dern or Sclavonic and Gothic music. The language of the Greeks, it appears, was, by its variety of feet, admirably fitted for a varied and powerful rhythm or measure; and, from this, the Greek melody, which was perfectly simple, derived much of its power. The lyre, if its strings were stopped, as I have endeavoured to show, was evidently well adapted for this. We cannot, therefore, wonder that, desiring no increase of harmonic combinations, it is stated in the sentence of the Spartan Senate against Timotheus, that, "Whereas Timotheus the Milesian, coming into our city, and despising the ancient music, rejecting also that melody which ariseth from seven strings, and setting off his music by a multiplicity of strings, and a new species of melody, corrupts the ears of our youth, and instead of that which is legitimate and pure, corrupting the enharmonic by new, various, and chromatic sounds," &c. Here I may remark that the sense of this decree is, for the first time, rendered plain, by the doctrine of this paper; for if the ancients stopped the strings of the seven-stringed, or even the fourstringed or Apollonic lyre with the finger, it is evident that they could produce every note of the chromatic scale, or even more minute divisions, and consequently every species of that which we term melody. This decree was therefore directed only against the increased power of producing harmonic combinations, and the consequent practice of these combinations introduced by Timotheus, and here called a new species of melody. This also, for the first time, clearly proves what was the character of Greek music -namely, melody and not harmony. It appears, however, as observed by Dr. Brown, that the anci ents sung and played, first in unisons, octaves, and fifteenths; then in thirds and tenths; and, in later periods, in fourths and fifths-be it understood, of their scale. As to mere instrumental music, Plato calls it "an unmeaning thing," and "an abuse of melody." In the days of Aristotle, however, it appears that the chorus of some of the dramas gave way to melody merely instrumental, which then first assumed the name of music. To me, it is further evident that the meagreness and other defects of instrumental music subsequently gave origin to bass accompaniments; and accordingly, as Brown or Burney observes, when Guido invented the art of counterpoint or composition in parts, instrumental music became, with its aid, a -complete species, independent of poetry or song; and the composer sought for curious harmonies, discords, resolutions, &c., displaying art, to the neglect of all expression. Which of these species of music is preferable, or what is the precise province of each, is not here the question. The Greeks, our masters in all the other fine arts, preferred the former; and to that the lyre was well adapted. As the lyre appears to have been employed by the Ancients only as an accompaniment to the voice, continuity of tone was not in that case so desirable. In this point of view, therefore, there is no inferiority to the violin. Viewing the matter, however, more generally, it results from my experiments as to the tone of these instruments, that the lyre has neither the tubby sound of the violin played pizzicato, nor the wiry and nasal sound of the guitar. So great, indeed, is the superiority of the tone of the lyre, to that of the violin played pizzicato, and to that of the guitar, that no one can believe it without hearing it. The removal of the finger-board appears to open the tone in a most remarkable way, and astonishes every hearer at the vast sacrifice of tone which was made in order to obtain the convenience and other qualities of the violin and guitar. I previously observed that half or quarter notes may be produced on the lyre; and that these may be run into each other, upward or downward, by carrying the stop, correspondingly, over the string. All slurs or legato passages have consequently a beautiful effect on the lyre, where accompaniment is the object, and much continuity is not required. I now find that not only does the lyre admit of the slides of the violin, but by means of a little more or less pressure of the strings by the stopping hand, so as to tighten or relax them, different notes may be produced in the same place.