The latter is sung without any accompaniment what-mences with a boisterous air, for Roderigo, the performance ever. The remainder of the finale is indicative of the fear, of which is, very properly, suppressed at the King's anxiety, jealousy, and anger, of the various characters, and Theatre. Two duets follow, much in the same common is loud, quick, and confused, in the ordinary manner of ranting style. In one of them, the tenor is actually carthis species of composition. ried up to D! The terzetto, "Che fiero punto," however, We have dwelt long on this finale, because it is, without must not be denied the praise due to it; though the followcomparison, the finest part of the opera, and that which ing extraordinary and unprecedented example of sevenths has given to Otello its reputation. Rossini has bestowed resolved by sevenths, and of five outrageous fifths, in reon this part, nearly all the imagination and skill that hegular succession, which it contains, will not escape unimeant to afford to the whole work, and his success is pro-versal censure. It is a striking proof of Rossini's bold portioned to his effort. licentiousness; for it is not written inadvertently, but with The second act is very inferior to the first; it com-design: The second finale is quite out of character. To a person unacquainted with the language, and uninformed of the subject of the scene, it would seem to represent only hilarity and pleasure. The third act is almost wholly divided between Othello and Desdemona; it is confined to the chamber where he perpetrates the murder, and is infinitely too long, the greater part of it being quite unfit for musical recitation. But we must confess that the commencement of it is not without considerable dramatic effect. The short air printed in this number is sung by Desdemona, before the entrance of the Moor, and is a brief history of the sorrows of her deceased friend, Isaura, whose fate she views as an emblem of her own. Its simple, ballad-like beauty, prompts us to give it entire. In our next, we shall also introduce another arietta from this act," Deh, calma, oh ciel!" in the key of A flat, which we hope and believe will be acknowledged to possess great merit. Otello is, upon the whole, a heavy, fatiguing opera in representation; partly because the composer has expended too much of his strength upon a particular portion of it; but chiefly because it is one of the worst subjects for the musical drama that could have been chosen. Jealousy is a passion that can find no corresponding notes in the widelyextended circle of harmony, but amongst its harshest discords; and with melody it is at open war. It broods over real or supposed injuries, and is prone to silence. When it speaks, it utters short, abrupt, mysterious sentences, and has nothing vocally continuous in its mode of enunciation. How then can such a passion be imitated by musical sounds, which depend for effect upon their connexion with each other, and upon a rigid adherence to measure?-Love, Hope, Joy, sing naturally. Grief, when the violence of its first emotions have subsided, indulges in plantive melody. Even Anger and Revenge, which are clamorous, may be expressed by modulated sounds. But Fear, Envy, and above all, Jealousy, are not within the reach of musical expression; and to this cause we must impute the inferiority,-for inferior we consider it, notwithstand-|| The FAIRY QUEEN, a Duet, sung by MISS CAREW and ing our high praise of some of its parts,-of the serious opera of Otello, when compared to the four or five greater works of its distinguished composer. MOZART's celebrated Symphony, THE JUPITER, newly adapted for the Piano-Forte, with Accompaniments for a Flute, Violin, and Violoncello, ad libitum, by MUZIO CLEMENTI. No. 6. Published by Clementi and Co., Cheapside. This splendid symphony derives the name of Jupiter, now first publicly given to it upon any thing like an authority, from a very distinguished orchestral performer, who, unpremeditatedly, in conversation remarked, that such a title would well denote its majestic grandeur. We record this little anecdote for the purpose of saving Mozart from any future charge of vanity that might be advanced, should it ever be supposed that he himself gave so high-sounding an appellation to one of his own works. Mr. Clementi has arranged for the piano-forte, with ad libitum accompaniments, many of the best symphonies of Haydn and Mozart, with that judgment and scrupulous care by which all his publications are so distinctly marked. It is evident that he has not calculated any of them for inferior performers; and, indeed, we do not see how such compositions can, with the slightest propriety or effect, be adapted to the powers of those who have not a considerable practical knowledge of music, and the physical advantage of a commanding hand. The present symphony is the sixth of Cianchettini and Sperati's edition of Mozart's Symphonies in score, and is the most popular of them all, except, perhaps, that in E flat. It consists of an allegro, an andante, a minuet, trio, and finale, each of which is remarkable for some pre-eminent and striking beauty. The finale, a fugue with four subjects, is alone enough