THEME, Gott erhalte Franz, den Kaiser!' WITH VARIATIONS(Page 101). The adagio of HAYDN's third violin quartet, op. 76, arranged for the piano-forte. In adapting this lovely air and exquisite harmony to a keyed instrument, it was obviously necessary to give to the base the violin notes of the second part of the first variation. As the two parts are written in the quartet, they can only be played on two different instruments. The manner in which the present movement has been received this season at the Philharmonic, and also the quartet concerts, shows the unabating-or rather the increasing-taste for music of so high an order. Bell' occhio, bel ciglio, Almen crude stelle, Ma val più d' un trono 1 From the comic opera, La Cosa rara, composed by VINCENZO MARTINI (see page 2), and first performed at Vienna in 1786. Five years later it was produced at Drury Lane Theatre,altered by JAMES COBB, and with some musical additions, by Stephen Storace-under the title of The Siege of Belgrade, in which the above cavatina was, and still continues to be, sung the following not very commendable verses. The rose and the lily, their beauties combining, Forbid it, ye powers! to love 'tis a treason; Commands me with scorn the mean thought to decline. SONG (Page 106). The sapling oak lost in the dell, Where tangled brakes its beauties spoil, And every infant shoot repel, Droops hopeless o'er th' exhausted soil. At length the woodman clears around Where'er the noxious thickets spread, And, high reviving o'er the ground, The forest's monarch lifts his head. to A song composed, and introduced into The Siege of Belgrade, by STEPHEN STORACE. (See vol. i., page 6.) It was written for Sedgwick, who possessed a fine base voice, of great compass, and this, aided by a manly person, gave him a rank as a performer which his knowledge of music and his style would not, unassisted, have gained for him. GLEE (Page 109). In the merry month of May, Much ado there was, God wot; He would love, and she would not. She said, never man was true: He said, none was false to you. She said, love should have no wrong. She said, maids must kiss no men, At page 2, we have erroneously stated that the English version of this opera was produced in 1796. According to the Biographia Dramatica it was first brought out in 1791, and revived in 1796. VOL. III. G a writer of considerable fame in the reign of Elizabeth, respectfully alluded to by his literary contemporaries. Ellis, in his Specimens of early English Poets, speaks of him as a poet of whose life no anecdotes remain,' unless he be pointed out in Bridge's Northamptonshire, where it is stated, that a person of this name, son to Captain John Breton of Tamworth, in Staffordshire, after serving in the Low Countries, under Dudley, Earl of Leicester, retired to an estate at Norton, in Northamptonshire, where he died in 1624. Breton was probably born about 1555, because his second production, The Works of a young Wit, was published in 1577. The music, which gained a gold medal from the Catch-Club in 1773, is the composition of BENJAMIN COOKE, MUS. D.* Dr. Cooke was the son of Benjamin Cooke, a music-seller in New Street, Covent Garden. He lost his father at the early age of nine years; but previously to that event he had been placed under the instruction of Dr. Pepusch, and made so rapid a progress, that when only twelve years old he was competent to the duty of deputy-organist of Westminster Abbey, under Mr. Robinson, son-in-law and successor to Dr. Croft. In 1757, Mr. Cooke succeeded Bernard Gates as Lay-Clerk and master of the boys in Westminster Abbey; and in 1762 was appointed organist of that collegiate church. In 1777, the University of Cambridge bestowed on him the degree of doctor in music. In 1782, after a severe contest, in which his principal opponent was Dr. Burney, he was elected organist of St. Martin'sin-the-Fields. In 1784, he was nominated by George III. as one of the sub-directors of the famous Commemoration of Handel. On the death of his master, Pepusch, in 1752, he undertook the office of conductor of The Academy of Ancient Music, from which he retired in 1789, and was succeeded by Dr. Arnold. He died in 1793, of an attack on the lungs, which brought to a close a life of unsullied integrity and virtue. 