the talent of invention, and to it united that of the most perfect execution. He excelled in the force and vivacity of musical images and expression,-contributed greatly to the perfection of the recitative; and, in all his compositions, strove as far as could be done, to adapt his music to the sense of the poem.

As regards Durante, we have only room to remark, that no composer anterior to his time had united to the brilliancy and force characteristic of the school of Naples, so much true musical feeling and expression. Like Palestrina, he devoted himself principally to the composition of sacred music, for which, from his natural bent, he was admirably fitted; and he soon acquired in this species of music a high and merited renown, which he has retained to this day, for the elevation of sentiment that pervades his pieces. But Durante was particularly celebrated for his talent in the art of instruction, and for his improvements in the science of harmony. In support of this assertion, it may be remarked that the Neapolitan school is indebted to him for many of its most renowned pupils, and that he fixed on surer principles than had been done, what has been denominated modern tonality.

The next author of the Neapolitan school, whom we shall mention, is Niccolo Jomelli, who received his instruction from Leo. His first attempts at dramatic compositions evinced consummate skill in the art, and a natural feeling and expression seldom surpassed, or even equalled by his predecessors or contemporaries. Jomelli travelled much-delighted the inhabitants of Rome, Bologna, Venice, Vienna, Naples, Stuttgard, with his enchanting operas, and composed many pieces for the church, which have justly placed him in the highest rank among sacred composers. Jomelli wrote the music of many of the operas of Metastasio, to whom he was united by ties of the sincerest friendship. His principal dramatic works were l'Errore de l'amore, Edoardo, Ezio, Ricimiere, Didone, Eumene, Merope, Achille in Sciro, Ifigenia, Talestri, l'Attilio Regolo, Demetrio, Vologese, Bajazette, Armida, Demofoonte, &c.

To the same school belonged the celebrated Piccini, who was born at Bari, in 1728, and died at Passy, near Paris, in 1800. Piccini studied under Leo and Durante, and commenced his career of composer at the early age of twelve years. By the beautiful melody and the scientific harmony of his opera, Le Donne Dispettose, he silenced the clamours of Logroscino, long the favourite of the Neapolitans, and acquired the highest renown by the operas of Gelosia and Il Curioso del Proprio Danno, which soon succeeded to the former. At Rome, whither he soon after went, he composed many operas of sterling merit, particularly La Cecchina, which has ever since remained a favourite on the Italian stage. He afterwards visited Florence, Genoa,

Turin, Milan, Venice; and, soon after his return to Naples, was called to France, where he acquired a high celebrity, and divided with Gluck the applause of the Parisian amateurs. The dispute between what were denominated the Gluckists and Piccinists, has made much noise among the dilettanti and literati of France. But we have not space to notice it here in detail. The first opera which Piccini caused to be performed at Paris was Roland, the poem of which was written by Marmontel; and such was his success on the occasion, that after the performance he was carried home in triumph by the admiring multitude. After continuing many years in France, he returned to Naples; but having expressed sentiments favourable to liberty in France, he met with a cold reception from his countrymen, and finally retired, with a constitution broken down by disease and mental affliction, to Passy, where, as we have seen, he terminated his mortal career. His principal works, besides those already mentioned, were Iphigenie en Tauride, Phaon, Atys, Didon, Le Dormeur Eveillé, Clytemnestre, Adele de Ponthieu, La Serva Onorata, Ionatha, &c. The number of his various compositions appears incredible, amounting as they do to one hundred and thirty-three Italian, and many French, operas-a considerable number of detached pieces, cantatas, oratorios, and some sacred music.

Among the other composers of the same school, who deserve an honourable mention here, are Pulma, D'Anfossi, Trajetta, Vento, Monopolli, but particularly Sacchini, Paesiello, Zingarelli, and Cimarosa, the immortal author of an immortal work, Il Matrimonio Segreto. We are compelled, however, to dismiss them without a particular notice of their labours and of their success, and again to refer such of our readers as are desirous of acquiring much information on the various productions of these masters of the art, to the work of Count Orloff, and to the Dictionnaire Historique des Musiciens, by Messrs. Choron and Fayolle.

