places in this island, which were selected for the occasion, Salisbury Plain is conspicuous, as the stupendous Druidical remains, still to be found there, abundantly testify.

How long the Gorsedd continued to retain its original constitution and purpose, there are now no means of ascertaining with any degree of precision; but it is probable, that the wars and intestine feuds, consequent on the successive invasions of the Romans and Saxons, tended materially to the interruption, if not to the entire suspension, of a practice, that was peculiarly founded in principles of public peace and tranquillity. For some centuries, therefore, we are without any particular records of these national meetings. However, as the ancient Welsh poets have frequent allusions to them, and, as the important privileges of the Bards are recognised as well by the Saxon writer, Bede, as by the laws of Hywel, compiled two centuries later, we may conclude, that the right of holding these national congresses was, in these times, frequently exercised.

SIGNOR PISTRUCCI.

The art of composing and chanting poetry extempore, is one of the most ancient that we are acquainted with. That the Jews knew and practised it, is evident from many passages in the Scriptures; and the history of every country enjoying much of the sun's influence, furnishes authentic accounts of the existence of the art in such favoured regions, at all periods. But it is, so far as our information extends, chiefly confined to warm climates, and Italy, in later times, has been the scene of its greatest triumphs.

Those who possess this talent are called Improvvisatori, from the verb improvvisare, which signifies to sing, or recite verses, extemporaneously, upon any subject that may be unexpectedly proposed; and if the theme be of a fertile nature, the poem sometimes extends to a very considerable length.

This art is so much connected with music,-indeed, music almost invariably constitutes a part of it,-that we consider Signor Pistrucci, who is the most able Improvvisatore that we ever heard, entitled to some notice in our work.

The first meeting of the kind in London, at least on any extended scale, was that on the 22d of May, 1822, when this Institution held its first annual Eisteddvod. This meeting was not professed to be an exact type of the ancient congress; the change of times having made it impossible to adhere to the primitive customs, that formerly prevailed in this respect; but the society, in ingrafting upon the original stock such alterations as the progress of modern improvement may have suggested, have probably not departed from the true spirit of these meetings. The avowed aim of the Cymm-nicated to him during the evening, upon many of which he recited rodorion, in the revival of this national custom, is more immediately, to cultivate the music peculiar to Wales; and, by that means, to foster the patriotic feeling, by which the natives of the principality have, of late years, been animated, as well as to excite the interest | of strangers in so praiseworthy a cause. The alliance of music with some of the best impulses of our nature cannot be denied; and when the cultivation of this fascinating art is directed, moreover, to the promotion of public objects, it acquires still higher claims on our patronage. Under such circumstances has the Eisteddvod of the Cymmrodorion been instituted; and they, who feel any delight in the national airs of the Cymmry, will hail its establishment as being, at once, auspicious to the interests of the society, and to the promotion of rational pleasure.

The chief novelty of the day was the Penillion singing, in which the singer is obliged to follow the harper in extempore stanzas, in the Welsh language, while the harper may change the air, and perform variations at pleasure.

The meeting was attended by a highly respectable audience, consisting of about 500 persons, among whom were many of the most distinguished characters of the Principality.

On Friday, the 2nd of May, this artist gave a public proof of his wonderful ability, at the Argyll Rooms, to a large company of fashionable and literary people. In order to remove any doubt as to his productions being bonâ fide, without any premeditation, the purchasers of tickets had been previously invited to furnish Signor Pistrucci with subjects; and, in consequence, several were commuwithout the slightest hesitation, or the least apparent effort. His first topic was Orestes; on this he declaimed, in a succession of smooth stanzas, for upwards of ten minutes. He described the first self condemnation of the parricide, his flight, the vision of the furies, their aspects, the despair and final madness of "the son of Clytemnestra," and depicted all, in the most glowing colours, amid frequent interruptions of applause. The next subjects were the Battle of Waterloo, and Count Ugolino. Orestes and Ugolino he delivered in a chant, accompanied by a few simple chords on the piano-forte; Waterloo he recited. Besides these, and two or three other minor pieces, he gave a pastoral interlude of two shepherdesses and a shepherd, with songs, duets, and chorusses; a dialogue which he managed with great adroitness.

In order to vary the performance, and to relieve both the poet and his auditors, several favourite pieces of music by Mozart and Rossini, were charmingly sung by Mesdames Camporese and Vestris, Signors Curioni, Reina, and Placci. The time which the whole performance occupied, did not exceed two hours and a half; and every body retired pleased, astonished, and without any of that weariness which our long performances are too apt to produce.

