art that stands much in need of their aid, and which is capable of being elevated far beyond its present rank, and of producing effects much superior to any yet known, by the assistance of strong and cultivated intellect.

A Series of MORAL SONGS. The Words by W. F. COLLARD, and the Music by J. C. CLIFTON. Nos. I. to VIII. (Clementi and Co.)

on the authority of documents that have come under our own inspection, that where England can produce one national or loyal song,-composed in the interval between the beginning of the seventeenth century, and the present period, France can shew two at least. The French began to com- The volume is brought out in a handsome manner, which pose and sing them, even while the Romanse rustique, or indeed the high price,-two guineas-demands. Praise rustic Latin, was the native dialect. Charlemagne got by also is due to the editor for having gained permission to reheart the songs made to celebrate the wars of his prede-print some of Mr. Shield's deservedly popular compocessors. Abelard obtained the affections of Heloise, by his sitions; and it would be unjust to close this article without talent for song. "Two things," says she, "gained you acknowledging that, whatever our general opinion of the the hearts of all; a happy ease in writing the finest verses work appears to be, its author is worthy of every commenin the world, and an incomparable grace in singing them." dation for his patriotism and loyalty. Dr. K. seems not to have bent much of his attention to this part of musical literature, or he would not have committed himself so rashly. M. de Querlon, the learned and elegant author of the Mémoire historique sur la Chanson, (p. 45) says, that "a library might be formed of historical songs In the Bibliotheque du Roi, are to be found many of them, with the notes. Ever since the establishment of the Academie Royale de Musique, these national and loyal songs have been increasing in number. We never heard, or saw, a French opera without at least one of them. Lully, a great composer, to whom the English musicians at the end of the seventeenth, and commencement of the eighteenth, century, were not a little indebted, rarely composed an opera that had less than two or three of them. Rameau and Gretry the same; and during the period of the French revolution,-in the short space of eight or ten years, a multitude of national songs of great musical merit, were produced by the best composers of the time, including Gretry, Daleyrac, Mehul, &c.

In the examination of Mr. Clifton's Songs, though we have met with much to approve, we have been able to discover little originality in them. That pure style, however, of song writing, which so peculiarly characterized English compositions, from the great Purcel down to our present veteran Shield, has been, for so many years, abandoned and sacrificed to a vicious taste for foreign decoration, that we must not be too severe upon the little pieces before us; especially as they do not fall (with one or two exceptions which we shall presently notice,) into any violent irregularities either of modulation or melody, and are pretty much, it must be confessed, on a par with those airs which are now usually produced on the stage and in concert rooms, and are such as the public most applaud.

The song,

Dr. K. tells us, page 4, that "the works of our mu- The prevailing faults of the generality of young comsicians have been dispersed and lost." Yet, at p. 5, he Yet, at p. 5, he posers of songs are, exuberance of accompaniment, and a says, "that he has been twenty-five years endeavouring to too frequent repetition of enharmonic changes. We think collect complete sets of the works of our English com- that Mr. Clifton has, in a great measure, avoided these; posers, which now fill TWO HUNDRED and FIFTY FOLIO but he is, generally speaking, deficient in appropriate and VOLUMES, and comprise every English opera which has striking melody. been printed from the commencement of that kind of drama, "The prayers that are sent," opens agreeup to 1810." Here is a discrepancy which we cannot at-ably enough; but our career of pleasure is checked at once tempt to reconcile; but we beg leave to differ widely from by a fall in the voice part from B natural to E sharp, not to the author respecting the lost works of our composers, because mention the violence of the modulation; and where was from our own knowledge we are enabled to state, that very the necessity of this? "The Sensitive Plant" is a far sulittle music, of which any account is recorded, has perished.perior song, and one of the best in the collection; but we We heartily concur with Dr. K, in what he says concerning the manner of accenting syllables in many musical compositions, and the way in which "the genuine expression of words is [often] sacrificed in glees, to shew the science of the composer." The exemplification of his doctrine of emphasis and accent, in God save the King, and other pieces is equally entitled to assent. But why, in his own glee, No. 57,-which, by the way, though not immaculate, is superior to some that he has selected ;-has he been betrayed into one of the prosodial errors which he himself condemns? In the line, "All hail! Britannia, Queen of Isles," the author makes the first syllable long, all hail! This is an iambus, surely, and we never knew it treated otherwise in scanning. It is thus noted;