On the subject of the Roman school of music, we cannot enter into a minute detail, as it would lead us much farther than we are allowed. It may be proper to remark, however, that although like the Neapolitan school it is distinguished by the fidelity with which the great passions of the soul are portrayed, and by the circumstance, that its pupils endeavoured to render melody the image of the sentiments, yet it differs somewhat from the former by the more austere and grave expression which is discovered in all productions that have issued from it,-a circumstance which may readily be regarded as a natural consequence of the habits and disposition of the Roman people. Among the most celebrated composers of this school, may be enumerated Palestrina, whose name we have already cited, and who devoted himself almost exclusively to sacred compositions,

Nanini, Anerio, Giovanelli, Viola, Romano, Rossi, Carissimo, Cassino, Allegri, the author of the celebrated Miserere, Milleville, Cecchini, Lusitanio, Domenico del Pane, Corelli, Righi, Bacci, Martini, Spontini, and finally Rossini. Count Orloff speaks in terms of almost unbounded admiration of the latter, as may be seen by the following extract:

"Rossini appears as a brilliant star, and occupies by his productions every temple consecrated to music. His imagination is as extensive as it is brilliant, his fecundity as great as it is happy. Endowed with an inexhaustible facility, his style is full of fire, his melody full of images. Every thing announces in him that the heart is not less warm than the head. Finally, Naples and all Italy will no longer listen to, or admire any music than that of the author of Tancredi, Elzabeth, Otello, La Gazza ladra, Mose, and of so many other truly magical productions, which prove the admirable talent, skill, and often sublime genius of Rossini.

All Europe follows the impulsion of Italy. From the banks of the Sebeto to those of the Neva and of the Moskwa, the music of Rossini is alone called for. The admiration for his talent is general and true; every thing proves it-the silence and attention the public pay to his divine, and I dare assert, inimitable

music.

Rossini finished the great work commenced in this age by his predecessors; he unites the most learned doctrines of harmony, which he himself possesses in a high degree, to the sweet charms of melody; and it is this alliance which produces the happy effects, and perfection of his music.

It was to Rossini that was reserved the honour, such is the power of his mu sic, of reforming the most ancient fashion and usages, even in the country of the arts: the amateurs and professors contented themselves, formerly, with listening to a few favourite airs in an opera, and gave themselves up to other amusements even in the temple of Terpsichore. The boxes were converted into parlours, where visits, dice, cards, &c., enabled the audience to wait patiently for the choice pieces. Since this extraordinary genius appeared, and his music is known and appreciated, a complete revolution has been effected in the public; his symphonies, recitatives, duets, chorusses and finales, have so much interest, order, and affinity, that inattention is no longer permitted nor tolerated. Those who only frequented the theatre from dissipation or idleness, now go from taste; and the silence, the attention, and finally the noisy applauses, attest the pleasure which they feel."

This praise we are rather inclined to regard as exaggerated; and without pretending to dissent altogether from our author on the subject of the real merits of Rossini as a dramatic composer, we are disposed to believe, from all the music we have heard of this favourite writer, and from the criticisms we have read upon it from the pens of the most competent judges, that there is more of fashion in the admiration manifested for his operas, than many who make it a rule to applaud every thing that bears his name, are willing to admit. That Rossini has been richly endowed by nature with most of the requisites of the musician-such as a creative genius, brilliancy of imagination, great expression, and if we may so express ourselves, musical wit, and that he occasionally makes an appropriate use of stage effect and musical tricks, are facts which cannot have escaped the attention of the connoisseur; but that he cannot bear a comparison, in many respects, with several composers of the Italian and of other schools,

