X
THE BRITISH MINSTREL,
AND
MUSICAL AND LITERARY MISCELLANY;
A SELGOTION OF STANDARD HU3I0,
SONGS, DUETS, GLEES, CHORUSES, ETC.
ARTICLES IN MUSICAL AND GENERAL LITERATURE.
VOL. III.
GLASGOW:
WILLIAM HAMILTON, 33 BATH STREET,
J. MEKZIES & CO., AKD OLIVEE k BOYD, EDINBURGH ; J. HEYWOOD, MANCHESTER; AND SIMPKIN, MARSHALL, & CO., LONDON.
INDEX.
ANTHEMS. PACE Funeral Anthem, E.W.Wolf, .... 61 Hark ! the Herald Angels sing, Dr. Arnold, ..... 304 Lord of all Power and Might, Mason, 139 DHORUSES.
All we like Sheep, Handel, . . . . -. 193 And with His Stripes we are healed. Handel, 156 Behold the Lamb of God, Handel, 118 Blessed be the Power, Astorga, 37 Glory to God, Handel, 6 He was despised. C. H. Graun, . . 164 He trusted in God, Handel, 233 His Yoke is Easy, Handel, 75 Holy, Holy Lord, Haydn, 257 In thee O Lord, J. H. RoUe, . 86 Surely He hath borne our griefs. Handel, 134 MADRIGALS. As fair as Mom, and fresh as May, 3 voic— es, JohnWilbye, .... 246 Awake Sweet Love, 4 Dowland, . 312 Every Bush new springing, 5 — Michael Cavendish, 54 Now is the month of Maying, 5 — Morley, 142
Since first I saw your Face, 5 — Ford, . 226
The Silver Swan, . . . . 4 — O. Gibbons, . 214 GLEES.
Adieu ye Streams, 4 roi :es. Atterbury, . . . . . 174 Broom of Cowdenknowes, The 4 _ J. Corfe, 52 Canst thou love (Canzonet), 4 — Ravenscroftv 268 Come live with me. 4 — Webbe, 101 Come bounteous May, 5 — Spoiforth, 275 Dame Durden, . . . . 3 _ . 186 Fair and Ugly, . . . , 3 — Travers, 270
. — Fairies, The . . . 3 — Dr. Callcott, 114 Fill the Bowl with rosy Wine, 3 _ Dyne, 286 Fisherman's Glee, The 4 W. Rhodes, . 67 Five times by the Taper's light (duartett). 4 Storace, 46 Fleet at Anchor, The (Chorus) 4 — Mozart, 204 Go idle Boy, . . . . 4 — Dr. Callcott, . 295 Health to my dear, . . . . 4 — Spofforth, 254 If Love and all the World were Young, 4 — Webbe, 105 In the lonely Vale of Streams, 4 — Dr. Callcott, 219 Lightly Tread 3 — George Berg, 168 May-Fly, The . . . . 3 — Dr. Callcott, 180 Melting Airs soft joys inspire, 4 — Dr. William Hayes, 112
. — Of aU the brave Birds (The Owl), 3 Freeman, . . 20f Queen of the Valley, 5 — Dr. Callcott, 19 Rosabelle, . . . . . 3 Dr. CaUcott. 148
is . . . — Say what Love, . 3 T. Carter, 146 Scotia, land of Lake and Mountain, 4 — J. Seligmann, 132 Stammerers, The . . . . 3 — Dr. Harrington, 94 Tell me then the reason why ? 3 — Atterbury, 154 . . .
IT INDEX.
PAOE The Owl, . . 3 voices, Nicholas Freeman, 206 The fairest Flowers the Vale prefer, . 3 — Danby, .... 230 Three Graces, The (Trio) . . 3 — Methfessel, .... 170 Up, Clansmen up. . 4 — C. F. Bird 290 While grief and anguish rack my breast, . 3 — Thomas Linley, 14 WiU Chloris cast her sun-bright eye . 3 — Goodgrome, .... 311 Waits, . The . 4 — Jeremiah Savile, 40 Ye . Gentlemen of England, . 3 — Dr. Calloott, 34 ROUNDS.
Bright beams . the Morning, . 3 voices. Cherubim, .... 188 Hark the Bells how are rmging, • 3 — Bononcini, .... 302 If you trust try, . before you . 3 - . . . 41 I loved thee beautifiil and kind, 3 — Battishill, .... 72 Innocence, . 4 — J. G. Webb, .... 97 In vain would Fortune, . 3 — S. Webbe, 274
The Young in . who Wisdom, . 4 - . . : 56 DUETS.
Could a Man be secure. 262 Hark the hollow woods resounding. , , J. S. Smith 35 How sweet in the Woodlands, Dr. Harrington, 109 Idalian Queen, , ^ Dr. Arnold, .... 126 Time has not thinn'd my flowing hsur. Jackson, .... 190 Dressers, Vine The . Mozart, .... 309 Were I like a Monarch to reign, Webbe, .... 66 When first 1 saw thee graceful move N. Pasquali, .... 22.D Ye who shun the haunts of Care, • Mozart, .... 98 CATCHES.
Ah ! how Sophia, . . . 3 voices. Dr. CaUcott, .... 12 Buz, quoth the Blue Fly, . 4 — Dr. Arne, .... 85 Come Honest Friends, . 3 — Ives , 57 Hark ! ding, dong, . . 3 — Dr. Harrington, 294 How great is the pleasure, . . 3 — Dr. Harrington, 5 Nelson of the Nile, . . 3 — Dr. Callcott, .... 128 Now we are met, . 3 — Webbe, .... 180 Poor Johnny's dead, , • . 3 — Dr. Hayes, .... 73 Turn Amari'Uis to thy Swain, . 3 — Hilton, .... 213 With Horns and Hounds in chorus. . 3 — Atterbury, . . , 89 Wilt thou lend me thy Mare, . 3 — Dr. Nares, .... 177 SONGS.
All in the Downs, Leveridge, .... 241 Annie Laurie, . Scottish air...... 289 Arethusa, The William Shield 33 A rose tree faU in bearing, . William Shield, . . . . 14l Beauty, Pleyel, . . . 129 Black-eyed Susan, . . . Leveridge, . . . . . 241 Brisk young Lad, The Scottish air, . . . . . 32 Bruce's Address, Air, " Hey, tutti taitie," 185 Bud of the Rose, The William Shield, . . . 310 Cam ye by Athol, Gaelic air, - . . . , 301 Dainty Davie, Scottish air, . . . . . 92 Down by the river. Storace, . . , . , 260 Ere around the huge Oak, . William Shield 81 Farewell thou fair day. " Air, My lodging is on the cold ground," . 121 Good-morrow,. Mozart, . . . , . 137 Hardy Sailor, The . Dr. Arnold, . . . . . 178 In my pleasant native plains, Linley, . • . ' . 113 Jolly Beggar, The . Scottish air, . . . . 17 Laddie, oh, leave me, Scottish air, . . . . . 65 Leezie Lindsay, Scottish air, . . . . . 153 Lord Gregory, Scottish air, . . . . . g Lovely Bell, .... John Davy, . . , . , 74 Maggie Lauder, Scottish air...... 161 Maxwelton braes are bonnie. Scottish air, . . . . . 289 My love's in Germanic, Scottish air, . . . . . 4 My heart is sair for somebody. Scottish air, . . . . . 40 My ain Fireside, Scottish air, . . . . , 249 O whistle and I'll come to you my ad, L John Bruce, . . . . . 163 wert thou Oh in the cauld blast. C. Krebs, 58 OldTowler WilHam Sliield, .... 228 .
INDEX.
PAoa Parting, The ... . . Scottish air, . 209 Sally in our Alley, ..... Henry Carey, . 217 Scots wha hae, ..... Scottish air, . 185 Smuggler, The ..... John Davy, . 110 Soldier's Return, The .... Scottish air, . 100 Some love to roam, ..... Henry Russell, 265 Star of Eve, The ..... William Shield, 44 The girl that I love is a mortal like me, .... 281 There cam a Young Man to my Daddy's door, . Scottish air, . 32 TuUochgorum, ...... 201 Welcome of the Lily flower. The . . . Jacobite Song, 273 Woodman spare that Tree, .... Henry Russell, 293 MELODIES.
Lass of Livingston, The Scottish air, 60 Ox's Minuet, The . Haydn, 124 LITERATURE.
Academies of Music, . . . .46 Discernment of Amateurs, . 230 Affectation of Musicians, ... 45 Dover, The Cliffs of . 136 Aldrich, Dr 203 Dramatic Dances of the Portuguese Peasantry, 84 Alexander Batta, .... 245 Duke of Orleans, (the late) and Cherubini, . 273 Algerine Music, .... 285 and Ferdinand Paer, 146 Amateurs, Discernment of . . . 230 Duties of a Conductor of Music, 94 Ancient Music, ..... 295 Enthusiast, A Musical .... 187 Anecdote of a celebrated Prima Donna . 284 Era in Music, An .... 227 of Sir William HerscheU, . . 257 Expression, Musical .... 130 Anecdotes of Malibran, . . 167, 190 Extraordinary Musical Talent, 65 An Era in Music, . . . .227 FeUcien David ..... 202 Annual Meeting of the Bachs, . . 83 Ferdinand Ries, .... 145 Antwerp, Church service. Organs, &c. in . 89 Fischer the Oboe Player, . . 84 Artist, A great ..... 85 Flowers, ...... 203 Autumn, A song for .... 126 Forecastle songs, .... 214 Bachs, Annual Meeting of the . . 83 Frederick the Great and the Pasty, . 131 Ballad of Crazy Jane, .... 138 Gandsey, the Irish Piper, 282 singer, The German . . . 131 German BaUad Singer, The . 131 Batta, Alexander .... 245 Love of Music, . . 240 Beethoven and Kulau, .... 267 Germany, Music in . . . . 10 , death and Funeral of . . 132 , Social Music of . 208 Bellmi, Vincenzo .... 81 Gluck, the Chevalier Christopher 16 Beranger and Music, .... 190 Goethe, Lines from the German of • . 125 Berlin, singing Academy of . . .51 Great Artist, A . . . . 85 Best Infant School, The ... 18 Great Choral Meeting of the Lancashire and Blind teaching the Blind, ... 60 Cheshire Working-men, 31 Birds, An Invocation to ... 91 Gretry, ...... 166 Braham's " Death of Nelson" and Lady Hamilton, 114 Hamilton,Lady,and Braham's "Death of Nelson," 1 14
Brian Boroihme, Harp of . . . 212 Hamilton's Cabinet of Music, 153 Bright Moments, .... 73 Harp of Brian Boro, The 212 Canzonet, . . . . . 193 Hasse, Te Deum of 44 Carter, Thomas . . . .137 Haughs of Cromdale, The 285 Catch, Description of a . . .12 Have Hope, 206 Cead Mine FaQte, . . . .173 Haydn, An Incident in the Life of 122 Cherubini, . .... 302 and Mrs. Latrobe, 72 and the late Duke of Orleans, . 273 and Napoleon, 5 Church Music, ..... 210 HerscheU, Sir William, Anecdote of . 257 Service, Organs &c. in Antwerp, . 89 Improvement upon the Piano Forte, . 190
Cliffs of Dover, The . . . . 136 Infant School, "The best 18 Composers, Peculiarities and Eccentricities of 261 Intellectual Faculties, On the Cultivation of the 213
Concert, Moschelle's Morning . . 162 Introductory Address to the present Volume 1 Spirituel, Origin and progress of the 66 Invocation to Birds, An 91
Conductor of Music, Duties of a . . 94 Irish Piper, Gandsey . 282 Cows, Musical ..... 230 Italian aud English Singers, Difference of Style Crazy Jane, BaUad of . . . .138 between .... 56 Cromdale, Haughs of . . . . 285 I will Crown the Harp with Flowers, . 43 Dancing, Music and .... 18 Jean-Nicolas le Froid de Meraux, 4 Da Vinci, Leonardo .... 131 Kulau, Beethoven and . . 267 David, Felicien . . . .202 Lancashire and Cheshire Working-men's Singing Funeral Beethoven, Death and of . . 132 Classes, .... 31,205 De Meraux, Jean Nicolas ... 4 Lengthy Apprenticeship, A 257 Description of a Catch, ... 12 Leonardo Da Vinci, 131 Deserters, Musical .... 230 Life aud Eternity, 285 Devotion, Musical .... 15 Life of Mozart, Passages in the . 242, 250 Devotion to Music, .... 227 Lines from the German of Goethe, 125 Difference of Style between Italian and English on a piece of Sculpture, 60 Singers, 56 Love of ...... Music, German , 240 . . .
vi INDEX.
FAOE PAOB
Lablache's Absence of Mind, . . .290 Ostrich, A Musical . . . .281} Love turned to Hatred, ... 57 Ox's Minuet, An Incident in the Life of Haydn, 122 Madrigals, ..... 163 Pacr, Ferdinand, eind the late Duke of Orleans, 146 Mainvielle Fodor, Anecdote of . • 284 PaisieUo 282 Malibran, Madame, Anecdotes of . 167, 190 Pasquah's Thorough Bass, . . . 136 Marriage Bell, The . . . . 105 Passages in the Life of Mozart, . .242, 250 Memoir of Rubini, . . . . 41, 49 Pecuharities and Eccentricities of Composers, 261
Million, Singing for the . . . 167 Piano Forte, Improvement upon the . . 190
Minuet, The Ox's . . . .122 Poets, 84 Morality of Music, .... 94 Poetry, Music and, by Leigh Hunt, . . 252 MoscheUe's Morning Concert, . . 162 Portuguese Peasantry, Dramatic Dances of the 84 Mother's Sacrifice, The . . . 134 Prague, The Opera at . . . .97 Mozart, ..... 2 Prima Donna, Anecdote of a celebrated . 284 , Passages in the Life of . .242, 250 Professorship of Music, in the University of 's Manner of Composing, . . 257 Edinburgh 177 Music . . . . 97 Quick Composition, .... 14 Music, ...... 16 Ries, Ferdinand .... 145 Academies of . . . Rival Syrens, The 212 , .46 .... 285 Romance of the Orchestra, 93 , Algerine ...... , An Era in . . . . 227 Rubini, Memoir of . . . . 41, 49 among the Turks, . . . 124 Rural Sounds, ..... 136 and Poetry, by Leigh Hunt, . . 252 Samuel Wesley, .... 245 Afternoon, . .^— and Dancing, .... 18 Saturday . . .11 Scotch Music, 51 , Church . . . .210 .... , Devotion to . . . .227 Sculpture, Lines on a piece of . . 60 Shepherd to his Love, The 92 , German Love of . . . 240 ... Singing Academy of Berlin, 51 in Germany, . . • .10 ... Singing for the Million, . . . 167 , Morality of . . . .94 Nations who practise and revere . 170 Sky Lark, The 213
, On 86 Snow Drop, The . . . .240 Social of . . , 208 , Scotch . . . .51 Music Germany, the Completest Relaxation, . . 133 Song for Autumn, A . . . . 126 Musical Cows, ..... 230 Songs of Trades 283 " Deserters, .... 230 Sonnet, Love banished from Heaven," . 208 " Devotion, .... 15 Sonnet, It is thy Wife," . . .245 Enthusiast, A . . . .187 Spring and the Brook, The . . .246 Expression, On . . . 130 Stricken Oak, The . . . .99 • Ostrich, . . . .228 Summer Evening at Home, . . . 163 . Te Deum of Hasse, 44 Star, a Transatlantic . .208 .... Talent, Extraordinary ... 65 Thomas Carter, . . . .137 Bass, Pasquali's . . . 136 Musicians, Affectation of . • .45 Thorough Napoleon, Haydn and .... 5 Thy Kingdom Come, .... 6 Nations who pratiseand revere the study of Music, 170 Time's Song, . . . • ,52 - Niagara, Ole Bull's- 251 Trades, Songs of . • . . 283 Nymph's Reply, The 92 Transatlantic Musical Star A . .208 Ole Bull's Niagara, 251 Turks, Music among the . . 124 On the cultivation of the Intellectual Faculties, 213 Unfading Beauty, . . • .174 Opera at Prague, and Mozart's Music, The 97 Victory, The 117 Vincenzo BeUini, 81 Vienna, The . 294 .... Orchestra, Romance of the . 93 Vocal Music in Society, . . . 283 . Organ in the Music Hall Edinburgh, . 125 Wait for the Applause, . .274 Organs, &c. in Antwerp, 89 Weber, ...... 56 Origin and Progress of the Concert Spiritud, 66 Wesley, Samuel .... 245 Woman, 109 of the Opera in Italy, . . 283 ...«•. THE BRITISH MINSTREL;
MUSICAL AND LITERARY MISCELLANY.
INTRODUCTORY ADDRESS TO VOLUME singer and story-teller, and it is these concurrent THIRD. and simultaneous expressions of kindness and en- The British Minstrel has now attained a posi- couragement which give an enthusiasm and energy tion and a reputation for itself amongst the almost to the conductors of such a work as ours, and vi- innumerable periodical works which are hourly tality to the work itself. leaving the press of the three kingdoms. It has When we issued our first number, we felt successfully pushed on in its career of usefulness confident that there existed a most craving desire for two years and a half—and has honourably ar- for music, and were well aware that the working rived at the end of a second volume. The British men of this Great Empire were so burdened by the Minstrel, without the aid of puff, and almost pressure of circumstances, that they had not money without the help of an advertisment, has gone over to spare for the purchasing of five-shilling choruses,
Great Britain, and has found its way into every three-and. sixpenny glees, and two- shilling songs, city and almost every village. It has travelled, like- and we felt that the time was come when something wise, to the English Empire in the East; to the ought to be done in this matter for their behoof. And
British colonies in the South ; and has gone into the when, as merchants, we sent our work out on specu- Western world, and made the solitary settler's cabin lation, we thought to find a ready market, and we among the wild woods of Canada vocal with its have not been disappointed. The amount of num- pure and simple minstrelsy. Well, indeed, may we bers we issue is steadily and gradually on the feel proud at the amount of pleasure we have thus increase, and this increase will spur us on in our been the means of distributing, when there is so labour, it will give us an incentive to further efforts, much to disturb men's minds in the realities of the and furnish us with the means of prosecuting our present agitated condition of the political and re- scheme, until the working people of Great Britain ligious world. We have fostered no illiberal preju- are possessed of a musical library, which, for amount dice, and we have not compromised our own prin- and quality, would have put to shame the collections ciples, or those of any one, but our pages have been of' the most wealthy amateur of thirty years ago. enriched with such matter as all mast love, and Moreover, we delight in the task of catering for the only the ignorant can find fault with, or condemn. people, knowing that our Musical Miscellany goes The exceeding cheapness of our periodical, at forth to be studied and siing in the meetings of first caused many to look with distrust upon it, as mechanics, artisans, and peasants, after their day
though they feared that cheapness should strangle of toil is ended. And it pleaseth us to think that utility and excellence; but the character of the we are thus enabled to lay open a varied round of matter, musical and literary, with which we have pleasing and purifying recreation, to those whose filled our pages, has gained for the British Min- bodies are prematurely bent, and whose minds are strel the respect and increasing support of en- harassed, by the perpetual recurrence of the same lightened men, aye and women too, of all ranks and associations, the same toil, and the same irking conditions. Letters have been poured in upon us, necessity. bringing kind wishes, bearing useful contributions, We know full well that our Musical and Literary and breathing generous hopes for its coiitinued Miscellany has brought together in amity, for the success. The Public Press, omnipotent for good or purpose of singing our choruses, glees, and rounds, evil, according as it chooses to use its strength, men, who had almost altogether ceased to sing, has borne testimony to the worth of our song- from the circumstance that they had nothing new, No. 81.— Id. THE BRITISH MINSTREL; AND
in lunsic, to interest and excite them. Aye, and affection ; to show pictures of purity, simple and tliese men hailed the first appearance of the British single-hearted as that of childhood; so that their Minstrel as a windfall to themselves especially. influence might assist in producing the like quali- Working Men, be of good heart, the British ties in the hearts of all our friends. A seed thrown Minstrel loveth ye—the Minstrel loveth all men by chance may happen to light upon favourable soil of whatever degree—but principally he careth for —and the small grain we have scattered has not the working men—and he would wish to see them been altogether unfruitful. We have taken many as intellectually busy, as they are physically : he an excursion into strange and out-of-the-way places, would wish to see them as mentally great, as they aud have had meetings with men who knew us not, are expert in their different handicrafts. Have and were altogether unaware of our goings and no fear that we should tire in serving you—no; comings, and we have seen them at their singing we look far forward, and expect that for many meetings, and we know how they appreciate our volumes yet to come you shall be taking our weekly efl'orts in their behalf; we have heard the music numbers and monthly parts, and while lifting them contained in the British Minstrel sung on the hill gently with your hard and stifiened fingers, and side, and in the work shop; we have heard its contemplating their pages with an eager and pleased stories repeated and eagerly listened to; its occa- expression beaming from your eyes, and a happy sional snatches of poetry whispered to the innocent smile lurking in all the wrinkles of your faces, you heart of infancy; aye, and we have heard ourselves will thus be mesmerically shaking hands with us bespattered with praise until our impertinent at a distance. And are we not endowed with a blushes had well nigh betrayed our incognito, and wonderful power of clairvoyance ; for when you with hearts softened and warmed by such scenes as have looked through our periodical sheet, and are these, we have said to ourselves, "we must pursue laying it aside before going to bed, do you not heave the line chalked out to us, and our unpretending up a long breath, expressive of your satisfaction Miscellany will tend to ' make the world better with what we have sent to you, and do you not feel, yet.'" that, even before you had formed a wish for what But we are becoming garrulous and egotistical, should come next, we have already provided it for and must make a halt. We have to express our you. This we know to be all true with regard to grateful acknowledgements to our friends who the music ; and has not the literary matter which purchase our Minstrel, for the support they have we have sent along with it given you some occa- given us thus far, and courteously to solicit their sional glimpses of happiness. Has it not, at times, friendship for the future. Our stores of music are made you feel that this world is not altogether a almost inexhaustible—and the kind of literature world of woe, but that there are bright spots, in which we mean to draw upon is absolutely so—and which angel thoughts have their birth, and in which whatever improvement may have been observed in holy and pure human nature can take refuge from the second volume of the Minstrel over the first, we the fretful annoyance of carking care. Have not our fully intend shall be followed by a corresponding stories and selections of poetry assisted you to look improvement in the third over the second. out with a brighter eye, and a more kindly heart, To our Correspondents we have again to tender upon your fellow creatures. We know their effect especial thanks. We have been hitherto backed by to be as we have imagined. Your friend Ebenezer troops of friends, and we trust that they will still Elliot, a giant in intellect and a great poet, says continue to us their valuable assistance. Many of
that " Poetry is the heart speaking to itself;" it is their contributions have been unavoidably delayed, something more, it is the pure heart of one person but these delays are not to be viewed in the light of speaking to the pure heart of another, and finding rejections, for unless an especial announcement to
sympathy where it feared distrust, and truth and that effect appear upon the wrapper of our parts,
honesty in that which appeared doubtful and hollow, all that we have received will ultimately be in- and discovering that to be a paradise which seemed serted in our pages.
at first to be only a wild and a tangled wilderness. So with thanks for the past, and hope and en. The untutored mind is ever suspicious, but it only thusiasm for the future, we again bid all our friends requires to catch the first illuminating ray of kind- a grateful adieu. ness, truth, and beauty, to throw off its slough and come forth enveloped with a glory. Impressed with MOZART. these truths, and knowing the power with which Wolfgang Amadeus Mozart—one of the few in- stances of precocious children who maintained their literature is invested for refining the manners and 'vantage ground in after life—first saw the light awakening the intellect, we have endeavoured to among the mountains of Salzburg, in 1756. Each make our selections speak to the hearts of our successive stage of his existence—infancy, boyhood, leaders to language of kindly youth, and manhood—was characterised by its own j make them utter the ! —; —
MUSICAL AND LITERARY MISCELLANY.
peculiar wonders of feeling and invention. When Salzburg, and placed on the Archbishop's esta- he was in England, at eight years old, his acquire- blishment, with a tolerable stipend. ments in music were described as those of a man From 1779 to 1791, that is to say, from' his twenty- of forty; and it maybe interesting to calculate at third to his thirty-sixth year, may be dated the this ratio his age at the time that he died in Vienna, manhood of Mozart, and the era of his fully de- iu 1791, nominally, and according to the ordinary veloped powers. Each of his works in turn now reckoning, in his thirty-sixth year. moved the whole world of art. In Idomeneo, he His lite may be, not fantastically, divided into established the first and most beautiful example of
four epochs. First, that of infancy, from 1762 to modern instrumentation ; the position and employ- 1766. Let us picture to ourselves baby fingers ment of the full complement of wind instruments wandering over correct and symmetrical basses, was first therein exhibited. The air, concerted with self-invented, and we shall easily understand how obligato accompaniments, was now also heard for the music of this child, at the courts of Bavaria, the first time. Not only was this score the first
Austria, France, England, and Holland, triumphed conspicuous for symmetrical beauty : there was in over state forms, winning all hearts, and many an the harmony,—in the effects of the inverted pedal- imperial salute, in which the queen or princess forgot point, and the employment of the enharmonic herself in the woman. The displays of the infant change on various turns of passion in the recitative, Mozart were made on the harpsichord, the organ, —absolute novelty. Idomeneo, till this day the and violin; he sung, played, and composed extem- choicest classic in the library of the musical student, pore, played and transposed at sight, accompanied was produced in six weeks. Mozart was shortly from score, improvised on a given bass, and an- called upon to attend the Archbishop to Vienna; swered every challenge. Michael Haydn, Jomelli, but a quarrel taking place, they separated, and from Wagenseil, John Christian Bach, &c., were com- that moment he ceased to be dependent on the petent witnesses of feats in which any one failure patronage of the great. The Emperor Joseph wouffl have involved ruin. The boy was warmly noticed him frequently with fair words, but no solid patronised at Paris by Baron Grimm, and at Lon- act of kindness. Now followed successively his don, by the Hon. Daines Barrington. Before his operas of the Seraglio, Figaro, Don Giovauui, &c. tenth year, he composed sonatas, symphonies, can- of the effect of which, in establishing the modern tatas, and oratorios opera, and in developing concerted music, character, His boyhood, from 1766 to 1771, was mostly situation, and sentiment, it is unnecessary to speak. occupied by tours in Germany and Italy. He now Mozart wrote much in the open air. The greater produced operas, masses, concertos, serenades, gar- part of Don Giovanni was composed in the bowling- den-music, or pieces for many wind instruments green of hisfriendDussek, at Prague—theRequiem, and prosecuted those studies into the nature and likewise, in Trattner's garden, at Vienna. The genius of each which enabled him, in 1782, to first quintet in the Zauberflote was composed in a establish the true model of the modern orchestra. coffee-house over a game of billiards. He loved to He was now known and admired by Hasse, the be surrounded by friends, and to hear talking and rival of Handel, the Padre Martini, the Padre laughing go forward while he composed. But he also
Valotti, FarineUi, De Majo, &c. His progress wrote much at night ; and ceased writing neither day
through Italy was an ovation ; in that seat of the nor night when possessed with a favourite idea. arts, his abilities were rigorously tried and as judi- He received about fifty pounds for each of his ciously rewarded. He returned to Salzburg decora- operas; but for Coii/aretzftte, one hundred pounds. ted with an order by the Pope, and member of the His chamber music was far too elevated above the Philharmonic Academies of Bologna and Verona. taste of the day to be saleable to the music-sellers; His youth, from 1771 to 1778, was partly em- so that, except a trifling pension of eighty pounds, ployed as solo violin player, pianist, and organist, which he received for about four years, he had little to the Archbishop of Salzburg. To the meretricious to depend upon but concert-giving and teaching. tasteand ill-appointed cathedral choir of this prince, The quantity of Mozart's time consumed in this Mozart was obliged to sacrifice many of his masses. mean labour cannot be thought on hut wiih wonder But of his own church style, his Litany, composed and indignation. His uncommon genius procured at fifteen, containing the celebrated chorus, Piynus him the peculiar envy of the Italians. He was /uturiE, is a stupendous evidence. His individuality hated, with varying degrees of malignity, by Salieri, of style first exhibited itself iu church music Sarte, Reghini, &,c. He was, it is to be feared, some-
subsequently in the drama ; and now, an ambition what envied by Gluck. On the other hand, he pos- commensurate with the great powers he felt within sessed attached friends in Joseph Haydn, Paesiello, him was awakened. After composing new music Storace,the Abbe Stadler, Dussek and his wife, Al- for every fete at church and festivity at court, brechtsberger, &c. He imparted at various times without receiving from his sordid patron the least musical counsel to Beethoven, Hummel, Attwood, acknowledgment, he quitted Salzburg in disgust, Sassmayer, and others. His claim to be the founder and went in quest of an appointment to Munich, of the modern school of orchestral eft'ect, is esta- Manheim, and Paris. He wrote on this tour, sym- blished by the date of Idomeneo, and the six grand phonies, masses, choruses, ballets, concertos, sonatas, symphonieswhich appeared from 1782 to 17S8. Tlie &c., to the wonder of surrounding musicians. But first great orchestral work by Haydn, was the no court was in haste to retain the youthful genius. Passimie, composed in 1785, when the operas, sym- Musical science bad ever been associated with a phonies, and motetts of Mozart were beginning to be peruke, and no elector could conceive it otherwise. well known. Patronage and competence arrived to After forming friendships or acquaintance with the poor Mozart, as he lay helpless and incapable on more celebrated musicians of the Manheim chapel, his death. bed. Music, which was his earliest pas-
Holzbauer, Vogler, &c., he proceeded to Paris, sion, was the last thing iu his thoughts : at noon, where he found Gluck, Piccini, Gambini, Gossec, on the 5th of December, 1791, he was singing his Noverre, &c. The death of his mother and travel. Requiem, and at midnight he had ceased to ling companion now happening, he was recalled to breathe. Ainsworth's Magazine. ; ; ; ; ;: ! :; ; ;
THE BRITISH MINSTREL; AND MY LOVE'S IN GERMANIE. Air—" Ye Jacobites by nam?." Slow. I jSr&rifc ]^ ir^r^ iE? atiz
- ^^I .1 -i p My love's in Germanie, send him hame, send him hanie, Mj love's in Germa-nie, I him send pp-^ - ^E:^ :3zj:; I
-^-1^ N > ^:;^ 3^=: :|5=!^rs ^- :5=:i= 3=3t:i: r- hame: My love's in Germa-nie, Fight - ing for roy-al-ty, He may ne'er his Jeanie -e- /. '-I*- ^- -! -|»~^- -^ -ft p*». -e- ;pzt.-r—-t;:P^tfcicztdb^SIt g] d=!: t^L-U-JL-zg :2t^: :^? :Ut=l :s
-p-^
I , him hame, send him hame. He may ne'er his Jeanie him hame. send — send SE H 0~t 1^ 3
My luve's in Germanie Your luve ne'er learnt to flee, Send him hame, send him hame Bonnie dame, winsome dame My luve's in Germanie • Tour luve ne'er learnt to flee. Send him hame Winsome dame. My luve's in Germanie, Tour luve ne'er learnt to fl'^e. fell in Germanie, Fighting brave for royalty ; But he He may ne'er his Jeanie see, Fighting brave for loyalty
Send him hame, send him hame j Mournfu' dame, mournfu' dame He may ne'er his Jeanie see Fighting brave for loyalty, Send him hame. Mournfu' dame.