must regret that the composer did, not in the seventh bar of the third page, preserve the first G. in the treble natural; the glide afterwards into the sharp would have been beautiful. As it stands, the effect is unquestionably bad. We think this song would have been better concluded at the eleventh bar of the same page. "O the Eye that's bright" has nothing very brilliant in it. Another, "What can Wealth," is only remarkable for having a passage in it beginning at the first bar third page, note for note, the same as in an air introduced in one of the old English Operas, but whether the Maid of the Mill, or Lionel and Clarissa, we have not had time to examine. We do not, however, accuse Mr. Clifton of intentional plagiarism. Mr. Bishop himself commences his popular air "Bid me discourse,' precisely in the same strain that opens the fine song in The Duenna, " Sharp is the Woe;" but we will venture to say, that Mr. Bishop was not thinking of that song at the time. As a further instance of the same melodies occurring to different fancies, to express diametrically opposite sentiments, we refer our readers to an old Vauxhall song by Mr. Hook, beginning "On Richmond hill there lived a lass :" then let him turn to the opening of Haydn's grand chorus in the Creation, "The Heavens are telling," and he will find the same melody exactly. Yet here it would be as invidious as absurd to impute intentional plagiarism. The symphony to "The Wandering Minstrel" pleased us very much: the

U

modulation is ingenious without being pedantic; and this is || what we cannot always say of some modern composers, who may dispute Mr. Clifton's humbler pretensions. The chord of the sixth on the C sharp, to express the "Child of Sorrow" is introduced with great taste and feeling, though we should have preferred the proper pronunciation of sorrow short, instead of sorrow as it stands now. This is a very charming air altogether.

"Awake, Sleeper!" we pass over without comment, as it is one of those tunes which cannot offend, but makes no impression. The opening, and indeed the whole, of the first part of the song, "What makes the Moon's Fair Beam" is exceedingly sweet, but what can be said in defence of this ?

treble, can take off the grating effect of such a progression. The close of this song does not accord with the other parts of it-there should have been no flourishing whatever.

Come we now to the last, and certainly not the least of these Moral Songs, as Mr. Collard the poet denominates them. It is a beautiful little air, not deficient in originality, and though in its construction very light and simple, may, we think, fairly rank with any of the popular melodies of the day.

OVERTURE to THE RUINS OF ATHENS, by BEETHOVEN, arranged for the Piano-Forte. Published by Boosey and Co., Holles Street.

This adaptation has just appeared. and as we have never heard the overture performed, or seen the score, we must form a general opinion of the composition from the arrangement. It begins with an andante of nineteen bars, the seven first of which are so strange, that, with humility, we confess our inability to comprehend them. Perhaps our readers may be able to penetrate more deeply into their

Neither the crotchet rest in the bass, nor the G in the meaning; we, therefore, extract them.

Genius has its eccentricities, and if they occur but seldom || we are bound to respect them. The favourite cat of Domenico Scarlatti walked over the keys of his harpsichord, and sounded a few notes at most irregular and forbidden distances. Her master, however, pleased with her debut, noted down the feline solo,-made it the subject of a fugue, and produced a composition that is delicious to the ears of all experienced harmonists. Some such accident may have suggested to Beethoven the commencement of this overture; but he has not equally profited by the hint. A very short march follows this whimsical opening, and ushers in the principal movement, which consists but of five pages, and is in a more familiar style than we are accustomed to in this great composer's overtures. But the passages are very awkward for the hand, as is the case in most German adaptations, and difficult of execution. It is, nevertheless, a very animated piece of music, and by a tolerably skilful performer, may be made to produce a brilliant effect.

Sir J. Stevenson's ballad is pretty, and is of a kind that commonly succeeds in the theatres. In granting thus much, we have granted all that truth will permit, for we must say, that the mannerism of this air is too plain to be passed by without notice; and the accentuation is quite painful: "on that young cheek;" "Tho' o'er thy form;" "Can one so young;" "Has falsehood," &c. &c. All this is as distressing to an ear that can distinguish between

right and wrong in prosody, as a series of consecutive || the benefit of both; and also to enable those who have fifths are to an ear that knows how to judge of good and bad in harmony.