THE

HARMONICO N.

No. VII., JULY, 1823.

MEMOIR OF HENRY PURCELL.

AMONG the many great names that press themselves || lighted congregations. In 1676, though only in his upon our notice, as claiming an early place in the biogra- eighteenth year, he was found qualified for the situation phical department of our work, there is none we hail of organist of Westminster Abbey, one of the first cathewith more unmingled pleasure, than that of HENRY drals in the kingdom, for choral compositions and perPURCELL. While the Frenchman is loud in the praise formance. When only in his nineteenth year, he set to of a Lulli and a Rameau; the German in that of a Handel || music the drama of Dido and Æneas, which had so little and a Bach; and the Italian of a Palestrina and a Per- appearance of a puerile essay, that any musician in golesi; not less is the pride of an Englishman, in point- England at that time, would not have thought it an honour ing to a name equally dear to his country: for Purcell is to be the author of it. It was not likely that talents like as much the boast of England in music, as Shakspeare in these would remain stationary : the world is, perhaps, more the drama, Milton in Epic poetry, Locke in metaphysics, partial to promising youth, than accomplished age, and acor Sir Isaac Newton in mathematics and philosophy. As cordingly at twenty-four, he was advanced to one of the a musician, he shone not more by the greatness than the three places of organist of the Chapel Royal, on the death diversity, by the diversity than the originality, of his of Edward Low, who was the successor of the celebrated genius; nor did the powers of his fancy prove detrimental Christ. Gibbons, in the same situation. to the solidity of his judgment. It is true, that some musicians of eminence had appeared in this country previously to him, but the superior splendour of his genius eclipsed their fame. We hear with pleasure of Tallis, Gibbons, and Blow; but upon the name of Purcell we dwell with delight, and are content to identify with his, the musical pretensions of our country.

Henry Purcell may be said to have possessed an hereditary genius for music, as both his father and uncle were musicians, and gentlemen of the Chapel Royal, and have left us several specimens of their composition. He was born in Westminster, in the year 1658. It was his misfortune to lose his father when he was only six years old. From whom he received his first instructions in music, cannot now be ascertained with any degree of certainty; all that is known is, that at the time of his father's decease, Cook was master of the children of the chapel; and therefore, it is probable that, as he was brought up in that choir, he received the first rudiments of his musical education from Cook. He afterwards received lessons in composition from the celebrated Dr. Blow; a circumstance, which was thought of such importance, as to be inscribed on this composer's tomb, where, among other titles to praise, it is said, that he was

"Master to the famous Mr. Henry Purcell." Like another Mozart, he was gifted with an extraordinary precocity of talent: and for the honour of our musical character, it was fortunate that he profited by the liberality of nature, and seconded her gifts by the zeal and diligence with which he prosecuted his studies. Even during the time he was a boy in the King's Chapel, singing only, he produced several anthems, that are still sung, to de

Purcell, in the year 1683, published twelve sonatas, in which, as he himself says, he imitated the Italian masters, at the head of whom, in this particular style of music, stood Bassani and Torelli, for the works of Corelli were not yet known in England. Though these indicate no great knowledge of the bow, or of the powers and genius of the violin, yet they contain many ingenious, and, at the time they were composed, many new traits of melody and modulation, and in fancy, design, and contrivance, are infinitely superior to most of the music of that kind anterior to Corelli. That this collection was well received, may justly be inferred from his shortly after giving to the public a set of ten others, in four parts, the great excellence of one of which, procured it the name of the GOLDEN SONATA.

Having been educated in the choir, Purcell was early addicted to church composition; his anthems, in consequence, were so numerous, and so admirable, that his fame was soon extended to the remotest parts of the kingdom. Of these, the one beginning" Blessed are they that fear the Lord," the other commencing with the words

They that go down to the sea in ships," arose from very extraordinary occasions. In 1687, James the Second, flattered with the supposed pregnancy of his Queen, issued a proclamation for a thanksgiving, and Purcell, who was called upon, partly in consequence of his situation, but more in quality of England's unrivalled composer, produced the first of these, written for four voices, and with instrumental accompaniments, which excited and gratified the highest expectations. The other was composed to commemorate the King's escape from a tremendous storm, when at sea in the Fubbs yacht. It is one of the most striking of his works.