He's as brave as brave can be He'll ne'er come ower the sea; send Willie's slain, Willie's slain Send him hame, him hame ; ; tiiree He'll ne'er the sea Our faes are ten to ; come ower Send him hame. Willie's g-ane
Our faes are ten to three ; He will ne'er come o'er the sea. He maun either fa' or flee. To his luve and ain countrie. In the cause of loyalty; An* this warld's nae mair for me;
Send him hame, send him hame Willie's gane, Willie's gane ; This warld's nae mair for In the cause of loyalty ; me
Send him hame. Willie's gane 1
JEAN-NICOLAS LE FROID DE MEREAUX. he made a rapid progress. He devoted a great This musician was born at Paris in 1745, and portion of his time to composition, and produced a studied music, towaids which science he showed a considerable number and variety of motetts, operas, very early attachment, under difl'erent French and and oratorios. Among his oratorios, his Esther was Italian masters. Above all other instruments he particularly distinguished for the elegance and preferred the organ, in the performance on which simplicity of its melodies, its elucidative accompani- MUSICAL AND LITERARY MISCELLANY. ments and picturesque harmony. The composition and eloquence. The following passage from a which laid the first stone upon which was erected letter of his.addressed to the learned Martin Gerbert, Ills reputation was his cantata, Aluie, Queen of is at once an evidence of the correctness of his ideas Golconda, first produced in 1767; and the last pro- respecting the true character of ecclesiastical music, duction of the genius of Mereaux was (Edipus and and of his literary taleut ; —" In France, the music Jocasta, which was given to the pul)lie in 1791. of the church has suB'ered much by the changes Most of the works of this able master were so to which it has been subjected. Nothing is more excellent, that they commanded universal admira- certain than that what it has gained in respect to tion, and procured him an elevated name among the melody, which amuses the ear, it has lost in that composers of his age and country. Besides the harmony which ennobles religious sentiment, and profundity of his theoretical knowledge, he possessed distinguishes sacred from secular composition." in a remarkable degree the power of speaking and Mereaux died in 1797. writing upon the science of music with judgment
HOW GREAT IS THE PLEASURE. CATCH FOR THREE VOICES. Dr. Harrington.
Sweet, sweet, how sweet the light, when *^ s-lt 3lz=i: :d==
soft love and mn - sic to ther u nite. ±:l -^q— ^E£5E ^EE^EiEE^zMiS love. soft love, and mu - SIC ^ nite. ^=«- -3- rf-^r^ ^EE^ :fe=^ g^=j=j: tJ- i
har - mo - ny, sweet har - mo - ny and love do u nite.
AND NAPOLEON. HAYDN merely poor Haydn, the composer ; what crime can In 1805, as the celebrated composer, Haydn, was I have committed against the French Government?" regarding, with no very agreeable feelings, the "None," replied the officer, smiling; " on the con- triumphal march of the French troops, as they took trary, I have received the orders of the Emperor possession of the capital of his beloved country, he Napoleon to place a sentinel at your door, in order was not a little alarmed when he observed an officer to protect and honour an individual of such rare and his guard stop at the door of his house and de- genius." The guard was continued while the
mand an interview. The immortal composer of French occupied Vienna ; and whenever the troops " The Creation" advanced to meet them, and with passed his door, the baud played some of his most a trembling voice demanded for what purpose they celebrated compositions. sought him, adding, with much humility, " I am — — — 1
THE BRITISH MINSTREL; AND
THY KINGDOM COME. Thy kingdom come I oh, wilt thou reign Within some graud and mighty fane ? Thy kingdom come ! but where shall it be ? By the work of our hands we will raise the pile. In the sweet "wild groves of Araby, We will strew with flowers the vaulted aisle. Where the citron flowers and the date-tree grow, We will toss the silver censers around, "Where the fair and thornless roses blow, And a thousand voices of sweetest sound "Where the sunlight falls in radiant streams, Shall breathe at once ; but it may not be And the moon on forests of palm trees beams ? Such a kingdom accepted is not by Thee ! Fair are its roses and clustering* vine,
And its kingdom is bright I —but it is not Thine I Thy kingdom come ! in our cottage homes We will give thee our hearts, by our kindred's tombsi Thy kingdom come I shall it be in the land valiant stand By the rippling streams, in the ancient woods. Where the wrecks of the mighty and j Alike in clouds and in solitudes Where the temples once by the heathen trod. ; Resound to the holy name of God When the sun in his glory is beaming on high, ; the and Where the fallen pillars and sculptured stone When moon stars are lighting the sky, Are 'midst sweet wreaths of wild flowers thrown? Our souls shall be breathed in praise and prayer. So Thou wilt thy It hath a sad grace, that land so fair. moke kingdom there ! But thy kingdom—thy kingdom is not there ? Mary Anne Browne.
GLORY TO GOD.
SACRED CHOEUS FROM "THE MESSIAH." Handel. n tr P o ' r ,.. -J- *j*- r F • " a F r |_ i n If I* r r r ij- 1 ^ SOPKANO. I ; 1 Ix ly t^ \nS 1 / *P ' \\) • V 1 \ \f
GIo - ry to God, glo - ry to God in the high - est, -e- -t- 1 /- — ^p_J \L ^--i: Jcz ALTO. -B-L_JL_JL i ffh-^lU) '1
Glo - ry to God, glo - ry to God in the high - est,
s, r... .jj. Ks • . - * * - f p i r « J ^ r r r 1 r ~ • 4- 1 TENOK. I / ! 9 * - 1 v\ f » J 1 ! ' • 1 Ks) 1 ly ly ^1/ \J 1 Glo - ry to God, glo - ry to God in the high - est.
'\ «- " i BASS. **• *i|- 1* I 1 1-"
:^r^ zwzzp: ijzrafc:^ i .^rrtrz^
;lo - ry to God, glo - ry to God,
:P~ff: :ff=ft '^^z
glo - ry to God, glo - ry to God, =]=c: -#=«_p. ^==^ i=tz3z=i=ra: :t^^ ::M±: :P=i.x:S and peace on earth, glo - ry to God, ;lo - ry to God, S3^^E^ 33: MUSICAL AND LITERART MISCELLANY.
-f' i=t:P=-jEz:p=:P=g35=q3i=r-: —f—tr-i^-l—^-bH—i—JH
Glory to God in the highest, -^ -*-' » - -l»-^- -e- ^3:^: :t±rfe=^ ir-lir- I Glory to God in the highest, ^-^ -e- -ff— rwz -t=t: 1x=^ ±:=fc -2L ±
Glory to God in the highest, aDd peace on earth, Good will
3iJi :r=?at -^—br-
and peace on earth, Good will to - wards
good will - - to - wards men.
good will - towards men. Clo - ry to God, glo - ry to —
THE BRITISH MINSTREL ; AND
-©—e- ^#rj:np=?: :l=t r dzrJz: I P -d---*- tj^ God in the high -est. and peace on earth,
55f:Ptz^=:te=fc :P=p:e: 1—1-iili ± God in the highest, and peace on earth, good will to wards
.-Ci—e- ^PrrP^P: 1=^- -©- :^: -I tr--^ -O-
God in the highest, and peace on earth, good will g3=«^ ^=- -tr-lir-
God in the highest, and peace on earth.
.fLZZm. wi ± good will, good will. good will. --fL^- ==^- :p: :t- :C=
men, to wards men, good will. good will, good will.
tUF^zfz 3*=(t M-^ :fci5iir^ ±.
wards men, towaids men, goodwill, ^ood will. good will
SEl 3=:^: :=P=t: tf=: -Jti
good will. good will. good will.
t=ftz^ J^w. -I—i^trzfcI"**' f:p=t -7- i: _i —i^F good will to wards men - - . ood will to wards men. :K-4L. -tt= -J:z=k:=.Tz
good will towards men, good will towards men.
r^rrpc r^eqriqxp: -ft= iffpE :t=p: ±r :::]: 4^:^liLt iiEi OH
good will towards men - good will towards men. 33^ 1^ bfa^ii X- A- -7-
good will - - to wards men good will towards men. ; 3 K —!
MUSICAL AND LITERARY MISCELLANY. LORD GREGORY. Mournfully,. -3.^ --J- 3=l=i_q-^r5zTHr:q: ^: 3^— :fnf: i-e- lizzS: =^ 1—i.c^*- -1- -^-
O mirk, mirk is this midnight hour, And loud the tempest's roar, A
:i-_aff- Ji" ,it-f3-^ ,-P-f:— -rit-9 gr-E Ci-v z=± :p: i xc
35: — ^A ztzp: 3:?=^ ^^ :p r gg^ wae fu' wandVer series thy towV, Lord Gre - gory ope thy door. An -«-ex - ile -e- J3. . _ - _ _ • _ -e-ttt-i-e- -e-tttr-|-€l- *|: ^- -1^ T 5: I
-Iwt- -53:1- ^SA- ^- :zi=p: [g x!:
on me shaw. If lore it may na be. -e- -P- —-e-Q— -e-^-^ -Q-
X> mirk, mirk is this midnight hour, How aften didst thou pledge and vow loud the tempest's And roar ; Thou wad for ay be mine ; A waefu* wanderer seeks thy tow'r, And my fond heart, itsel' sae trne,
Lord Gregory, ope thy door ! It ne'er mistrusted thine.
An exile frae her father's ha*, Hard is thy heart, Lord Gregory, And a' for loving thee And 6inty is thy breast At least some pity on me shaw. Thou dart of heaven that flashest by,
If love it may na be. O wilt thou give me rest I
Lord Gregory, mind'at thou not the grove, Ye mustering thunders from above. Fy bonnie Irwin-side, Your willinjf victim see
"Where first I own'd that virgin-love But spare and pardon my fanse love,
I lang", lang had denied? lliswranga to heaven and mel No. 83 — Id. ;
10 THE BRTTISH MINSTREL; AND
MUSIC IN GERMANY. endeavours to render German music popular in France, by inculcating its spirit into the minds of {Concluded from Vol. II. page 316.) the distinguished artists of whom he is the leader. Though it cannot be denied that the study of That Germany, where music is carried to such a music has now become universal, the old national high degree of culture and enthusiasm, has nothing differences in the art, to which we have alluded in to compare with such a magnificent establishment, the foregoing pages, are still perceptible. Italy is chiefly owine to the want of a central point, of m9,y, indeed, boast of a few individuals, such as one single capital town which would assume the Clementi and Pagauini, who excel in the skilful character of a supreme tribunal in the arts, to execjition of one instrument or other ; upon the decree time, spirit, and fashion to the other places. whole, however, the force of her artists is exclusively Such has been once Vienna, the residence of the confined to the vocal part ; so much so, that even three aforenamed maestros of Germany, and where the orchestra plays in Italy but a secondary part, to the muse found protection and encouragement by accompany the voice. Tiie reverse is in Germany the brilliant imperial court, and full scope for but few possess fine and flexible voices ; while the development in the royal chapels, rich churches, study of the instrumental part is carried to a pitch and sumptuous monasteries. At pi esent, however, equalled by no nation on earth. The smallest town all that splendour has passed away ; aud Vienna, in Germany possesses an orchestra whose members instead of upholding the glory of the German com- are capable of executing the most difficult compo- posers, was the first which introduced the Italian sitions. Music is in Germany a recreation, an opera in Germany, together with the whole style of indispensable evening amusement, after the toil of Rossini's melodies. It is also at Vienna where the ordinary pursuits of the day. Every place has Strauss, the modem Orpheus, reaps his laurels; its harmonic societies, where professors and ama- and, despite the efl'orts of the musical society, and teurs assemble promiscuously, all animated with the complaints of amateurs of true music, this king one feeling, the love of the art ancient and modern, of the waltzes is preferred at Vienna even to Mozart profane and sacred. and Beethoven. In the provinces along the Rhine, musical festi- Some time back Berlin had the glory of having vals are annually celebrated in one of the principal revived the national operas of Gliick, which had towns, such as Cologne, Dusseldorf,Coblentz, where been supplanted by those of Rossini and his dis- amateurs make a pilgrimage from the remotest ciples ; but the strenuous efl'orts of the various and corners of Germany to participate in the instru- numerous societies of music proved abortive against mental part. Most of the great German composers the all-powerful influence of Spontini, the director have been reared in those nurseries of amateurs, of the opera of that place. His compositions, though in some places, especially at Dresden and however, which oscillate between the styles of Prague, there are special establishments for the Mozart and Rossini, are on the decline in popular education of musical artists in the profession of favour; and the glory of the stage is now divided their future career. between the school of Rossini, Auber, and the The influence of the aforenamed societies on German composers. Considering the smallness of popular songs is visible in the churches of Southern the place, and its slender resources, Leipsic exercises Germany, and more especially in Wiirtemburg, comparatively a far greater influence in the art, by
Bavaria, and Baden. At the university of Wurzberg means of its three celebrated institutions : the con- professor Frolich, head of the musical seminary, cert by subscription, the singing school of St.Thomas, instructs young schoolmasters or aspirants in the and the music of the two Protestant churches. It art of singing. The society of singing at Berlin has, moreover, an excellent theatre, which is fre- has been established for the laudable purpose oi' quently visited by the dramatic troop of Dresden, studying and publishing the works of the art of the and the stage often displays the talents of foreign former ages, which have nearly been sunk into minstrels in their passage through that place ; nor oblivion by the modern productions. The musical are there wanting societies aud journals for the world in Italy is wholly given up to opera musiC; dissemination of musical taste among the people. and public attention is absorbed in admiration for Dresden cultivates chiefly vocal music. Weber, the vocal powers of the professional singers of both who once directed the stage of that place, impressed sexes. England manufactures excellent pianos, upon it the spirit of German melody. Nor can we
and even improves and perfects them ; the public speak with less respect of the instrumental music admires music, and pays deaily for the whistle of as displayed in the orchestra of the great Pare. foreign virtuosos. In France, music has not become Munich, Stutgard, Carlsruhe, and Darmstadt have as yet general or national, and the want of musical always possessed excellent musical chapels, where festivals is chiefly the cause that the cultivation of singing in particular is cultivated. The musical the art is confined to a few individuals alone. school of Munich, founded by Winter, has produced Good orchestras are there unusual. But France the best cantatrices in Germany. Of late, the possesses an institution which eclipses in point of compositions of Chelard, a Frencliman, have met talent and skill all the establishments of a similar upon the stage of Miinich with unbounded applause,
nature in Europe ; we mean the famous conservatory Cassei,the residence of Spohr, deserves to be noticed at Paris, the most unique in the world with regard for its splendid theatre, and conservatory for singing. to the perfection of the instrumental music, and the Nor ought we to omit mentioning Brunswick, where taste and dexterity with which it is managed. the four (brothers) Miillers are the leaders of an
Nowhere are the works of the great German com- admirable orchestra ; Hanover, the residence of posers executed with more spirit, cS'ect, sentiment, Marschner, a talented opera- composer; Weimar, and precision than in that celebrated conservatory. where the late Hummel has exercised a salutary Haydn, Mozart, and Beethoven appear there in the musical influence on a population possessing a full splendour of their genius. We must, however, natural taste for the arts ; and lastly, Francfort,
not forget to mention, that the director of the es- ever famous for its orchestra ; and Hamburg, the tablishment, Mr. Habeneck, is a German, who residence of Bernard Romberg. ; — :
MUSICAL AND LITERARY MISCELLANY. 11
The present spirit of German music is particu. Exaggeration is the characteristic malady of our larly characterised by a sort of wild delirium, most present opera. Music is considered as a mere means licentious modulation, confused passagesofharmony, to produce stage efl'ect, to express more the history and precipitate discordant transitions from key to of the piece, than the sentiments of the actors. key. Instrumental music now presumes to be des- A striking instance of this defect is, "Robert le criptive, to paint scenes, and to express, in short, Diable," by Meyerbeer, an opera which, despite e*ery thing in animate and inanimate nature. some beautiful parts and parcels in it, is nevertheless Witness the symphonies of Berlioz and others, utterly destitute of style and character. It is a where attempts are made to describe, by the modu- mistaken notion that music can and shall express lation of sound, a series of landscape scenes. This all mental situations; there is a savage sentiment is, indeed, carrying music far beyond its natural that will not ally itself with art, as there is a des- bounds; and we do not hesitate to assert, that, pair that can never be dissolved into harmony. without the guide of the programme before them, We must, however, give due credit to the operas of but few, if any, would guess the true design of the Marsehner, a composer of rare comic talent; and composer, by listening to tlie sound alone. Even we shall conclude by saying, that since the musical Beethoven has failed in a similar attempt in his defects of our epoch arise more from presumption pastoral symphony. All we can expect from the and a sort of wanton liberty than lack of knowledge, most perfect harmony, is the expression of our in- we are fully justified to expect a pleasant spring ward emotions and sensations, but nothing beyond. after a stormy winter, even in music. Also, the Apel, author of " Metre based on Music," has, it is Italian opera has undergone a change, and, we are true, discovered a poem in one of Mozart's sym- glad to add, for the better. It assumes every day phonies inE major; but we doubt of the intentional more and more the true character of the drama. design of the plan ; and the very tardiness of the Rossini was the first who introduced it, and his discovery shows the futility of the attempt. We example was soon followed, with more or less suc- must not confound the resources of vocal and cess, by Bellini and the other young composers of instrumental music. In the former, the word his school; while, on the other hand, the new models the sense of the melody, while in the latter tendency to the grave, dramatic, and serious, has imagination alone developes the train of obscure proved the death-blow to the Opera Buffa, and ideas which have been called forth by the spell of laughing gaiety seems now for ever banished from music. Berlioz, a young composer of great talent the Italian stage, where the delicious "Barber of and promise, oversteps in these theories the due Seville" had led to quite diflerent expectations. boundaries, and loses himself in a wild sphere of confusion and extravagance. His eBbrts to give to instrumental music all possible signitication are SATURDAY AFTERNOON. laudable enough; but, be it remembered, that the I love to look on a scene like this, plan can only be realised (if ever) at the expense of Of wild and careless play. the dignity and independence of the noble art. And persuade myself that I am not old. Who, indeed, could be made to believe, or be able And locks are my not yet grey ; to hear, "the dream of the young Andalusian?" For it stirs the blood in an old man's heart. Also, the present compositions for the piano are And makes his pulses fly, beset with the same mania for extravagance. At- To catch the thrill of a happy voice. tempts are made to unite the utmost fligiits, fits, and And the light of a pleasant eye. starts of fancy, with the extremest difficulties in I have walked the world for fourscore years. point of execution : hence, the strangest turns, say that old And they I am ; discords, broken harmonies, and unmelodious pass- And my heart is ripe for the reaper, Death, ages, all calculated to express the extreme agonies And my years are well nigh told. of despair and bewilderments of grief. We must, It is very true— it is very true however, except Chopin, the only one of the modern I'm old and " I bide my time ;" school whose very defects assume a graceful ap- But my heart will leap at a scene like this. And I half renew my prime. pearance. He is one of the best pianists in point of mechanical dexterity; and the deep and intense Play on, play on ; I am with you there. feeling he unites with energy, calm melancholy, In the midst of your merry rino-; fertile imagination, original rhythm, and progessive I can feel the thrill of the daring jump, harmonies, abundantly redeem the odd, harsh, and And the rush of the breathless swing. shocking passages of the new school to which he I hide with you in the fragrant hay. I smothered call adheres. He has found numerous but unsuccessful And whoop the And my feet slip up on the seedy floor. imitators. A composer ought neither to adhere too And I care not for the fall. scrupulously to the rules and principles of the art, nor defy them altogether. His task is to modify I am willing to die when my time shall come. shall them by his views, and act up to them ; but those And I be glad to go who supply the place of sentiment and originality For the world at best is a weary place, And my pulse is getting low. by disorder, toitrs de force, and far-fetched harmo- But the grave is dark, and the heart will fail nies, can never pretend to lasting fame. There are, In treading its gloomy way however, many young composers at present in ; And it wiles my heart from its dreariness Germany, who, by dint of severe study, have pro- To see the young so gay. " duced remarkable compositions, such as The N. P. Willis. Midsummer Night's Dream," " The Hebrides," &c., by Mendelsohn Bartholdy,* and many others. Mendelsohn produced his works. We regard him in the musical world as what is commonly called the ^ * Our erudite friend does not appear so conversant "rising genius" of the time; and this is scarcely ever with his contemporaries as with the great men of said until the individual has risen, and done a great other days. Not merely by dint of severe study has work.—Ed. M. C. ; — —
12 THE BRITISH MINSTREL; AND
DESCRIPTION OF A CATCH. to be seen ; but when the words are sung as Dr. Callcott The folIowiDg description of a catch by Dr. Callcott, intended they should be, there is much to hear; for one singer seems to render the first three words is given in the Musical World ; the words run thus : thus "A house on fire" repeating phia, phia, with a little ad- " Ah I how, Sophia, can you leave mixture of cockneyism, fire I fire 1 Another voice calls Your lover, and of hope bereave ! out, lustily, " Go fetch the engines, fetch the engines;" Go, fetch the Indian's borrowed plume, while the third coolly says, ** I'm but a lodger, I'm Yet richer far than that your bloom but a lodger," &c., consequently, he does not care I'm but a lodger in your heart. whether the house be burned down or not. This elu- And more than me, I fear, have part." cidation will give a pretty good idea of the real mean- Now, in reading the above, there is nothing particular ing and character of a musical catch.