'Dr. Cooke was married in 1768 to Miss Jackson, one of his scholars, a lady possessed of very considerable accomplishments, and left two sons-Henry, some time in the Post-office, and Robert, an excellent musician, who, on the death of Dr. Arnold, became organist of Westminster Abbey, but died prematurely, in a morbid state of mind.' The compositions of this great master are numerous: many are unprinted and dispersed; it is feared that some are even lost. Of his published works, his glees are best known, and never will be forgotten. But the names of those who studied music under him are alone sufficient to transmit his name to posterity. Among these may be mentioned Sir William Parsons, Greatorex, Crosdill, Knyvett, sen., Bartleman, Spofforth, Walmisley, Beale, &c. And in addition to these, the following were educated in the choir, under Dr. Cooke, but did not pursue the profession of music:the Rev. Dr. Drury, master of Harrow; the Rev. G. P. Marriot, prebendary of York; E. G. Walmisley, Esq., late clerk in the House of Lords; A. W. Callcott, Esq. R. A., (brother of Dr. Callcott,) and many others. Der Blumenbrief. Euch Blümlein will ich senden, Wie ich in Lieb' erglüh', Ihr meine Hoffzung zu; Ihr der Verzweiflung Schmerz, The music is a posthumous work of FRANZ SCHUBERT, a German composer of vast genius, who died about four years since, when he had scarcely attained his thirty-third year! His works are just beginning to be known in this country; those which we have seen exhibit an originality of conception and depth of feeling that, had he lived, must have raised him to great eminence. He wrote vocal music chiefly, we believe, but two pieces for the piano-forte in our possession are worthy of being ranked with the best compositions extant for that instrument. At present, such is all the information we have obtained concerning an artist whose works promised so brilliant a career. DUET (Page 118). Hark! the neighbouring convent's bell The clock now chimes: a thousand times farewe From The Padlock, written by ISAAC BICKERSTAFF; composed by CHARLES DIbdin. This original and sensible composer was born at Southampton in 1745. His mother had attained her fiftieth year at his birth, and he was her eighteenth child! He was educated at Winchester, for the clerical profession, but his love of music predominated, and he received his first instructions from Mr. Fussel, organist of Winchester Cathedral. At the age of fifteen he went to London, and at sixteen produced an operetta in two acts, at Covent Garden theatre, under the title of The Shepherd's Artifice. As an actor he first appeared as Damatas, in Midas, and was the original Mungo, in The Padlock, as well as Ralph, in The Maid of the Mill. In 1778 he became composer to Covent Garden theatre, at a salary of 107. a week. About 1782 he built the Circus (now the Surrey) theatre, which he managed four years. In 1787 was published his Musical Tour, in one vol. 4to. In 1788 he produced, at Hutchin's auction-room, in King-street, Covent Garden, the first of those entertainments which originated with him, under the title of The Whim of the Moment. In this was the ballad Poor Jack,' of which 17,000 copies were finally sold*. Mr. Dibdin, encouraged by his success, in 1791 fitted up a room in the Strand, opposite Beaufort Buildings, which he called Sans Souci, and opened it with an entertainment entitled Private Theatricals. In 1796 he built himself a small theatre in Leicester-place, the first performance in which was The General Election, containing sixteen songs. Here he continued his own unaided exertions, with varied success, till he retired in 1805, when he disposed of his stock, copyrights, &c., to Bland and Waller, for the sum of 18001. In 1803, a pension of 2001. was granted Mr. Dibdin by government, of which he was deprived by Lord Grenville, when he came into office! but it was, we believe, restored, on the change of ministry. In 1810, at a public dinner, 640l. was subscribed to purchase him an annuity, the promoters of which laudable measure were Benjamin Oakley, Esq., of Tavistock-place, and James Perry, Esq., proprietor of the Morning Chronicle. Mr. Dibdin died in 1814. On a slab, placed by his wife. and daughter over his remains, in St. Martin's burying-ground, Camden-town, appear the following lines, from his own song, Poor Tom Bowling; or, The Sailor's Epitaph' : His form was of the manliest beauty, His heart was kind and soft; Faithful below he did his duty, And now he's gone aloft! THE ECCLESIASTICAL CHOIRS OF GREAT BRITAIN AND IRELAND. [Continued from page 43.] No. V.-YORK. THE information we have been able to obtain relative to the musical establishment of York Cathedral has been very scanty. Perhaps the disproportion between the emoluments of the dignitaries-nay, even of the organist-and the lay-clerks, or singingmen, may render it convenient to throw a veil over the salaries, or more properly, wages-for menial servants are commonly better paid-of those who are the most efficient members of the church, on whom the most constant and onerous duties fall. The really learned, humane, and indefatigable lady, whose inquiries into the state of our choirs* has led to the amelioration of more than one of them, seems to have encountered as many difficulties as ourselves, in gaining a knowledge of the state of the York choir, and has been, apparently, obliged to remain content with four brief extracts from the Liber Statutorum, taken from the MSS. of Dr. W. Sancroft, Dean of York. From Willis's Survey of Cathedrals (1727) we learn that the establishment of this Cathedral consisted, when he published his work, of ... I began, as usual, to feel their power, and my own incapacity to struggle against it. Notwithstanding its celebrity, I could do nothing with "Poor Jack :" it had no sale, try all I could, I therefore sold it, with eleven other songs, for sixty pounds. Scarcely had I parted with it a fortnight, when it began to spread itself all over the kingdom; and I have no doubt that it cleared the purchaser, Mr. Preston, five hundred pounds.' . 