-This is a most important circumstance, which neither the violin nor guitar admit of; which greatly contributes to the delicacy of the lyre's expression; and which conforms to the observation of the Westminster Review, that, in every instrument, the power of expression is in proportion to the immediateness of the contact between the sounding materials and the performer. It was this, its power of producing the half and quarter notes, and its vast superiority of tone, which led me, in my former communication, to express my belief, that the lyre is destined to become, in the hands of the vocalist, precisely what the violin is in those of the instrumentalist. I previously mentioned the lyre's capability of a fuller harmony, as, in these days, one of its advantages over the violin—I mean, of course, when the violin is played with the bow by common hands; for, played pizzicato, it forms but a bad lyre or guitar. A subordinate consideration in favour of the lyre is, that the fingers employed in stopping the strings, being protected (as will be seen in the sequel), suffer no injury, whereas those employed on the guitar are hurt in the first instance, and rendered more or less callous or insensible in the second. In this respect the lyre excels also the harp. The elegant form of the lyre, and the facility of carrying it, are also great recommendations. But I now proceed to the practical use of the instrument. In my former communication I said that some circumstances seem to render it probable that, in playing on the lyre, the ancients stopped the strings, at various places, by means of some metallic substance, in order to produce a great variety of notes, and that probably the plectrum might be used for that purpose. I am aware that both ancient writers and modern commentators give a different representation. But, as I then observed, it seems scarcely possible that their aga should so perfectly resemble the guitar of the present day, without suggesting to them the stopping of the strings of the lyre; and I may now add, that the rings which, in some ancient representations of the lyre, are seen attached to the strings, can scarcely be supposed to have had any other purpose. Be this, however, as it may, it makes little difference in the present case. It will only make the lyre, thus employed, a new instrument. To stop the strings of the lyre, I have tried various experiments. I first employed a plectrum for that purpose; but it could stop only a single string. I next employed thimbles with a groove on the side; but these occupied too much space to pass easily between the strings. I lastly employed thimbles with grooves crossing thus upon the top, and I applied to the strings only the tips of the fingers; and these I found best to answer the purpose. To acquire a knowledge of the places at which to stop the strings, is doubtless more difficult than in an instrument of which the finger-board is covered with frets like the guitar; but Colonel Thompson has shown how faulty these fixed frets are, and has proposed an ingenious improvement, not however unattended with some trouble to the performer. In the lyre, as now proposed, both frets and improvements, in any degree troublesome, are got rid of, and all the capability of the violin is substituted for them; nor is there much more difficulty in stopping the strings of the lyre than in stopping those of the violin. It is true that we thus substitute, so far as regards the guitar, a somewhat more difficult for a somewhat easier instrument; but that consideration sinks into nothing, when it is seen that we substitute a perfect for an imperfect instrument. In using the thimbles as the means of stopping, I should remark, that one is apt to press the string most with the upper part of the notch of the thimble; but this is wrong, and produces a disagreeable chink. The pressure should not be diminished, but rather increased at the lower part of the notch. The lyre may also be fitted up with six strings like the guitar, if a greater choice of harmonic combination be desired. The scale of the four-stringed lyre is precisely that of the violin; and all violin music is applicable to it. The scale of the six-stringed lyre is precisely that of the guitar; and all guitar music is applicable to it. I need scarcely add, that the instrument is slung round the neck;-that the fingers of the left hand are employed to stop the strings from the back of the instrument, and, on the fingers of that hand the thimbles are placed;-that the instrument hangs on the left side;-that the fingers of the right hand strike the strings;-and that instruction books for the violin afford all the further information required in using it. I must not, however, conclude without observing, that the only difficulty in the use of this instrument beyond that of the violin, is one which is connected with one of its greatest excellences, namely, that the pressure on the strings requires great nicety and care; for any undue increase or diminution of this alters their tension, and consequently the notes which they emit. I immediately observed to Mr. Bonomi, that I was deeply interested in knowing in what manner this instrument was played upon; when, to my surprise and delight, he confirmed what I had long before stated in The Harmonicon,-what writers on music such as Burney had failed to understand. He stated, that the strings are stopped, at various parts, by the fingers, and he produced, in illustration, a drawing, from which a sketch is given in figure 4, in which a Nubian, having passed the left wrist behind the transverse band A, applies the tips of his fingers for this purpose. Fig. 4. Nubian in the Attitude of Playing. That accurate observer and profound physiologist, Sir