AH! HOW, SOPHIA,
Allegretto. CATCH FOR THREE VOICES, Dr. Callcott. „ 1st 1 ENOR. isrp: 3prpc ^e: ,j_ i- :t=±=c Ah how So - phi - a can you leave, can you leave your lo - ver, your
, 2d Tenor. r1: ^S^ :M-iz iEt i^rii 33. JdZ
Go fetch the In - dian's bor - row'd plume, yet rich ,3d Tenor, or Bakritone
::l=t ^e zd-M-t^ :nzzM=M:. liziiiri:
Imbut a lodger in your heart, in your heart. and more than
:P=F S: :w^w: :^P: .w=i^ zi±=±:^. It: :S=:P: =^ :^==^=ic
lov - er, and of hope bo Ah how So - phia, Ah how So-
=P3=:=Jszp: :=s^ lirri: -X :t:: m far than that your bloom. Go, go, go, go fetch the Indians, fetch the
€1- -©- fear have part. me I
jf—W=zw: ^ :t£==^=r^: EEt :=g=e—r—r-r-f^p: :^=tcr=tn — — -\f :t==^ ±:: :s;=|s =S: :^=P=:t 3^ zi=zii :t==^- Se^ :#*: Indians, fetch the Indians, fetch the Indians, go fetch the Indians, Go fetch the :s::=s: =5^:!^ -4s- :i=#t :W=i: I'm but a lodg - er, I'm but a lodg - er, I'm but h MDSICAL AND LITERARY MISCELLANY. 13 tc:ft=:p=:ei:ftrP=|=rp=:P:i(»=:P~pr:p: re-jtpt -br-b-1 1- -^—\r—v—\/-r—t -^_f_^ - |?r- 1^ \f-'-\f /- > ^, phia, ah how Sophia, phia, phia, ah how Sophia, phia, phia, ah how Sophia, ah how So- :&=:«s: Usp: ^^ir-y- :Jt:p=i: r- :ii:i23!i::pr;Pr;Pr:?— -]/-\r—]f—ir In-dians, go fetch the Indians, go fetch the Indiana, fetch the Indians, fetch the q!s=p: ^ r-y-rqi ratify: 1 ^ :tc lodger. I'm but a lodger. I'm but a lodger. but a I'm :!tr:jE=(C m^ :*±=f^ :t^=t2=tc: phi - a, can you leave, ah how So - phia, ah how So - phia, ls::i^=r=^ Us ses 2s.-% -^*-- itnL :i=tc: :i=:tc: Indian's borrow'd plume, go, go. go fetch the Indians, fetch the Indians, fetch the :$=\z 3s:: :^—^- ^ -i-i-,w lod - ger in her heart. I'm but iprprz^rrfcr :i|s-.pr:pr^»=.-p:rp: 5^ -ji-fL—fzif-w: -» -^- :t£=tz:rl^: -f-^ -f-^ :J-fe:zJz:z-lr-|— p rtcT^irtE ah how So -phia, ah how Sophia, phia, phia, ah how Sophia, phia, phia, ah how Sophia, phia. :s={s: :K:p: E5E5^ Jizzi: :f-i= 3t=f: :#*: :i=^*zzE=i 1 Indians, fetch the Indians, go fetch the Indians, go fetch the Indians, go fetch the q5;:=S|=^^^ !i ^ 1 F- :=i. :i=i~- T l-h-al It D^^ 3=:i:#i=^ —:i=t:i=:ji:— — 9 --i-^- lodger, I'm but a lodger, I'm but a lodger, I'm but a :^z:fi:t=?=^=tz --^ff=3r=:r-r-p=:e: -It—1^ 1/ 1/ I -t- [r i \^ [^ ^—V-^T—^ SE?S^H phia, ah how Sophia, phia, phia, ah how Sophia, ah how So - phi . a can jou leaye. :pE=t N N .A- -«-7^z:j^-f~r~f-g: xs; ^ -Sr-tr-y-iir- Indians, go fetch the Indians,fetch the Indians, fetchthe Indian's borrow'd plume. 1^52 :i:=f=i= lizzn: XT lodger, I'm but a lodger. Im but a lod - ger in her heart. . I 14 THE BRITISH MINSTREL; AND QUICK COMPOSITION. paper, and wrote the words of a song to be intro- In tbe year 1766, Mr. Barthelemon composed his duced in The Country Girl, and to be sung byDodd, first Italian serious opera, entitled Pelopida, which in the character of Sparhish. While the Roscius writing the words, Barthelemon, looking over he presented at the opera-house, and it was receifed was with uncommon success and applause. Garrick, his shoulder, set the song ! Garrick on concluding the song, saying, " there, hearing of his success, paid him a visit, unasked his writing, handed him friend, there is song," to which Barthelemon and unexpected, one morning, and asked him if he my my instantly sir, there the for could set English words to music. He replied, he replied, "there, is music thought he could. Garrick called for pen and it!!" WHILE GRIEF AND ANGUISH RACK MY BREAST. ELEGY FROM " SELIMA AND AZORE. Words by Sir George Collier. Andantino. P f Thomas Linley (1776). —-K-»- l.st. :£ic 35^ :p=m ±=5rff: X SOPRANO. ^=t s :ci ±iZTt. 2d==fd ±=c=t: i- "Wlirle grief and anguish rack my breast, Kestless, my Se - 11 p f 2d. SOPRANO. t=^-Z q=t=l=4: :i=3±: -P-!=- i=±nz* -&: 3d=i: 3d: "While grief and an - guish rack n>y breast, Kest - less we ^-J:K-^K.P.. BASS. 3±=3EES X =ti: :q=P: :05 — I—I —ra "While grief and anguish rack my breast, Rest - less, my Se - li - .— —.^^ d i m ::&= -T"^- H 1- h"« 1 1- :i=^ ^— :s;=is;PV — 1 Elz^zriESEid:^: !^ ma, we mourn Kest - less, my Se - li - ma, we mourn thy dim. =!=P 1^=^ :=i: :f- :iq- :^^=^- Id: -.^ —o- :3iz:M:^^:ziz --^3^ mourn. Kest-less, my Se - li - ma, we mourn thy hap - less fate, thy dim. :n: ' i^n^zr 3^- atS: :ziz :^: ^-e—j ma, we mourn, Restless, my Se - li - ma, we mourn, we mourn tliy / P cres. > tep: PXPEZJE ^"gSii^E^J^ ^qrEZP xH-©-»- . :f=P hap - less fate. As if our tears could bring relief, or thy re- J p cres. > :q=:q^ z^=i:=i: izi : t_|i_ _pi_i=. ::\=^ drd: 3^=S ="» j:iz3a-xizi. 33i: :izi: ^—e— V-ii- ffl: *W= hap - less fate. As if our tears • could bring relief, or thy re - /-, .q_^. -•-^ i-p-l --l-r—|—J--^F—F— Id: f^ 3?: •—F-l F— yj-: : it: m Tizi hap - less fate. As if our tears, As if our tears could bring relief, or thy re - — MUSICAL AND LITERARY JVIISCELLANY. 15 p qs^rds: A-=X- :3=i: jizi—H-l=- -p-p- \-W^ --p-i- turn. As if our tears could bring re - lief. could bring re - lief or ^- -q=i|==4=q: q^d: ;=i: :^:tzl: Irdi^zr^gizizl turn, As if our tears could bring re - lief. As if our tears could bring re - lief, or e- :q--Pt :fe:=r[c :!^ / /T^ P 2ci iinje laryo. \ —-t-j- =!==; -)-pr 45=P: ^- ;fc:i:: :iz=lz=Jz: ji =-e- it^-jzl^ntc 11 3di; i thy re - turn. As if our tears could bring re - lief, or thy :5:qtz:^=^=bpi :^i=3*=:i: :i~ n*=t thv re - turn, As if our tears could bring re - lief, or tby re - turn. :f=:p:=e: iq 3E 4=^-=1- -^ -4- m MUSICAL DEVOTION. his dwelling is of a character according with his Yorkshire, and the adjoinine; counties of Lan- condition, and is situate at Coldedge, an outlandish caster and Derby, are celebrated for a love of music: part of the parish of Halifax, bordering upon the of Saltonstall. find his biding its spirit pervades every rank of the people in a moor To place be. manner unknown and unfelt in the rest of our island. came a task of infinite difficulty. However, after inquiry, And amongst those districts famed for musical taste much and many windings through a devious over fields and skill, Halifax stands pre-eminently forward. path, which lay and through farm-yards, There, as perhaps nowhere else in England, may the distant sounds of a violoncello fell upon the ear be found, at stated periods, the justice of the peace of our wandering musical votary, making him no and the artisan side by side in the orchestra, prac- longer doubtful of the "whereabout" of the "fa- of the tising together their divine art, and forgetting, for mous bass player," as some hardy mountain- eers him, on inquiry a time, the artificial distinctions set up in the world had denominated being made his dwelling-house. of men. In an essay entitled " A Village Oratorio," of them touching Following direction whence the pleasing sound issued, by George Hogarth, justice has been done to the the he musicians of this part of Yorkshire. " Of these was led to a mean-looking hut. He entered, and object search half dressed, singers and players," he says, speaking of choristers found the of his engaged and instrumental performers, " very few are pro- in the performance of one of Linley's concertos: fessional. Most of them are industrious trades- the room contained two pair of looms; in one of " industriously people, cultivating music from love of the art, and these the guid-wife" was "plying the shuttle;" on the hearth was lord, making its practice their dearest recreation." As and her sur- two or three younkers, deeply an instance of devotion to the art, we may relate, rourided by engaged, that the Halifax Orchestral Society consists of be- as we have intimated, in a domestic concert of no ordinary or commonplace character, tween 30 and 40 members, most of whom reside five for his execution of a difficult and beautiful composition is or six miles from the town; and, for years past, it described has seldom happened, even on the darkest and as admirable and worthy of all praise! Thus be- this roof of poverty, wildest night of winter, that any one of its rustic neath humble and far from the cultivation refinement, members has been absent from his post on the haunts of and was presented of simple virtuous nights of rehearsal, which takes place fortnightly. a picture and happiness rarely to be found in England. truly might it An officer of the society, a respectable tradesman How be said, instance, that music has been residing in that town, had occasion, some time ago, in this given us by bountiful Creator to assist in to visit a brother musician and a member of the our smoothing the eociety, who lives some miles from the town. His path of human life ! Bradford Observer. condition is humble, being a hand-loom weaver; — — 16 THK BRITISH MINSTREL; AND GLUCK. " Cythereassiegfee" was composed in 1775; that of " Alceste" in the following year; and that of " Ar- The Chevalier Christopher Gluck was a native mide'' in 1777. Not long after the performance of of the Upper Palatinate, on the frontiers of Bohemia, the latter Gluck returned to Vienna, where, in the and was born in the year 1712. The first rudiments year 1782, he was visited by the Emperor Paul of that art in which he afterwards acquired so much Petrowitz of Russia and the Empress. Two years celebrity were obtained at Prague. His father afterwards he was rendered incapable of writing by dying whilst he was young, he was left almost a paralytic stroke, under the effect of which he wholly destitute, and his education was in conse- lingered until the 15th of November, 1787, when he quence entirely neglected. So great was, however, died, at the age of seventy-five, leaving behind him bis love of music, that with the knowledge he had at a fortune which he had accumulated, of nearly that time acquired, he travelled from town to town, thirty thousand pounds sterling. With respect to supporting himself by his talents, until he had the character of Gluck's music, it has been re- worked his way to Vienna. In this city he was marked, that it is so truly dramatic, that the airs befriended by a nobleman, who took him into and scenes which have the greatest effect on the Italy, and had him properly instructed there. At stage are cold and rude in concert; and that the Milan he studied under J. B. San-Martini, and pro- interest gradually excited in the audience gives to duced there his firstopera; and afterwards, in 1742, them a principal part of their force and energy. whilst at Venice, he composed the opera of " De- His operas, however, certainly contain a rich flow metrius." The celebrity he had already acquired of harmony, and in his overtures he has scarcely was such, that he was recommended to Lord been equalled by any composer of his age. Mar- Middlesex as a composer to the opera in this country, montel says that Gluck has neither the melody, the and he arrived in England just before the breaking unity, nor the charms of Pergolesi, of Gallupi, or out of the rebellion in 1745. After this period the Jomelli. His airs are wanting in those forms of performance of operas was entirely suspended for pure and easy outline which, in music as in paint- about twelve months, on account of a public preju- ing, distinguish the Correggios and the Raphaels. dice against the performers, who, beins all foreigners He has deservedly been well received in France. were chiefly Roman Catholics. The house was He gave to musical declamation a force, energy, reopened in 1746 with Gluck's opera of "La and rapidity, which it never before possessed, and Caduta del Giganti," which however was so un- produced by harmony uncommon efi'ect, though successful as to be represented only five times. through means by which melody was often de- This failure induced him to return to Italy, where stroyed. " Gluck," says Dr. Burney, " seems so he is stated to have composed several operas in the much to have been the natural musician of France, style of the times, namely, in imitation of the works thai since the best days of Rameau no dramatic of Terradeglas, Gallupi, and Jomelli. In the year composer has excited so much enthusiasm, or had 1765 Gluck composed his famous opera of " Orfeo," his pieces so frequently performed. The Parisians written by Calsabigi, for the celebration of the fancied he had recovered the dramatic music of the marriage of the Emperor Joseph II. This produc- ancient Greeks ; that there was no other musician tion derived considerable 4ctat from the circum- worth hearing; and that he was the only one in tance of Ihe Archduchess Amelia playing the part of Europe who knew how to express the passions." " Apollo, the Archduchesses Elizabeth, Josephine, In another place he says : Gluck had great merit and Charlotte, the Graces, and the Archduke as a bold, daring, nervous composer; and as such, Leopold presiding at the harpsichord. It was in his French operas, he was unrivalled. But he afterwards performed in public in Parma, Paris, was not so universal as to be exclusively admired Bologna, Naples, and London ; but with much and praised at the expense of all other composers, greater success on the continent than in England. ancient and modern. His style was peculiarly In the year 1769 Gluck produced at Vienna his convenient to France, where there were no good opera of " Alceste," and two years afterwards that singers, and where no good singing was either of " Parigi ed Helena." About this period he was expected or understood by the public in general; engaged to write for the theatre at Paris, and for and where poetry was set up against music, without that purpose set to music an opera taken from allowing an equality, or even an opportunity of Racine's " Iphig^nie." He does not, however, manifesting vocal powers. Gluck, in the moments appear to have himself gone to Paris until the year of hilarity over his bottle, was accustomed to say, 1774, when, at the age of sixty-two, he arrived in that " the French are a very good sort of people, who that city under the auspices of the late unhappy love music and want songs in their operas, but they Maria Antoinette, and his opera of " Iphig^nie en have no singers;" and Sacchini being asked how Aulide" was performed. In this he accommodated his operas were executed in Paris, " God forbid," himself entirely to the natural taste and style of said he, " that I should ever go to hear them per- France, far excelling their then favourite composers formed I" In Yriate's celebrated poem on the Lulli and Rameau. This opera excited a great dignity and utility of music, Gluck is mentioned in degree of enthusiasm in favour of Gluck. He after- a manner highly flattering to his renown.'' Parke's wards, however, found formidable rivals in Sacchi- Miisical Memoirs. ni and Piccini, both of whom arrived in France about the same period. This rivalship gave rise to is the sociableness of music, it con- the most animated discussions. The capital and Music.—Such forms itself to all companies both in mirth and mourn- the provinces were divided in their opinion respect- ing; complying to improve that passion with which it ing these musicians: their partisans formed sects: finds the auditors most affected. In a word, it is an innumerable epigrams against each they published invention which might have beseemed a son of Seth to until, if deciding other; at length, as incapable of liave been the father thereof: though better it was on their respective merits, the public resolved to that Cain's great-grandchild should have the credit terminate all dissensions by dividing the palm first to find it than the world the unhappiness longer among the three competitors. Gluck's opera of to have wanted it. Fuller. MUSICAL AND LITERARY MISCELLANY 17 THE JOLLY BEGGAE Lively. rs -& -is;- ^e :3;r=S:: i-ai :is=:s: f=fz I vtzzH :fczzlc: There was a jol - ly bei^ - gar, And a beg-ging he was boon'. And -a- • ©- 0— ._K^i_l^. /T^ qtqs^ 3;r|^ :i«- ^£^:±=^ ^S^- i=* ^4s 1^-Ur-fe:: =i=i^? _^l: -^—*- ;i-i: he took up his quar-ters In - to a land'art toun. And we'll gang nae mair a ro - Ting Sae .^ .». .^ .m. IS^ 'a±i 3=^ ^: -P=^= #=t ^^ ^"^ iS=z£Sziri-z '-y^—y^ rrs JtzzJt- late in - to the night, And we'll gang nae maip rev - ing Let the _)_ —k. /r\ fczisz:^ (Tn ts=qs^ js;^ 1^=^ :E=e: :^:1t: lizzi: ^ —•»— -*--5i==:^- d -m^—:C=: r-r-f-1 moon shine e'er so bright. And we'll ga "ng nae matr a -» / He wad neither lie into the barn, hooly, hooly wi* me, sir, Nor yet wad he in byre, Ye'ii wauken our gudeman. But in ahint the ha' door And we'll gang nae mair, &c. Or else ayont the fire. The beggar a cunning loon. And we'll gang nae mair, &c. was For ne'er a word he spak. The beggar's bed was made at e'en But kiss*d her there fou cadgielie. Wi' guid clean strae and hay, Syne he began to crack; Just in ahint the ha' door And we'll gang nae mair, &«. And there the beggar lay. Is there ony dogs into the house, And we'll gang nae mair. &c. lassie Sweet tell me true ; "What is't to you, although there were, raise the guidman's Up dochter, My hinnie and my doo. She raise to bar the door. And we'll gang nae mair, &c. And there she saw the sturdy beggar Standin i' the floor. They'll rive a' my meal pocks, And we'll gang nae mair, &c. And do me micklo wrang; The sorrow on your pawkie tricks, He took the lassie in his arms, Are ye the be[T^gar man? And to the neuk he ran. And >ve'll gang nae mair, &c. No. a*j. — — — — 18 THE BRITISH MINSTREL; AND Then she took up his meal pocks ing quadrilles, &c. which have for so many years And flan^ them to the wa', banished the truly beautiful country -dances native deil wi' The gae the meal pocks, to England. Of all dances, this is the only one, as Xour duddie rags and a'. a class, of which you can truly describe the motion And we'll gang nae mair, &c. to be continuons, that is, not interrupted, or fitful, I took you for some gentleman, but unfolding its line mazes with the equability of Or else the Laird o' Brodie, light, in its diffusion through free space. And O dool be on you, gang your ways, wherever the music happens to be not of a light, Are ye the poor auld bodie? trivial character, but charged with the spirit of mair, &c. And we'll gang nae festal pleasure, and the performers in the dance so He took a horn up frae his side far skilful as to betray no awkwardness verging on And blew baith loud and shrill. the ludicrous, I believe that many people feel as I And four and twenty belted knights feel in such circumstances, viz., derive from the Cam' trooping o'er the hill. spectacle the very grandest form of passionate sad- And we'll gang nae mair, &c. ness which can belong to any spectacle whatsoever. Sadness is not the exact ; And he took out his little knife. word nor is there any Let a' his duds down fa,' word in any language [because none in the finest And he stood the bravest gentleman languages] which exactly expresses the state ; since That was amang them a'. it is not a depressing, but a most elevating state to And we'll gang nae mair. &c. which I allude. Festal music, of a rich and pas- sionate character, is the most remote of any from The beggar was a clever loon. very And he lap shoulder height, vulgar hilarity. Its gladness and pomp is im- pregnated with sadness but sadness of O aye for sicean quarters ; a grand and As 1 got yesternight. aspiring order. Let, for instance, (since without And we'll gang nae mair &c. individual illustrations there is the greatest risk of The words and music of this song have been uni- being misunderstood,) any person of musical sensi- formly attributed to King James V. of Scotland, and bility listen to the exquisite music composed by are supposed to have been composed about the year Beethoven, as an opening for Burger's Lenore, the 1534. The words, as they originally stood, were too running idea of which is the triumphal return of a gross for modern taste, and as the song has become crusading host, decorated with laurels and with popular here from the admirable manner in which a few palms, within the gates of their native city; and of its verses have Templeton, we have been sung by Mr. then say whether the presiding feeling, in the midst endeavoured to retain as much of the style of the old of this tumultuous festivity, be not, by infinite degrees, song as possible, while we have preserved the connec- transcendant to anything so vulgar as mere hilarity. tion of the story. King James V. was notorious for fact, laughter itself is of an equivocal nature; his rambles through the farm towns of Scotland, and In ludicrous, laughter is allied to the incidents which he is said to have met with, while as the organ of the sorning in the disguiseof a gaberlunzie, have furnished the trivial and the ignoble—as the organ of joy, matter for many a story and song writer. It is of it is allied to the passiimate and the noble. From this ballad that Horace Walpole (Lord Orford), in his all which the reader may comprehend, if he should catalogue of Royal and Noble authors, has remarked, not happen experimentally to have felt, that a spec- that there is something very ludicrous in the picture tacle of young men and women, fionnny througlr of the that she young girl's distress on imagining had the mazes of an intricate dance, under a lull volume thrown away so much of the quiet courting time of of music, taken with all the circumstantial adjuncts night upon a beggar. King James died on the 14th of such a scene in rich men's halls; the blaze of December, 1542, in the thirty-first year of his age. lights and jewels, the life, the motion, the sea-like heads, the interweaving of the figures, THE BEST INFANT-SCHOOL undulation of the self-revolving, both of the dance and the music, Nature, best Schoolmistress, I love the book " never ending, still beginning," and the continual Thou spreadest in the fields, when children lie regeneration of order from a system of motions Round thee, beneath the blessing of the sky. which seem for ever to approach the very brink of Thou biddest some on thy bright pictures look confusion ; that such a spectacle, with such cir- For some thou dost attune the play-mate brook; cumstances, may happen to be capable of exciting For thy sole Ushers arc the ear and eye, very grandest emotions of philo- That give to growing hearts their due supply, and sustaining the And cull sweet tastes from every silvan nook. sophic melancholy to which the human spirit is open. The reason is, in part, that such a scene Dismiss thy Infant-school, good Mistress Starch ; Absolve nor child nor parent from the ties presents a sort of masque of human life, with its That bind with love and duty. Strut and march. whole equipage of pomps and glories, its luxury of And sing-song knowledge will not make them wise. sight and sound, its hours of golden youth, and the Her scholars little know, but love and wonder more interminable revolution of ages hurrying alter ages, Nature abhors thy mimic worthless store. and one generation treading over the flying footsteps Blackwood' s Magazine. of another; whilst all the while the overruling mind to the spectacle, the he- MUSIC music attempers the AND DANCING. holder to the vision. And, although this is known Of all the scenes which this world offers, none is to be but one phasis of life—of life culminating to me so profoundly interesting,. none (I say delib- and in ascent, —yet the other, and repulsive phasis erately) so affecting, as the spectacle of men and is concealed upon the hidden or averted side of the women floating through the mazes of a dance; golden arras, known but not felt; or is seen but under these conditions, however, that the music dimly in the rear, crowding into indistinct pro- shall he rich and festal, the execution of the dancers portions. The effect of the music is, to place the perfect, and the dance itself of a character to admit mind in a state of elective attraction for everything of free, fluent, and continuous motion. But this in harmony with its own prevailing key. Auto- last condition will be sought in vain in the disgust- biography of an English Opium-Eater. n MUSICAL AND LITERARY MISCELLANY. 19 QUEEN OF THE VALLEY. Words by Southey. GLEE FOR FIVE VOICES. Dr. CallcoH. Moderate. -P- :i»L.pt_^. ALTO. ^£Ez :t=:t^ i Thou art beauti - ful, cres. ^'=^- itfzp: Ist TENOK. H- Thou art beauti • ful, Thou art beauti-ful, dolce. cres. :¥=:^: _^^_p_P_ 2d TENOK. S3: za: :^^ Thou art beau-ti - ful, Queen of the val - ley, thou art beautiful, dolce. ^ cres. i: 3±e: 3^:: iP= 1st BASS. 3ie; t=W^ :fc=tc itz^i: -J- i Queen of the val - ley, thou an beauti-ful, dolce. S±S :J-N-N 2d BASS. ^EE" :iziZ3t 3=3: Queen of the val - ley. _-p:l^^- d= :tc^: thou art beau - ti - ful. dolce. — I— :]= :t Queen of the val - ley, art beau - ti - ful, dolce. / =?-=i==3==ti=:J :W-rw=-f.z:^- i5 ^^; Queen of the val - ley. art beau - ti - ful. espress. / rPirjrrf: TJ- 1=:^ -i^-r^—al- thou art beau - ti - ful, art beau - ti - ful. rsnzz :S=:i^ :«i_-^_:i: Queen of the val - ley ^ c I 20 THE BRITISH MINSTREL; AND -e—e- :f^^—(t— :P=P: P i:=:^:::=|=: I thou art beau - ti - ful, art beau - ti - ful. -e—e- :pzn:^=5E=3E: :£=e: -'—^—h- thou art beau - ti . ful, art beau - ti - ful. - p :T P £=:il: :i=i=i=:zir art beau - ti - ful. _-r-l:e-_:f: If"- ic aE >- :h ^ ^ — 3q- — :t£Z=t=P- — 14: :^- thou art beau - ti - ful, art beau - ti - ful, Thy walls like til - ver W^\ :izr=il=zt- ^ art beau - ti - ful, fm — Thy walls like sil — — ^5-,^- 1^^ y. i=:?Eip: iii^^^ ±:r:^:=-jt7--f —"^^ ^mLI fc-»^ spar - kle to the sun, thy walls like sil - ver, like sil - Ter 3t lp-!tE IH^^z spar - kle. spar kle MUSICAL AND LITERARY MISCELLANY. 21 ».^ ~^- fPPti: m: ^H—Um Thy walls like sil - ver spar ncfzpr f^Pi :i=f ^ 1 U=t Epar - kle, fpar - kle to the r-P=1-^ =1 =1: :s333S«St r^di :M=izzf^. -)—•'- spar - kle to the thy walls like sil - ver spar - kle to the -ft-»-ft :P=:p: PltZfC I -^ I- 3t t=tt R—trt -=-h-t—P-i.4- 3:rrb_^L:_4 -i=-w r*= ifelg spar - kle to the sun, spar - kle, spar - kle, spar - kle, spar m :==P= •TJ- thy walls like sil - ver / P 1=^-, /,mz Iftir £E &Si iit :t= kle, sparkle, spar - kle to the sun, sparkle, sparkle, thy walls like P. f f /_ I- y-p ^-P- -P= "F ai |» ± :F: sun, sparkle, sparkle, sparkle, sparkle, thy walls like / p f P / P f :353iE: A- :!= )E=bf=i=Pt :3qi :P=f= I -«- :p=i=pzi: ^*: itnp sun, sparkle, sparkle, sparkle. spar kle, sparkle, sparkle, sparkle, sparkle, thy walls like / / / :ps±:p=ii: at -JfLZ^. -Xz ^t r :t kle sparkle. sparkle, sparkle, thy walls - like p P m P f W -M: :p=I-4 !--)- -&- i: -r- sparkle. sparkle, spar - kle to the sun, spai'kle. sparkle, thy walls like — 22 THE BRITISH MINSTREL; AND . dolce. -£4- -g-f-Q' fipz^Ei^zS riiiiiiiiirczl^?:: T- iC sil - ver sparkle to the sun. Me - lo - dious wave thy groves, me - t::! E|:^==p: #—ij—S- -&-P~ T- -I— :t- i- sil - ver sparkle to the sun. Mo lo - dious wave thjr groves me - ipEirp: tz-w: z\=z\z ^z=^-. -e-»- :P=^ -I C ' - -I I sil-ver sparkle to the sun Melodious 25- zwd^z 3ES an -e- t± ni: |: z^\::±=s=z sil - ver sparkle to the sun. Melodious W: 3ZZJ= :^-^i?=^l: G- sil - ver sparkle to the sun. ;fa5r-^zpL 3=!:::=:=1: :^^ :^f: .tlJ_j— 3H22EE 3==t EE^ ; — I I—^ Uji _i — -iiT lo - dious wave tliy groves, me - lo - dious wave thy groves, Thy ^^^m. lo - dious wave thy groves, nie lo • dious wave thy groves, Thy iprii:: me - lo-diou3 wave thy groves. Wz :Se==3E iizt:?: -h-r thy groves, melodious thj groves, ::p=q= W 2i" iirri: me - lodious w are thy groves, MUSICAL AND LITERARY MISCELLANY. 23 -*«- -f=?^ :P=^ 14=^: 3= t=t :i=jt -r ^ ^1- garden sweets en - rich the pleasant air, the plea sant thy I ^=T- :p^= -G- ^- ^—r-^- qj=:i=t=i: :p=*=i: :#«= garden sweets en - rich the pleasant air - the p.ea - sant air, thy :rEz* i t*. thy gar-den :^=P: SE -M p.. -1=—fi. 3iJp: #3^= i=± eu - rich, thy garden sweets en - rich the pleasant air, Wi ^^: --P:-^ '-fz^pr. iP=p: '-§• •f^ :3q- -Jz-n —W J:«:=: cjar-den sweets en - rich the pleasant air, the plea sant —^zz :=t qrznq:: ^JziiziP: :?=3t=:iz jiz ^K -G- :#3d: garden sweets en - rich the pleasant air - the plea - sant air, sweets. thy gar- den m -jrd^. --m—Zp=ZW:. ^=t i :ijfi:itrs~r.^t=:E^=t i en - rich thy j;ar-den sweets en - rich the pleasant air, thy j h 24 THE BRITISH MINSTREL; AND :St i:; I^^ thy gar - den sweets en - rich the pleasant # p—^_|~ir— t y_prq-3qrf^. — I=F thy gar . den sweets en - rich the pleasant air, -ee- It: i sweets en rich the plea - sant air, Bi -W=w: -^-rzf:-^-^^. :r—i-Tjrzrzrprcrq; 3EP=E :x3: thy gar - den sweets en - rich the plea - sant air. Up - on the lake 3i 3d; -&- ±1* :xiz ^^ sweets en - rich the plea - sant rp- -&- 'J^=m lie the long sha dim. ifcr^P: :P:--25: -r-r-r 3:5: 3^=^: :fe:=in f~fc lie the long shadows of thy tow'rs, lie the long sha dim. irtqnj: :=i: 3q: ~ :3t=il=3t I -" 1- \— -G- =p: — lie the long shadows of thy tow'rs. lie the long sha p -P: :f=^. St t3Ei3E -1 1=^ -7i-. — the shadows of thy tow'rs, the shadows of thy F gi :d—-j: Usrzij: r^z=:xi- 132: :i:Tz«=3i: ;x3z :x2:' on the lal;e, lie the long slia MUSICAL AND LITERARY MISCELLANY. 25 Wi dows of thy tow'rs. :f:==qi^il^ dow3 of thy tow'rs, -q- -©- ^^: dows of thy tow'rs. 1^1=:]: ^^ BE ^z:^: • ±=ztE±:zp=t=±.z\ I 'W=^'- tow'rs, the shadows of thy tow'rs, And high in heav'n thy temple py-ra-midsa- ^^^^3^ xi: dows of thy tow'rs, of thy tow'rs. cres. .9... .»_ -5*- :p.^_3=ii?: :p=t 1^^ thy fRTHple py - raraids a - rise, #-P Ezc:=t3=:c=t=t:S: i ;ti4: I thy temple py - raniida a - rise, and high, in heav'n thy :x3: 13=^ :i: r- hij^h in heav'n thy tem-ple £- ;#s: mi z=3.-=:=zrf^: \-~zzlz ==i :|i:it and high in heav'n Si 3^=S: :c3:: and high in heav'n No. 84.