Mr. Cooke's song is in a style that is sanctioned by the practice of many years, and is truly English, without any admixture of a foreign school. It is not displeasing, and though he has not expended much of his talent upon it, yet it is a melody of that easy, good-humoured kind, that will satisfy many people, and find friends, who will draw a short half-hour's amusement from it, and then forget it for some new acquaintance of the same quality and fashion.

"HERE'S

A HEALTH ΤΟ ALL GOOD LASSES." Arranged for the Piano-Forte as a RONDO, in the dramatic style, by AUGUSTUS MEVES. Clementi and Co. This very sprightly and favourite air makes a remarkably good subject for a piano-forte rondo, and we rather wonder that its services have not earlier been divided between vocal and instrumental performers. Mr. Meves has arranged it exceedingly well, both for effect and general use, and has placed it within the reach of every player, while it will not prove derogatory to the best class; for it has much elegance in its tournure, and though it requires but little power of hand, or rapidity of motion, yet it may be made to shew a good deal of taste and expression; qualities, that will generally be preferred by cultivated and sensible people. We find in it two errors that must be imputed to the author, and as many for which the engraver is responsible. We shall point them out for

7

2

not the assistance of a master, to correct the work for themselves. In the fourth bar of the Introduction, the A in the treble should fall to G, for the second in the chord of the sharp seventh, or 354 must descend. Page 3, third treble staff, third bar, the two last semiquavers should be D and B, instead of C and A. Page 5, last bar in the treble, the E should be altered into G. At p. 9, second bar in the last treble staff, the two quavers, G and E natural, produce a wretched effect, and might advantageously be changed to A and G, the first line and first space above. We confess our ignorance of what is meant by a rondo in the " dramatic style."

MILITARY MOVEMENT from Haydn's twelfth Symphony, arranged for the Piano-Forte, Harp, and Flute, by J. G. GRAEFF. Clementi and Co.

An excellent adaptation of this admirable movement, and such as we recommend to all families, and societies, where performers on the three instruments are in the habit of assembling for musical purposes. It is within the compass of most players on the piano-forte, harp, and flute, and is a fine specimen, in a very practicable form, of Haydn's genius and knowledge of effect. It is such as the greatest connoisseurs will be pleased to hear, and will also be relished by those who do not easily enter into all the learned combinations of abstruse harmony.

ROYAL ACADEMY OF MUSIC.

Since the election of ten boys and ten girls, as reported in our last Number, the following have been chosen as extra students, or scholars who contribute towards their Duetto, Mad. Camporese & Sig. Curioni," Ah se puoi." (Mose in Egitto) Rossini. maintenance and instruction:

Girls.—Elected 9th of April. Atkinson, Eliza Mary; Dickins, Frances Eliza; Foster, Caroline; Goodwin, Alice; Morgan, Margaret; Price, Mary Ann; Shee, Eudocia; Watson, Eliza.

Boys-Elected 5th of April. Cooke, Thos. William; Crawley, Hen. John; Daniell, William Martin; Fowler, Richard; Hill, Charles Gwatkin; Lucas, Charles; Smith, David.

Of the whole number now elected, we do not find that more than three are to be prepared for the orchestra, and that only one professor, in the extensive nominal list, will be employed in this most important department.

On Thursday the 24th of April, a Concert was performed at the King's Theatre, in aid of the funds of this academy, upon which occasion all the musical talent in London, both foreign and English, rendered their services gratuitously, forming a list much too long for insertion here. But, as a first performance of a Royal Academy, a programme of the Concert will not be uninteresting to our country readers, and may be a curious document in after

times: we therefore annex it.

PART I.-Leader, Mr. F. CRAMER.

PART III.-Leader, Mr. MORI. Coronation Anthem, "I was glad;" (as performed in Westminster Abbey at the Coronation of His Majesty) Attwood. Recit. and Song, Miss Stephens, "Auld Robin Gray" W. Leeves. Quartetto, Madame Ronzi de Begnis, and Signor Begrez, Madame Camporese and Signor Curioni, and Chorus, " Mi manca la voce ;" (Harp Obligato) Mr. Bochsa.) (Mose in Egitto) "La mia Dorabella."

Trio, Mr. Sapio, Signor de Begnis, and Signor Placci,

Rossini. (Cosi fan Tutte) Mozart. Duetto, Madame Ronzi de Begnis and Signor de Begnis. "Nella casa" Generali.