Anthony Carlisle, who was present at the time, remarked that the number of the strings thus requiring to be stopped had evidently been regulated by that of the fingers which might be applied to them. I need not say with what pleasure I thus found long previous reflection confirmed-with what happiness I saw that I had dispelled the errors as to the Grecian lyre, or how much it has convinced me of the utility of observing and thinking, without much regard for written authorities. DONALD WALKER. PURCELL HANDEL. MOZART. HANDEL. HANDEL. '} (Giulio Sabino.) SARTI. BUONONCINI. HANDEL HIMMEL HANDEL. There was considerable variety in this concert, Handel predominating, of course, as he always must, in an English concert of ancient vocal music. But no less than eight other names appear in the programme, which, compared with the practice of former times, is a decided proof of a great amelioration in the plan of these performances. The truly grand overture to the Occasional Oratorio, including the most animating march that ever was penned, was executed with the greatest spirit and nicety. The selection from Mozart's Mass, No. 1, did credit to Lord Cawdor's taste: the air, Agnus Dei,' one of this composer's happiest thoughts, was sung in a very correct, chaste manner by Miss Clara Novello; who, however, as she becomes older, more experienced, and consequently more confident in her own powers, will, let us hope, give way to a little more feeling, and sing with a greater degree of warmth. Without passion, the finest voice, the purest intonation, and the utmost accuracy, soon cease to make any impression. The bold air from Theodora is exactly suited to Mr. Phillips, who makes the most of it; and the succeeding lively chorus always pleases. The aria of Perez is a good specimen of a master formerly held in high esteem, but whose very name is unknown out of the precincts of the Ancient Concert. Madame Stockhausen entered into the character of this, and placed it in a most favourable light. The masterly and charming sestet by Pergolesi would have had more success had it been more rehearsed; and the beautiful madrigal did not begin auspiciously, but the performers acquired confidence as they proceeded, and ended better than they commenced. Of Mr. Braham's performance of the mad scene in Tom D'Urfey's and Purcell's Don Quixote, we have spoken in recent number. We repeat our wish that the latter part of the cantata were omitted. The air and chorus from Esther have always been favourites with the Ancients, and pleased now as much as ever: though had Miss Masson, or Miss Postans, sung the aria parlante, Jehovah crowned,' the effect would have been greater. A new candidate for vocal fame now appeared, Miss Adelaide Kemble, one of the family so long and so highly distinguished by talent, the second daughter of Mr. Charles Kemble. The pieces chosen for the occasion,-her first public appearance,-were two of Handel's most expressive compositions, and exactly suited to the style which seems natural to her; for pathos, strong feeling of either the tender or tragic kind, is evidently her forte. Her voice is full and powerful,-its compass great, the best part of it running low, into the mezzo-soprano scale, and she has acquired from a good Italian master the art of delivering it in the best manner. Her intonation is extremely pure, and, as was to be expected in one so related, her articulation is remarkably correct and distinct. Miss Kemble had, up to this time, confined her studies almost exclusively to Italian music, that of Handel was, therefore, almost strange to her, a circumstance which gives her an additional claim to praise for the efforts she must have made to prepare herself for so arduous an undertaking. Success is the reward of her labour; and we will hazard the opinion, that this young lady is destined to become as great in the line she has chosen, as the elders of her family have proved in the art of which they have been such distinguished ornaments. Mozart's overture was well performed, but certainly not with the spirit so observable at the Philharmonic Concerts; indeed the band at the latter is better calculated to give the true effect to modern instrumental music. Signor Tamburini, in the fine aria, Sorge infausta,' surprised as much as he pleased, for it was not expected that he would enter so entirely into the spirit of a composer with whose style he was-probably, till now called on -wholly unacquainted. Avert these omens,' one of Handel's The magnificent chorus, When his loud voice in thunder most dramatic chorusses, was admirably performed; but its effect spoke,' was quite perfect; and highly effective was the selection would be greater were it made to follow something to which it from Idomeneo. The solemn march in this produced more might appear to be related. Miss Postans delivered the ably-emotion than is usually witnessed at these concerts. Mademoiselle composed recitative of Sarti with great force and judgment. În În the aria she was not quite so