— 1 Jd. ) r 1 — — ^ t 26 THE BRITISH MINSTREL; AND pnt ores. :p ;cni~^p=q~::jzr=i=±::q::::| :p=:pE: ± ^=:fc thy temple py - ramids a - rise, thy temple py - ramids a - rise, Tliou art piu cres. U/-&- ifzrjczpEi 3^ :^: -t :pz:te:r:t: tem - pie pj - ramids, thy temple py - ramids a - rise, Thou art plu cres, , -e- :T-- ^P :^=:^' lis: :ax; -F=f :zt: i py - ramids a rise. a - rise thy temple py - ramids a rise. Thou art ff ^- :»*: ::ti:r-P=:p: o— gi :pEz:^=f:rt: :n=Hi=4 i EE^tlE l=fc: I thy temple py - ramids, thy py • ramids a - rise, Thou art pm cres. _ ff -e -o o SF 313: 3^=z=.-:^z z^:r:w:zw=w^ I thy tem - pie py - ramids a - rise. Thou art iolce. n ^ p p 1 V 1 1 1^^ P '.»._£=, - 1 1- 1 1 1 ^ ^ 1 /f ' \ . {(> 1 1 \\ ' 1 > 11 1 beau - ti - ful. thou art beauti - ful. dolce. —— — |5_t=t^:=t:--1=— =^=n ^B^^.i_.,.y _| beau - ti - ful, thou art beauti - ful. A dolce. Jl. ^, . , g—K-l- -^ > -« L_^___^ --hU^-i-ct— -l=- --^—ci-^ ^ —ft ^-P—ft ~^-*-^-^- \f(^—f-—f—r- 1. -^•^"i-^-H -« -© r^i' — \S) [» 1 1/ 1 '1 i_. 1 beau - ti - ful. thou art beauti - ful, Queen of the Tal - ley, thou art beau - ti - ful, thou dolce. -^- -_- w P->:— beau - ti - ful. thou art beauti - ful, Queen of the dolce. 1— — ^^ i B \ f/.-.^. 1 1 — ^_^_ -d Ti — f^— beau - ti . ful, thou art beauti - ful. MUSICAL AND LITERARY MISCELLANY. 27 i --w=w- Queen of the val - ley, thou -Q--, ^=3^: --^- :pr:*: ifc:-^ X -t- itE :!t=z3i: Queen of the val - ley, thou art beau - ti - ful, art beau ti - ful. :3q: zw.-sz^z:^-. i^iner::^: x=t£=i= ==:t=F:~lc: art beau - ti - ful, thou art beau - ti - ful, d!s=Is: gE^ :*:=3= — :t~F: 3*=3iz:iT -1 ir—ir- -l~ =1=F val - ley thou art beau - ti - ful, thou, thou art beau -ti- ful, Queen of the ^i F=-»- 3ES33 i mi -/-• Queen of the val -ley, thou art —i2_ _o ^- -ff^e- -5-f^. 1±:4: :3=i: art beau ful. Long, long. -©--.- :t=\-- :p:rt: =^^F^ :i;zi: =l: z^zc :2: Queen of the val -ley, thou art beau - ti ful. Long, long. cres. P -f\~W t=\z :a=i=x3: xi: —^»- -iz=i- :i=:i=P=:ft ±11-. Queen of the val -ley. thou art beau- ti ful. Long, long, cr 's. gi '^- d: -^- 1X31 tlZlI i val - ley. thou art beau - tt ful. Lon; cres. P Bt^=^^. ^Z zdzz :xiz 3Z:=X3: 3i^Z -e- j^vu; Hz^zir beauti . ful, thou art beau - ti fui Long, long. h — ^ — 28 THE BRITISH MINSTRF.L; AND -Q- cres __-t-;*:-:P- s^irt: — :P=nqi 1 e :uzztz: — :fe:z=q:: longmaj'st thou flou - rish in thy beau - tj, long pros - per be- cres. _ P h- ~-3^= :P==pz=t: :35=p: :r=:3^ =l=c li=zt: i long maj'st thou flou rish in thy beau - tj, long pros - per be- 13:521 i^rzf—fi ?5: —! 5 :q=t=^: P —t~l^ long nmj'st thou flou rish in thy beau - ty, "*=* IB. 3? -wz 35- ::e--p=ff~f: :t: :^zrttzzt: long raay'st thou flourish " in thy beau - ty, long cres. Wz di :ii:^z3tz=il. :rJ: ~^—-X 1 -ii—*- ;t long may'st thou flou rish in thy beau -9-5:® .X3_ ' 1 ' ^- !^ - ' —— —^~^~ ^t~ — — 1 -I— S==z!: tzrt Death the righteous con - quer - or, who con - quers to re - deem. cr^,s. ifci: Ji -WZZKl ::t-jzi=2d=r§: iSzrd: -^ 5 :t:rrt -r -1- neath the righteous con - quer - or, who con - quers to re deem. -^--^ -e»- X It i who con - quers to re - deem. cres. I*"-^- ^ -C)_ .^_ -— I p.— :Pi.,*^L:Pi. ..Q_ — ^- =5^- atztrl^rt :t: :a~i=ft*zzzzpL-r: :q—t=t -I tr 1- pros - per be- neath the con- quer- or, who con - quers to re - deem. :rq: 9E -e—e- -jizz:Mz --^-i— I who con - quers to re deem. MUSICAL AND LITERARY MISCELEANY. 29 ^espress. -Q-—3q_ je: -^~rzwrtz ^- :^ :3q^=ff— ±1 :t=i '=^ i^^-tzztzz 1: ± Long' years of peace, years of peace, years of peace, of peace and espress. _ -fLZZW—WZ ifzzt: 3:^==q: -e- H: 4:=t: --^- X Long years of peace, years of peace, years of peace, of peace and espress. =1^^ i^rzt: 3=i: i qzzf; r :p Long years of peace, of peace and ej^sre^i". -_!_- :?czp: SE :*rf!~tjE: :^=P: p:=t :t=t= Long years of peace, years of peace, of peace and espress. -^= =1: =1= 2iz^iz=S=::J: i: -e ©- =fzr«=:3^-| Long years of peace, of peace and }-tf-^§»- ^-^zzrll3=::^z 33: :p:=55=rr35r=i;: itzil: unit :^: I :]= hap - pi - ness a - wait thy Lord and thee. Queen of the val - ley, cres. espress. ;^|»-j^;Ha— --;j- ZlCZZiZ X3zzzi: Eii^ll ^- r- hap - pi - ness a - wait thy Lord and thee. Queen of the cres. espress. ifcqi :^' ^ e- :35: -^-rz^z 35Zhs-«- :t=i — :s3: -o- :33: Sre j- f^- -i—-!" tr-r JZ 1- j_ -Jzz hap - pi - ness a - wait thy Lord and thee. Queen of the val - ley, cres. espress. z^z :i?: BE J^^WZZ^.t^z -e — --5-3- m—-Jz±f: ~z\—t:-. hap - pi - ness a - wait thy Lord and thee. Queen of the espress. ^—l- O Q= z^- W z^—^ 'CT'^q- 3Z5: 3±r:irzi: 33: d- -o-— hap - pi - ness a - wait thj Lord and thee. Queen of the val - ley. q — - r 30 THE BRITISH MINSTREL: AND -ft-^- :^- ^- :x3: m Queen of the val - ley, Queen Queen of the val -e- =?=&=?: prqi =25-: :ti±=t: :q=^— -e—e- val - ley, Queen of the val - ley. Queen of the :f3^ -35: :^=:i=f»z:3i :q: T- Queen of the val - ley. Queen of the o- -e- ©- -e—e- ^-P: izrn :1-=t izjnrj^—3^rd-J-W_°=q?rj: val - ley. Queen of the valley, Queen of the val - ley of the valley, Queen of the =!=.—::n,=:f=fsqr:35: ^=—e- -©- :(^=P: -rt t=.z=nz --i-r—1- -e—e— Queen of the val - ley. Queen of the val -ley, Queen of the val . ley, the --^dim. - < n - -::?:-c^ • y ^> 1 ! _o |E -^z=d-b X2::_ 1 ^ ley, Queen of the val ley. dim. Q — ,*= . , . . •1^ T^ 1 -^— i2- —-^-^ XS'- k-S— ' ' '-- 1 1 1 W^rr-^-w - val - ley, Queen of the val ley. dim. f\ — = 1 #-==^-=^~q- — j— i fcg_-^_r^_ -^=r^'~=f^--_^- r -t=t=^ -e' -^-^~—^H^- \—'-Tr- val - ley, Queen - - of the val ley. -^;r -e- Wi =1: zdzzziz ± 73~: 1X3: val - ley. Queen of the val ley dim. gi33: zirrzi: iz^: -^-^ rci i^: val - ley. Queen of the val lej. — MUSICAL AND LITERARY MISCELLANY. 31 GREAT CHORAL MEETING OF THE LAN- cipal towns within six or eight miles distance; rail- CASHIRE AND CHESHIRE WORKING way trains having,through the solicitous foresight of MEN. the committee of management, been provided at a cheap rate for their especial accommodation. They The Manchester iiapers of the beginning of June were all ranged in the spacious orchestra of the mustering of give full accounts of the above great Free Trade Hall, a decided improvement over the the Workmen's Singing Classes, which took place disposition of last year, when a large portion was accommodated in the body of the hall. The pre- in that town, on Saturday the first of June, 1844. sent arrangement had the double advantage of com- agree in one opinion, namely, that this They all pactness, and of more united and powerful musical meeting was eminently successful, whether it be eB'ect. irhe orchestra was crowded; so that there Iiiokedupon as an evidence of the utility of music in could hardly be less than from seven to eight hun- dred singers. The appearance of the humble vo- improving the tastes and social habits of the people, calists, all clad in their best, and all apparently test of what may be done or as an experiment and participating in the performances with intense towards fostering the musical capabilities of the enjoyment, was pleasing and interesting in the working classes. The chorus at this meeting was extreme. Another improvement was the addition of several of our leading professional vocalists and entirely composed of eight hundred aud fifty arti- instrumentalists ; so that an agreeable variety w.as other sans, who had been trained by Mr. Weston, and given to the entertainments, and all degrees of teachers, under his superintendence, according to the musical taste consulted. To this end, also, the contributive ; and partook of system introduced into England by Mr. Hullah. selections were they the " monster" scale of the whole proceeding, there Their proficiency is said to speak highly in favour being no fewer than twenty-fmir pieces, to which an of the ability of Blr. Weston as a teacher, and of addition of nearly fifty per cent, was made by the Mr. HuUah's system for producing the desired end. number of encores. The whole was under the direc- conductorship of Mr. R. Weston, the pro- The principal singers engaged for this occasion tion and fessional superintendent, to whom and to his col- were BIr. D. W. King, Mr. Walton, Mrs. D. W. leagues great praise is due for their indomitable King, and Miss F. Leech. The Manchester perio- energy and hopefulness, without which it would dical press speaks well of the performance of these have been impossible to have conducted this large experiment with such satisfactory results. We severally. We have had no opportunity of judging trust that the evidence of the past will induce them praise be justly merited, when how far this may to persevere in their praiseworthy but arduous bestowed upon the first three individuals, not having labours." sing, but we have heard Miss Leech on heard them We are happy to give place to the concluding most more than one occasion, and heartily concur paragraph of the review in the Manchester Times, in the tribute of praise bestowed upon her. as it so entirely agrees with what we have so fre- in the The Manchester Guardian, reviewing quently stated in the pages of the British Mins- Choral meeting, begins with the following judicious trel:— remarks : " We cannot close our notes upon this choral " There is no musical exhibition in the course meeting without a few words of congratulation of the year, in this eminently musical town, which upon the progiess which musical science is making is more calculated to interest the philanthropist, among our operative bodies. ]Music,as a recreation, than these annual choral meetings of the asso- is one of the most delightful and spiritual in which ciated workmen's singing classes. It is here that tbe mind can indulge; it is the sister-art of painting he finds music more directly used as a moral and poetry, and it is the hand-maid of religion ; and agent, in providing an ever-delightful source of the gradual extension of it among our labouring improving recreation for the leisure hours of the classes is attended with an important moral effect, masses; and even if the performances were, in tending to soothe and harmonise, to implant a relish themselves, less eft'ective than they are, his satisfac- for domestic happiness, and a distaste for those tion would hardly be less, because he would view haunts where the oath of the debauchee and the them in their more important bearing, as furnishing imprecation of anger are heard, and where the beneficial occupation for that portion of the twenty- " concord of sweet sounds" never falls. Let us not four hours which, scanty as it unfortunately is, is consider tlie story of Orpheus fabulous, representing, too often devoted to the most disastrous indulgences as it does, the softening influence of music over by our teeming and hard - working population. savage minds, and of which, in our own times, we These exhibitions, however, are more pregnant with witness daily instances. Music is no longer confined hopefulness and encouragement when we find the to the palace of the prince, and to the mansion of progressive improvement of the pupils so marked the millionaire —it is now an inmate of the cottages as in the present case; because herein we have not of tlie poor, and it presents to ihem sources of only evidence of past assiduity, but the best assur- delight for which they once vainly sought in the ance of continued application ; and so long as the alehouse, and in the unkindly strife of politics. All is human mind so constituted that cheerful relax- hail ! theu, to those men who, by placing this charm- ation becomes as essential to its healthful existence ing accomplishment within the reach of the hum- as the active exercise of its functions — so long, we blest, provide a sinless and exalting amusement for are persuaded, will the cultivation of music be es- the poor man, who, while his voice is attuned to teemed as a chief means of securing such relaxation. melody, feels the chords of his heart moved by the " The classes mustered in great force on Saturday divinest music of the universe—peace and good- evening, having come hither from many of the prin- will to all that breathe."- ; - ! ! ; 32 THE BRITISH MINSTREL; AND THE BRISK YOUNG LAD. Lively. -\ itr^r :]^=fs:=S: =]= -A :e!:ff=i:J^: ^=S: ^eSes ^il=iz.-iz:t r-r- 3B3 There came a young man to my daddie's door, my daddie's door, my daddie's door, there »- -a—s- „ _ -•—»—& -e- -5- -•- e-_-p----£- - tt: -•-—»- ap==f^zftrd=p==^p: ji— i^-L-^-b I— ' ! 1**^—^—1 n — "v; e— — "— —iV rr— te=S^'s:3S,:»-» =»=F- 5=rizi=:i -^z^ -^t::^z?=:tdrcz*=^id=t±p=Hz?::b^ -caz_ came a youn^ man to my daddie's door, came seeking me to woo ; And vow but &P=p=|=:N= t-f 5=1==!S=: -v-r r -ft— ^- itze: :^^: ES :f=^~ 13^=^ -*-^-?—B-^^ ' ~l^ J *- 3;iE£=E=*=*-- In— — 1 he was a bravv young lad, A brisk young lad and a braw young- lad. And —ft—B— :jsrlr==qs=q: 3i:p rpzrziPz:^: P rr-==i =1=1=1 if^ _*__ft__ft_ 5E§EESE^E|EtEgE^-it !^gC=^« 1 *. _«^| Lf ^^\ _^ .lit si vow but he was a braw young lad came seeliing me to . _ -»- -ft- -ft-^r- 9^E|=i|;=r|=tzzE -a- •—-•- e|e|ee|eeee£E X :p=::tc: tzzzzt^rp: ,SE But I was baking- when he came^ There lay a deuk-dub before the door; Before the door, before the door "When he came, when he came ; ; 1 took him in and gied him a scone, There lay a deuk-dub before the door. To thowe his frozen mou. And there fell he, I trow An' vow but he was, &e, An' vow but he was, &c. guidman, and high he shouted I set him in aside the bink ; Out cam the ; I gae him bread and ale to drink Out cam the guidwife, and laigh she louted ; And ne'er ablythe styme wad he blink, And a* the toun-neebors were gather'd about it Until his wame was fou. And there lay he, I trow ! An' vow but he was, &c. An' vow but he was, &c. Gae get you gane, you cauldrife wooer, Then out cam I, and sneer'd and smiled; sair Ye sour- looking, cauldrife wooer, Says I, my lad, yeVe beguiled ; I straightway show'd him to the door. Ye've fa'en i' the dirt, and ye're a' befyled ; Saying, Come nae mair to woo. We'll hae nae mair o' you An' vow but he was, &c. An* vow but he was, &c. — — —1 — a — 1 1 MUSICAL AND LITERARY MISCELLANY. 33 THE ARETHUSA. FROM THE MUSICAL FARCE OF "LOCK AND KEY.' Prince Hoare. Shield. Bold =^!^=^ Ktr^ tpc =e£ :P:i:*=ii -L-i-f ii=:^t*^: 1: ii=ii= hearts are cast in honour's Come all ye jol-ly sai-lors bold, Whose mould, While English --J. »- -e- :P:^ :--Prf=?E: a EE^£EE^ -l^-^- iSft r^-^=i= :i=*=i=< :p=P=:t Itfiti: *i:lgp -r-h glory 1 unfold^ Huz - za for the A -re - thusa. She is a frigate tight and brave, As -a-l 3=^H1^ :f-JLi^i=P= ::§-»: -J :| ^ \ -t~i r- £=^Sh :f1= ^^E^ a^^EEEpEE :P=P: :it=;i: H1= n/--* ver stemmM the dash ing- wave, Her men are staunch to their fav'rite -Q ffi -Q :g: '-9 *^' ^- -I'^'r \ ^ ! —fr r^—p. «i_«J-^-. tT.=- ^-^——e =»T» • »—P-^-=^^RirS d^.a—«_. 1 iH j — : m — P— -^itt7"<^^~ •—h— -1 1 1 p 1 ' launch. And when the foe shall meet our fire, Soon - er than strike we'll -e- e r-ii— 1 .^^=^^- bz^z =z^-^ —^- -A q=?:: 1- #i: all ex - pire, On board of the A thu - sa. I :^rr_p: g3E -5» e- I— £eIe3^: I 'Twas with the spring fleet she went out. Not a sheet or a tack, The English channel to cruise about, Or a brace did she slack, When four French sail, in show so stout, Tho' the Frenchmen laugh'd, and thought if stuff. Bore down on the Arethusa. But they knew not the handful of men, how tough, The fam'd Belle Poule straight a-head did lie, On board of the Arethusa. The Arethusa seem'd to fly. No. 80 ; ' ! 34 THE BRITISH MINSTREL; AND land. On deck five hundred men did dance. The fight was off the Frenchman's The stoutest thej could find in France We forc'd them back upon their strand. We with two hundred did advance. For we fought till not a stick would stand On board of the Arethusa. Of the gallant Arethusa. we've driven the foe ashore, Our captain hail'd the Frenchman, ho I And now Never to fight with Britons more, The Frenchmen then cried out, hallo ! " Bear down, d'je see. Let each fill a glass To our admiral's lee ;" To his favourite lass " No, no, says the Frenchman, that can't be :' A health to our captain, and officers true. " Then 1 must lug you along with me,' And all that belong to the jovial crew, Says the sauc« Aretliusa. On board of the Arethusa. YE GENTLEMEN OF ENGLAND. GLEE FOR THREE VOICES. Dr. Callcott. j^. iz=iiz. idqzt ^zBr. t--^J^^-- E3 :=t i 3Eg3EF=--rf=FrE^ Ye gentlemen of England that live at home at ease. Ah lit - tie do ye 11=1= -e- -JfLZ^ pr=^r-p EEEE! It =§-(: :prb3=2d: ^=:p--t ^-r .f._^-_^_^ii Ye gentlemen of England that live at home at ease, Ah lit - tie do ye :p:qc :d: -\=^ -e—e- T- i:=t :P=P: ^S! d=: :t: -^P^ r^zpzqtrp:: -f^K ipiirftrpE: :t==t :^. g^lE^EfSE^ :ziz^ ±=Z think up -on the dan - gers of the seas, Give ear un - to the ma - riners. And -^ =t :P=;= :(E=p: ::t-- iz~iz:I^^zS=M:*=i: S£^ ±- :i-p=:i: !=*-iii= -f- T g think up - on the dan - gers of the seas, Give ear un - to the ma - riners. And O Q- ^, l:z±=r=:p: :i=zp=3t:i: :P=?zz^^ :±t=P=:p: -|~ lirrL- I I :p=:(t ^^;=tr^- 1 h- 1 F— -W^- zf±^~f.-: ±=*: d=t :q=:t iE they will plainly s-how. All the cares and the fears, all the cares and the fears, all the ::1=S rftrjc i-f^t^jn z^in^zi: ^'=f: ^t2i~fz -H-i- they will plainly show. All the cares and the fears, all the cares and the fears, all the ..S^^ft-i^. T=^'- d^zbqzrprp: qt!:e: ±=t:t :t=kz b — — MUSICAL AND LITERARY MISCELLANY. 35 i>~~y -W^f: S=p=rf=p- :p[=p— : 3=t=fc :^ X-z 5nr i ±: -Wi^^ 4c=fc cares and the fears, When the stormy winds do blow - when the stormy winds do IE ^ o -rrp: :«3£ ::?E=pz=^=p: r- :t= I \— cares and the fears, When the stormy winds do blow - when the stormy winds do -»-m-\—\—A *• =5^,^ r=n—H— :P=P: m ^5— :j-ii-# -^h-fcr ±:=t ^ist ::lt:=fc: Repeat in chorus. /7^ blow - when the stormy winds do blow - when the Btor - my winds do blow. -e-i- 'tl\ itClfc x=^ bLiaitzieirJz s r- blow - when the stormy winds do blow - when the stor - my winds do blow. ^ /Zs 3F :=l=:ici.-^: -f=-rz H h±- If enemies oppose us, when England is at wars Then courage all brave mariners, and never bedismay'd, "With any foreign nation, we fear not wounds nor scarp, "Whilst wehave bold adventurers we ne'er shall want a Our roaring guns shall teach 'em our valour for to trade, we know. know, Our merchants will employ us to fetch them wealth Whilst they reel on their keel when the stormy winds Then be bold, work for gold, when the stormy winds do blow. do blow. HARK! THE HOLLOW WOODS RESOUNDING. DUET. J. S. Smith. n-^-F—^-: .qsjrs;: ztzwzzf: :fc=^=4i^^p=:czp EEB :3-i= fzt±=tc ^^ -•mj- ii:z^ Hark, the hoi - low woods resounding, E - oho to the hunter's cry. Hark, how all the KX^ -tjE Eife^-S:~^E£?-=b^E?ES ~f^---m- rfcrs :s: qs;:is: ?^^=5.f>C ipr^i:^: S^eS^e^ :iTz^:i-^==p=:r;=.t:i=d -^1— -t^- /— vales surrounding to his cheer - ing voice re - ply. Now so swift o'er hills as - piring, ^ -*— rl rf—I— nr F" :t^^ :i=--i= •bif-fcr^iz— ii==i= — — ; — 36 THE BRITISH MINSTREL; AND Jazrisrr icr^zifzp: S^ lf=E :i^^EjE^g^ES :^ £—e._«ii^i—^—^ He pursues the gay de - light, Distant woods and vales re - tiring, Seem to vanish, ^s;r3p :S=:=5;: :;s;=5v ]i^ :zs- lixizip: i :tF* li- :^=i-- k-F :=:i=i!^ iK=i=i- q^=:q= qsjns^ =:i=^ :t=?E—f: zpiz*-«^^^- =K: ^l3?5: -g»»!- "'^ -^—j- ^=:tc=t^ :^:rtc :r~^-^- 5E^ ^ seem to vanish, seem to van - ish from his sight. Hark, the hoi- low woods resounding, =s:=!s;: j-i._i—_i I —_i—••—-J I \~ :P=Pe:=*c 12^: —=i-iz:tri=3z:i=:=qs=:i:— i fe=±:rt=:5t=l^ ^-iz -^»_?t_ -1*---^- -jL^. :P=P fc^^l^f^it K .1^1 —t- :jzz:^ E |i^ L^ >--i,—^r—t- t- E-cho to the hunter's cry. Hark, how all the vales surrounding. To his cheer- ing qs;: Z^ZfZ :S=s: fzit=^^-f^ f-:tr=jcric ^ES^EES^= :l^=r^ i:z±J^^ :i^-- -lz=^: 3v=s: rsr^Ez:^— rezjrzjE: ^PZ^SEiZiC^tZ :i-J5:iz:3z:pzzzezizz^ ii^t; ::sp :S^ ~^zfczfcz voice re- ply; Flying still, and still pursuing. See the fox, the hounds, the men. Cunning cannot :s_qs;: :s:=s: :S 3;=?^: :i=i: :iz:l5:S=:i=f=t=P=i==£=:S :qs;=i: lizizfzt -^- -3-- ^^ -Ir-lr :s:=r=: ^=:tzBZs: :^gzfcd-j33z-.£-r-^T^^z^3CZK =Pz:t=^S^z^fc^-przfizf: save from ru-in, Far from refuge, far from refugej far from re - fuge, wood and d^, -H:il=S3-qs^1"" iK:^;: K.4s_jvjzz-5^z:?5zzrz^z=s: ji---i—-„ I _j » J I I iizSz.izizizzlt iz:iz=^±iz:izdz:i-Jz:pz.-^z3zizzi!Sz:i——— — — —— 9^3t-*: :»,- . ^J I H*-^- -(t-t_^ :K=^s;: ;ez^- ^H*=S^pzfz:*z iprzpzp: ::lczz^ 3=:^: :lez:^ :fcz£ ^Z2: :i5Czic: rizi JZZZtfclZt Now they kill him, homeward hie them. For a jo - vial night's repast. Thus no sorrow t=;r:¥:=?E: :^2=p: :ezpz:?c :ez^- :s: fsztz rWziiz: :iEE^ :53i:zfc itcEE E^E^EfcE^ » ^ MUSICAL AND LITERARY MISCELLANY. 37 K -Hi*J—l- e'er comes nigh them, Health con - ti - nues to the last, health con - ti - nues to the last. BLESSED BE THE POWER SACKED CHOKUS. A tempo ffiusto. From the " Stahat Mater" of the Baron d' Aslorga. ::^- SOPRANO. ^- :q- iSE^E^gS :t: rfz^^ Blessed be the Pow'r who made us, Freely gave his ALTO. ^-f=.K —h-©- 22: i^E=p^ -1- gll Blessed be - the Pow'r who made us. Freely gave his Son TENOR. sEs; f-^-^p - -f- ^^pg^ Blessed be the Pow'r who made us, Freely gave his , „ . ..It. -,-.,. - -"CT CT O'"' _^_^_.|_ — — - O'" BASS. ^^-fT- - . -1 ±t^P tif-pur-^ ' — '. \ J : w \'^ - 1 r p 1,' =q-=l-: J -i !J_I LJ Blessed be the Pow'r who made us. Freely gave his /'^Adagio. — /^\ Tempo prima. i=:ir-i -e— JS -e-"- 'j^i: l! -f~l- i\ji-:r=zfzzMz ig 1 h- -1- Son to save Blest the Son who free - ly came, Adagio. /Tn /7> -I- ^^t- i=i: ni^zrirrizri: to save us, Blest the eon who free ly caroe, Blessed ^-r-p: S=t -IL rtrrtrt: Son to save us, Adagin. Blest the son who free-ly came. /TN /TN --Ji -Q-Q- ite :q; :=i: 3c:^^=P±,t: :p=:2di - -e ^ i: Son to save Blest the Son who free - ly carae, Blcssad — ! I 38 THE BRITISH MINSTREL AND I^t ftt =^—p=3q_ -Fi—^Z-e-- s S==t :pn^* Hzrrl: ± -t- Blessed be thePow'rwho made us, Freely gave his son to save :^=q= ifcFi: itJziiii: be the Pow'r who made us, Freely gave his son to sa?e -|=P: ZfL-W. -©—e- S tzertit :t;i: I :d= :t=p: ± Blessed be the Pow'r who made us, Freely gave his son to save a»ri=tas=3q: m -jz£: —p- -© ©- :f=i-- ± SE — :t i be the Pow'r who made us, Freely gave his son to save (T\ Adagio. /^ Andante. tl^r=t --X ^EfJazi: g :i-izzirziz Blest the Son who free - ly came. f^ ^Tn i:zz=\z S: =pi: :=!=q^ :^~zl:=q: zi: ^i=^.^ :^t. Blest the Son who free - ly came ! Bless - ing /C^ 1—1- 351 ^^ £f©^ 3?lTi :i=^xff: :=t;t: us. Blest the vho free - ly came Ble^s - ing - s ta:=e: H^ :i.-:i: :=1- :ee3: l^ii^si :p:rt 1— I— - Blest the Son who free ly came I Bless - ing, ho - nour, ^EEEEEBE^^^ Elfe tEZirfc £=1^: i- Blessinp from the whole ere - :=!=i- :=:J—=] tdiii=i: p :xi: -e -fcZli ho a - do tion from the w^hole ere- SE .=P- :i=^=:^ If: -r- t^- ho do ra - tion. -:Pi^- i(t ^^^^i^^^Ji i=-i=- :te=fc :ip: Bless - ing, ho - nour, a - do - ra • tion, E - ver from the whole er«~ I ! ! MUSICAL AND LITERARY MISCELLANY. 39 --K- -&- -1—3- fe§gE»: -f-&^ it :i=i=: M: zicziz: t- il -I— ffi*: a - tion, be to God, God, to God and to the Lamb I :P^ :p=l^:5t :4=S: 3__'_*jj:ii*rj.a^sS3=^= rptii: W--=ii a - tion be to God, to God, to God and to the Lamb I ¥^ Jqi^tzrMxi: i __._(_- I -t-- be to God and to the Lamb :=l=ri=q=iC zf=:s: -Fi_m. a ^:^tf2ii ti=H^p±e=)-i 31 tri tion, be to God, to God, to God and to the Lamb I ^ I- --=r — 3::^-. EEE :=3: :P=i:=*=*=a= -r- Blesa ing ho - uour, do EEE 35: :p=r:f=:|=: :p:=p: p :-]: :^=t: Bless - ing, ho a - do •3-=-«—•-—1 ^— 1 1—y*=-B" St p=i=p= J I « ee: ——ix-C _JM J—-iKi^-1« '^m ;^ :f~^ Bless - ing-, ho - nour, Bless - ing, ho - nour. do -.^=^=z^. :is= EEE3E iz: liZK :*=ra=z :izrjt::-=i= tion be to God - - be to God, be to God and to the Lamb ipzzq:: ^=:^: :q=q: znz :i=^ :i=iJ to God, to God, be to God and to the Lamb! IEe :P=:p=:?=zp: t: i 1 1 jr- i -I tion. be to God and to the Lambt :p=P: a -p p—1= S!)! :t=:^: — itzrzSi :i=:i: SE*: 1- tion, to God, to God, to God and to the Lamb I i 40 THE BRITISH MINSTREL j AND THE WAITS. GLEE FOK FOUR VOICES. Allegretto. To be sung four times, \stf., 2d p., 3d pp., itliff. Jeremiah Savile, 1667. r!==: -e— :25Z=£: SOPRANO. q= :i=P: =^ im^i^l It i^zrb:: Fa la la, fa la la la, Fa la la =ra=:r!: ALTO. q—=P :i=i- r^tzi: Fa la la fa la la, Fa la la la. is^-iris^: TENOR. :4===f=^: :p=f: :3d; i^zjzztc^ts: :t=p: Fa la la, fa la la la, Fa lu la, -, BASS. ^a=t=fc=^ :p=P=pq=^— -e— =^± ^- :t=:t .pjJ^z.^. :^=:^=^: :pL=3^ rpzifbzp: :t:t^: J-k--^ It Fa la la la, Fa la la la, la la la la, Fa la la la, Fa q=q: :fs=s: -&- qrrr: :irz3-i: li-jzii: Fa la la la. Fa la la la, la la la la. Fa la •it Fa fla. rl !-=!!£ -Jt=fr. :p=e: liralz:*: :t=3=:^P=: :t=fc :p=t/- -^— -I 1> 1/ > ^=t Fa la la la, Fa la la la, la, la la la. Fa la la la la, Fa la :3^=z. SEEEE^EE ^tZipr icrjcrprpc :=tc =P±P: -e- :t£r:t£: it^^tcztci ~^1~^ 1^ la. Fa :e=i: la la, Fa la, la, Fa la la la ::^ -e-^ la la. Fa la la. Fa la la la la -f==ftz inzi: Z\ZZ=CZ±ltl. =feE la la, Fa la la, Fa la la la. BEp^ r^zzpi: :t=:p:: ;—^T^id ^ — MUSICAL AND LITERARY MISCELLANY. 41 IF YOU TRUST BEFORE YOU TRY. ROUND FOR THREE VOICES. 1st voice. 2J voice. 3d voico. qs f=p=pr^=ri=f=P=s: I 1-5^ :t=[^ — rtrt^ -*-* l^zgi T- -I If you trust be-fore you try you may repent be - fore you die, you mriy repent bo - fore you die. BIEMOIR OF RUBINL high repute in Germany as a dramatic singer; he It has been remarked that the district of Bergamo likewise holds the post of first tenor at the royal is celebrated above all other places in Italy, or in- chapel of the King of Saxony. Gian Battista deed in the world, for producing excellent tenor Rubini is the youngest son, and the one whose fame singers. Whether this privilege, enjoyed almost is so well established in England and France: he exclusively by the natives of Bergamo, originates was born on the 7th of April, 1795. in the sun that warms them, the air they breathe, The father of our Rubini was a musician at the water they drink, or the polenta they feed on, Romano, and played the horn at the theatre: he has not been ascertained. There is no certainty in was an industrious and indefatigable soul, and the matter, except that the Bergamasco throat has added to his profession that of manager to a tra- the facility of uttering notes on the key ut, fourth velling company of musicians, which went from line, better than any other in the universe, whether convent to convent, and got up a very creditable belonging to a feathered or unfeathered biped. performance on fete-days, to the honour and glory Nine out of ten of the Italian tenors come from of the patron saint of the community. This was a Bergamo : so well is this known by the managers very pleasant way of filling up the spare time from of theatres on the continent, that they as regularly the theatre : they arrived in good time at the con- go to Bergamo to recruit their tenor artistes, as the vent or church where their services were required, French horse-dealers go to the district of Camargue and found their desks and a good breakfast prepared to buy white horses. But Bergamo neither fur- for them. The elder Rubini brought with him a nishes basses nor sopranos ; the country only pro- portfolio of masses, vespers, mottets, and litanies, duces tenors, and I have only to mention to the in which his band were well versed, and the monks reader a list of persons well known since the last or nuns chose whatever they thought most suitable century, in the highest ranks of their art, as tenor for their patron or patroness. 'I'he elder Rubini singers, to prove the truth of this curious statement. figured in these solemnities in the double dignity The following celebrated tenor singers were all of horn -player and manager; he had, besides, three natives of Bergamo : sons enrolled in his company. Gian Battista, our The three brothers, Bianchi ; Davide the father, Rubini, sung among these travelling musicians at and Davide the sou ; Vigaroni,whom Rubini strong- the infantile age of eight, when he was not taller ly resembles in purity of style and boldness of exe- than the bow of a violin. He used to be perched cution ; Nozzari, Donzelli, Bordogni, Marchetti, on a stool to sing the Salve Regina, and was always Trezzini, Bonetti, Pasini, Cantu, who quitted the rewarded for his sweet execution and docility, by the stage to devote his fine voice to the service of the caresses and bon-bons of every community of nuns church: to these we may add the great tenor the little creature encountered in his professional Bolognesi, who was the delight of all Italy and stroUings. Sicily ; unfortunately he had contracted a vile habit We shall always find the highest musical geniuses of drinking, and by pouring ardent spirits down his reared in a school where necessity forced them to throat, destroyed the delicate organs on which de- be industrious, and constantly occupy their time in pended his ability as a singer, and in despair at one department or the other. Whenever their voices being reduced from singing to speaking, he deter- were not needed, the father of the young Rubinis mined not to survive his voice, so fitting up a fusil made them take a part in the orchestra, where with a foot-piece, he discharged the piece into his Giacomo and Gian Battista played on the violin, breast, and thus committed suicide. and Geremia performed on the organ. Thus they Rubini is likewise a Bergamasco. We know of were never idle, and had always the study and but one Rubini ; the Italians of three ; for this practice of music before them in a manner where talent generally runs in families at Bergamo, they were always forced to do their best. although, like the birds, females are never gilted Nothing could be more picturesque than the with a fine voice in that country. Out of seven musical pilgrimages undertaken by Rubini and his children, of whom Gian Battista and Caterina travelling band of harmonists, setting out from Rubini were the parents, (at Romano, a little town Romano on one of their expeditions with their viols of the province of Bergamo,) three of them, the boys, and violinos, their horns and bassoons, their violin- were professional tenors of high repute, while cellos and clarionets. The great double-bass tra- among the four girls not one could sing a note. velled on the back of an ass, and at every step of The eldest of the sons, Geremia (under which the peaceable animal sent forth a sort of low groan. amiable looking appellation may be recognised the There marched their commander-in-chief with his scriptural name of Jeremy, or Jeremiah,) had a pockets stuffed full of little rolls of music, being very fine voice, but was forced to quit the tlieatre divisions of Pergolese or Cimarosa, Zingarelli or on account of ill health. Giacomo Rubini is in Sleyer, which were to be distributed to his band oa No. 86.