'The Waterman, which certainly cleared the publisher two hundred pounds, I was compelled to sell for two guineas: and "Nothing like grog" yielded me no more than half-a-guinea. Mr. Dibdin now took the sale of his music again into his own hands, and gained by The Greenwich Pensioner more than four hundred pounds! This lady printed, in 1827, in 4to., A Brief Account of Cathedral and Collegiate Schools, with an abstract of their Statutes and Endowments, &c. The author's object was not fame, but to do good, her work therefore was not published, but only privately distributed among those who were likely to forward her benevolent views. + Such is the practice at St. Paul's Cathedral, where no such officer as organist is recognised. In fact, before the Reformation the duty of organist was executed by the priests in rotation, all having been educated for the purpose. There are four superannuated Lay-Clerks, who attend on Sundays only, and have a retiring pension of 201. There are also three supernumerary Lay-Clerks, added on account of the great power of the new organ, whose salary is 8l. per annum! The lands belonging to the Vicars-Choral were valued, 26 Hen. VIII., Anno 1534, at 156l. 5s. 3d.* Their real value, however, at that time, may fairly be stated to have been 2001. at least. This would be equal to about 16007. of our present money. But besides these, they enjoy in their own right three impropriated rectories and advowsons, out of which they contribute to the pay of the Lay-Clerks. The Precentor,' says Willis, is commonly called the Cantor, or Chauntor, of the church. His office is to look after the Singing-men and Choristers, and take care of the singing service in the choir, where he has next place after the Dean, and is, by the Dean's directions, to manage and take care of the instalments and other regulations of the choir; to put out and in the singingmen, and determine disputes between them. He has under him a Succentor, or Sub-chantor, whose duty is to supply his office in his absence.' Before the Reformation, we learn from the same authority, there were, besides the Vicars-choral, several Chantry-Priests, who attended the cathedral service. Their revenues were rated, in 1534, at 1391. 19s. 2d. Call this 1807., equal in present value to 1440. Hence it will appear, that before the Reformation the choir of this Cathedral-as well indeed as all other English Cathedrals—was numerously filled, and adequately paid; whereas now the singers, in most instances, receive little more than the wages of footmen, without the advantages of board, lodging, and livery! Can it then be matter of wonder that the service is generally performed in a manner so discreditable to our ecclesiastical establishments? THE SIEGE OF ROCHELLE. To the Editor of the Musical Library. London, Feb. 28th. SIR, When I heard the chorus, Vive le Roi!' in the opera lately so much the subject of conversation and controversy in musical circles, I felt convinced that the subject was not new, but could not call to mind its real source. I quite agreed with you, that the quartet of Weber is much in the same style, though not necessarily the model of the composition claimed by Mr. Balfe; and I think it probable that he never saw the work in which that clever piece appears, for it is printed in Germany, is set to German words, and belongs to a class of music too good for Italy, in which country, if I mistake not, Mr. Balfe passed the whole of his time, from the moment when he quitted England, or Ireland, I know not which,-till his return to these hyperborean isles. But, in turning over Meyerbeer's fine opera, I Crociato in Egitto, last week, the conspirators' chorus-the Coro dei Congiurati- Nel silenzio fra l' orror,' caught my eye, and instantly I recognised the motivo, almost note for note, which has supplied nearly the whole material for the chorus in the Siege of Rochelle. It is true that the time is altered, and changes of a slight kind are made, apparently to disguise the imitation: the resemblance, however, is of too decided a kind to be viewed as an accidental coincidence, and must, I fear, be imputed to a disregard of the rights of authorship. Here is the subject of Meyerbeer's chorus: let it be compared with that to which Mr. Balfe has fixed his name, (given in No. 32, page 33, of your Supplement,) and he who denies the sameness must either be blind or deaf, or boldly determined to shut his and ears to conviction. Tenori. eyes Bassi. Willis's Survey. WHAT IS THE MEANING OF THE WORD "CLASSICAL' IN A MUSICAL SENSE? [An Essay, from the German of C. B. von Miltitz.] ONE so often hears the word Classical used in music, and so often hears it applied to ancient and modern composers, to serious and