successful. Chi mai d'iniqua Stella,' was certainly delightful; but let it be remembered, that Buononcini wrote this as a round, and for three voices, which form is preferable to that now given it. After God save the King,'-to listen to which so frequently must be felt by royalty as no light tax,-a Scena, (No. 7 of Mozart's single opera airs,) not written when his muse was in the most favourable mood, was very well sung by Mrs. Bishop. The quartet from Athalia, which is not so well known as it ought to be, was as well performed as could have been expected. Of Mr. Braham's Deeper and deeper still,' we only need say, that he sang it as usual. Grisi, in the pathetic air from Nina, was very charming, but would have been much more so had she rather restrained her voice. She forgets, when in the concert-room, that she is not on the stage, not singing in half the area of the King's theatre, and her fortes, her strong notes, acquire a hardness approaching to coarseness. Parts of this, however, were exceedingly touching; though as a whole it wanted the tenderness which Mad. Pasta imparts to it. But Madle Grisi's scena from Don Giovanni was as near perfection as mortal singers can hope to reach. The justness of her conception, her firmness and energy, surpassed all whom we have ever heard in this great composition. And we felt the more indebted to the noble director for his choice of this, as it is commonly omitted on the stage, the character of Donna Elvira almost invariably falling into hands incapable of undertaking music of so high an order. The choruses and quartet from Beethoven's Mass proved an agreeable novelty here. They were remarkably well executed. But we must risk the anathemas of partizans, and confess that we think the Benedictus would have more voices in its favour were it shortened. The concerto of Martini, so comparatively quiet and melodious, produced a most pleasing effect. Wilbye's very clever madrigal went off in a satisfactory manner. Signor Lablache then created quite a sensation in an aria from Handel's opera, Orlando. Though it most likely was altogether new to him, he seemed to be quite familiar with the music, and sang it in exactly the style that has been handed down by tradition to English singers. The trio of Righini is a gentle, elegant composition. We trust that, as Lord Burghersh has opened the volumes of this neglected composer, he will indulge us with more of their contents. They are worth reviving. The three consecutive choruses from Israel in Egypt, admirably performed, made a grand finish to the concert. This program almost tempts us to retract what we have before said concerning the predominance of Handel in the AncientConcert bills of fare: Mozart here nearly equals him: next season, peradventure, the modern may be at the head of the poll. Well! we are much obliged to the most reverend prelate for a selection of so liberal a character,-for so good a concert. Aria, Signor Lablache, “ Và sbramando,” (Faust) Concertante, Flute, Oboe, Clarinet, Bassoon, Horn, Trumpet, and Aria, Madlle. G. Grisi, « Tanti affetti," (La Donna del Lago) ROSSINI. MOSCHELES. HAYDN. CHEVALIER NEUKOMM. Leader, Mr. MORI.-Conductor, Mr. MosCHELES. This proved on the whole an excellent concert. The symphony of Beethoven was executed à merveille, the slow movement obtain Mos The selection from the Seasons included a considerable portion of the Spring, and, we need hardly say, the lovely quartet, Come, gentle Spring !' as well as the air, With joy the impatient husbandman,' from which Rossini so unceremoniously borrowed his Zitti! Zitti! formed a very prominent part. The grandeur of the chorus, Wonderful Lord!' was well maintained by the best choral band in England. We rejoiced to hear Miss Postansing a loud encore. The eighth grand symphony of Haydn, for rather than a falsetto, in O thou that tellest:' her rich contr' alto voice told well here; but we recommend her not to force it too much in the lower notes. Signor Rubini seems to have a predilection for the beautiful message-air, as it may be called, 'Il mio tesoro,' and we beg leave to assure him that he kills it with kindness; the meretricious ornaments-Brummagen graces -with which he loads it, (not to mention his alternation from deafening loudness to inaudible softness,) turn it into complete burlesque. But for we will do him justice-the manner in which he sang Cara immagine' made ample atonement for his previous escapade: a more passionate, finished performance we never listened to. The chorus from The Messiah could not have been better. Nor could Mrs. Knyvett's What though I trace,' had she but sung it a degree faster, and laboured it less. The trio, which we perceive displeases some contemporary critics, is the well known tender arietta, Ho sparso tante lagrime,' arranged for three voices, and to which Moore wrote some sacred verses. We will be rash enough to acknowledge that it pleases us, when properly placed; for we say of the profoundly scientific, and of the sublime, what Cowley says