— Ul. I; : 42 THE BRITISH MINSTREL; AND their arrival at the field of action. No noisy wheels to signify that he is content with the performances ever interrupted a discussion on a point of art, for of the musicians of his chapel. We think these the troop always went on foot; and thus brought a two scenas, both that in the pass, and the one in better appetite to the breakfast or supper prepared the chapel, would make good pictures. for them by their hospitable ecclesiastic employers. Soon after this adventure, Pacini met with the One day, this joyous band were pursuing their fate he had foreboded. He had a trusted companion way, without dreaming of any harm, through the whose office it was always to watch by him when valley of Brambana, when suddenly a man started he slept. This wretch, tempted by the price of ten from behind a group of high rocks, and levelled his thousand ducats, discharged his blunderbuss into blunderbuss right in their path. The pockets of Pacini's bosom while he was sleeping, and cutting our troubadours were utterly void of everything off his friend's head, and carrying it to the govern- but music paper and rosin, and they so informed ment, got the reward. Sordid wretch ! their interrupter, with many apologies for their The elder Rubini thinking that his son Gian barrenness of cash. The man with the rifle was Battista would study with greater regularity at a none of your poor tattered scarecrows of banditti, distance from home, placed him under the care of that look as if they cry " stand" to the true man, out one Don Santo, a priest and organist at Adro, in of the very desperation of rags and wretchedness. the province of Brescia. Don Santo was a fine No, no; he was attired in an elegant suit of black composer, and well grounded in the rules of singing, velvet, barred with gold embroidery, that would but he either was unacquainted with the best have done honour to the part of the Count in Figaro mode of communicating his knowledge, or of win- he wore a hat adorned with ribbons, whose long ning the attention of his pupil, for he sent him back ends fell almost to his waist; he had a rich sash to his father in less than a year, with the assurance and belt, well furnished with chased dagger and that young Rubini would never make a singer, and pistols. His figure was tall and athletic, and, in- then advised his father to seek for him some other dependently of his theatrical costume, he liad the profession. The father laughed this judgment to handsomest face and finest form of any man in scorn ; he commenced giving his son a regular Italy. Those who are well versed in local Italian series of lessons, and when he had obtained the history of the present times, will know that this results he expected, he invited Don Santo to hear a gay gallant was the celebrated carbonare Pacini, a mass, in which young Rubini sung the Qtd tollis in self-constituted redresser of wrongs, and champion so divine a manner, that, despite of his former of liberty and equality, who was an outlaw, and predictions, his late master was transported, and laid all the supporters of government in that district, the father enjoyed a double triumph, both as parent by turns, under contribution. Although he was and professor. not considered by the people in general as a robber, At the age of twelve years, young Rubini made there was a price on his head, and an encounter his debut on the stage at Romano, his native town, with him was considered with some little terror. in the part of a woman. This odd prima donna, After the troop of singers and symphonistes had dressed for the character which he was to undertake, halted respectfully before this redoubtable adversary, figured at the door of the theatre, seated between he addressed them thus. two lights, and before a basin wherein the play- " You are going to Vilminore, 1 think?'' going population deposited their payments ; and " We are so, Signor Pacini," replied the elder this was the way in which the ^razio^eof all Europe Rubini. received his first benefit from the public. " 1 have a request to make to you, and for that The success of his debut was considered very purpose I waylaid you in order to signify my complete. Soon after, he entered into a theatrical wishes. Be not alarmed, I mean you no harm— engagement at Bergamo, where, however, neither love music, and liave often done myself the honour his talents as actor nor singer were at first acknow- to protect musicians. I will now explain what J ledged, for his principal duties were to play on the want of you. You know that a price is set upon violin between the acts of the comedy, and to sing my head, I shall some day be shot like a dog, in in choruses; perhaps his voice had not yet attained the corner of a wood, or on the highway; I shall its fine tone ; it certainly was not appreciated till fall by the ball of some traitor, and my body will accident caused it to be noticed by the public. A be hacked to pieces without receiving the rites of new piece was in rehearsal, and a difficulty arose religion, or the spiritual succour of holy church. respecting the person who was to sing a particular You are going to perform at Vilminore, I will be cavatina. The prompter mentioned Rubini, who there at tlie hour of the mass, and for my body was called, and promised by the manager a piece (being there present) you shall sing a de profundis of five francs in reward if he gave satisfaction. and libera. The boy undertook the cavatina, and was raptur- The elder Rubini assured him that they would ously applauded. It was an air of Lamberti exert their best skill to give him the utmost satis- Rubini keeps the music yet as a memorial, and faction. The caravan then filed off before the sometimes sings it out of gratitude. Notwith- fierce carbonare. standing the voice of the young man completely Scarcely had the choir arrived and taken their tilled up the theatre Bergamo, which is larger than places, before the carbonare Pacini was seen leaning that of the Academic Royale de Musique, at Paris, just within the church door, his blunderbuss under yet he was rejected, as wanting compass, when the his arm, and his hand on his dagger. He listened manager of the Milan theatre had to choose singers to his own funeral service with the firmness of a for the Opera. So much for the judgment of hero, and the resignation of a Christian; nor did managers; it is the public alone that knows how to he quit his post till the Credo was sung, and the place talent in its proper grade. solemn mass that followed it. The music finished, When Rubini was about seventeen he joined an he made good his retreat, having firstacknowledged itinerant company, and gave up singing in chorus, his obligation to the hand by a gracious inclination and the violin, for a dramatic career. At Fossano of the head, like a sovereign who condescends thus he acted in ' I Due Prigionnieri" of Pucitta, " Don ; ; ; ; MUSICAL AND LITERARY MISCELLANY. 43 Papirio'' by Guglieluii, and " II Venditor ]' Aceto" " You can go on foot," said Belcredi, "it is not of Meyer. A/ter many adventures peuuliar to far." strolling players, he was settled, during the summer " Where am I to get lodgings ?" of 1814, al Vercelli, with his troop; but the theatre " The manager is to find you a little chamber, was obliged to be closed for a month while it was one lodges at Pavia at no cost at all." under repair. During this vacation, Rubini and a " How can I find myself clothes?'' clever violinist of the name of Modi, agreed to make " Your coat is new, it will last you respectably a tour through the neighbouring towns andivillages, for six months, and you will receive your salary at for the purpose of giving concerts, and thereby the end of four." " picking up a few ducats : Rubini was the possessor Yet I must eat." of six louis, which he generously embarked in the " True, but singers ought not to overload their speculation. Modi had but four. With this capital stomachs. A little soup and bouilli for the morning they hired a cabriolet, and set forth on their ex- meal, and salad for supper is all-sufficient. Go, go, pedition. The first place they arrived at was my friend; this is your first step into the world, Alexandria della Paglia, where they applied to the and if you are deterred by difficulties of minor im- mayor for permission to give a concert ; but that portance, you may waste your best years with worthy functionary declined compliance, as he had strollers." that very evening given permission to a rival Rubini took this excellent advice, went to Pavia, violinist to perform in the town. At Novi, their and succeeded so well that his fame reached Milan. next stage, the comedians were playing every night, At the end of the engagement, the Marquis Belcredi therefore they could not get an audience. At went to Pavia, and engaged him for the carnival, Valenza, our troubadours found neither rival nor and then sent him to Brescia, giving him a thousand theatre; but the bishop was dead, and his flock francs for the season. Afterwards he sung at were engaged in mourning his loss. Quite des- Venice with the basso Zamboni, while Madame perate with all these hindrances, the unfortunate Marcolini was the contralto: it was for the latter musicians turned their steeds for Vercelli whence singer that Rossini wrote the " Italiani in Algieri." they came, for both their purses and their patience Soon after, the Marquis Belcredi made him sign were in a state of exhaustion. As they approached an engagement with Barbaja, director of the the town of Trino, the road was choked by im- Naples theatre, for six months, at eighty-four ducats mense droves of swine bound for that place. It per month. Here he sung " I Fiorentini" with was market-day; and Trino, be it known, is the Pellegrini. In case of very decided success, the Rumford of that part of Italy. E.xceedingly mal- contract with the manager declared that the en- content they made their entry into Trino at snail's- gagement could be renewed for a year at one pace, in the midst of an ocean of pigs, which hundred and ten ducats per month. impeded their chariot wheels per force. In this The success of Rubini was most complete ; never- state they were espied by a friend, an amateur of theless, the niggardly manager finding that the music, with whom they had made acquaintance at young singer was very desirous of remaining at Vercelli. This dilettante, making his way to them Naples, for the sake of becoming familiar with the through all impediments, soon heard the account routine of a great theatre, and of receiving the of their disasters. " If you will but give a concert excellent lessons of Nozzari, whose instructions here," he said, " I think you will be repaid for all were improving him daily, took advantage of his your disappointments." necessity of acceptance. Barbaja only ottered to " Here ?" said Rubini, looking ruefully at the renew his engagement at seventy ducats, instead of fresh inundations of pigs that went squeaking and the eighty-four for which he had at first agreed. grunting past. " Yes, here," said the zealous Rubini, looking forward to better times, which he friend: " it shall be no expense to you, I will lend knew depended on his continuance at Naples, had you a large concert-room, I will take the part of the good sense to comply with the tyrannical laws bass with the violoncello, and I have a friend who of the avaricious manager. When accepting them plays admirably well on the horn, who will volunteer he said, " You now take advantage of my situation, his services." but, sooner or later, you will have to repay me what That very noon the town-crier announced the you deprive me of with interest, when my fame is concert with his trumpet. It was to take place at fully established." day-light, to save the expense of candles. As soon {Continued at paije 49.) as it was announced, the pig-merchants and sau- sage makers of Trino ran in crowds to have their ears refreshed with other music than the squeaking I WILL CROWN THE HARP WITH of tiieir swine, and munificently paid their ten sous FLOWERS. pieces with a good grace for admission. The Give me gold, the miser cries concert went off' with great eclat, the pig-venders of Let him drain the yellow mine Italy fully appreciated the powers of the great ; To his glass the toper flies; Rubini, and the receipts amounted to a very re- Let him glory in his wine. spectable sum. Those who will may prize the ore, Rubini remained with the Vercelli company, And let treasure win their soul enduring at times great hardships, till, conceiving Those who will may nectar pour, himself ill-treated by Ferrari the manager, he And drown their spirit in the bowl determined to seek his fortune at Milan. There, But for me let music flow; the Marquis Belcredi, who had some concern with Strike the chords in beauty's bowers, the operas, proposed to engaged him for a short Let joy be mine in song divine autumn {un piccolo autunno) of four months, at I will crown the harp with flowers. Pavia, at a salary of eleven crowns per month. " But how can I get there?' asked the destitute Softly sad now wakes the lyre; vocalist. Pensive breathing fills the notes — 44 THE BRITISH MINSTREL; AND Thrilling now with joyous fire, to him, notwithstanding the cool answers he received. Richly wild the music floats. Vexed at being thus interrupted in his meditations, So I love the melting strain, he was about to turn into a side path, when sud- I would turn from thrones of kings denly a ray of invention was kindled in his soul, To hear the minstrel's hand unchain and the leading idea of the Te Deum flashed across The mighty magic of the strings. his mind. Not to lose it, he impetuously desires Where's the bliss to rival this, the peasant to stand still, runs into the gardener's The voice of song in beauty's bowers? lodge for a piece of chalk, and is about to draw a Oh, give to me sweet melody, stave across the broad shoulders of tlie peasant, 1 will crowu the harp with flowers. when the latter, already amazed at the command ^Vt'eJily Dispatch, to stand still, grew quite angry at the chalk marks on his Sundaycoat, and supposing Hasse to be mad, THE TE DEUM OF HASSE. runs full speed towards the city, followed by Hasse, chalk in hand; who luckily catches him, and begs The incomparable Te Deum of the immortal him for heaven's sake to stop, writes his leading Hasse, had the following singular origin: —He had theme upon the black coat, and drives its owner been commissioned by king Augustus III. to com- before him, (humming the notes as he goes along,) pose a new Te Deuin, but having been for some to the park-gate, where he obtains pen, ink, and time very ill, he was not disposed to study, and was paper, and copies the whole. With this treasure unable to please himself. Meantime, the day when Hasse hastened home, and the principal parts of it was to be delivered was near at hand : almost the Te Deiim were completed. On the following despairing of success, he took a walk, on a fine day he went to Gruna, carrying a present of a dozen Sunday morning, in the Royal Park. A lusty pea- of wine for the obliging peasant, whose black coat sant from Gruna, who was going to take the sacra- had been of such essential service to him. Every ment at a neighbouring church, overtook him near one knows the result of its (jcrformance.— 0.tbcrnj's the palace, addressed him cordially, and kept close Dramatic Biuyrayht/. THE STAR OF EVE. FROM THE MUSICAL FARCE OF ' LOCK AND KEY.' Prince Hoare. Shield. Andante. The star of eve, day's grate - ful close, Guides wea - ry la - bonr -© -(14t— , |Ih=!-, Si :pirrp iEES=i=5* ==^.^z==t==K:=H=i!=^=^= itanizcj: ;:j==]: r^=lr :=]=^r=!S-^ :IE^= It—^- -. ' ^*—'-^1 ^—l-i I—^w'— ' -I — to re - pose, A long the peace - ful dell - long the peaceful"• m. BEt: -»•—»-—»» ^-K cnC -i=—=1- S ~l feEa^^=^tl^^g=ii^^3:I P b dell, But not to me re - pose is near, TJn - less that fairer -t I J-%zk-^M-- -^Uij^—^- ~ saSj^E^^ :t= ^iz:~,ifcn^.^«« Ix 1 ^1*". 1 ;tr I ^^EE£E^EE: S: t: 1 — MUSICAL AND LITERARY MISCELLANY. 4o «"i[r > 1 )*«ig I"**--]• «-*^- -P^-»-^ '~1^ — *.»._• 1 1 -j 1^ Vl'fiK.^a.m d-^ 1 —1^^ p"^—— M star ap - pearear that gives so sweet farewell, tliat givesgii so sweet farewell, fare- -»- -»--»- _^_ list « « I ^P=E=^ ^-<7^ -ft l«*-^^v pw =tr^ :?5 :^=t 1^; eg; jzirpziziiiizati^t:^i:i: well, faro - well, But not to me re - pose is near, un - less that fairer US AAA -W- -W- -W— r- -^_pi_.ifc- :=3::qi:^zzH ^"r-f-r-r^.—r—F— :prt=±ff «^ I f~ ^1=^ -I—— star ap - pear that gives so sweet, that gives so sweet farewell. /TN -m- p- ^^_pi_^_jg_ -^ -| ^—^— :?s:=t:f= S^tEE ^r fE?3EE -ta -—g^•H—•-? -LiiS^ The shadowy night on mantling wing But not to me comes balmy rest, Shall soon its downy treasures bring. Unless her voice my ear have blest, While lulling breezes swell. That bids so sweet farewell. AFFECTATION OF MUSICIANS. (the number depending, of course, upon the inge- nuity of the performer,) generally consisting of a The present day exhibits an increasing tendency drum, pandean pipes, triangle, and Turkish bells; amongst a certain class of musicians to make them, another contents himself with grimace, mixing up selves singular, if they happen to be placed, either an occasional frown with an abundance of smiles by others or by their own act, in a conspicuous the most bewitching, and bows the most graceful, situation ; one displays an uncommon degree of enlivened occasionally with a decidedly inspiriting activityandZejfoiW, which, although it may astonish and truly national piping and jigging; one makes the uninformed, and gain the individual a certain himself conspicuous by his lank hair, fixing the share of notoriety, decidedly cannot add much to appearance of haggard old age upon what should his fame or respectability among musical men, or be a young man's countenance; another depends the more enlightened portion of the public gene- upon his luxuriant ringlets ; one places his hopes rally. Another courts the admiration of the crowd upon a delicately-formed mustache; another upon by playing upon a variety of instruments in the the thick underwood that half encircles his face; same piece of music, and in rapid succession, whilst another, whose example is being followed working and hammering away with both hands and by hundreds of needy adventurers in this country, feet all the while, as if nothing less than his life like the fugleman of a regiment, goes through a depended upon his activity, almost rivalling those deaf and dumb manual exercise, with a halo of itinerant musicians (if we may dignify them by ready-made glory shed around him, which, alas for such a title) of bygone days, who were wont to human hopes and aspirations after greatness, lasts play some would-be lively tune in solemn and mea- only while the gas is on ! Dramatic and Musical sured time, upon four or live instruments at once. Reviciv, — — 46 THE BRITISH MINSTREL; AND ACADEMIES OF MUSIC. than one in the same town. The oldest is that of This aiipellation is given, with more or less pro- Vicentia, founded as early as the fifteenth century, priety, to various musical institutions. Some of under the denominaticm of The Academy of Phil- iliese, according to the true acceptation of the ex- harmonics; but the most celebrated is that at pression, consist of scientific societies, who exclu- Bologna, known by the same designation. Germany sively apply themselves to the study of the harmonic possesses many of these establishments; Sweden art ; others are but combinations of professional prides herself in that at Stockholm; aud England executants, or amateurs, the object of whose union has had her Academy of Music. France supplies and assemblage is, to perform, at stated times, musical instruction through the medium of her either by themselves, or in the presence of visiting Conservatory and Institute ; and the result has been, auditors, such compositions as their conductor, or an improvement in the style of French composition, conductors, shall appoint ; these latter are, strictly of which Rameau and LuUi never dreamed, and speaking, concert societies. In Europe, there are which Rousseau would have been delighted to many academies of music; in Italy they are so witness. Dr. Busbi/. numerous, that it is not uncommon to find more FIVE TIMES BY THE TAPER'S LIGHT. QUARTET FROM "THE IRON CHEST." Andante. Stephen Storace. 1st SOPRANO. 2d SOPRANO. ALTO. =e=^E iM^^j ^. -^- BASS. a±ESEE^E3±EEE ^=^=^: ir—=»—JjT Five times, by the ta - per's light. The hour-glass Sotto voce. Five timesjby the ta - per's light. The Sotto voce. jd=dr:=ts--=^ ==Is5r=^5=|^ Five times by the ta - per's light. The Sotto voce. -»-r- g ^m ~~*—^ ^~' •^ -^ -J- ^-- - • * • Five "O ' ta - per's light. The times by the Sotto voce. xpifxir a±Ej^!EE£ --p- :P=H=P=^=P=^=e: tf=fe:r5r^;=5zfc Z\-l^^ ,, t — ^ tr It- I have turn'd to night. Five times by the ta - per's light, The — ! r ? MUSICAL AND LITERARY MISCELLANY. 47 -N-=i^ =j£==-N— P- -e- :izf -©-H— i==pr=p: 1— hour-glass we have turn'd to - night, Where's fa-ther q===l=pqs;zzqs; aril£5=fs^: E5=^E^E^=? :i=: sn: ly hour-glasa we have turn'd to - night, :5;=i —S^ qsfrj!s: —a-Ti-tiz:=i: hour kI^ss we have turn'd to night. .|i^_A a3E3==3=l=^E?^^ :p=ts=^~=!: 35- :^5z|!:: gi^ :=!: m He's gone out to roam, i; ^iH ..^_i(^._: o ©- :*:=(ti:p; — — ^&^ -^-r—==!£: :=!===!:: -€!—— If he have luck, he'll bring a buck, Up - on his lus - t_v shoulders home. iziz^ :=:J=l=3=rBzzl==i--i !E^Ezii Dome, home, he conies not home. Hark I Hark, from the --^- H: -p_-i_ e- -r-F^ -©— Izz3=:l==z :S:=i- Home, homo, he comes not home. Hark I Hark, from the -f =S=Hliia: -i=-i=- E5 -re=L-3dz: --© :=d=^ i ^.i±§ Home, home, he comps home. H^r'k! Hark, from the atiE —1 m Hark Hark I — «b THE BRITISH MINSTREL; AND -=!-(-- -«--[=• -r^^ r^=^=:r- :te:zz=J2: wood - land vale be low, from the wood - land vale be =1^; -^—#~=1—1»-^- - — it_=i_qt_ii: s=e=±ip -e— —r-|» :i=i ^==::^z •/~^- wood - land vale be - low, from the wood - land vale be - :s==:=is; :-=^=:^^ :S=5z::5. i=±n3-± liviMg wood - land vale be - low. From the SB: :r:^ From the :f=5=^^: J^jiz low, The dis - tant clock sounds dull, sounds :f=^: 3^=?^ :r:5riz5z:d: ii low. The dis ^ tant clock sounds dull, Bounds :^=q^^ =i_=js;: nzlfcqz^s;^ iPzfri: ^:p 1^ ~S: ^*=^-*-_i —^- Avood - land vale be low, The dis tant clock sounds Stl=*z^pz-=f=^: :^P^=: wood - land vale be - low The dis - tant clock sounds rrs f dim. -f' -^- ^- --©-P- 3Z5Z -^- -^ -^- duU, sounds duU and slow. Borne, bonie, bonie, borne. rr\ f P dim. -^- :Sr=ii -^ r23: duU, sounds dull and slow, Borne, bome, borne, borne. Ov / P dim. i-f ^ -^- -CT C5- "CT" sounds dull and slow, Borne, bome, bome, bome. dull, ^ / P dim. ;:s3 313: raz SEIS: -^- iiniiii^iei dull, sounds dull and slow, Bome, bome, bome. bome. ; — MUSICAL AND LITERARY MISCELLANY. 49 MY HEART IS SAIR FOR SOMEBODY. Andante sestenuto amoroso. ^N h-^. -f-ft ns; -1^ -Wi- dens t=M '~*i it±;S:if^i:^:=?5:^ *:t ;^^z2=:S -itxM. ilzif ±:i= 1 „ !,« 1 ' 1 • • r some-bo- dy, O My heart is sair, I dare na tell, My heart is sair for ^ :e. aiSEa r.w^t=^^=it X=t t=4- :t f I M- -^ ^ff j±3t3=i: r 1 1 win-ter 'ill I could wake a ihb^ n>glit, A' for the sake o' somebody, Ob 1 hon for somebody, -Jl-r -ft -•- -^ S3=»E£=& K ^11t— fc i r- rr\ -rf SE£^ ^=^:r-^d^=^-^ |±3t=S=i: " 1—r-=*=P*=H»- Oh hey for somebody, I couldrangethe world /v^ ^or the sako o' somebody. '—•—»- =^= ±:^|i=i:Btrr^czt: :pz=^=: =#: r- i My heart is sair, I darena tell, Ye powers that smile on virtuous love, My heart is sair for somebody ; O, sweetly smile on somebody I I could wake a winter night Frae ilka danger keep him free, A' for the sake o' somebody. And send me safe my somebody. I Oh hon for somebody I Oh hon 1 for somebody ! Oh hey I for somebody I Oh hey I for somebody I 1 could range the world around. I wad do— what wad I no' ? For the sake o' somebody. For the sake o' somebody ! MEMOIR OF RUBIN I. with the intelligence that he was writing his opera of " Enrico IV." As the composer finished (^Concluded from page 43.^ his acts he sent them piece-meal to be studied by Rubini It was in 1816, when Rubini was in his one-and- and Pellegrini. It was not till the evening before twentieth year, that the first opera was written that the representation that Rubini got the grand cav- contained an air written on purpose for Kis voice atina of his part of Henry the Fourth ; he read it, this was in the " Adelson e Salvina," composed by whistled it over, and sung it the next evening. Fioravanti. The air was a duo, sung by this tenor It was at the carnival of 1819 that the opera of and Pellegrini; the eftect was admirable. The " La Gazza Ladra" was first represented at Rome. " same composer wrote ComingioRomito," in 1817. Rubini, Ambroggi, Pellegrini, and Mademoiselle The principal part was confided to Rubini, whose Mombelle performed in this chef-d'oeuvre. Am- success was so great, that it extorted even from the broggi represented the Innkeeper, the part that had manager, Barbaja, a handsome sum, in addition to been originally written for him ; Pellegrini sustained the youngsinger's monthly appointment. Rubini, in the character oi Fernando. The opera, thus strongly 1818, went to Rome with Pellegrini; Fioravanti, cast, was welcomed at Rome with enthusiasm who that had got the situation of master of the chapel amounted to a mania. Every evening was encored at the cathedral of St. Peter, here greeted his friends repeatedly the prison duo of " Forse uu di conos- No. 87. ; 50 THE BRITISH MINSTREf,; AND cerai" (^Perhaps one day it will be knoiitn), sung the magistrates never think of investigating the between Mademoiselle Mombelli and Rubini. The deeds of a man of rank, but send to prison singers Roman ladies were perfectly bewitched with this or actresses on the least complaint of insubordina. celebrated scene: it was the rage for the masks at tion from the grandees. the carnival balls to carrj puppets dressed in cos- One evening as Rubini was returning through a tume like Gianetto and Ninetta in the opera of " La dark street home from the theatre, after a very Gazza;" and these little dolls were, next to the successful performance, he was seized by two performers they represented, the exclusive objects ruffians who pinioned him, and threw a thick iif the attention of the fair Romans. At this time coverlet over his face, which they drew tight at the Benelli, who had been commissioned by the Parisian back of his head to stifle his cries. Could he even Opera directors to engage singers in Italy, would have called for succour, in Palermo it would have have persuaded Rubini to accept his ofl'ers, but been useless, no person would have troubled himself Barbaja interposed, and refused his consent to this to interfere, as the populace consider that such agreement. doings are always commanded by some great man, Whilst at Rome, Rubini often sung to the Princess whose orders ought to be respected. Meantime, Pauhne Borghese, who greatly admired his voice, the bravos hurried Rubini down to the beach, with and in its soothing tones sought a remedy from the the intention of poniarding him, and throwing him profound melancholy which oppressed her. It was into the sea. Rubini commended his soul to God, remembered, that, some time before, the Princess in the firm belief that he should never again sing a Belmonte had been nearly brought to the grave by cavatina in this world. At that moment, one of his a nervous affliction on the spirits, for which no executioners recognised him. This worthy was a cure could be found, till the celebrated tenor singer, dilettante in low life, a perfect fanatic in music and Raff, repeated to her every evening for a month singing, a species of lazzarone, who had once the air, of" Solitario bosco ombroso," {Lonely shady begged orders of Rubini as he went into the theatre, wood), for which melody she had a particular and struck by the man's passion for music, Rubini aft'ection, and every time she heard it sung by this had good-naturedly given him a free entrance. Never great vocalist, she shed a torrent of tears. The were free tickets better disposed of, forthey certainly relief of weeping had before been denied this lady, saved the finely-organised throat of Rubini from and the melodious voice of Raff caused these salu- destruction ; the musical brigand not only relaxed tary tears to flow ; which, perhaps, relieved the bis murderous clutch from the said tuneful throat overcharged brain from madness, for she soon after but told Rubini what he had been hired to recovered her spirits and healthfuf gaiety. The do, whom he had offended, and the nature of the Princess Pauline Borghese had recourse to the same offence, advising him to be more careful while remedy ; but the sorrow with which she mourned he remained in Sicily. It is to the susceptibility a falling house was too deep-seated to yield to song; of this brigand's ears that we owe the safety of the the accents of Rubini might for a time soothe, but throat of Rubini, a thief insensible to the charm of could not heal her grief. She often sent for Rubini melody would have cut it without mercy. Bonetti, to hear his melodies, and when he left Rome, she a former first tenor at Palermo, was not so fortunate presented him with a superb diamond. he paid with his life the penalty of suspicion : it is After Rubini returned to Naples, he went to thus that the nobles of Palermo treat their rivals in Palermo with Donzelli and Lablache. He ap- love. peared there with Lablache in " II Matrimonio Directly after this adventure, Rubini returned to Segreto," wherein Lablache represented 11 Conte Naples, before the conclusion of the year J819. Robinsone^ He found, as a debutante on the theatrical boards, In Italy, jealous husbands are scarcely known. Blademoiselle Chomel, a scholar of the Parisian Pass the Straits of Messina, and you find the dagger, Conservatoire. Rubini heard her in " Gianni de the poison, the cord, and the dungeon, all ready to Parigi," an opera of Morlacchi : he was so enchanted vindicate the least infraction of decorum. Sicilian with her voice and style of execution, that he husbands combine the suspicious manners of recommended Barbaja not to part with her, but to Spanish spouses of the fifteenth century, with engage her for Naples, instead of Bergamo and Turkish vigilance and vengeance. If a singer at Palermo, whither her destination was. Barbaja the theatre is supposed to direct his regards too followed his advice, and Mademoiselle Chomel was long to one particular box, he is likely to rue such the ornament of the Neapolitan stage for two years, imprudence, even if it be only the effect of accident. during which time she so often played Rosina to When Rubini iirst arrived at Palermo, he had Rubini's Almaviva, and their hands were so often an introduction to the patronage of a princess, joined before the fall of the curtain, that they at whose name must not, be mentioned here. The last took it into their heads to ratify this marriage lady received him with the graciousness that is in good earnest, and Mademoiselle Chomel became generally accorded to persons ot talent; and without Madame Rubini. the slightest design on the heart of his beautiful In 1824, Barbaja lost the direction of the Naples patroness, Rubini paid her the compliment usually theatres; nevertheless, he did not relinquish the offered to ladies of the first rank in Italy, who engagements of his singers, but carried to Vienna patronise music, by addressing some of his most the most finished and numerous company that had brilliant performances to her box. The prince, her perhaps ever met together. Among his tenors he husband, who was possessed of a large share of could reckon Davide, Rubini, Donzelli, and Cici- Sicilian jealousy, did not understand this musical mara; his bases were Lablache, Ambroggi, Botticelli, homage, and thought the best mode of Silencing the and Bassi. He had nine prima donnas, who had throat of the presumptuous first tenor vias by attained, or since have acquired, great names: these cutting it, a brutality by no means surprising in a were, Madames Rubini. Mainville Fodor, Eckerlin, country which practises all the ferocious usages of Ungher, Dardanelli, Grimbaun, and Mademoiselles the middle ages, where the nobles retain hired Sontag, Giudetta Grisi, and Mombelli. At this bravos for the purposes of assassination, and where time, Mercadante wrote " II Podesta di Burgos," — MUSICAL AND LITERARY MISCELLANY. 