Sestetto, Signora Caradori, Miss Goodall, and Mad. Vestris, Sig. Begrez, Sig.
Placci, and Mr. Kellner, “Alla bella Despinetta." (Cosi fan Tutte) Mozart.
Solo, Mr. Terrail, & Chorus, " May God, from whom." Occasional Oratorio Handel.
Concluding with the National Anthem, "GOD SAVE THE KING."

The theatre, upon this occasion, was full; and, owing to the activity and personal influence of the committee, the boxes were all advantageously let. An orchestra was erected upon the stage, which was well filled by performers during part of the evening; but many withdrew before the concert was over. The performance was at least an hour too long, and for want of skilful management and sufficient rehearsing, great confusion prevailed. Dr. Crotch's oratorio of Palestine is not adapted to a theatre. It is a masterly and ingenious performance, and contains many pieces of the most distinguished meritsuch as are a high honour to the English school; and it loses all its solemnity, and half its effect, when heard any where but in a church. The instrumental music was well performed; the chorusses all sacrificed; Attwood's fine Coro

A selection from Dr. Crotch's Oratorio, PALESTINE. The words from a prize nation Anthem in particular, either for want of efficient per

poem, by the Rev. R. Heber.

PART II.-Leader, MR. SPAGNOLETTI.

Overture, (The Men of Prometheus)

Beethoven.

Rossini.

Venetian Air, Mrs. Salmon, (with variations by Bochsa.)
Duetto, Madame Vestris and Signor Begrez, "Ah se de mali miei"
Glee, for Five voices, (with a Double Choir,) Mrs. Salmon, Miss Travis, Messrs.
W. Knyvett, Evans, Vaughan, Elliott, Hawes, Duruset, Sale, and Kell-
ner, "A gen'rous friendship"

Webbe.

formers, or from the omission of the necessary drilling. To the book of the Concert is prefixed an address, written in a tone of great moderation, in which the views of the academy are explained, and its proceedings defended. We wish success to this institution, and hope to see its errors, which are not irremediable, amended. But the first step to Beethoven. wards amelioration must be, to eject from its lists any Rossini, person whose profligate character is likely to contaminate Puer. the morals of the pupils, or to bring disgrace upon those and Signor Placci, ❝ Cielo il mio labro." (Bianca e Faliero.) Rossini. to whom the general management is intrusted.''

Duet, Miss Paton and Miss M. Tree, "Sull' aria." (Le Nozze di Figaro) Mozart.
Chorus, and Quartet, Miss Goodall, Messrs. W. Knyvett, Pyne, and Kellner,
"Gloria in excelsis"

Trio, Madame Ronzi de Begnis, Madame Vestris, and Mr. Sapio, "Cruda
sorte." (Ricciardo & Zoraide.)

Air, Mr. Braham. "Se all' impero amici Dei"

Quartetto and Chorus, Madame Camporese, Signora Caradori, Signor Curioni,

THE DRAMA.

THE CONCERTS.

New Sinfonia, MS. (never performed)

ACT II.

Clementi.
Nicolo.

Romance, Mrs. Salmon, " Non, je ne veux pas chanter"
Concerto Violin, Mr. Grund, (his first performance in this Country)
Quartetto, "Mi manca la voce," Mrs. Salmon, Miss Goodall, Mr. Sapio, and
Signor Placci. Harp, Mr. Challoner, (Mosé in Egitto)
Overture in D

Spohr.
Rossini.
Leader, Mr. LoDER; Conductor, Mr. CLEMENTI. A. Romberg.

The new overture, by Beethoven, has recently been composed
for this society. It opens with a kind of Marche religieuse,-—a
divine piece of harmony, free from all violent modulations, and
calculated to delight and soothe at the same time.
movement is a fugue of elaborate construction, in which the author
The principal
appears inclined to shew his knowledge of the learned works that have
issued from the great schools of Handel, Sebastian Bach, and the
two Scarlattis. It is a very scientific production, and so well
mixes the ancient and modern styles, that the partizans of both
join in its applause. This overture is one of those compositions
which, to understand thoroughly, requires more than a single
hearing; and we hope to have an opportunity of entering further
into its merits.

