Sir William A'Court, to the Duke de Gallo, his lordship further explained, that nothing could induce a breach of that neutrality on our part, except the offer of some violence to the Royal Family of Naples. Since the friendly interview between Morillo and Bolivar, nothing seems to have occurred between the militants in South America. Letters have been received in England from the island of Madeira, stating that a revolution was in progress there, and that the predominant party loudly demanded the constitution of Portugal. home, affairs have begun to assume the aspect of tranquillity. The storm occasioned by the late trial has hap

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