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must be admitted also, by every competent and dispassionate judge. His repetitions are frequent; his orchestral music is for the most part weak and trivial; his judgment, in the adaptation of his melody and harmony to the sentiments of his poem, is oftentimes evidently deficient; and surely, as regards his power of harmony, whatever Count Orloff may think to the contrary, it is very far inferior to that of Mozart, of Spohr, of Mehul, of Cherubini, Beethoven, and many other composers of the German, Italian, and French schools. We may safely affirm, that any one who, with necessary knowledge on the subject, will compare the Don Giovanni, or the Zauber Flate of Mozart, happily surnamed the Lafontaine of music,-the Alceste and Orfeo of Gluck, the Faust of Spohr,-the Matrimonio Segreto of Cimarosa, the Raphael of the art, many of the operas of Paesiello-not to mention others of great merit by other composers, with the most finished and favourite pieces of Rossini, will find that the latter, though possessing much brilliancy, and admirable flashes of genius, are totally destitute of that grandeur, richness, and majesty of expression, which we find in the Don Giovanni, and in Faust; and of the sweetness and true pathos of Cimarosa and Paesiello. In fact, he will be convinced, that Mozart's and Cimarosa's compositions, to which we have alluded, contain that which will cause them to be regarded as the chefd'œuvres of dramatic music, and to be duly appreciated by the connoisseur, so long as the art continues to be a subject of just admiration; whilst Rossini's are inevitably doomed, ere many years have elapsed, to give way in public estimation to the composition of some later and more favourite author, and to pass from the stage into the concert and drawing-room, for which they are peculiarly well suited.

We are not ignorant of the fact, that to be so much in vogue,to attract the attention of the mass of his hearers, Rossini must possess great merit;-this indeed we have already admitted; but the taste of the multitude who frequent opera-houses, is not always to be regarded as the purest and the best. But how will it be with the true connoisseur? We may safely assert, that in admiring several of Rossini's arias, some of his duets, trios, &c., for their brilliancy, fine melody, and occasionally effective harmony, he will conclude that his operas, if taken as a whole, can only be called pretty; and that they never can deserve to be regarded, as is too often done by enthusiastic admirers, as the ne plus ultra of dramatic music; finally, that time, the best test in matters of the sort, will place Rossini in a rank inferior to that occupied by many of his predecessors in the same career.

We very reluctantly omit noticing here the Venetian and Florentine schools of music, from which issued many composers of great celebrity; among whom stand in very bold relief, the names

of Tartini, Monteverde, Boccherini, Cherubini, Viotti, and many others.

To one who has made music the subject of his researches, and who has endeavoured to render himself conversant with the styles of composition of the greatest masters in the various countries of Europe, it needs hardly be told that there is discovered in the music of each nation, some peculiarity depending on the taste and disposition of the people, and by which it is distinguished from that of every other country. Thus, the fondness of the Germans for rich and oftentimes heavy harmony, to the prejudice of the charms of melody, contrasts in a striking manner with the almost exclusive attachment of the Italians for simple melody, to the almost entire neglect of rich harmonious combinations. To what cause this difference is to be ascribed, whether to climate or education, we leave it to abler judges to decide ;-contenting ourselves here with the simple enunciation of the fact, and with the remark, that in our opinion a refined taste in music would lead an individual to avoid either of these extremes, and to perceive, that harmony without melody can never make good music, and that melody unaided by harmony may be listened to with pleasure for a short time, but must soon, unless to uncultivated ears, appear monotonous, unattractive, and ineffectual. Nor do these peculiarities serve to discriminate the music of different countries alone; for, on an examination of the compositions of the various schools of Italy, we discover, that each of them is distinguishable from the others, by some difference in the styles of their compositions. After dividing these schools as appertaining to three regions,-Upper, Middle, and Lower Italy; the former comprehending the schools of Venice and Lombardy, the second those of Rome and Bologna, and the third that of Naples, Messrs. Choron and Fayolle (from whom we may state, en passant, Count Orloff has borrowed a great deal more than he has acknowledged), remark: "the traits which characterise all the schools of Italy are the exact sentiment, and the profound knowledge of the essential and constitutive principles of the art, combined with grace and expression: but, independently of these general traits, cach of these schools has something peculiar to itself; that of Lower Italy possesses in a more particular manner, vivacity and truth of expression;-those of Middle Italy, science, purity of design, and grandiose; whilst those of Upper Italy possess energy and strength of colouring.'