to immortalize its author. We have examined carefully this adaptation, with the score before us; and, admitting that it is, necessarily, rather difficult of execution, are, nevertheless, surprised to find so many obstacles to its general performance removed, while so much is preserved of the original fifteen parts, and so very little sacrificed in order to bring it within the compass of two hands. The accompaniments added to this arrangement, though not absolutely necessary to it, improve it much, and render it a very interesting quartett. MR. J. B. SALE, at the British Concerts, with a double or single Accompaniment for the Piano-Forte. Composed, and respectfully dedicated to LADY ROBINSON, by. Dr. WILLIAM CARNABY. London, Mitchell, New Bond-street. Dr. Carnaby is a composer we turn to with great respect; his compositions have more of science and originality about them than can be said of those of many of his contemporaries. Unfortunately, like the author of "Shakspeare's dramatic Songs," he has consulted his own, rather than the public, taste, which may be a little attracted by Irish Melodies-Scotch Melodies-Welch, or even Hindoo Melodies; but, poor Old England! Her honest, simple, neglected, melodies will never, we fear, be in fashion again. The Fairy Queen" of Dr. Carnaby, is playful, is English, and, in subject at least, original;—the accompaniment, too, very suitable.-Here and there, the author might better have sustained the character of his compositions. The fourth and fifth bars at page 3, would, in our opinion, have been better expressed if the tripping measure had not have been interrupted. The minor is, upon the whole, well expressed.-We think we catch a glimpse of our old friend Purcell, at the close in triple time, but we are not disposed to find fault with that; and, by the way, this triple time had better have been adhered to throughout. We do not approve of the sudden and unnecessary change to common time, which should have been reserved for the return to the subject in the major; and, moreover, we think the passages trite and unequal to the rest of the duet. In the passages, " Drop tester in her shoe," the repetition of the word "drop" should have been retained in the treble; the echo," her shoe" is ludicrous, and the composer means to be sportive only. These remarks may appear trifling, but, in fact, it is by an accurate attention to niceties such as these, that the general effect of the whole is to be produced. The substitution of even one note for another, or one note in addition, will give a different character to a passage, as, in painting, one slight touch of the brush will alter the expression of a feature. We should have preferred the following manner of coming to the first pause in page 14, as leading more effectually to the second. The close of the air might have been much better managed; it is meagre and coarse, and the rallentando has no business there. Why "drop the tester," in slower time in the last bar, than in the first? THREE AIRS from HAYDN'S CREATION, arranged for The Doctor, by the by, has taken very extraordinary liberties with the original poetry; in which will be found, Light tripping o'er the green, Come follow Mab your queen. has unnecessarily altered it,— has unnecessarily altered it,— And circle round this green, Come follow me your queen. Again, it is " snoring," not " snorting, in their nest." We hear of horses, but never of human creatures, snorting. It is 66 none us bears," not "none escapes, " which latter is || Upon the whole, this is a pleasant little duet, fancifully imagined, and, as far as the music is concerned, tastefully executed. AMUSEMENT POUR LES DAMES. Recueil Périodique de pieces choisies pour la Harpe. No. 1. (Cocks and Co., Princes-Street, Hanover Square.) The present is the first number of a periodical work for the harp, and contains three pieces,-a Walse Autrichienne, by the Count de Gallemberg; an Alsatian melody and waltz, by Scherzer; and a French air, by Spohr. All of them are well arranged for the instrument, and are not difficult to execute. The first is full of gaiety; but the nominal composer is wholly obliged to Weber for his subject. The last, by M. Spohr, is a genuine production, and is a very sweet melody. 1. THE LILY, Fanfare, and French air, for the PianoForte, with an accompaniment for the Flute, (ad libitum), by G. A. RAWLINGS, No. 5. (Harmonic Institution.) 2. THE EGLANTINE, Polacca, and Italian air, for the Piano-Forte, with an accompaniment for the Flute, (ad libitum,) by the same. No. 6. (Harmonic Institution.) These divertimentos are a continuation of that series, the four first of which we noticed in a former number. THE LILY has nothing but great ease to recommend it: the Fanfare is in a very common, not to say vulgar, style; and the French air that follows, will not be likely to redeem the character of the piece. THE EGLANTINE merits a widely different report; it is a very lively, pleasing, and indeed elegant, bagatelle; one that nearly all performers may venture to play, and that none need be ashamed to produce. The polacca is gay and brilliant, and the Italian air,-which Mr. Rawlings ought to have announced as the second movement