comic compositions, that one might imagine that the idea of classicality, i. e., the sum total of requisites that are expected from a work or composer to constitute them classicalone might imagine, we say, that this idea was so fully and clearly comprehended by every one, so accurately determined, as not to admit of the slightest doubt. In the musical world, at least among musicians, one might fairly suppose that they knew what they meant when making use of the expression. Yet do this very body betray the greatest confusion of ideas, the greatest difference of opinion, so soon as they have to make a selection from a series of productions. One thinks that alone classical which is grey with age: another desires a school of severest purity, and an utter exclusion of all the excrescences of fancy: a third thinks classicality no where to be found, save in the composers of his own period. Indeed they may be all right, so far as every one proceeds from his own point of view; but whether one has a right to set up one's point of view as a rule for all who may differ, is a matter of considerable doubt. All parties, provided they proceeded according to the dictates of a sound judgment, might be united, could a general principle be found according to which we might determinately say, with equal application to all places and times, to the works of every composer of one species, this or that work is classical. Although we here only speak of one species of musical works, yet must our principle, if correct, be applicable to all species, and we name only one to speak of all; as the rhetorician says, we use partem pro toto, the part as the representation of the whole. Without touching on the etymological derivation of the word, which would but little interest our readers, we content ourselves by remarking, that the word classical, according to its present meaning, signifies worthy to be held up as a pattern: * that, in a literary sense, it is ordinarily applied to the Greek and Roman, in contradistinction to the modern literature. However, as it is well known, the European nations of the present day have their classical literature, and we must justly speak of the classical authors of Germany, England, France, Italy, &c., meaning authors, many of whom, as Schiller, Goethe, Byron, Walter Scott, have lived in our own times. Hence the idea of classical does not merely serve to denote what is excellent in one people at one time, but what is so at all times among all people. What scientific and artistically cultivated nations of any period considered as excellent,-worthy to be imitated, and therefore classical, really was so. Hence works of our own period, composed by some poet four weeks ago, have just as fair a claim to be considered classical as those which have been composed four centuries ago. And hence both old and extremely modern works may be esteemed excellent at the To exhaust the meaning of the German word Musterhaft as much as possible, we have made use of this long periphrasis.-Trans. same period; but it can by no means be maintained that works, whose authors have been dead many years ago, alone deserve to be considered classical. The reader will bear this assertion fairly in mind, as upon it all our argument depends. Hence, we again repeat it, every period in which there was an intellectual striving among the European nations, and which striving produced fruits, every such period afforded works classical, considered in their own point of view. No period exclusively deserves that the predicate classical be applied to its own works alone. There are only two exceptions, which, however, do not touch the musician, viz., the period of the revival of science after the migrations, when there was no cultivation beforehand, but all had to be formed; and in more modern times, the decline of several literatures, which seem to have outlived themselves; as the Italian, Spanish, Portuguese, and Slavonian, of which, however, we by no means intend to say, that if they* raised themselves, being favoured by circumstances, and made use of their former history, they might not reappear with classical works. In a close consideration of the classic literary works, both of the former and present age, we perceive as a leading quality the absolute combination of beauty in invention with perfection in representation; neither matter nor form predominates, but each seems, as it were, fully to infuse itselff into the other. Mere correctness, without any genius in invention and beauty in execution, would still less deserve the name classical, than genius without correctness, but only the two in union have any claim to this predicate. And herein we find a difference between the belles-lettres and music, which on the one hand appears to the disadvantage of the latter, but on the other gives a clue to a closer estimation of the classical in music. The principle of classicality which we have sought for, which is to be applicable to every species of artistical productions, and those in all styles, is