51 whose libretto is an imitation of the " Alcaide of performers, which it has been usually represented Molorido," by Picard. In this piece Rubini, to he by our periodical press. Lablache, and Madame Mainville Fodor, undertook The height of Rubiui is but five feet three inches; the principal parts. The opera was receiped at the but his figure is extremely good and well pro- imperial capital of Austria with great applause; portioned, and his talents are decidedly dramatic; and notwithstanding his competition witli such and when a glimpse of talent in the Italian drama constellations of talent, Rubini made daily progress will admit it, our singer becomes an excellent actor. in public favour. His voice is a true contraltino, an elevated tenor, The time at length came, when Rubini appeared rising from the note mi to ut, of the voice from the at Paris, whether his reputation had preceded chest, and prolonged to la in the fauset treble. him. His debut was made at the theatre Farant, Wonderful facility, powerful volume, and a delicious October 6, 1825, in the part of Ramiro in the timbre, with soul-subduing pathos, characterises " Cenerentola :" the sensation he excited by singing this astonishing voice. There is a sort of trembling a cavatina of Raimonda will not be easily forgotten. on the sustained notes, which, instead of being After six months Barbaja again recalled him, to considered a defect, is found greatly to augment the the great regret of his Parisian audiences. He ob- pathetic expression for which this singer is so tained from the French journalists unbounded com- highly famed. mendations, and the title of King of the Tenors. It is only since the last five years that Rubini He divided the year 1826 between Naples and has been free from the bondage of Barbaja, and Milan; it was at the latter city that Bellini wrote for consequently capable of reaping the benefit of his him the fine part of Gualliero in " II Pirata." The own talents. He has divided his professional year 1827 he was engaged at Vienna and at Milan. exertions since that time between London and Donizetti composed "Anna Bolena," and Bellini Paris; and has held a distinguished place in all " La Sonnambula:" they were both first performed great musical re-unions and professional perform- at the theatre Carcano. Rubini, Galli, and Madame ances in both countries. Lady's Magazine, 1836. Pasta, supported the principal characters in these celebrated pieces. THE SINGING ACADEMY, BERLIN'. The quality of Rubini's marvellous Toice had The singing academy, which was erected four been gradually improving for the last six years, years ago by the members of the leading amateur and had not, perhaps, reached its present exquisite musical society of Berlin, as a concert-hall and a till Donizetti, tone this season, when Bellini and school for the study of sacred music, has altogether taking advantage of his peculiarand original powers, the air of a simple Grecian temple. The facade is composed some of their celebrated melodies to suit ornamented with corinthian pilasters, without any his flexible talent. portico. The interior is most tastefully and ap- His first appearance in London was in the propriately decorated. The orchestra is formed like character of Oualtiero in " Pirata," while his U an amphitheatre, and is capable of holding three wife played the part of Imogene. Theirsuceesswas hundred choristers and instrumentalists. The so decided, that they were summoned on the scene building, itissaid,cost 80,000 thalers. The society, after the testimonial not very opera: a common which is composed of the first singers, musicians, could from an English audience. Madame Rubini and poets of the city, meets in this building twice a gifted with her own talents have supported a less week, to take part in or listen to, the masses of partner; but Rubini was desirous that she should Allegri, or Jomelli, the mottetsand fugues of Bach,. give up the fatigues of a theatrical life; and as they Haydn, and Mozart, or the oratorios of Handel, have no family to provide for, he thinks his own Graun, Spohr, and Beethoven. At the school there exertions sufficient for the task of realising their are about three hundred regular students, under the fortune. For fifteen years Rubini and his wife superintendence of Herr Telter, whose solid abilities were entangled by the claims of Barbaja, who dis- as a professor are best illustrated from the manner posed of their persons voices as he pleased. and in which his pupils strike oil" a mass or mottet. It is true that this manager yielded Rubini's talents From the pupils singing so frequently together they to the principal capitals of Europe, but this was have arrived at the most perfect ensemble; and I for his own most enormous profit ; for instance, can assure you, that after one has listened to the when Rubini has been paid the sum of 125,000 manner in which the vocalists at the Singakademie francs for the services of himself and his wife, only get through the difficult modulations and enhar- 60,000- found their way to these performers; the monic transitions of a movement by Spohr, he will rest was devoured by the manager at Naples, whose be obliged to confess, that always excepting the bond-people they were. Miserere of the Sistine Chapel at Rome, the art of This statement ought a little to ameliorate the singing sacred music can be carried no farther than angry feeling that is often manifested by the it is here.— Straiig's Letters frmn Germany, 1831. English public, when their journalists comment on the immense sums received by foreign artists for Scotch Music.—The Glengary pibroch is not a the exertion of their vocal powers, when we find singular instance of a ruthless tribe priding themselves that the chief part of these enormous proceeds are upon deeds of the blackest perfidy and atrocity. The absorbed by those who have undertaken to bring tune, ** Lesley among the Leiths,'' took its name from forward and make known those rare talents which being played for a dancing party, in which a Lesley, give exquisite delight to an audience; and when whose family was at feud with the Leiths, chanced to be mingled with individuals of the obnoxious name. we consider that the cruel catarrhs, which are the The hereditary rage burst forth at contact with the scourge of our island, often entirely destroy the hated blood ; and Lesley, literally like a frantic Indian delicate organs on which depend the peculiar tone running "amuck," drew his dirk, and danced on in of a fine voice, this painful frequently and malady fury, striking to each side, and laying his enemies dead seizes the unhappy patient at the moment when and wounded at his feet. He threw open a window, exertion called is most for, we shall find that leapt out, and escaped ; and the glory of this action is England is not quite the paradise for foreign commemorated by the name given to the tune. ; ; ; —; ;; — 52 THE BRITISH MINSTREL; AND TIME'S SONG. Power had won a throne of glory Where is now his fame? O'er the level plain, where mountains Genius said —"I live in story;" Greet me as I go, Who hath heard his name? O'er the desert waste, where fountains Love, beneath a myrtle bough, At my bidding flow. Whisper'd—" Why so fast?" On the boundless beam by day, And the roses cm his brow On the eloud by night, Wither'd as I pass'd. I am rushing hence away Who will chain my flight? I have heard the heifer lowing O'er the War his wary watch was keeping wild wave's bed, 1 have seen the billow flowing I have crush'd his spear Grief within her bower was weeping, Where the cattle fed i have dried her tear Where began my wanderings? Pleasure caught a minute's hold Memory will not say Where will rest my weary wings ? Then 1 hurried by. Science turns Leaving all her banquet cold, away. And her goblet dry. American Paper. THE BROOM OF COWDENKNOWES. GLEE FOR FOUR VOICES. Corfe. - «9. - fiOPRANO, ^^^^^ :3=P: is^gps;^^^ How blythe ilk morn was I to see My swain come o'er the hill, He ALTO. --r^- TENOR. lixtip: f33EtEEEEe-3E^E;E^:E^ -^—v^ ^i^ -i- -/-r- T How blythe ilk morn was I to see My swain come o'er the hill, He -tz^ —W-T—-O BASS. rjCipE: :p=: :i=izp: gi^^gj r- -:^t^^z^it-. g^^^F>-*-Tg- Sag:-gjdEJ±ir-TJ^4^=ie:3^: skipt the burn and flew to me, 1 met him with good will. O the broom, the -JLZr=^W-JF. '-& lUt: :t:=153= :f==pri^t-^ :15= :=±=lT:^i:*±i^i it=fr*ii:: =s=:i=i=:e: ^jTftirf; SS=^(- Bkipt the burn and flew to me, I met him with good will. O the broom, the ^i -^l:^-- ; — I MUSICAL AND LITERARY MISCELLANY. 53 ,r I I 7 : 2C_^_c_,——-^^--g._i—I—|»q-«.^ J _^ ] -j—L,rS5-P-i— -o-'^-N*—=^l—1^1— bonnie bonnie broom, The broom of Cow-den - knowes, I wiah I were with W=^: 33; EEES=&:=t^ ES^E :t=eL-=|r=t^: r- k^: :^: q: S^ :i:=rp: SiE^^EEpEi=Sii: -[- :==t:=t bon - nie broom. The broom o' Cow -den - knowes, I wish I were with ..ift_. 9±^=rt:: ~l-F lenPl :=i: i^ ^ :t: :t: 1st. 2d. /,. iS 35: iHs^il^ --te=3^SESli i my dear swain. With his pil>e and my ewes. his pipe and my ewes :^ =!^ iprtfrrfc ^o: ^fe^as3i=t :zd: :=!- 11 q==:p3:r:: 7E=f: -e- i^e :Eri=:i==:t-:P: |g ir*=P: -© ^_^. -1- my dear swain with his pipe and my ewes. his pipe and my ewes. p-.=p E^i f i,. :i=S:rfzt^ =1= How blythe, ilk morn was I to see Hard fate that I should banish'd be, My swain come ower the hill I Gang; heavily, and mourn. He skipt the burn and flew to me Because I loved the kindest swain I met him with good will. That ever yet was born. Oh, the broom, the bonnie, bonnie broom ! The broom of Cowdenknowes ! He did oblige me every hour ; I wish I were with my dear swain, Could I but iaithful be? "With his pipe and my ewes. He stole my heart ; could I refuse Whate'er he ask'd of me ? I wanted neither ewe nor Iamb, "While his flock near lay me ; My doggie, and my little kit, He pather'd in my sheep at night, That held my wee soup whey, And cheer'd me a' the day. My plaidie, brooch, and crookit stick. May now lie useless bye. He tuned his pipe, and play'd sae sweet, The birds sat listening bye ; Adieu, ye Cowdenknowes, adieu I E'en the dull cattle stood and gazed, fareweel, a' pleasures there I Charm'd with the melodye. Ye gods, restore me to my swain Is a' I crave or care. While thus we spent our time, by turns Oh, the broom, the bonnie, bonnie broom I Betwixt our flocks and play, The broom o' the Cowdenknowes! 1 envied not the fairest dame, I wish I were with my dear swain, Though e'er so rich or gay. With his pipe and my ewes — 64 THE BRITISH MINSTREL; AND EV'RY BUSH NEW SPRINGING. MADRIGAL FOR FIVE VOICES Michael Cavendish, 1598. Allegro, f p 1st L3^——-.^^_-^._p: |_e i»-i ^-W- -I I (— :W#3qi -Wll^W^ SOPRANO. -^B :^: ± —— X Ev'ry bush new springing, Ev' - ry bird now sitif^in^, merri - ly sat poor 2d SOPRANO. i^P^ EvVy bush new sprine'ing, Ev' - ry bird now singing", chantino- tro li lo / p f ALTO, or 3d SOPRANO Ev'ry bush new Springing, Ev' - ry bird now singing merri - ly sat poor / p f TENOR. ^gg^^ggpgjgg^gg^g; 1—1- Ev'rj bush new springing, Ev' - ry bird now singing, merri - ly sat poor / P angr==:p;2ff=:zt:r=ra--33=:pji=^=i=:l~ BASS. —1~' Ev'ry bush new springing, Ev* - ry bird now singing, 1st. \ 2d. 1 i:r=(f=p: :P=Je: =iq t=W- ;p=p=S=fir : tfzfrp: ±=fe=fc itt^: ^zi-fcts: :Mz i I fclc: ^=^ iitztzp Ni - cho chanting tro li lo, lo li lo li lo, io li lo li lo. Till her he had es- P ^f: -^^- ::1z==q: X X W=!^ ^^Ee^E^EEeEE^EE^EfflE^^i=31^EEtE5zW-^wr- tP=f1 -r- lo li lo li lo lo, merri - ly sat poor Ni - cho, Ni - cho. Till her he had es- =5^3^:1: :q=l=zii,:i!zi}: ::3= P Jiziz^-^z -©- :i==i: 1^ Ni - cho, chant - ing tro li lo. lo li lo, lo li lo. Till her he had es- P -e- :m -e- :!E=-^ r^zizpEzp•~I«-F p=p=Pz=: , :i=P: :P==P= :t=:t -JizzL e: t=ztr. ctirtztirtzl Ni - cho, chant-ing tro li lo li lo, lo li lo. Till her he had es- f Bt£ lirzii ^s^iip^Ei^ chant ing tro li lo li lo, lo li lo. I — e MUSICAL AND LITERARY MISCELLANY. 55 ^^^:=pzlz=)=z}=:=|:-111 ic e ^^EE=EE^f^^^^^===^=^ J — I—I pied, on whom liishopes relied, Down, a-down with a frown she puU'd him with a frown she puU'd -f-^' =^ii:?==p:=:i=-q==^:pi-!E=j j=:P=#^=prpr:^; ipztrt: pied on whom his hopes relied, down, a-down a down, down with a frown she / pied, on whom his hopes relied, down, down, a down,a-down^down, down with a frown she / - 1- 1 F !« e isirq ^___i.~qs;=ls:1 1^. ^ z. _ , .-•—-W=W^— — p-i—— — p 1 g pied, on whom his hopes relied, down, a-down,down,down,with a frown she pull'd him P /_ E±!z^!=zd= zt=P=3:=3= i5-t5^= 3E£:ri--i:p-EE~ -t==i=i=P=P= lizii; ::t£=fc r- on whom his hopes re - lied, down,a-down, a-down,down,down,a - down with a frown she 1st. p "2d. ~] :1^=S: -«- :S:=i: :p=i=:j:z2i: ^riiii 1- iiiil him down, down, down, down, a - down, down, a-down, down, Till down. p ^=^-- 1^—t-. :-l= ~^r=£==iz:=*=:i ^ I !-ft ,£:=t :^-=i -e— —— iiill piiU'd him down, down, a down, down - - a down, down, down. Till down, p --^- :=d: pull'd him down, down, down, down, down, down, Till down. p 3±L 'z=:-2.-zzt=z=:fc=:.-Ezd==?zzt=zz3z=ztzzfer=fc -e- 1^1 -h she pull'd him down, down, down, down - - down, &-down, down, Till down. SEE=E3^5fzPZZBZZiZZ^- f-- pull'd him down, a-down, down, down, down, down. — — — 56 THE BRITISH MINSTREL; AND THE YOUNG WHO IN WISDOM. ROUND FOR FOUR VOICES. 2 ^^^^ 5s; •Jizr I The young who in wis - dom and vir - tue en gaRe, 3 — , m-i— ^- tF=^ zwr^ iig^ ==i=: :s: I Store com - fort for manhood, and peace for old age. WEBER. another, particularly on distant intervals, must immediately arrest attention. They use it to convey A Dresden letter, of the 8th of June (1844), states that the son of Weber, the composer, was on the tenderness or pathos, and it comes upon ears ac- Italian taste singular point of setting out for London to bring back the customed to with beauty and effect. execute this sotto voce, mortal remains of his father, deposited in the Catho- They ornament and with great delicacy. But it is certainly proper to lic chapel in Moorfields, the clergy of which have themselves, certainly national. generously offered to pay the whole expence of the Genuine English transport, while a committee of professional musi- style unquestionably rejects this grace. To English ears it too effeminately too like the cians and dilettanti has been formed for receiving sounds — drawl of affectation, indeedunless done with excessive the body of the great maestro with all solemnity, and precision and delicacy, and unless applied with for conducting it to the general cemetery, and for skill and taste, it has such an effect. erecting a monument to the memory of the author consummate it deforms reduces of " Der Freischutz" of suitable magnificence. If in the least degree too loud, and the passion and passage it is intended to elevate and adorn. THE DIFFERENCE OF STYLE BETWEEN The third and most general and striking differ- ITALIAN AND ENGLISH SINGERS. ence to be observed between Italian and English The Italians address all their early efforts to the style, lies in the superior force and transition em- formation of a rich, sweet, liquid, or in one word, ployed by the Italians when compared with the mellifluous tone, which is produced in one uniform English. The former often concentrate their ut- method, always brought from the same place, and most power upon a word, and as immediately sink though regulated as to quality, and transmuted to a into the softest and most delicious langour. The certain extent by the force of various expression, ac- sober, subdued, and chaste tenor of English singing cording to the sentiment and occasion, yet preserves has not hitherto admitted such rapid and powerful sufficiently the reigning quality of its original nature putting forth or reduction of the voice. But this to preclude those disagreeable effects, so fatal to the too we should say is the national and the natural kindling train of emotion, which arise from the difference in the language of passion. The Italians distinct and palpable differences to be observed in kindle suddenly, feel intensely, and utter what they singers imperfectly educated in this grand respect. fbel as they feel it. The English are slower both To this end the scale of an Italian singer is com- in their apprehension and in their expression. pletely formed aod fixed before the master ventures And last, not least, all the great Italian singers we a single step beyond this first, this important, this hear are trained to the theatre—to the production of indispensable postulation in fine execution. dramatic effect, which raises their elocution and Here it is that English singers first feel the want varies the colouring which they give by tone. Our of a patient persevering course of instruction. They greatest English singers, on the contrary, are called quit this elementary but fundamental and essential upon to exhibit their purest and finest specimens part of their practice too soon. The consequence of ability in the Orchestra, and before audiences is, that quality, precision, purity, and uniformity of whose peculiar notions of propriety would revolt at voicing, are often, nay generally wanting. The anything bordering upon the manner of the theatre. power of producing tone in exactly such quantities Again, the songs which the really scientific part of as is required— that commanding faculty of increas- the English nation has so long been accustomed to ing from the smallest perceptible sound to the loudest admire, have been drawn principally from the sa- volume, or diminishing by the same just gradation, cred works of Handel, with casual interspersions of is seldom attained, and of course the voicing becomes Purcell, and Arne, and have been sung in a style crude, uncertain, and unfinished, and not uufre- traditionally delivered from the composer himself quently the intonation is not so sure as consists with through the successive generations of singers. It the species of practice the Italians practise and is only within the last twenty years that the public pursue. have began to relish or even desire the airs of any Among the Italian modes of expression, which other composer. This traditional style is as wholly depend upon the combination of what may be called freed from Italian modes of expression as from the idiomatic notions with peculiar technical means force and efl'ect of the theatre. From an Article in the method uf carrying the voice from one note to the Musical Quarterly Renew. ; MUSICAL AND LITERARY MISCELLANY. 57 COME HONEST FRIENDS. CATCH FOR THREE VOICES. Ives (1C52.) --^-w. it^-rra rffzqKizf—p: =te: :P=:^: ^m^ ifcil^: :fz:ii.-i: :^=rl2: :fc::tz: Come honest friends and jo - vial boys follow, follow, follow, follow n: ifszq~d-^z lizzS qtr^zf: le-^rir i=i= :i:;::i= ijzn^fc: --ii ifc::^: Jo vial bojs and hon - est friends, follow, follow, follow, follow, follow l»^- ifzEi 3== i^ Ho - nest friends come fol - low me, jo - rial boys Z^ZffZZICZ^ :ez:p=^: ::S=s: -e- :^=:tc: i rbr—tr-^- fol - low, follow me and sing this catch. and sing this catcb. ::fs=l^: :s:qs;: :itzzM=pz ^^-qSiqs; :p=i=:ii=- zMzzMzzi. m^ tne, come follow me and sing- this catch, and sing this catch. and sing this :P=^: :-fc==^ =r^~^f^: :s^: :p=:P=^: -ei- I :fc-fe=r:l: :^:t^ :fc::fc=fc=i|: fol - low, follow me and sing this catch. and sing this catch, :p==^~pE^ ZW~W2ZfL: :x3r ^=^=tEfe=£:b:rrt^tE 2 rtrzfczr^: :^=r[c: and sing this catch, and sing this catch mer - rj mer - ri q^__\__\ :i- :^ rpiralzzzri :5~3= :i=i=zi--^ catch, and sing this catch, and sing this catch mer - ry mer - ri qs^rqfc -WZZF- 33r :i=iz=P: :^=^ :^=^: :r-i=S: :t: :t=fc and sing this catch, sing this catch mer - ry mer - ri Ij. LOVE TURN'D TO HATRED. For thy sake, woman shall be now to me Less welcome, than at midnight ghost shall be. I will not love one minute more, I swear, I'll hate so perfectly, that it shall be No, not a minute; not to that loves a sigh or tear Treason love that man a she j Thou get'st from me, or one kind look again, Nay, I will hate the very good, I swear, Though thou should'st court me to't, and would'st That's in thy sex, because it does lie there; begin, Their very virtue, grace, discourse, and wit, '" I will not think of thee, but as men do And all for thee ; What, wilt thou love me yet Of debts and sins, and then I'll curse thee too Sir John Suckling, No. 88. I — I I 58 THE BRITISH MINSTREL; AND OH WERT THOU IN THE CAULD BLAST. C. Kreli. Allegretto, / ±21 1 5-4 d — I la B-— F-=P-F-P-I-P»»-I W' .^-^ WW 2iS^ =5^F= —4—, — ±;t jFtertS: ^^'^- 0^ "fiiQii i'ed. ^ ?>l/ :^=s: Oh wert thou in the "Waer* ich mit dir auf -^"^£P-f^_-p- ^^liaK^^ ^^"^P^^^^H^^^i^^^^ ^"^ ^ _-«!* _#:«»• __-p;i_' :=:J: -s:^ ^ '-• «— —t--(-H*-l — ( 1 • ^^-^^--r^^u^- -^: Ped. ^ I / iO dot. js; •-ad 1—tJ 1-^ :q^ 5Eii qs^=?5: i=pi:p!ri:i=fc=ir-i:—J J- ii=i :p±a=i~iz -^ -^--*-'- :g=i: :ixi: i cauld blast on yon - der lea, on yon-der lea. My plaidie to the an-fjry airt, I'd jenerHooh' In Ke-gen-fluth, in Ke-gen-fluth, Mit meinem Man-tel schirmtich dich Vor :535- • — m / P r r- rLi_ ^ r. i-Aii^; ZZ=S5_:_ —i-e-i -^~~ m ^ • -e- jO rfoZ. 3 / :f3:f=p:^?i: '=^±Jrrj-=^-^^^^g"J:jdzfc:jj=^"=zl :fci:^=t=^b^-^: shel-ter thee, I'd shel-ter thee; Or did mis fortune's bit - ter storms a-round thee blaw, a- Sturmeswuth, vor Sturmeswuth. Ja drohte Liebchen Alissgesehick Dir grimm und wild, dir «.— «. — I —*2— ^ i — MUSICAL AND LITERARY MISCELLANY. 59 poco ritard. i^'-^qs;:: !^ :E=i= B? r-r round thee blaw, Thy bield should be my bo - soni, To share it a', to share it grimm und wild, Meia treu - er Bu-sen diente dir, Zu sicherm Schild, zu si - cherm I r T *- ^ :a'=JzzJrq J^: Ped. -^' ' -0. / Szzfriic^isrti :f:53E=?E:^fE: iESE^Eg^i^fEE^ :^-^^rt=t^ :lr-r^ Or did mis - fortune's bit - ter storms Around thee blaw, a-roundthee blaw.Thj Schild. drohte Liebchen Missgeschiclt Dir grimm und wild,dir grinim und wild,Meiu 'ritard. r- 5s;=q=q: :|==!Ez* :2s: i^-jzrti-rs 2=::ii;!rz_ri.- ;id=iz:f=; -^-3- ^ -©- bield should be my bo - som, To share it a', to share it a', treu - er Bu-sen diente dir, Zu sicherm Schild, zu si - cherm Schild. -n^r^ Jh d=^= :!=z:1- J. BE .=J.=: itzri^: -©-I- Ped. Dal segno. q==q: R-^- iJtzi:'^'F'^^==r^r*# ztzzt.^-±E-:^.:^- t-i:^: r r f _^_|^^-_^^Lj?i 'as -w:w^ 3g: ;t==L:t i^EF' Ped. ^ ! : ; " — — ; ,: ! 60 THE BRITISH MINSTREL; AND Or were I !n the wildest waste, Wohnt ich, wo grau der Himmel waer' Sae black and bare, sae black and bare. Und karg das Land, und karg das Land The desert were a paradise. Mir schien' die Wuest' ein Paradies If thou wert there, if thou wert there An deiner Hand, an deiner Hand 1 Or were I monarch o' the globe, Und war ich Koenig dieser Welt, Wi' thee to reign, wi' thee to reign. Du, Suesse, mein, du, Suesse, main. The brightest jewel in my crown Die reinste Perl' im Diadem "Wad be my queen, wad be my queen. Waerst du allein, waerst du allein. It is too late for us to declare the unWersality of the genius of Robert Burns, as though it were a newly discovered fact. That was felt synchronously with the publication of the first edition of his works. His writings, while they were thoroughly Scottish,at the same time possessedso eminently the power of awakening the best sympathies of humanity, that they thenceforward procured for their inspired author the high title of interpreter of the heart's language, and the truthful bard of nature. In every country where Britain's litera- ture has been permitted to shed its benign influence, there have the songs of Burns, the Glorious Ploughman, become the language of love, of sympathy, of affection, and of duty. His bitter denunciations of aristocratic pride and assumption, of aristocratic truculence and servility, have been conned when they dared not be openly spoken ; his faithful pictures of nature have become chosen models for imitation ; his great and honest independence has become a motive with noble men ; and his verses fraught with hope have soothed the de- pressed and bowed spirit when all other sources of comfort have been tried and found wanting. We have been led into this by no means new train of reflection, from perusing the foregoing air and song. The song " Liebchen ueber AUes," by W. Gerhard, a German poet, is more an imitation than a translation of Burn's song " O wert thou in the cauld blast," but this may be from the difficulty of rendering the metaphor and idiom of the Scottish into the German language. W. Gerhard has translated a selection from the songs of Burns, which are very popular on the continent, and Carl Krebs, Kapell-meister, Hamburgh, one of the best living German song-composers, has written music for a number of these. The musician in this instance has produced a simple and pleasing melody, but the spirit of it is not in keeping with that of Burns' song, that, however, could hardly be expected, as it was composed for the German not for the Scottish song. " Oh wert thou in the cauld blast" is usually sung to the old Scottish melody, "The Lass of Livingston," which we give below. We may mention that the present is the first of a series of specimens from the works of the best modern song-composers of Germany which we intend from time to time to present to our subscribers.— Ed. B. M. THE LASS OF LIVINGSTON. , Slow. - LINES As if, in golden tones, some angel bright Whispered the soul away to realms of light ON A PIECE OF SCULPTURE ENTITLED That rising bosom heaves its silent prayer " THE BLIND TEACHING THE BLIND. Through parted lips, which woo the listening air: These trembling fingers, with perception fine. ADDRESSED TO J. FILLANS, ESQ. Stray o'er that sacred truth divine page of ; With quick inquiring sense, still feel the way Say, FiUans, if thy noble art can charm Through words of promise to eternal day Earth's elements to bright and glowing form ? And gifted eyes can see the soul prepare. Or has thy god-like genius power to tell lofty wing, to th' aspiring air. Where, in some mountain's marble bondage, dwell On mount Beings of light, and prophet-like command O ! there are moments when the heart will prove Th' obedient rock to yield thy glorious band A joyous thing, which pours its fervid love Of men and angels forth, to bless our clime In flowing song ; and, when th' entranced sight With truth and beauty, through all coming time ? Rejoices all in sweet celestial light Th' enraptured ear with heavenly music teems, What magic power produced this sainted pair. And then we own this world, a world of dreams; Which, steeped in beauty, glow divinely there Past, present, and to come, no cares annoy. Clothed in all heavenly dreaming that descends Creation swims in seas of cloudless joy In a soft silvery shower of light, which blends Soft, balmy odours breathe a charmed air. In melting sympathy with human thought To soothe each sense the soul confesses there ; Gazing on these, we weep—the heart full fraught And round that fragrant pair, in gifted hour. With love ! That radiant head—these sightless eyes. Has FiUans flung this heaven-inspiring power Still heaven-directed, commune with the skies; A. D. Robertson. ^ — MUSICAL AND LITERARY MISCELLANY. 