of Caraffa's Fra tante angoscie,—succeeds in any form, and 4. "Go, FICKLE HEART," a song, sung by Mr. Pearman, written by G. PATRICK Esq., and composed by R. TOPLIFF. (Clementi and Co.) Previously to setting Dr. Warton's beautiful words to music, Mr. Danneley seems to have read them with attention and feeling, for he has expressed them in a soothing agreeable strain, and has not offended the poetical ear, by the too-common disregard of accent. In the sixth bar of the symphony, in the bass, is a misprint, we conclude, for the two Gs should precede the two Bs: and at page 2, fourth line of the accompaniment, 2nd bar, we recommend the performer to alter the second and third lower Bs into C sharp and D natural. The passage at the words," and with some softly whisper'd air," is beautiful in its harmony; but we should have treated the first three syllables as a dactyl, not as an amphibrach. Mr. Meves's song, if not abounding in new ideas, shews much elegance and sentiment in its general structure, and is a very pleasant composition. The repetition of the words, and all the friendship we have sworn," rather breaks the sense, by delaying the fourth line. The very first two words, "Give me," are set as an iambus, though they most clearly are intended, by the writer, as a trochee. Why will not musicians devote a little of their thought to prosody? a branch of grammar so necessary to be understood by all who compose vocal music. We cannot bestow the praise of originality upon Mr. Topliff's two songs; nor are they distinguished in any way, from the thousands that have been hastily sent into the world, and as speedily sent out of it, during the last thirty or forty years. ROSSINI'S MAOMETTO. Extract of a Letter from Venice. 10th April, 1823. *Signor Rossini has surprised his friends by the most striking failure that a composer ever experienced. I shall not here undertake to give a full history of this great event; in the details of which we find, diplomacy in music, insurrection in the pit, intrigue behind the scenes, tumult, scandal and pamphlets; in fine, every thing that marks great agitation among the people. You must rest satisfied with a slight, impartial sketch. If my report is not very circumstantial, it is at least true; and that is a quality of some value, as times go. Let us try to discover the source whence this most dismal of all occurrences has sprung. Signor Rossini had made an engagement with the King's Theatre in London; but he annulled it, in right of that power, which all monarchs and great men possess, of adhering to their promises as far as suits their convenience or fancy, and entered into a contract with the Fenice (Phoenix) Theatre in this city. Six thousand francs were ensured to Signor Rossini, and four thousand to Madame Rossini Colbran, upon condition that he should bring out two operas during the Carnival ; one old, and one new, and Madame was to perform in both. All Venice waited for these operas with that patriotic fervour which a great people feel for great things. Zelmira, performed at Vienna, had long been promised; the Direction of the Fenice was already occupied in rehearsing it, when the rival theatre of St. Benedetto announced the representation of the same piece. The two theatres immediately disputed the right to this opera: our Austrian protectors interfered. A long tempest ensued, at the close of which it was decreed that Il Benedetto had the legitimate right to Zelmira; and it was represented at this theatre, to the great detriment of the Fenice, which had reckoned upon it, and found all its hopes frustrated. filling his engagements. The overture was hissed, the first scene hooted; the second was drowned by the impromptu acRossini heard the complaints of the dissappointed mana- companiments of the pit. Silence was only obtained when gers. To remedy an evil, which it appeared impossible not the clamorous became tired. But, when it was discovered to impute, in some degree, to him, he proposed the repre- that Signor Rossini had only altered one miserable trio, and sentation of his Mahomet, condemned at Rome, but, of had simply introduced some shreds of his other works, a clatwhich he promised to re-compose the whole second ter was re-commenced, of which no real tempest can convey act. This promise given, he departed for Verona, remained any idea. The singers could scarcely be heard, who all, there a considerable time, occupied himself about nothing, by their out-of-tune notes, manifested their fear or their and did not re-write a note of the second act. The ma- humiliation. Galli and Madame Colbran drank the bitter nagers recalled, and reproved him; the public took a part cup to its lees. A poor English tenor, in the business, and a report was spread that Madame partook of these attentions, and drew upon himself hisses Colbran had lost her voice. The rehearsals became scenes and outrages. To be brief,-from seven in the evening until of discord. One day. Galli, (the celebrated bass singer,) three the next morning, this tempestuous scene lasted; and fatigued, retired in the midst of the first act : Rossini broke the eight hours of musical war have left the Venetians in up the meeting and withdrew. The