of wit, that it is better to be without it altogether, than to have nothing else. The finale to Tito was excellent, and Signor Rubini here again much pleased us. The second act began well with one of Handel's most favourite overtures. After which Miss Kemble again essayed her powers in the melodious air from the anthem, O come let us sing,' and only was not quite so successful as before, because there is less opportunity in this of expressing deep feeling, than in either of the pieces allotted to her in the former concert. The charming composition of Stevens was sung in a manner that reminded us of the golden age of glee-singing, when Mrs. Billington, W. Knyvett, Harrison, and Bartleman united their powers. So audible was the whisper of approbation, that we momentarily expected an encore as the consequence. Madame Malibran then rose to give the delicious air, Ombra adorata!' and though evidently fatigued by her previous exertions at the theatre, sang it in a manner which none but Mad. Pasta only, in her best days, ever surpassed. Mad. Malibran afterwards took a part in Qual anelante,' with her sister-in-law, Madame Garcia, making the whole room regret such a union, and the martyrdom of so beautiful a composition. But the former was herself again in the recitative and air from Tito. This she really makes her own. We can conceive nothing finer than such music, so sung, and so accompanied. The motet of Mozart was splendid in every way. Haydn's March never ought to have had a hearing given it in this concert. We can hardly persuade ourselves that anything so feeble could have escaped from his pen. It is true that the greatest of men nod at times, but it is unkind to exhibit them when dozing. Dr. Crotch's beautiful and ingenious motet was rather a failure. Mr. Phillips, principal base, stood in the orchestra, the four other voices were placed at the other end of the room, at the back of the royal box, and the distance, in this case, was fatal to the effect,-the parties, till near the close, could not be kept together. The experiment is a dangerous one, nevertheless worth trying. It would be well to devote a whole morning to the rehearsing of a work that exhibits so lofty an imagination. The grand chorus for two choirs made us rejoice at having remained to hear so excellent a performance. many years performed almost to satiety, then, as a consequence, Of Signor Rubini's Cara Immagine' we have already spoken. The terzetto admitted of no improvement. Here we had the dramatic music of Italy assigned to Italian stage performers, and the result was such as might have been anticipated. Nor could anything be finer, in its way, than Lablache in the aria from Faust. He certainly does not look a Mephistopheles, but in every other respect is perfect in this most characteristic composition, and met with a hearty encore. Mademoiselle Grisi sang Tanti affetti' divinely. To the exquisite neatness of a Sontag, she adds all the feeling, the animation, that her charming predecessor wanted. Recit. ed Aria, Signor Tamburini, Vedro, mentre io sospiro,' (Le Sinfonia in G minor ACT II. BEETHOVEN. MOZART. PAER. Scena, Madame Stockhausen, Si, lo sento,'' (Faust) Aria, Madame Fincklohr, Bell' raggio,' (Semiramide) MOZART. BEETHOVEN. Leader, Mr. F. CRAMER.-Conductor, Sir GEORGE SMART. The pastoral symphony was most ably executed, though we thought the second allegro, the dance, too slow. The attention with which the whole was received, long as it is, is undeniable evidence of the highly-cultivated musical taste of this audience. We were much pleased to find a poetical description of this work, selected from Thomson's Seasons, printed with the words of the vocal music. For the benefit of our readers, and indeed to circuHUMMEL. late widely so apt an illustration, we here insert it. BEETHOVEN. MOZART. THE LANDSCAPE. Allegro. See the country far diffused around One boundless blush, one white empurpled shower Of mingled blossoms, where the raptured eye Hurries from joy to joy. THE RIVULET. Andante. And, pensive, listen to the various voice Of rural peace: the herds, the flocks, the birds, The hollow-whispering breeze, the plaint of rills. THE VILLAGE DANCE. Allegro. Rustic mirth goes round-to notes Of native music, the respondent dance. THE STORM. 'Tis listening fear, and dumb amazement all! THE SHEPHERD'S SONG. -Thro' the lightened air A higher lustre and a clearer calm Diffusive tremble: and nature smiles revived: The symphony of Mozart, and the overture to Anacreon, left nothing to be said but in their praise. The Jubilee overture, as a piéce de circonstance, has considerable merit, and certainly makes a good rattling finale. Should not this have been reserved for the concert nearest to the King's birthday?