this: perfect beauty both of matter and representation must be intimately infused into each other. Painting, sculpture and the belles-lettres are subject to no taste of the times. What was called beautiful in the time of Phidias, Raphael, Horace, or Schiller, is considered so still. Not so in music. In the first place, music (considered according to the European sense of the term) is a far more modern art; and, strange enough, all the works of the earlier periods were merely grammatically correct, but were by no means poetically beautiful or even tasteful. People were so busied with the matter, the ear was so uncultivated, that the strict following of a path, half mathematical, half acoustic, was held to be the highest attainable point. In later ages arose an arithmetical school of art, which soon dwindled into mere affectation, but still there was no mention of a genial apprehension and representation, of a feeling-that is to say, of no real art. This went on, till what was called the free style arose, and with it the possibility of giving an expression proper to the words indeed, one different from that prescribed by the severe harmonic method of treatment. Among the popular melodies something like truth, fancy, and nature have sprung up, but these belonged to the populace alone, and dry science prudishly disregarded them. Hence what was composed from 1600 to 1740, (we speak of chamber and theatrical music, for church music still retained its severity,) might be reckoned classical for the period. But it is not so, considered with reference to our present views, because our now enlightened taste demands a fuller apprehension of the force of the words, and a lively colouring of the harmony by means of our much advanced instrumental music. To blame our age on this account, and to desire to lead it back to former tastelessness, were as absurd as to require Vestris or Taglioni to dance in wooden shoes, because, forsooth, at the origin of dancing, there were probably no others worn. Thus, if a society or vocal academy meant to give, e. g., for a series of years, an annual festival of great classical music, as for instance an oratorio, a mass, a cantata, or whatever it might be, they would but imperfectly fulfil their task, if, with a view of giving what are called classical pieces, they performed nothing but the compositions of Bach, Graun, and Handel. These works are classical, but only for their time, and considering the conception of that time. Their excellence should be acknowledged, and they should sometimes be heard, but a pious regard for predecessors which turns to a blind injustice towards successors is, indeed, an impiety, a onesidedness. What chiefly distinguished * They, i. e., the literature,—doubtless a strange nominative to the English reader. -T. † Literally, to penetrate (dringen) into each other.—T. those old masters was their skill in counterpoint. But they have transferred this skill to their successors, for that Homilius, Weinlig, Naumann, Mozart, Haydn, Spohr, and several others, knew and still know how to compose fugues, no one will deny, who knows anything about the matter; and still further, no one will deny that the arias of Handel, Bach, &c., are for the most part very tedious and tasteless.* All the exorcisms of the orthodox will prove vain against this assertion, since the indifference of the public, towards the works of the earlier period, which gradually increases, speaks for us loudly enough. People cannot see why music, full of fancy and elevation in the choruses, full of force and art in the fugue movements, full of expression and taste in the arias, to sum up all, such works as The Creation, The Four Last Things, The Mount of Olives, David penitent, and several other modern compositions, while they properly comply with the requisites of art and the taste of the times, should not be preferred to those, which, as they were composed seventy, eighty, or a hundred years ago, could not have such a combination of advantages for the present age. If then a society, such as we have mentioned above, has one year performed an oratorio by Handel, or a mass by Bach, they will, not only from just, but also prudential motives, give a similar work of a newer and perhaps even living composer. If the composer himself be present to direct his own work, the whole will go off with much more life and energy. The melancholy experience that such unworthy passions as jealousy and envy suppress a good work, or often commend that of a deceased composer to prevent a living one from rising, is not to be feared with a committee, and an intelligent head who may have a decisive voice. At all events, such passions should be regarded with contempt, and suppressed with unsparing severity; because it is those which chiefly prevent the progress of art, and even hurt its esteem in the mind of the public at large. PROLOGUE, Spoken at the Musico-declamatory Academia, held in the Concert-room of the Friends to Music in the Austrian Empire,' on the 8th of December, in honour of the immortal masters, Haydn, Mozart, and Beethoven. [Translated from the German of J. `N. Vogl.] E'en if a transient one, which shortly flies, The very savage piles a heap of stones In desert spot, where some dear friend has died; Then grant these youths the privilege, that they So rash and absurd an opinion must have originated in a total ignorance of Handel's best works. A well-known character, after roundly abusing Shakspeare, was compelled to acknowledge that he had read only The Winter's Tale, and Titus Andronicus. Herr von Miltitz most probably had heard only a few of Handel's worst, and now forgotten, opera airs.