managers appealed to a terrible rage against their idol, Rossini; they will have the Austrian bayonets, and Rossini was placed under arrest! no more of his music, and go every night to hiss it. The Under all these terrible auspices the fatal day ap-management loses by it 7000 francs; Madame Colbran her proached. An irritated public filled the theatre at an reputation, and Rossini a little of his glory. I expect him early hour: from all sides resounded a cry, that the mana- to recover himself by his Semiramis; if he is not re-estagers had re-produced an old, condemned opera, and that blished by that, farewell to his hopes, his fortune and his Rossini was at least a blockhead, very culpable in not ful-l triumphs! KING'S THEATRE. THE DRAMA. During the month of May, an opera produced last year has been revived, and a new ballet brought out. Of the former, Rossini's Otello, we have said so much in our Review, that we have but little left to add here. This season it is thus cast: Sig. GARCIA. Mad. CAMPorese. Sig. CURIONI. Sig. REINA. Sigra. CARADori. Doge It will thus be seen that, in the language of the theatre, the opera is strongly got up. Madame Camporese's Desdemona is equally great, both in acting and in singing. Signora Caradori has not much to call forth her talents in the part of Emilia, though she gives an importance and respectability to it. Signor Curioni's Roderigo is an excellent performance; but Signor Reina has neither person nor power enough to enable him to represent and support the character of Iago. Signor Porto, as Elmiro, sustains the various concerted pieces admirably well, with his deep, commanding voice. But that which claims our chief notice in the opera, as now re-produced, is the Otello of Signor Garcia. This performer was engaged here during the seasons of 1818 and 19, and was by all admitted to be, in many points, a singer of great talent. His voice has extensive compass, considerable power, is round and clear. Its flexibility is remarkable, but betrays him into that which we shall always consider as an error of the first magnitude, namely, a continual departure from the sostenuto style of singing; or in other words, an exuberance of ornament, an almost unbroken succession of roulades, which metamorphose the air into a vocal exercise. The re-production of The Travellers, on the 13th of last month, has been uncommonly successful. The managers have spared no expense to give it effect; much of the music is excellent; and performed by the united powers of Miss Stephens and Mr. Braham, it possesses a charm, that, in spite of the almost unparalleled absurdity of the Drama, and the miserable appeals to vulgar minds, in which it abounds, draws together large and applauding audiSome new pieces are introduced into it, which throw an air of novelty over the Opera, and upon the whole, are satisfactory ences. in a musical sense. COVENT-GARDEN THEATRE. On the 8th of May, a new Opera was produced at this house, entitled, Clari, or, the Maid of Milan. A few years ago, M. Milon brought out a Ballet under this name at the Académie Royale de Musique, in which Madlle. Bigotini performed the principal_part, so as to affect the spectators even to tears. Mr. Howard Payne has taken the trouble to convert a very fine Pantomime into a very indifferent Opera; and Mr. Bishop has set the music to it. The chief character, Clari, is assigned to Miss Tree; and it could not have been placed in better hands; her performance of it will please even those who have witnessed the amazing effect produced by the celebrated French danseuse, or actrice, as she would be much more appropriately termed. To the interest which Miss Tree always excites by her feeling and gentleness, may be ascribed, The new Ballet is named Aline, Reine de Golconde, composed in a great measure, the salvation of the piece. But our immediate by M. Aumer, the ballet-master. The music by anonymous, is a concern is with the music. We should be surprised were Mr. Bishop collection of the most insipid of all the dull dancing tunes that we to execute any task allotted to him, in such a way as to expose were ever condemned to hear. Aline is originally the subject of a himself to censure. His present production, so far as we can French opera, written by Boufflers, and set to music by Boieldieu, judge from a single hearing, is free from blame; but it is also for the French theatre at St. Petersburg, and by Berton, for Paris. unentitled to praise, for it possesses nothing that is distinguished On the 8th of May, the night of Signor Curioni's benefit, Signor by originality of conception, ingenuity of adaptation, or elegance Vimercati, who was just arrived from Paris, performed an air with of effect: it bears every appearance of having been composed at variations on the mandolin. This instrument is strung with wire, an unfavourable moment, when the Muse would not be propitiated. and is played with a plectrum, or piece of wood, held between the This is, every now and then, the fate of the most brilliant geniuses, thumb and fore finger. The tone has not the sweetness that is and instead of wondering that such should ever be the case, we yielded by catgut strings, but is more