61 FUNERAL ANTHEM. Largo. Sym. Ernestus William Wolf. SOPRANO. ALTO. TENOR. BASS. Saints and an - gels join'd in con - cert. Sing the s=Pr^: -zpzp: rtz :t 1 y- y»- Sing the prais - es of the Lamb, ±::i=i: -&- Sing the prais - es of the Lamb, 3=^=^ -»-p~ -I— n-^ Sing the prais - es of the Lamb, While the 3^: :3q: gt ^- -z3:=p=^pi vJ=S- prais of the Lamb, Wlile the bliss - ful ^= :pnz^ :P=^: :tS p==P=:*-± :t: T While the bliss - ful seats of heaven, Sweet - ly e - cho :=!= z^zi: -&- :izi=i: =P=pii:P^ razizad *m:- :Jia: While tlie bliss - ful bliss - ful seats of hearen Sweet - ly cho -^tZZJC ^- iflE :P=P: :t -t I blissful bliss - ful bliss - ful seats of heaven ~=^- :zt :#iztf=:p:m^^ 3dz=#izbezzf (- -I— bliss ful seats, while the blissful seats of heaven « u 62 THE BRITISH MINSTREL; AND 1^=j: pziz ai: :^=5= :ttt*:*: :p=f with his name, sweetly cho with his name I I I- I —3=^— :i=i=P: :i=i!=i: :i=i -©- sm ^s:**: ;fia: ^m - with his name, sweetly 6 cho with his name 1 while the ^=p: ^^=P: :^^zzt:::^f: -e—P— ^g-p- 1 :|=: tzt mm sweetly e - cho with his namel while the bliss - ful gn==: ^i^p: e- ?=Ffj =q: :e??: :p — 1 :C:: :t:=z; 1- '-=\- ^m sweetly cho with his name, while the bliss - ful bliss - ful -!*-i-. ~p=pzr^z ^E^i -Jz~\=d :c;:-rF: while the bliss - ful seats of heaven. :iz |z2d:: fit biss - ful bliss - ful seats of heaven. ~e—I*- ,tf^z^=tEp:rp:^=^ IjEZI^dz^ZP :=!: w :j=:f=: j—zc -i— seats, while the bliss - ful seats of heaven sweet - ]y e - cho with his nz^zzq: :#.Eqtt^=t=P: 3tl =ip: t=t zip; '--^- Z£i=#i: zfrf: :^=:t -1—h-' seats, while the bliss • fa seats of heaven sweet - ly e - cho with his _.-J_- 3E= H-Fi- :p-^ :p=:i: -tdflxi^z^ -ffiE^ -h- in 1 Bweet - ly e - cho with his name. Saints and an- gels joined in sweet - ly with his name, Saints and an - gels join'd in =•'=^3^:^ EFEi" -p-W—W- ^::^—W: ipz^rrf ^lEtESE^-EEl; I name sweetly cho with his name. Saints and an - gels join'd in 5-tf] lit - :t ±f^ 3e5|E3EE ±:-3tz3izzzizzii: i=~r~w -t 1—I— :t=±: name sweetly e » cho with his name. Saints and an )I3 join'd in —— MUSICAL AND LITERARY MISCELLANY. 63 l==p=jEz:sq =q3i: :^EZp_i=. t^^-- con - cert &ing the prais ^i=i==i): :i=:i: zirizzM: zizit siog the prais - es of - the Lamb, :t: con - cert sing the 12*. rfze' Si :p=P=P: titdzrpz^: -i::_p i: tSz i=t ± con - cert sing the prais - es of the Lamb, .-PS- ^- :g=i:*=p: ^ite: :t: 1^ sing the prai3 - es of the Lamb, while the blissful. bliss - ful :=P ^^ i=iz± :i=iz EESi^l^Eg •tf*: ^#ji-=^. sing the prais - es of the Lamb, while the bliss - ful :S^ ± prais TV'hile the m i-*>i— :pE=:p —H-^-ol—-I a— ^-W- :t=:P= :t=t seats, the bliss - ful seats of heaven T=,-^ rptqrit:: i-t W=~i: :i=* :i=:qi 'Hizri: :i=l=i=3t=i: :ji5:il:* Beats, the bliss - ful seats of heaven sweet - ly cho with - his =^p^ &- i-fz :er^=P :jd;: :i3i=^ -l--'-H ^-1 I —I " — — \ "^M bliss - fulj bliss - ful seats of heaven sweet - ly cho with - - his S^^»- ii^-EE :t=t^ while the bliss - ful seats of heaven . 64 THE BRITISH MINSTREL; AND qE=P=p :P=^- :P=^= s^izp: r^frrp: =P= :t=td!: i ^ Bweet - ly e • clio with his name I while the bliss - ful t=P=i nl^q: ntrizzi -©- :^: £=i=Wr :S- ^=i: '-HP^t. name, sweetly e - cho with hia name I while the bliss - ful seats, the :P=^: :=!: if*=p: :#f- :t: =F=^ -t— i- ic name, sweetly e - cho with his name I while the bliss - ful, bliss - ful seats, the j^: in: :i=S—i: ii=^z ^ sweet - ly e - cho with his name I while the -fz^zjt :P=:^ :P=^ :t=t=t :n "4- l^i I bliss - ful seats of heaven sweet - ly :S=^: a^ri: :i=3t:i: :i=Mi E^Et-a bliss - ful seats of heaven sweet - ly e - cho with his name, sweetly T.=iz Mzft: ^- --wrr^ —r~frr«-»— mz :W=i- ±=iz xz :J= h- bliss - ful seats of heaven sweet - ly e - cho with - - his name, sweetly W: ^- :St zicm^ -t=f=t= ± i bliss - ful seats of heaven sweet - ly :Prs: :e^rp 3q-rp: -p-p-PS- 25—^ EE -H 1- :=l: =f:: i^: 6 - cho with his name, His sa - Ting name I =!= q—i=.__f=._ii. idzzizi-=|: --i—p.- !=izri: :i=i: -e>- ±± 6 - cho with his name, His sa - Ting name z^qf—f: H !=- ipzpzezzf: ^S^iZZ^ 3E -\=z d±i: -tir -r e - cho with his name. His sa - Ting name I 3:^= -r-i=- :=l: X 2d: 3E :t: i :lz: e - cho with liis name. His sa - Ting name 1 — ; — — ; MUSICAL AND LITERARY MISCELLANY. G5 LADDIE, OH, LEAVE ME. Words by Joseph M' Gregor. Slow, with expression. k 1 Old air. | I N IS , J: |z|rjn:iz.-?z: ^= -s.-n =3^=:ff: ^^^^ '^- L^i=iESiil Doun whar the burnie ring winiplin and cheer - ie, When love's star was sinilin', I -e gi-=i=jrr^£^ :p:rp[=; -I \-&- -e- :t: =lEfc^: 3:iz: -.^-\zz\z :t: n^ -r ::l: :3s; 3s; 1s:=^: =szi-5-i± t=t ::]: E3.=? ra:; fI -q-*^^i= *-•*- i=to:=ix:i: '^-Q-- 33Z jq. 11 I . I. met wi' my dearie, Ah 1 Tain was its smilin', she wad na be - lieve me. But -e- -^- -I- =i—== -T- BE !t:=: -«i- X^- 3$: :=i: cried wi saucy air, Laddie, Oh, leave me. leave me, leave me, Laddie, Oh, leave me. &-•—J^ -e 3E3; -e- ==^EE?EE -0— Wrq: -e- .l:^-'=fi: I rr ~i- -1" Down whar the burnie rins wimplin and eheerie, "There's nae ither saft e"e that lills me wi' pleasure, When love's star was smilin', I met wi' my dearie There's nae ither rose- lip has half 0' its treasure. Ah ! vain was its smilin', she wadna believe me, There's nae ither bower, love, shall ever receive me, " But cried wi' a saucy air, Laddie, Oh ! leave me, Till death break this fond heart—oh, then 1 maun " Leave me, leave me, laddie. Oh I leave me." leave thee." Leave thee, leave thee, &c. "I've lo'ed thee o'er truly to seek a new dearie, I've lo'ed thee o'er fondly, through life e'er to weary, The tears o'er her cheeks ran like dew from red roses, I've lo'ed thee o'er lang, love, at last to deceive AVhat hope to the lover one tear-drop discloses thee, I kiss'd them, and blest her, at last to relieve me Look cauldly or kindly, but bid me not leave thee." She yielded her hand,andsigh'd,"Oh I never leave me." Leave thee, leave thee, &c. Leave me, leave me, &o. EXTRAORDINARY MUSICAL TALENT. bass, fugue, and counterpoint. This knowledge may rather be called practical tlian theoretical, as A labouring man, named Shadrack Chapman, it has been acquired by finding out the rules by who resides at Drajcott, near Wells, in Somerset- which the masters have written, from a perusal of shire, who has nothing but his wages as an their music, and not from the study of works of agricultnral day labourer to subsist on, and who instruction. Amongst the pieces composed bv has never received the smallest instruction in music, Chapman are several fugues, that for grammatical has composed a series of anthems, psalm tunes, accuracy might have done credit to the old masters. and sacred pieces of music, arranged for two, three, The poor man has been taken by the hand by a and four voices, several of which contain merit of benevolent clergyman, who is publishing several of the highest order. The author of these works is his works at a small charge. Chapman plays no in- self-taught by perseverance, and, surmounting the strument, but so accurate is his ear that he can cor. most incredible difficulties, he has acquired a rectly call every note, including the flats and sharps, perfect knowledge of the rules of harmony, thorough as they arc sounded. NcTvsj)a2fcr 2>ora(/rapk. No. 89. 66 THE BRITISH MINSTREL; A^^) ORIGIN AND PROGRESS OF THE concerts into their own hands. In 1741, M. Thuret, CONCERT SPIRITUEL. at that time manager of the Opera, confirmed the In the year 1725, Philidor, Musicien de la license for six years to M. Royer, for a considera- tion of six thousand livres ; chambre du Roi, and elder brother to the celebrated per annum which contract, in the fourteen composer of that name, obtained from BI. Franeine, year 1749, was renewed for then manager of the Opera, permission to give a years. At the death of M. Royer, in 1756, M. series of concerts on those dajs in the Lent season Motidonville undertook the Concert Spirituel, for the of on which there was no operatic performance. benefit the widow and children of the former proprietor; after in This grant was made to Philidor by a contract which, 1762, he was succeeded for three years, the term commencing on the by M. D'Auvergne. In 1773, the management passed into the Garvinies, 17th of March, 1725, for the consideration of a hands of M. who in 1777 resigned the concern, thousand livres each season,—under the restric- in a highly improved state, into tion, however, of his not permitting, on the nights the hands of M. Legros, and his associate M. of his sacred performances, any pieces in the Berthame. The concert soon afterwards began to French language nor any operatic melodies, to be decline, and the embarrassed conductors were sung. The same composer afterwards obtained per- compelled to resign their charge. It afterwards, however, mission to give this Concert Spirituel in the palace revived under a more fortunate, if not of the Tuileries, in the private theatre of which more able superintendence; and continued to flourish till the epoch the it long continued to take place. He afterwards of Revolution, when, obtained from M. Franeine a renewal of his contract together with every other concert, it ceased; but was for three years more, in which the former inhibition afterwards restored at the Theatre Fei/deau. Here respecting the use of French words and secular airs the Concert Spirituel was conducted with the was excluded. In 1728, Philidorceded his privilege highest success by Messrs. Garat and Wabonne, to M. Simand. Six years afterwards, the Academie till it became incorporated with the Conservatoire, it still continues. Moyal e de Xusique took the management of these where WERE I LIKE A MONARCH TO REIGN. DUET. Webbe. -p. —i= :-t AVere 1 lilte a niou - urch to reign, "Were :=tfE^Eg£|gE^^|Eg^E^E^pE^g^^E|gjgig graces my sub - jects to be, I'd leave them and fly to the plain - :=1: :^z :P=:R=f: ~=^=?3:iJS*=^rS^= ZTTiZ fct3=ti=c=?3i?!j^i: graces my sub - jects to be, I'd leave them and fly to the plain —Wr. 3e; itf::^:=l=t E^ :SSEHEfEiEi; i^g To dwell in a cot - tage with thee. But if I must ^7\ -S=^-: iiG ^i- 3d: fc^rti=^=^,S=lziz-iHzid=^=i^3zu^zzzizj: m ~a- To dwell in a cot - tage with thee. But if I must feel, must —— ^ MUSICAL AND LITERAKY MISCELLANY. 67 i^i^S-^S"^S~l^=g^^ feel your dia - dain, If tears, if tears can - not cru - el - ty drown, O Z^-zzC —p- ^-^~ I- .s^z^n^- Z^ZZT^Zi-^5-4 --i— i^E^rz :eS3 :i=t: -^dz^r^ZZ^Z^Z^^z] feel your dia - dain, If tears, if tears can - not cru - el - ty drown, O zi^t^^ -Kr ^^^E= gE^EE^Ir let me not live in this pain, - let me not live, not -f -T^R=q=is*i- flzrtjzi^ ::!: -pi—pi :^*:i: E£ =i= irizH •=.'- e^: let me not live in tliis pain, O let me not fcr^: :P3= ^#=^ ^^:^B5i^3=^P=^=H=i^ ui EE^E -^fci,t=ist— 5 v^ live in this pain. But give me my death in a frown. zz\=izi-. ;z^z\zs- ZH ^£!e^ zizzziiz: :ir xi- m live in this pain, But give me my death in a frow;' THE FISHERMAN'S GLEE. Words by Miss Baillie, Moderate, ir. Rhodes, Sheffield. -^S- .r=zf- :=\- ;#=^==e: zf.zrzzf.z±ZMzEzz -tzzwz ±:==t: zf^zzzE: :3^z?zziz= 1 :t=zt::tt=t:=rt: =.- :t: fcr—Ir No fish stir our heav - ing- net, And tlie sky ii -fr»- «==a: -p— izi=i ^-f-#-o 1 1—1— ^zz pr|znrs= .zzz± 3E:^E t: rlzztrrlizzi No fish stir in our heav - ing net. And tlie tky is ==q-p=^zzff: Z\^ZZWZ=.W. :trzt: =zzl-4zz^ rxLziZtZ ^erztcrtI — 68 THE BRITISH MINSTREL; AND -fz*- 3==:: —: —I —I- :P=P: rfr:?: -EiPp^Si^O^ It: dark, and the night is wet; And we must ply our lust - y rf- -PP- II -f#- ls;=S :P^: :=!: -r i=:i): :?=P= :P7^5=:3; :i^-*ri: :t-t: r~ dark, and the night is wet ; And we must ply our lust -m-^- n: -e- ^m^. .^zp.zw:zw: ^FH=*= -Si^- 1^=^-4^ Efefep^l ^fe= l^itq: itpcir :znq=q= ^rEzati: :i=ilirtiri: oar, For the tide is eb - bing fruni the thore, from - .^M- -M- itr::q: -i=pqs;qs;: :i=i: oar For the tide is ebbing from -e— a±i=i :?Er:s: -lESE^-EE- :P=f: :t=t frN= rtdzt h- :t -I— 1^ For the tide is eb - bin" from - the shore. *Z*- :5*=: z^zpTp: ifirpzie: 3^!^ -^- lilP:^—t: m . - - - the shore ; And sad are they whose fag - gots burn. And fad are bf:i# r- -ffrff jr=+:: d—=d: •«- ESEzq: -©- :3d=i:: lir^ir -?z=S: :zt=p: — ' r- :;Sr -I —t— the shore, And sad are they whose fag -gots burn. And sad are ;:^^=P= -^f=-^^ 3^=:^ =zz*zzzzt:zz:\zz-Jizxizzi=3ziz-z=Jc-- :ti=l from the shore. — MUSICAL AND LITERARY MISCELLANY. 69 bf^ X5=i: :3:>- :q~^ ^S^ they whoso fag - gota burn, So kiud-lj stirr'd for our re - turn, for our, for :iJ: )-fz#- iq=q= 3q- :^ng=::z!=:* f=±q=rp: 3:5- :Pd=^: ^- :=l=t -^. ± I 1- -I tliej whose fag- - gots burn. So Uind - Ij stirr'd for our re - turn, for our, for 1^:^ w& 3qr=p: i(c:=q: t 3i^*=ft zzzzitrznprt bd—ir r- Vigoroso. ff ^ ZfZZfZ .:m=f: #=13^ ~wr-z:s^=fz 3:5- 1 :te=te: :[= turn. Our boat 13 email, and the tem - pest rares, the Jf. -^- 3qzr^ ^--li- -F=-P- -t=^ :1= ::d: t=^ Our boat is small, and the tern - pest raves, the ff ^T1- 2s;i=fti :jdz: I 2t=t iztrftzp: S& -/~br re - turn. Our boat is small, and the tem - pest ravea, the -e m~ SEi=^^"-^ :35- ]=:i=b:1=r=nd3=3fz=?E3=ffsprf-p: #: -o- -f^ :q==p: 3q=3: .^.^ :f=f:q #=q= :P*P' :^-f: :3=t= :1---F :t I tera-pest raves, the tem - pest raves, the tem . pest raves. And nought is ^-1- -e :p- _-p^ -X :p=- 3:^= :^g tem-pest raves, the tem - pest raves, the tem - pest raves, And nought is -^ :=1: =l=rj: :P^,:pp^rp:zfcq=ii z^S-pipr:: 3d; jd: 3^: itit: ±=t -tem pest raves, the tem - pest raves, the tem - pest raves. And nought is ge=l^= =d: fzt! —-f#: :z2. i:$: :|^P ifj 70 THE BRITISH MINSTREl ; AND ~A-4v -5z«- 3=:S=FKEze-=fce:E-^:e:?^EE?gfStl5=^=Pz z^==E33 ift:* -f ^rf^PEi SS irrt: tt j=~t= ~1- -M I I I I r- heard bat the lash mg _-p-__-fZ^?-_ h## 'JZ ,e=e=l=:35~pE: :tiH=!z=b!=: :p=p: ±t: fe:zfc:=^=lz= heard but the lash - ing waves, but the lash - ing waves, but the lash - ing *Jt— -2S: :«si=^=i;=d=i=pd -€i- --^- ^^m ± iMzfcZ* heard hut tlie lash - ing waves, but the lash - ing waves, but the lash - ing —Q— :p=f: =f^f^Z i heard but the lash ing waves, but the lash - ing -^S- ^::^- Jt-^z z^qezr^trfz^—i=z= -p=^=rs= ^:^=:pi=^: =f^*^i P=f; :^=i^= :R .^—^ 3z=t: I ,t:= waves. And the sul - len roar of the an - gry sea. And the wild =P^ ::=5: :^rp: :=!^t^t£il^ig waves, And the sul - len roar of the an - gry sea, And the wild -^- J- -I- :l=q: —) ::1=S=SI p«- :^=fl: :W= —— :p=P: i—i: i=iJ=fc^=P=p: -/-tr- I t^-/- H^ waves, And the sul - len roar of the an - gry sea, And the wild Srj^»Ezq=?E=sE f^W: jEztonprs: :^=t^=^ fezl^: zlr=t=d=qz:r-=ic §^ waves. And the sul - len roar of the an - gry sea. And the wild - -fzft -W^nfrzw: :ff=^^=z?Ez:*: ZfZZ^ZWZZfZ ^- -\7 rjtrz^=?=:t: :z\zz I I — f/-y- :te=t^ 1==t:=: - winds, and the wild winds piping drea - ri - ly, wild winds, and the wild windi -^-^^_pi. -a# : I W.-WZ^—W- r^nffrre: =PE==f: -*—— Ll£=t= t-l^ --\zz=z g :t£=:t^: - winds, and the wild winds piping drea - ri - ly, wild winds pip - ing z^zi—i~i: EgEJJEJ^ggiggigiESlE^igi -I- wind;, and the wild ^rg^=^q^' winds, and the wild ^ — MUSTCAL AND LITERARY MISCELLANY. 71 /^ Grazioso. -fr*- -i=^_ft, y— -e— :P=I*: -1- 4^-^—fe: pip - ing drea - ri - ly. Yet sea and tem - pest roar ia :f=S- =:z^r=f=:p; j:P:l^^.__^_.-p._, :t^=tE -r- 3^aii t==^=:te i drea Yet sea and tem - pest roar in iqnqnisrqs;: !s:z3s:=i: w.—w-\ ri=:i=iz:i: -©- -©- :?:5r:i=i==i; winds pip -ing drea - ri Yet sea and tem - pest roar in -,»m- 33=13: p: 3:5 JL y=q^: *=3: -W^=^9l=w: :25— ipi^—K-i :ti-t^:lc=l=:zl=t=: lizrjt sSiiie winds pip-ing drea - ri Ij. -f:#: PPPP=^:;rft ifrrgzz^-ptrr^: -ft= -i-uL :p-f: ifrzpi: =t£ rfcr:^: :f=t^==^ ifcizlz: vain. We'll bless our bla - zing hearths a - gain, yet sea and tem - pest roar in -tJ='5*t=en=p:r:^=Kqr:F:3=:^=jE=:p:=|=p3rfnt;:ff--P: :S:.jei-:P;fc=^=^=g Tain, We'll bless our bla- zing hearths a - gain, yet sea and tem . pest roar in -^- :s:=l^r!s:: iijt :p:!=:e: :f=*=iE: rjirizrii :f=:i; :t^=tcr=tc dz ^Epi Tain, We'll bless our bla - zing hearths a - gain, yet sea and tem - pest roar in -p—jTT-f- Itzp—p: :p=P=e: Stiil =$:: -[»-—> — #: :^=fc S It- \r- ^ititzrtc -ff^-; i^^rpEriizrfrirffPK e==pz:P=:P: 3Cf: ;:f:fp: ;fc=^^tB= ^- re=hdi :^=b:=fcbLL;t3t-|^zb^t±r:^^^b! ,t: I vain, we'll bless our bla - zing hearths a-gain, well bleea our bla - zing heartha a- gain. jqzz?Ezm: :|==:fczfczfc :tz:tz:z:fczzI :t£z:l^zfc =d: s vain, we*ll bless our bla - zing hearths a- gain, we'll bless our bla - zing hearths a - gain. -ff- 4^dS:^ -N-J^-.^ w-w—w- =z^zpz|3^zi[ :ixiz:*::i: :fz= :iz:i: :P± t^^ -h~ z^=t^z:t£=^ fztztzbza vain, we'll bless our bla - zing hearths a-ijain, we'll bless our bla zing hearths a - gain. -Jt-W- -e=f=t: ^5=#-t-frr-w: •i^-i I iK- -Q- ^i^zzfztil: —— :l2z :lc=b:=fc zzzztztz:^-/-^-'-iI :t^zt^: pzlziTS8 72 THE BRITISH MINSTREL ; AND I LOVED THEE BEAUTIFUL AND KIND. Words by Lord Nugent. KOUNn FOR THREE VOICES. 4.ndante. Battishilt. rr-e-g-S- :x3: 3^- dfe=?c IE3TZt.fflS ^c=t:r=3= loved thee beau ti - ful anJ zrf~:===p==^ri P=P^: It 3d; ^=^==1? Id: :p=^=i- And plighted, plighted an e ter I3ir' :£==r!: ElEe H^Iipr ^=i: t=:ti: :i=i: So al - ter'd are thj face and mind. So al-ter'd -%A _ _ ^_:^ ifnzzdrzrp: :^- i -t-— [r- -V^ kind. And plight - ed an e - ter - nal TOW, and -^ t=W- A- X =i^^E^ElES -J^z=Mz i~r-Se^ vow, I^— — loied - - I loved thee beau - ti - ful and kind, And plight- r^i :*±: :*:r :*-i: iszzi: d=i: are thy face and mind, 'Twere per -ju - ry to love thee now, to lovo thee -f=tt- -^-r: :|K~ v^:^: ^ I plight - ed nal -frf- i^= :^=^ izpEB: i-=s=ir^i:izs mm ed, plight ed an nal vow. 5^ :pc=_g__3^j=^__q__^__-|::=!:: *=:e: :e^= now, 'twere per - ju - ry t» love thee. love thee HAYDN AND MRS. LATROBE. casting his eye. round the room, espied a portrait of himself on the wall, and exclaimed with great This great composer, upon his first visit to the emphasis, pointing alternately to the picture and British Metropolis, called at the house of Mr. then to himself—" Guiseppe Haydn! Guiseppe Latrohe, whom he had in his !" likeness being immediately known native country ; Haydn —the recog- but this gentleman beiug out, and BIrs. Latrohe as nised by the lady, she made a token to Haydn to much at a loss to comprehend the German language be seated. Mr. Latrohe was sent for, and soon as Haydn was to converse in English, Ihey were returning, received his distinguished visitor with both in a dilemma for the moment ; w hen Haydn, great delight and hearty congratulations. MUSICAL AND LITERARY MISCELLANY. 73 POOR JOHNNY'S DEAD. CATCH FOR THREE VOICES. Largo Dr. Hayes. W=rd^it ipzz SEE: ft--- :^p: :pr=i=r ©-- rrzt :p= — -I Poor Johnny's dead, I hear his knell, birn, bim, bim, bini, borne, bell. -r- — -e- :4-: -©-=- Borne, borne. bim, bonie, beli. bell doth toll, O may his soul in dwell. BRIGHT MOMENTS. To leave the house was out of the question, to feign One of the most elegant and agreeable persons illness as much so, and to decline taking a part I ever saw was Miss Porter, and I think her con- was impossible, for her talent and sprightliness versation moie delightful to remember than any were the hope of the theatre. A part was cast for person's I ever knew. Sir Martin Shee told me her, and, in despair, she excused herself from the that he remembered her when she was his beau- gay party bound to the country -town to make pur- ideal of female beauty; but in those days she was chases of silk and satin, and shut herself up, a prey more " fancy rapt," and gave in less to the current to mortilied low spirits. The character required a and spirit of society. Age has made her, if it may smart village dress, and it certainly did not seem be so expressed, less selHsh in her use of thought, that it could come out of a shilling. She sat at her and she pours it forth, like Pactolus—that gold window, biting her lips, and turning over in her which is sand from others. She is still what I mind whether she could borrow of some one, when should call a handsome woman; or, if that be not her attention was attracted to a carpenter, who was allowed, she is the wreck of more than a common employed in the construction of a stage in the large allotment of beauty, and looks it. Her person is hall, and who, in the court below, was turning off remarkably erect, her eyes and eyelids (in this from his plane broad and long shavings of a pecu- latter resembling Scott) very heavily moulded, and liarly striped wood. It struck her that it was like her smile is beautiful. It strikes me that it always ribbon. The next moment she was below, and is so —where it ever was. The smile seems to be begged of the man to give her half a dozen lengths the work of the soul. as smooth as he could shave them. He performed I have passed months under the same roof with his task well, and depositing them in her apartment, Miss Porter, and nothing gave me more pleasure she set off alone on horse- back to the village, and than to find the company in that hospitable house with her single shilling, succeeded in purchasing a dwindled to a "fitaudience tho' few," and gathered chip hat, of the coarsest fabric. She carried it around the figure in deep mourning which occupied home, exultingly, trimmed it with her pine shavings, the warmest corner of the sofa. In any vein, and and on the evening of performance, appeared with apropos to the gravest and the gayest subject, her a white dress, and hat, and belt ribands which were well-stored mind and memory flowed fortli in the the envy of the audience. The success of her in- same rich current of mingled story and reflection, vention gave her spirits and assurance, and she and I never saw an impatient listener beside her. played to admiration. The sequel will .justify my I recollect, one evening, a lady singing " Auld first remark. She made a conquest ou that night Robin Gray," and some one remarking, (rather of one of her titled auditors, whom she afterwards the close, " unsentimentally) at By the by, what is married. You will allow that Lady , may (the of ballad.) Lady , authoress the doing with aflord to be tolerant of carpenters.'' so many carpenters. Berkeley-Square is quite An eminent clergyman one evening became the deafened with their hammering !" " Apropos of subject of conversation, and a wonder was expressed carpenters and Lady ," said Miss Porter, " this that he had never married. " That wonder," said same charming ballad-writer owes something to Miss Porter, " was once expressed to the reverend the craft. She was better born than provided with gentleman himself in ray hearing, and he told a the gifts of fortune, and in her younger days, was story in answer which I will tell you—and jierhajjs, once on a visit to a noble house, when to her slight as it may seem, it is the history of other hearts dismay a large and fashionable company arrived, as sensitive and delicate as his own. Soon alter who brought with them a mania for private theat- his ordination, he preached, once every Sabbath, for ricals. Her wardrobe was very slender, barely a clergyman in a small village not twenty miles sufficient for the ordinary events of a weekday, from London. Among his auditors, from Sunday to and her purse contained only one solitary shilling. Sunday, he observed a young lady, who always No. 90.—lid. « . — 74 THE BRITISH MINSTREL; AND occupied a certain seat, and whose close attention acquaintance and marry her, if possible, when one began insensibly to grow to bim an object of thought day he was sent for to minister at a funeral. The and pleasure. She left the church as soon as service face of the corpse was the same that had looked up was over, and it so chanced that he went on for a to him Sunday after Suuday, till he had learned to year without knowing her name, but his sermon make it a part of his religion and his life. He was was never written without many a thought how unable to perform the service, and another clergy- she would approve it, nor preached with satisfaction man present officiated; and after she was buried, unless he read approbation in her face. Gradually her father took him aside and begged his pardon he came to think of her at other times than when for giving him pain— but he could not resist the writing sermons, aud to wish to see her on other impulse to tell him that his daughter had mentioned days than Sundays—but the weeks slipped on, and his name with her last breath, and he was afraid though he fancied that she grew paler and thinner, that a concealed afl'ection for him had hurried her lie never brought himself to the resolution either to to the grave. Since that, said the clergyman in ask her name or to seek to speak with her. By question, my heart has been dead within me, and these silent steps, however, love had worked into 1 look forward only. I shall speak to lier in his heart, and he had madeup his mind to seek her heaven." Tlie Sunbeam, LOVELY BELL Words by T. Dibdin. J. Davy. Alleijrelto. iSrrjs: :tf=2-:p=i^: ±1^*1 E^S^ 1^=^. :fcp -*- 1^^ ^^Sz Spring clad in gayest, in gay-est greenest hue. Had rang'd her paint-ed StEE2z S_|_. -_ :t=: fr; i=:^: p r:4=±: zz^. -t— -^ qS: dfc *J^^^.. fT^z5z5=::=iz3S:'^i55:as5zi: I :i=±:t3: i=l3ElE^ charms, her painted charms in or - der, The blushing rose and fox-glove i=5^Ei: d^si^ zi=i , r T -r blue, Deck'd hedge and path with va . ried bor-der, 'Twas then of love I I--, --fr-,-!— — -F-]—hd— -^mU— -I te' —Jj—^—'-^—Li^- ,v N N N \ — 1 al P^ j^=fc 1^=^ Eli blvthelv sang, ',. What . ,, , ,,.,., , , , , ^ !>». swain could e- ver love so well, Mhilethro the glade my ditty rang, lj«-.j » -»- -e- :tE=^-J=|i: m: :^: ^ > MrSICAL AND LITERARY MISCELLANY. 75 . ad lib. /'^Tempo. "^^ * 3;=:i5^s;- 4r-* *^- '^-i—(il— i-ll— :?s=is -!S -^ t^~-^-=t- Sweetest of sweets my lovely Fell, 'Twas then of love I biythely sang, what swain could ever -^~ -0— "5~ • a —:p^— ^=l=»='1=^ ;iEE^ 3^it#=n: o' -jV rfs: : IV 1 | \ rv^ E^^ :ir :i±=* r love 80 well, TS'liile thro' the glade my <''1__^'| '"ingi sweetest of sweets my 3S :^=P=:rJ-=l«: 5:: ^ N ^=N ~1— ^£ B^^^pE^pl^^lp3Sr?3E love-ly Bell, my love-ly, lovely Bell, my love-ly, love ly Bell. 33 -^ -I* -^ ''^ES~: T-^K :=t==:pr O, then I woo'd the village mmd. Won by the verse herself inspir'd. tell, Who smiling heard my honest lay ; She join'd love's artless tale to And o'er the hills, to woodland shade, And gave me leave, with transport fir'd. Fearless with me would often stray. At church to ring my lovely Bell. HIS YOKE IS EASY, AND HIS BURTHEN IS LIGHT. SIXTH CHORUS, FROM "THE MESSIAH." Handel. CANTO. :^ His yoke is ea - sy, his burthen is ALTO. fee; TENOR. p l=e; mm BASS. ^^- — — — — 76 THE BRITISH MINSTREL; AND xte=t:ft::x=z_w==^r=rz=;p: :tf:ie~fi:i=:=irp: :^:5t=:fc:^=z^: light, his bur - then, liis bur - then is light, :ei -^ ^—=i—]r- His Iter; :^=js: f-••- >-=-S-i— -|-iJ«-t-».^(-«tw«i«i P •» l»0'—t ag^l 1 tacmjta™'— His yoke is ea 3FEE I ^ - l»:it_ '^ ' .^—It- tea,! . '-&_kW -"S"*' b- ^— his light. joke is ea ay J bur- then is —v^g —I——ivi^ ——a 9- x~r :p; p—f^- ~ji: k?=gEfEEfEJSE£|E^£EF5^ z\z-zz -tr 1?--^ sj. liis burthen is liulit, liis burthen is li-ht. his sr ^ :EgEiE^gEE^^E^^e£B-:£E£g His }uke is ea r_^-f.E3EiriE5r^= -M^^^^^±^^:k==^=^=t^l — t^ his bur - then is light, his burthen, his lEz: z-z=:zzp—z?:z>±^?.^zzM-ss^zz^zzz his bur - tlitn is light, ^=^ Ei^=?=^=fEz^t=5=^dEi5=#"-M=^Fl=ii3=^======^l rS^z=^z=t2-':?^-=zt2EI=iix3«z:fc:^=:^zi=f*^—=:3=r==rzzl bur-thcu, his bur-tlien, his bur then is light, is light. ii his bur-then, his burtlien is light, — MUSICAL AND LITERARY MISCELLANY. 77 -i*-i — , ^-9- H — P—=--1— • " P t— I 1=— ^-^-P ta*i ^ — —S-aH— — -J— — — It — -I bur - then is light. his bur-then, his bur - then is light. -^- i=r—rr=5~tz= -=ii;t==tE=^=tli his bui' - then is light, ^iTCizzpizzpcrP: .(=_i;_ZJE. _p_- jcrrp;_p. :t=tc: — :JE—b: i bur - then is light, is light, S±^Ep=5z|E^^^E =t£^E^: ^^ rrzrrrtszsTEp-f- his bur- then, his bur - then is light, his yoke is :=lt his yoke is ea sy, his tt— :fl-._i =^' eptffznr^prj his bur-then is I'gbt, his bur-then, his ^•1*-. _pr—=1- -^ I his =^__Q^p^f^: r^i^F --^m^: rfEii: :p=p: -i=-=i- :i== :tc=^==C: —[^C——^«i bur - then is light, his joke is ea bur - then is light. his ^ oke is lis bur. then is i§gEteiS=E^SEE 1 bur then is light, p J — — 78 THE BRITISH MINSTREL; AND —W=zf.z^ — ::Jc=:te:: 1 ^ :^ I I sy, his bur - then is light. his yoke r^P: »—=1- :t^=^3t^: £?=P: mzzfLip: E^=^ -tSi^ :lz:=^=:ti: light, his burthen, his bur - then is light, -H -4= -P ft-^ —I—taUJ 3? -1= =1-^ :pif itzt Si:fe::=^l -t?-- ^m:tSt: i his burthen is liglit, his > oke is ea :PpJ -E =)_ :P=?c •H ' -*^K t- b!< bur - then is light, -•-a gf^rf^rFfFzprz^zp: 4=-=!- r^zf: ^ Ip—p a- -C^B^Wate :icr=t£: :!5£: 1 :^ sy. his burthen is light, his _|-_a_L :e=(E ^—1»dt=!ti his bur - then is .M a. Es^tSfeSEtEtEE^S^^EpEi' — — p I tr—tr 1 B^r l^! bis 3i?::S^S ^3Egg q= P his burthen, his burthen, his burthen is light. his 3E=^*f: burthen, his burthen is li^ht, his burthen is light, ii=pci stiiZff: iszrzis 3r^f=pEb=e ^ »>^— zcaf: irrri; :5£ light, his burthen, his burthen is K =1- 3^ES^ -P— — -^-'r=EE=f=JtEzp3^r5Ei: i=if: :g~gzr£r: ^— burthen. his burthen, liis burthen, his bmtlien, his burthen is I MUSICAL AND LITERARY MISCELLANY. 79 rCtfi —l-^—i—r*id- ^gg rffia-l^-ric: yuko is ea sy, his bur - then is light. ^ i :==P^ f=p=r^~^ :t: 1^ :t^£a: m light, hia bur - then is :r=!