—the national anthem which forms part of it, seems to indicate the appropriate time for its performance. The concerto by Bennett, is that which this very rising young man-a youth, indeed-produced last year at one of the Academy concerts. We then mentioned it in terms which it deserved, and now, on a second hearing, with all the advantages of such a band, discover new beauties in it, and further claims to approbation. His own performance of this was as correct and neat as could be wished; but the power of executing is so subordinate to the talent for creating, that it must only be mentioned as a mere auxiliary. It was very flattering to so young a musician to be placed in so honourable a situation, in a concert that cannot find room for half of those who are entitled to become candidates for a début, and the directors are entitled to the praise of discrimination for the selection they made. The quartet of Beethoven, it is stated, had never before been performed at these concerts.' An immense majority of the audience wished that its production here had been further delayed. We are not willing to condemn any work of Beethoven on a first hearing, but shall be agreeably surprised if a second, or even a third, should at all change our opinion on the subject of this composition, which appears to us to consist chiefly of musical perversities and unproductive labour. Signor Tamburini, in the admirable scena from Figaro, was excellent, and made us wish that he might have an opportunity afforded him of going through the whole part of il Conte in that great opera. But it was to make him suffer a kind of martyrdom to give him such a companion in a duet from which, with a singer at all equal to himself, he might have reaped so much applause. This remark will render it unnecessary to make any observation on Rossini's fine aria, from Semiramide. We will not, however, conclude without paying the tribute due to Madame Stockhausen, for her performance of the masterly scena from Spohr's Faust, which indeed has before drawn forth our willing praise, and the plaudits of all her auditors. Mr. MOSCHELES', Concert Room, King's Theatre, This commenced with Mr. Moscheles' new overture to Schiller's tragedy, Joan of Arc, of which we have spoken in our account of the fifth Philharmonic Concert. Mr. Moscheles performed the first movement of a MS. Concerto Pathétique, followed by a Rondo Brilliant, both with full orchestral accompaniments: the former addressed to the cognoscenti, who acknowledged its merit in their willing applause; the latter was meant to please those who delight only in quick, gay, sparkling music, and completely succeeded. Mr. M. also gratified the real connoisseurs by playing Beethoven's Concertante, accompanied by Messrs. Mori and Lindley: so great a treat they rarely enjoy. We did not remain to hear his improvisation, not having much relish for extemporaneous performances. The rest of the concert was vocal, in which Madile. Grisi, Mad. Caradori, Miss Masson, Miss C. Novello, Messrs. Rubini, Parry, Lablache, Machin, &c. assisted. The room was remarkably well filled. Mr. SALE'S, King's Concert-Rooms, Hanover-Square, Friday Morning, May 8th. Honoured by the presence of the Duchess of Kent, and our future Queen, and aided by nearly all the musical talent that London in its busy season can supply, Mr. Sale invariably fills his room to such a degree, that those who cannot afford time to secure a place long before the performance begins, have no chance of getting beyond the door-ways. This was our predicament on the present occasion. We procured, by favour, a bill of the concert, and found an excellent selection, though we were doomed to hear but little of it, standing in the small ante-room. We heard Madlle. G. Grisi sing some indifferent music in a manner worthy of better subjects, and Mr. Braham, in Beethoven's Cantata, Nel. giardino,' which he gave throughout in a subdued tone, and with exquisite feeling. We were also enabled to enjoy Mrs. Anderson's performance of the Romance and Rondo from Hummel's Concerto in A flat. The rest we lost, and are told that our loss was great. BENEFIT CONCERTS. Mr. VAUGHAN's, King's Concert Rooms, Hanover Square, Wednesday morning, April 29th. Mr. Vaughan produced a composition of Romberg, The Transient, and The Elernal, a sacred Ode, of considerable merit. He collected a very powerful vocal party, among whom were Mesdames Stockhausen, Knyvett, Caradori, and Bishop, Miss Novello, Messrs. Braham, Bellamy, Phillips, Parry, jun., Machin, &c. Mr. E. Schulz played Hummel's Retour à Londres; and Nicholson accompanied, in a most brilliant manner, Mrs. Bishop, in a song by Mr. Bishop. Duet, Miss Masson and Mr. Parry, jun., 'Dearest, let thy footsteps follow.' SPOHR. Rampataplan, Madame Garcia, Le petit Tambour;' composed by Mad. MALIBRAN. Finale (Iphigenia) GLUCK, The above well-chosen concerto is the original and beautiful composition in D minor, the first movement breathing a strain of the divinest melancholy,' with which the feelings of most who were assembled on this occasion were in perfect unison. The second movement, a lovely Andante Cantabile in F major, is a gentle relief to what precedes and follows it. The last returns to the minor key, to that sweet sadness so pleasing to persons of |