penetrating, and therefore ought rather to feel astonished, that it does not more frequently better calculated for a capacious theatre, or large room. Signor happen to those who are obliged often to make ill-timed demands V. has obtained great mastery over his instrument, and does won-upon their imagination, and compose, Apollo being unwilling. Mozart. Fantasia, Clarinet Obligat o, Mr. Willman Overture to Zaira Mozart. Winter. Leader, Mr. MORI; Conductor, Mr. CRAMER. The first act of the seventh concert was involved in some little confusion, owing to a delay in the commencement; and one or two pieces were not performed with the accustomed accuracy of the Philharmonic band. The second part, however, made amends for the deficiencies of the first. The symphony of Mozart,-sometimes named Jupiter,— —was executed with admirable spirit and precision; so was Winter's magnificent overture to Zaira. Madame De Begnis's aria was delightfully sung, and encored from every part of the room. “Sola, sola" was well performed; but the quintett, from La Donna del Lago, was sacrificed for want of rehearsing. If our English audiences would imitate those abroad, and shew their displeasure at errors arising from pure negligence, managers in general would be more active in the discharge of their duty. Mr. Willman is the most delicate and finished clarinet player we have ever heard; but a clarinet concerto is quite out of its place at these concerts, which, at their first institution, professed not to The quintett of Andreas admit performances of this nature. Romberg is a beautiful composition; though the almost unbroken continuance of the minor mode, gives a melancholy to it that will prevent it from ever becoming very popular. Spohr's overture to Alruna is one of the best productions of this excellent composer: if he proceed as he has begun,—and he has plenty of time before him, according to the usual chances, he will become one of the great musical ornaments of Germany; the country that has risen so far above all others in every branch of the art, except as singers. Leader, Mr. SPAGNOLETTI; Conductor, Sir G. SMART. Opinions are much divided concerning the merits of the Pastoral symphony of Beethoven, though very few venture to deny that it is much too long. The andante alone is upwards of a quarter of an hour in performance, and, being a series of repetitions, might be subjected to abridgment without any violation of justice, either to the composer or his hearers. In saying this, we do not mean to undervalue the work, but range ourselves on the side of those who think that it abounds in traits of singular genius, and in beautiful effects; though we certainly never heard it through, without rejoicing, on account of its prolixity, at its termination. Mr. Kalkbrenner's Concerto is a fine composition, and his performance of it was a grand display of the most brilliant execution. Some of the effect of this excellent piece was diminished by a want of accuracy in the band; in the accompaniment, the orchestra seemed to be at fault: nevertheless, it was received with the most marked approbation. Haydn's symphony, No. 11, is less in use than most of the others; indeed, it is that one of the celebrated twelve com posed for Salomon's Concerts, which has the fewest claims to adWas held at the Freemasons' Tavern, London, on the 22d of miration. The Scena by Jomelli, is a master-piece of dramatic | May, under the auspices of the Cymmrodorion, or Royal Memusic; its effect on the stage, as a part of the opera by Apostolo tropolitan Cambrian Institution. Zeno, must have been sublime. But the meaning of the words, and the relation of the scene to the drama, should be well understood to give to the composition its full power. Madame Camporese is particularly excellent in this most affecting scena. The Concert was too long by half an hour, and was, altogether, rather heavy. Seventh Concert, Monday, 19th of May. ACT I. An EISTEDDVOD, or Meeting of WelSH BARDS and The Welsh national meeting, entitled Eisteddvod or Session of Bards, had its origin in those remote times, when the Bardic or Druidical institution prevailed in this island in its primitive purity. The most ancient notices on this subject, now extant, occur in the Triads of Dyvnwal Moelmud, a British lawgiver, who is thought to have lived about three or four centuries before the Christian era. In these early records the meeting in question is minutely described, under the name of Gorsedd y Beirdd, or Congress of the Bards, and is numbered among the national privileged assemblies of the Cymry. The Gorsedd was not originally confined to the cultivation of music and poetry: but had, an ulterior and more important aim in the preservation of the bardic traditions, the commemora tion of illustrious and praise-worthy deeds, and the general promoA. Romberg. tion of religious, moral, and scientific instruction. Such was the Quintetto, “Quanto a quest' alma," (Donna del Lago) Rossini.primitive character of this ancient convention, which was held, at Sinfonia, No. 4. Quintetto, two Violins, two Violas, and Violoncello, Messrs. Overture to Alruna Spohr, stated periods, in some central part of the country. Among the |