73

The writer of the remarks in question is evidently a very accurate observer, and a good judge, of musical performances; but he is a little too scrupulous in his notions of the proper mode of making out a bill of a concert. In a miscellaneous performance it is absolutely necessary to contrast the pieces performed, and after a solemn, devotional air, or chorus, something of a lighter nature is required, as a relief, using the word in a technical sense. Hence a secular song, or a cheerful glee, is properly placed after any thing taken even from a sacred oratorio; because a concert-room is not a place of worship, nor is the music of a concert intended to excite religious feelings. The music that is set to sacred words, being good in itself, is performed because it is good, and not because it is set to sacred words. Sacred music in a church, or a complete oratorio in a theatre, is intended to excite religious emotions; but it has no such object, when introduced incidentally in a mixed

concert.

I am old enough to remember the ancient concert from nearly its commencement, having subscribed to it for nearly forty years ; and I can take upon me to say, that the mixture which CLIO complains of, has been usual in these performances ever since I have had the pleasure to attend them; and that the "good old King,” for whose memory none can entertain a higher respect than myself,sanctioned such a miscellany, during the whole course of his

attendance at the ancient concerts.

The neglect of the old masses, and of the fine music of the last, and even of the 17th century, I deplore as much as CLIO can do. Where can we expect to hear the works of Pergolesi, Leo, Astorga, &c., if it is not produced at a concert dedicated to music of ancient date? I also concur with him respecting the introduction

At seeing Mr. Clementi preside over this concert, and in witnessing the performance of his new symphony, under his own direction, we felt an indescribable pleasure, which we know will, through the medium of this work, be communicated to many, in all parts of the world. It is now between fifty and sixty years since this very cele|| brated composer's second opera appeared, and immediately stamped him as a man of the highest genius. It continues to this hour admired by all who know how to estimate fine music,-music that time cannot obliterate, though fashion may, for a moment, neglect. During the long period that has since elapsed, almost as many of his works have appeared, as years have rolled away; and to see their author still fresh,—to hear that his talent yet retains all its youth-of anthems, with a simple organ accompaniment, while the orchesful verdure,-is not merely gratifying to his personal friends, and to those who admire him as a musician; but it encourages human nature, and invigorates those hopes which, without the occasional occurrence of such an instance, the casualties of life are too apt to depress, if not utterly extinguish.

Mr. Nicholson does as much with his flute, in point of execution, as we suppose can possibly be done; and a great deal more than ought ever to be attempted, beyond the precincts of the school, by a man of judgment and good taste. His rapidity necessarily injures his tone, and the delicious pathos which this instrument is capable of expressing, is thus sacrificed to those tricks that should take any name, rather than that of music, Let us, however, not appear to do injustice to Mr. Nicholson; he has shewn the full extent of his power sufficiently often; and as he can perform excellently well upon his instrument, we hope that he will let us begin to profit by his talent. The piece,-named, like M. Czerny's, a fantasia,- -was not fit for these concerts: but here the managers, not the performer, is blameable.

Mr. Grund, a pupil of M. Spohr, the distinguished violin-player engaged at these concerts three years since, is a performer of extraordinary merit: his tone is clear and rich; his execution seems unlimited, and he is guilty of none of those absurdities, of which lovers of real music have so often to complain in solo players. He chose, for his first performance in London, an admirable concerto by his Master; thus, not only manifesting his own discrimination, but paying a respectful compliment to the judgment of his auditors. An example which, for the future, we would recommend others to follow.

tral anthems of Handel, which are among the finest of his compositions, are neglected. Psalm-tunes, too, lose all their effect in a brilliant, well-lighted saloon; they lose all that depends upon association, a very powerful agent in musical effect.

I beg leave to protest against any augmentation in the subscription; it is already higher than any other concert in London, and an increase is absolutely unnecessary, as the funds are beyond the expenses, and are in an accumulating state.

Why the compositions that are growing into years should not be performed, I cannot understand. The original intent of the concert was to exclude the works of living composers, and to avoid the effect of personal favour and patronage. But Haydn and Mozart have long been numbered with the dead, and their productions might now be admitted, without the directors being charged with the undue influence of friendship.

Before I conclude,—and I ought to ask a thousand pardons for occupying so much of your time,-I am anxious to exculpate the directors from any possible imputation of neglect of His present Majesty, when he honoured the ancient concert by his attendance. They followed, upon that occasion, the rule established by the late King; which was, that the director of the night should alone attend him. Such director was always in readiness to receive the Sovereign, and also waited upon him between the acts to take his commands. But the others, as a body, never entered in these nights into the royal presence. SENEX.