—(Editor.) PHILHARMONIC CONCERTS. To the Editor of the Supplement to the Musical Library. SIR,-I beg to call your attention to the last performance of the Philharmonic Society, the third of the season, the vocal part of which was unworthy of this metropolis, and exceedingly discreditable to the managers of the concert. I-understand that Madame Coleoni Corti was asked to choose an air of Mozart, and that she replied, that she not only was unprepared to sing any music of that composer, but had never even heard one of his operas! Was not this prima facie evidence of her being a very unfit person to be engaged by the Philharmonic Society? Signor Cartagenova-not a bad performer-was allowed to select a trumpery composition by Mercadante, which was deservedly hissed. Signor Winter was sanctioned in his choice of an air to which he was quite inadequate; and a duet of Rossini, with a miserable tail-piece by Donizetti foisted in, but which the directors thought fit not to notice in the bill, would have been rendered intolerable by the singers, had not the orchestra completely drowned their voices. Now, Sir, the managers, or directors, cannot plead ignorance of the disqualifications of two out of three of these singers for such a concert, for they had been heard over and over again at the opera. They will not venture to plead ignorance of the music chosen, because they will not dare confess that they consented to the performance of compositions, the merits of which were unknown to them. Nay, they heard the rehearsal of them, and, if capable of judging, must have been certain that the whole of the vocal part would prove a failure. The directors cannot defend themselves by saying that there was little choice of singers. Were Mrs. W. Knyvett, Mrs. A. Shaw, Miss C. Novello, and Miss Masson, all engaged? Were there not half-a-dozen good tenors and basses to be had? Plenty of singers were at liberty; sopranos, tenors, and basses, not one of whom had appeared this season at the concert. But, novelty is desirable. Granted: I know full well, however, that foreign singers are too eager to sing at the Philharmonic to be nice about the terms; and if the managers had, in good time, engaged even these, and given them a few days to study what might have been allotted to them, they would have been prepared -in the best way their abilities would allow-to sing what was required of them. I have the honor to be, Sir, &c. Union Club, March 24th. A SUBSCRIBER. NECROLOGY. IN January last, died Dr. JOHN CLARKE-WHITFIELD, Professor of Music to the University of Cambridge. This distinguished English composer was a native of Gloucester, a city which, having a cathedral, has produced several good musicians. He received his professional education at Oxford, under Dr. Philip Hayes. In 1789 he was, through the interest of Earl Powis, chosen organist of Ludlow. In 1793 he graduated at Oxford as Bachelor in Music. In 1795 he was appointed organist of the cathedral of Armagh; and in the same year the degree of Doctor in Music was conferred on him by the University of Dublin; at which time, recommended by the present Marquis Camden, then Lord-Lieutenant of Ireland, he was elected master of the choristers of St. Patrick's cathedral and of Christchurch. The state of Ireland in 1798 induced him to quit that unhappy country, and he soon obtained-what he indeed was led to expect the offices of organist and master of the choristers of Trinity and St. John's colleges, Cambridge. The year following, that university admitted him to the same degree that he had obtained at Dublin. On the death of his maternal uncle, H. F. Whitfield, Esq., of Rickmansworth Park, Herts, in 1814, he took the name of his relative, but was, we believe, much disappointed in his expectations of succeeding to his property. Cambridge affording no great encouragement to an artist of Dr. Clarke's rank, and, moreover, having been, we suspect, of rather an unsettled disposition, he in 1720 accepted the place of organist and master of the choristers at Hereford, a situation which altogether held out greater temptations than any he had before filled. In the following year, however, the university proved their respect for him, by electing him their professor, on the decease of Dr. Hague. A few years ago Dr. Clarke was attacked by paralysis, which soon deprived him of the use of one side. He then relinquished |