£^&S;*P(^tf^P: p^'- _p—P—1=— —Ifc- J^fet=53i ilzrziz: light, his jolie is sj, his —fi- -|»~ his bur - then is light, his burthen, his :SL.^- rfrrpt: :^::f=:p=^3^!5S: iSdi: his bur • then is light, hia burthen is light, his burthen is r=Ptr^I = F-1»- ^ P—t=- -I P- P light, light. his burthen -^ -Iff_^ 3t^-^ ::=t^: =p=3:=^ri;i=e= bur - then is light, is light, his burthen ia :i!=l=i p~i , 1 b- i?»=3* ~ :«=f: :P=::q: ;r^ — I »' I ipzti: ^. :fi=* !i :St rtz: burthen, his burthen, his bur then is ;£E=p ^^- :tff ir-'—'- :^-l-igrmrb;^=3=t:: :f::=r i P - light, his bur then is light, his bur then is f^^^M s^=i=E=i=feg;sa;|^3^fes=sp light, is light, his bur then is :f=.ft.z^—WZ fc=t :5i=iP:: :t^: :tc=:^ ^ _t: light. is light, his bur then is t — — — : —— I 80 THE BRITISH JIINSTREL; AND ^•^ hMK' hJ-{-\ M.1.1 liz:?: I :^J=P=:P:rr~p-rp=>r: P -\r-V- light, his yolce is - sy, and his burthen is Ezff—=f=:£;P ~-$^- ::Pr: =._fc=^?=f~fcr| :3z^-^^zrte!::=z-L; lizzie: — ~'***' :=^:=tc: tZ'~ lij^ht, his yoko is ea - sy, hia yoke is ea - sy. his burthen is =^^: :p=?=:5=:: :p^?=:^ V^V^g--g!g?=rg =E!^riz*zfs:s£j!^e*= t=rtc=l;5^3=fc '-k_Mai-l ifczzlc: liglifc, his yoke is ea - sy, is ea - sy. his burthen is Y~K-—I r i-*i^=i — 1«- ^^-^ -ij—JE-.*- -\^tli^] light, his voice is ea - sy. is ea ey. his burthen is E :z^3zf^zzrzzPzzE; :^ —^_j fe:=-:—fe=rbr—^z^^— iz^-ztzzzp: :t= -^*r lifrht, his voice is ea - sy, bis burthen bght, bis yoke -*:t: IlXZt I -^«: ^p -I——^—=1-1 ±zzzd=p: -I«i«i light, his yoke is ea - sy bis burthen is light, his yoke z^pfjztz-rezfzz CS?z:—zfz^zjzzzzzpzz =tz 1 wt-iI —c:==?zzftzzzfE: —kof— ir-^-i— It- ^Efe^^==^=|=zz^zz — r~i liglit, his yoke is ea - sy, hia burthen is bght, his yoke __ji :tff: ==!: af^EEa; Prtz: =S=^=^=^=^-^=^-.Uitzpzzzp: zztzzzi^=^: i^rlzzte:: zzzzlzizzzt?:: r light, his yoke is ea - sy, his burthen is lif^ht, his yoke rT\ -ErziEz: ^z^^fr^zpzzfz^zzffz: ===^p^ -&-.-m— :3^zzs: -=czzl^: :tz: iczzt^c --X- IS ea - sv, and his bur then is light. — I -rr--» P !»• P— -- -^— :tzzlz:zz zz^zzqzzbzi^r-^— ±:=— m dzztzzfe:-- is ea • sy, and his bur then is light. I -X -A—W-- :p=zz?: -JfLl-Wi ^zzlzz^zzizzl^E ipzzjc: :qzi dliEH -\ 1 r-'-l is ea - sy. and his bur then is light. rlzzztsz :fzzp: Lzzfcziz: -e-- EE^EEBEEE lip^^iii :t~ lit: IS ea - sy, and his bur then is light MUSICAL AND LITERARY MISCELLANY. 81 ERE AROUND THE HUGE OAK. FROM THE COMIC OPERA OF " THE FARMER." Words by O'Keefe. Siciliana. Shield. -^ -^ |5=S: =n£ ^^^^;=^^- 1=^ Silts s i^-^=^ :S--rf5 -•-»-*—-o a-:*-^-- fczl: —Iz^1—5- I ^^ —m^^=^—e—S -^ Ere a - round the huge oak that o'er - shadotrs yon mill, The fond i - vy had dar'd to en- E ia^aE5^^s^s?«? :5=:zf^-i S:=d zi i:g?^==^ --^-3- :==S: 3W: 5: qti: ;^SE qs^rsr-:^ :iiJ~ dS:q^-4!s ^£ :3z:i=:i=:=:z^ *- li- Ti- I twjine; Ere the church was a ru - in that nods on the hill, Or the pr:»: ^&3^3^l ^ =3--t;^r1^ .-J:=:t^: itc ut^Ei&c^&J^^ ±rtr: :i=5z±zir:fz:i-i: :s:=qz==P-1 :i^z:fi ;e i T-r -f— =r=^= rook built its nest on the »' Or the rook built its nest on th le pi he. pine, ''i -^^-; ^ -«- :?;: Bi :pe: js:=: p:.=w=- liz: ^-F^-= :ts:i: :ifctzz^fc :z:-*: Could I trace back the time, a far distant date. He dying, bequeath'd to his son a good name, Since my forefathers toil'd in this field, "Which unsullied descended to me, And the farm I now hold on your honour's estate, For my child I've preserv'd it unblemisU'd withshamOy Is the same that my grand^ther till'd. And it still from a spot shall be free. VINCENZO BELLINI. He has opened to us a new world. He has brought Point not these mysteries to an art, a liitherto untried influence to stir the ocean of feeling. He has created yet another joy in the dim Lodsfed above the starry pole ; Pure modulations flowing from the heart circle of our experience, and woven a fresh and Of divine Love, where wisdom, beauty, truth, perennial flower into the withered garland of life. "With order dwell in endless youth With the thought of Bellini, embalmed in such a Wordsworth. sentiment of gratitude, Isabel, accompanied by the In the narrow street of St. Christofero,in Catania, count, who had arranged the visit for her gratifi- and near the little church of the same order, now cation, went forth to view the memorials of the superseded by a larger edifice, was born the most departed that were in the possession of his family. beautiful composer ot our times. It has been said, " The young Vincenzo," said Vittorio, " from his that no after maturity of judgment can dissolve the earliest infancy, gave evidence of the genius of his spell by which the first poet we ever understood nature. His susceptibility to musical sounds was and enjoyed is hallowed in our estimation. On the remarkable. He could be moved, at any time, to same principle, the composer whose works are the tears or laughter, to sadness or ecstacy, by the voice means of awakening in our hearts a new sense of ot harmony. While a mere child, after hearing on the wonder and power of his art, whose compos- public occasions a new air, he would, on returning itions sway our spirits as no others have done, and home, from memory transcribe it. At eight years address our associations with an eloquence, com- old his little hands ran over the keys of the organ, pared with which all similar language is unim- at the Benedictine convent, with surprising facility. pressive, holds a place in our estimation and His first compositions were occasional pieces of aft'ectious second to that of no intellectual benefactor. sacred music. It was early discovered that he was No. 91.— Id. ; 82 THE BRITISH MINSTREL; AND a proper object of patronajje, and, soon after ar- combine and truly set forth their meaning ! How riving at maDbood, be was sent, at the expense of affecting to look upon these characters—the pen- government, to study at Naples and Rome. Tbe cillings of genius, and remember that the hand result of an acquaintance with what had been which inscribed them was cold in the tomb ! But effected in his art was to make more clearly per- Isabel dwelt longest and most intently upon a ceptible to bis mind the necessity of a new school. miniature of Bellini, taken at the age of tweuty- The history of genius in every department is almost tbree, after tbe representation of the Pirata. It always a record of conflicts^of struggles against pourtrayed the youthful composer with a pale, in- what is dominant. Thus the early efforts of Bellini tellectual countenance, an expansive and noble were frequently unappreciated and misunderstood. brow, and hair of the lightest auburn. There was Still he persevered in consulting the oracle of his a striking union of gentleness and intelligence, of own gifts, and in developing the peculiar and now lofty capacity and kindly feeling, in the portrait. !" universally-admired style which marks his com- " How unlike the generality of his countrymen positions. The first of bis successful operas was exclaimed Isabel, who bad looked for tbe dark eye tbe Pirata, then the Straniera, then the Sonnambula, and hair of the nation. and then Norma.* In each successive work we " Nature, in every respect," replied Vittorio can trace a decided progression. The first is pretty, " marked him for a peculiar being. Yet tbe soft- often beautiful ; the last is throughout beautiful, ness and quiet repose of tbe countenance is like bis and frequently sublime. It is a delightful thought, harmony. The mildness of the eye and the delicacy that in a country where literary talent is repelled of tbe complexion speak of refinement. ' The whole by the restrictions on the press, musical genius is physiognomy is indicative of taste and sentiment, a untrammelled, and human sentiment may, through susceptibility and grace almost womanly, and, at this medium, find free and glorious development." the same time, a thougbtfulness and calm beauty, " I have always regarded music," said Isabel, " as which speak of intellectual labour and suffering. the perfection of language." Tbe face of Bellini here depicted is like his music, " Undoubtedly it should so be considered, and moving, expressive, and graceful. I have seen although tbe censors jealously guard the actual portraits taken at a later age with less of youth, and verbal expressions attached to operas, to a true perhaps, for that reason, less of interest in their imagination and just sensibility the mere notes of expression. During his lifetime all be received for masterpieces are perfectly distinguishable, as ex- his works, not absolutely requisite for bis support, pressive of the thousand sentiments which sway was immediately sent to his family. And now his the heart. Bellini, it is believed, was one of that aged father may be said, in a double sense, to live secret society which has for some time existed, on the fame of his son, since, in consideration of nnder the title of '-Young Italy," whose aim is that son's arduous labours in the cause of music, the restoration of these regions to independence; which in southern Europe may be considered per- and we can read, or rather feel, tbe depth and haps the only truly national object of common fervour of bis liberal sentiments, breathing in the interest, the old man receives a pension from glowing strains of his last opera— the Puritani." government, quite adequate to his maintenance." Thus conversing, tliey arrived at the residence of " I think," said Isabel, as the party were seated his family, where, with emotions of melancholy in tbe opera-bouse the same evening, " that the interest, they viewed the tokens of his brief but great characteristic of Bellini is what may be called brilliant career. There were little remembrancers his metaphysical accuracy. There is an intimate whose workmanship testified that they were wrough t correspondence between tbe idea of tbe drama by fair hands ; the order of the legion of honour and the notes of the music. What a perfect lone ' a rich carpet, worked by the ladies of Milau, with of disappointed affection lurks in the strain Ah ! the names of bis operas tastefully interwoven, and perche non posso odiarti ?'—the favourite air in the many fantasies and fragments written by his own Sonnambula; and who that should unpreparedly hand. There was something indescribably touching hear the last duet of the Norma, would not instantly in the sight of these trophies. Isabel felt, as she feel that it is the mingled expression of despair and gazed upon them, how empty and unavailing are fondness? How warlike and rousing are the the tributes men pay to living genius compared Druidical choruses, and what peace breathes in the with that heritage of fame which is its after recom- Hymn to the Moon ! It is this delicate and earnest pence. What were these glittering orders to the adaptation of tbe music to the sentiment, this breast they once adorned—now mouldering in tbe typifying of emotion in melody, that seemstome to grave ? And these indications of woman's regard, render Bellini's strains so heart stirring." which, perhaps, more than any other, pleased the " In other words," said Vittorio, " he affects us heart of the young Catanese ? How like the powerfully, for the same reason that Shakspere, or deckings of vanity did they seem now, when he for any other universally acknowledged genius, excites whom they were playfully wrought was enshrined our sympathy. His music is true. He has been among tbe sons of fame ! How sad, too, to behold called the Petrarch of harmony, that poet being the slight characters and unconnected notes —the deemed by the Italians the most perfect pourtrayer recorded inspiration of him who alone could rightly of love." "And would that his fate hadbeen morelike that bard's !" exclaimed Isabel. " How melancholy that * L'Adelson e Salvini, represented before the Insti- he should have died so young, in the very moment, tution at Naples, was the first open experiment of as it were, of success and honour! I shall never Bellini's genius, followed, in 182C, by Bianca e Fer- forget the sorrow T felt when his death was an- nando, at the San Carlo Theatre. 11 Pirata and La nounced to me. I was in a ball-room. The scene Straniera, successively produced at the Scala in Milan, completely established his reputation. The Montecchi was gay and festive. The band bad performed ia e Capuleti was brought out soon after at Venice. succession the most admired quadrilles from his The Sonnambula and Norma at Milan, and the Puri- operas. I was standing inacirclewhichsurrounded tani in Pans. a party of waltzers, and expressed the delight I bad —— MUSICAL AND LITERARY MISCELLANY. 83 received from the airs we bad just heard. My the church, sat upon a stone bench which over- companion responded, and sighing, calmlv said, looked the scene, and to her inquiries as to the ' What a pity he will compose no more !' vVhen I funeral honours paid, in his native island, to the thus learned the fact of his death, and afterwards memory of the composer, he replied. the particulars, agloom came over my spirits, which, " You should have witnessed in order to realise during the evening, had been uncommonly buoyant. the universal grief of the Catanese. Business was I retired to the most solitary part of the room, and suspended. Every voice faltered as it repeated the indulged the reflections thus suddenly awakened. tidings; every eye was moistened as it marked the ' How few,' thought I, 'of this gay throng, as they badges of mourning. In the capital the same dance to the enlivening measures of Bellini, will spirit prevailed. There, but a few months previous, breathe a sigh for his untimely end, or give a the king entered the city, and no voice hailed him, grateful thought to his memory.' Some of the because the professions made at the outset of his company passed me on their way to the music-room. reign were unfulfilled. The gifted composer came, I joined them. A distinguished amateur, with a and acclamations welcomed him. Every testimony fine bass voice, had taken his seat at the instrument. of private regard and public honour was displayed. For a moment he turned over the book listlessly, His sojourn was a festival— so the news of his death and then, as if inspired by a pleasing recollection, created universal grief. Here, in the spirit of burst forth in that mournfully- beautiful cavatina, antiquity, an oration was pronounced in the theatre, ' Vi ravisso luoghi amcni.' He sang it with much his favourite airs performed, and actors, in the old feeling. There was silent and profound attention. Sicilian costume, represented the efi'ect of his death The tears rose to my eyes. To my excited ima- by an appropriate piece, with mournful music. lu gination we seemed to be listening to the dirge of the streets were processions, in the churches masses, BeUini ; and, as the last lengthened note died on and in the heart of every citizen profound regret." the lips of the vocalist— thus, thought I, he expired. " And this," said Isabel, glancing over the scene, Little did I then think I should ever see the native " is a St place for his repose. He will sleep at the city of the composer, or sit in the opera-house which foot of Etna, amid the nobles of his native city. be doubtless frequented." The ladies of this villa, as they wander through the " It but this moment occurred to me," replied garden in the still summer evenings, will sing his Vittorio, " that, perhaps, in this very place Bellini most soothing strains. The peasant, as he rides by first learned to appreciate the science he afterwards on his mule, at the cool hour of dawn, will play so signally advanced ; to realise the expressiveness upon his reeds the gladdest notes, the cboir in the of the agency he afterwards so efl'ectually wielded; church will chant the anthems, and the blind to feel the power of the art to whose advancement violinist, as he rests by the road-side, will cheer he afterwards so nobly contributed. Perhaps here himself with the pleasant music of the departed first dawned on his young ambition the thought of composer." being a composer. Perhaps, as the breathings of They rose to depart. As Isabel looked back, and love, grief, fear, and triumph here stirred his began to lose sight of the ancient convent, she youthful breast, the bright hope of embodying them observed a lofty cypress at the corner of the road. in thrilling music, and thus living in his ' land's As its dense foliage waved solemnly, and its spire- language,' rose like the star of destiny, before his like cone pointed heavenward, it appeared to her awakened fancy," saddened fancy like a mournful sentinel, standing There is a narrow but sequestered road leading to guard from sacrilege, and point out for homage, from Catania to Cifali, just without the Porta the last resting-place of Bellini. Tuckerman's d'Aci. Alow plaster wall separates it on both sides Pilgrimage in Sicily, from extensive gardens, the site of an ancient burial-place, where memorials of the dead have THE BACKS. been frequently disinterred. Over the top of these ANNUAL MEETING OF boundaries the orange and almond trees, in the As there never was a family more musical by season of spring, refresh the pedestrian with their nature than that of the Bachs, so it is probable, blossoms and perfume. In the early mornings of there never has been one the dift'erent members of summer, or at the close of the day, this road is which were more aflectionately attached to each often sought by the meditative, being less frequented other. AH of the same profession, and settled in than most of the other highways leading from the one province (that of Thuringia,) they soon found city. There one can stroll along and interest him- themselves too numerous to be able easily to obtain self with the thought of the now extinct people near a subsistence in the same place. They, therefore, whose ruined sepulchres he is treading, or gaze were under tie necessity of separating; and ac- upon the broad face and swelling cone of Etna which cordingly settled in different towns in Upper and rises before him. At an agreeable distance from the Lower Saxony, and Franconia ; having before their commencement of this path is an old monastery of dispersion resolved to see each other at least once Franciscans. The floor of the venerable church is a year. Their annual meetings usually took place covered with the deeply-carved tablets, beneath at Erfurt, Eisenach, or Arnstadt; and all their which are the remains of the Catanese nobility, amusements, on these reunions, were entirely their arms elaborately sculptured upon the cold musical. 'the company consisting wholly of slabs. Strangers sometimes visit a chapel adjacent choristers, organists, and town musicians, who to see a well executed bust, which displays the were all connected with the church, it was a features of the nobleman who lies beneath, and is custom with them to begin their concerts by singing thought to be the capo d' opera of a Roman sculptor. in full chorus, some sacred composition. From The adjoining chapel is assigned as the last rest- this pious commencement they, however, proceeded ing-place of Vincenzo Bellini, whose monument will to lively and humorous performances, which ended soon exhibit its fresh- chiselled aspect amid the with certain comic songs, the harmonies of which time-worn emblems around. Thither, one morning, were filled up by the voices of the company, ex- Isabel and the count wandered, and, after leaving temporaneously. This choral-singing improvisation ! — — ——!; — — — 84 THE BRITISH MINSTREL; AND they called a guod libet, at which they themselves forgiven, and pride, anger, and distrust give way laughed as heartily as any of their auditors. These before the returning beams of true affection, as facetife of the Baehs, are considered by some, to icicles before the morning sun. During this be the foundation of the German comic operettas. delineation of varying passions and events not a Whether or not that be the case, it is pleasing to word is spoken, but every change of situation, every contemplate in imagination such a scene, where fluctuation of feeling, is represented by the looks friendship is the bond of union, and music is used and gestures of the dancer : and when I remem- as a means to make that union more felicitous. It bered that the actors in the scene were but the will be a long time indeed ere such a circumstance peasants of the soil, I scarcely knew which to can be described as having taken place in Great marvel at the most, the reijned nature of the sen- Britain. timents described, or the extraordinary power possessed, by persons In their rank of life, of giving correct expression to those feelings. As certain POETS. features of the face are said to accompany certain qualities of the mind, so in this favoured land The elements are poets, when they build there is a grace of manner almost invariably asso- Clouds in the azure vacancy of heaven, ciated with a grace of mind, not the result of art or Touched by the sun with spiritual grace; education, but sometimes as apparent in the lowest The rain-cloud is a poet, when it flings hind as in the highest noble of the land. Portugal Arch over arch, allhued, the aerial bow; and Galicia. Those form their happy music to the eye Their harmonies of colour and of form. The winds, itinerant minstrels, to the ear Piped low or loud, sing ever, blithe or sad. FISCHER THE OBOE PLAYER. What a wild sound of melancholy streams This celebrated oboe player, died in the early At midnight through dark aisles of abbeys old. part of 1804. He was seized with apoplexy whilst Through arches rent, and cloisters tenantless performing in a concert at Buckingjjam House, in To Time, to old Keligion, and Decay the presence of their Majesties, and fell on the Giving a voice of quaint solemnity ! double-bass instrument of the musician next to him. Then may the winds peculiarly be styled In the early part of life he was retained at the The Poets of the past. Not less the spring court of the Elector of Saxony, and afterwards went A poet is, mantling the eaith with green, into the service of Frederick the Great of Prussia, And all the living poetry of flowers at Berlin, who was much pleased with his per- A young Apollo, with voluptuous lip, formance. Some time after his arrival at Berlin, Laughing at hoary Winter's harp of reeds, the King, in a concert he gave at court, played a And his thin sedgy music, cold and sharp. concerto on the German flute, of his own compo- sition, which O sweet Elysian dream ! O Summer! bright Fischer (not knowing the disposition With song at morn, and even, and still noon; of his Majesty,) praised extravagantly. This free- And voice of woods, and river's stately march dom so displeased Frederick, that one of his officers And charm of pastoral pipes, and waterfalls the following day kindly dropped a hint to Fischer, Who shall take from thee thy majestic crown that if he valued his liberty he had better make his Of all fresh things and fair divinely woven, retreat from Berlin as soon as possible. The hint Strong-minded poet of our manhood chief! thus kindly dropped Fischer picked up, and departed And Autumn verging upon heaven, has strains for England. He arrived in this country under As from the harp of Judah's shepherd king, very favourable circumstances, the oboe not being That blend with its peculiar golden light in a high state of cultivation, the two principal Ethereal hearted Autumn ! poet sage ! oboe players, Vincent and Simpson, using the old Soul of the Seasons ! depth of Sabbath calm Enghsh oboe, an instrument which in shape and Sweet time, when the sad earth is Eden ever tone bore some resemblance to that yclept a post- When angel visitants are in the woods horn. Fischer had so devoted himself to study, Present, although unseen that, from the consequent little intercourse he had Ricliard Howitt. with society, he had nearly forgotten his own lan- guage (German), without having acquired any other. Soon after he was, unhappily for both parties, DRAMATIC DANCES OF THE PORTU- married to the accomplished daughter of Gains- GUESE PEASANTRY. borough, the celebrated painter. The latter, an excellent violin player, I often met at the parties Towards the close of day, even in the autumn of a gentleman I visited. Gainsborough, who was months, the ladies sit in their ornamental balconies, a lively companion, speaking of the oddities of listening to the never-ceasing sound of song issuing Fischer, said that whilst walking with him in Pall from the sti'eets below, or gazing upon those dra- Mall, a gentleman, who was also travelling in the matic dances, in which the imaginative character same direction a short distance in advance of them, of this interesting people is so peculiarly developed. happening to tread on some ice had a severe fall, on In this kind of dance, a story, with its regular which Fischer starting, sputtered out—" I never sequence of events, is represented in dum'»-show. did that— I never in all my life made a slip." For instance, the swain approaches the maid of his " In a fortnight afterwards," added Gainsborough, choice ; he first hints the secret of his heart, but "he married my daughter !" The tone of Fischer gradually grows bolder as she appears to turn no was soft and sweet, his style expressive, and his inattentive ear to his pleadings; he urges her too execution was at once neat and brilliant. He had strongly; he offends; she waves him from her; he gratified the admirers of music for many years, but retreats—despairs—grows haughty—love, however, his powers had been declining for a considerable prevails over pride—he implores forgiveness—he is time previous to his death. Parke's Mmical Mem. « MUSICAL AND LITERARY MISCELLANY. 85 BUZ, QUOTH THE BLUE FLY. CATCH FOR FOUR VOICES. Dr. Arne. T- :=]= -e— -&- -©- er- :i—-ST Buz, biiz. buz, quoth the blue fly, 3^=zr; ^- :=^=ri==:^±:P: ©- — :3= Buz and hum they cry. they cry buz s Q- :s^ ^— :p=z:s: :=t=: :fc:.=t^: In his in his nose, thus, thus do you see, thus -e- -5^- I He ate the dor - mouse. he ate the dor - mouse. zquzr: e hum, hum. hum quoth the bee. :P:iz?e: ::?rrr: :3:5- ::25: ;r3: 5==t=r^: :q~=:z=::Pz!:rp: r- Duz and hum they cry, and so do 3^- :3:3: E^=.p=z^5E ifzzt: :^: :p~f: :tEZ=fc it=fe:=:lzz= in his ear, in his nose^ thus, thus do you -e- 1521 Id: -=zl=z: :i~iz- it was he, else it was he. A GREAT ARTIST. some of his pianoforte productions may give an idea In companies, where finest the players executed of some of his extempore playing ; though notliiug the finest compositions, when Beethofen sat down written by him can equal the ideas fresh from his to the piano-l'orte lo conjure up something upon own brain, executed by himself. Difficulties stimu- the spur of the moment, he was sure to throw all lated him, and he loved those who dared them; who had played before him into tlie shade. His he took an affection to Ferdinand Ries, his pupil, fertile fancy, and the impetuosity of his tempera- for venturing an extraordinarily difficultcadeuce in ment, rendered him a prodigy, and his performance public, and coming out of it successfully. With was of a nature to stagger the faith of those present, all this he had but small hands, and a manner of even though they saw and heard. In his poetic execution which would be deemed inferior to that fury at the piano, he elicited combinations of ihe of some pianoforte teachers. But what cannot love most complicated difficulty, and executed passages accomplish? It is this devotion to her, and en- whi'ch he would have shrunk from attempting in thusiasm in her service, indicative of a simple cold blood. Nor was it only surprise that excited nature, and inconsistent with personal vanity, ava- his hearers—they were carried away by the rice, or envy, the usual vices of artists, which the strangeness and beauty of his fancies. The style of Muse never fails to reward with her choicest gifts. —; — ; — 86 THE BRITISH MINSTREL; AND ON MUSIC. How soothing when at pensive calm Of eve's ambrosial hour. There is a language in tlie tone, It oft flings round my soul a balm Which breathes from music's string; Of sympathetic power ! It speaks of years for ever flown, <3f youth's liesperient spring! What spot of earth, say, shall we And Tliere is a language in the peal Without its magic spell '! The cadence of its wire; Its voice is in the varying wind Then memory's cup doth fondly deal It breathes in ocean's swell Its spirit-soothing lire I Its voice is in the warbling rill, 'twill sigh; I've felt, I've own'd its charms divine, In marble cave As sorrow damp'd my brow In grove, in glen, its language still When friendship cool'd at friendship's shrine- Echoes from earth to sky ! When cross'd its deepest vow ! Dublin Penny Journal. IN THEE O LORD, SACRED CHORDS. Andante poco adagio, iulti J. H. Rolle. -e-- --T- SOPRANO. =:^ i^e#3i: ^=r=p| :ziz*=*zii:?±r: -r\~r- In thee, O Lord ! have I put my trust, let me q=4= ALTO. --^3E. 1^=3= d=:1i i -G-'zEztad -^-i=i: -& :i-^ "O- Solo. tutti. t=!=q: :j=tj: TENOR. -?- :=zE=zzzz;3=z^: H- ^$ii3= tpizizn: ~t~1- In thee, O Lord, in thee O Lord, have I put my trust, let me BASS. soli. E^^E^ig^lliii 1 illi never be put to con - fu-sion. In- 3=^ :a==:|rt:q= :i=*i :zi: In. soli. Z^OH =^=P:^ f=^: tzw- :^r=r- Z^ZZi Si= iq*: nizianiczttczi: :rt=t ~t '^z^zd j_i__i- -t~^ i -f never be put to con - fusion, let me ne - ver be put to con - fu - sion. (!zfzF^tf^^ziz=z:zr-=f I I I I t h- < p ?=Pz^-f= I———— — —•—— -e- :tzt: I let mo ne - ver be put to con - fu MUSICAL AND LITERARY MISCELLANY. 87 tutti. ritq: :i^:=f5; =^::ril=q: ^ :=|: ^=i^ 3t:i=:3= itii: cline thine ear un - to and save me, O Lord, Hrqr :?i;=5; lizii: m. *-:i--Ti: I cline thine ear un - to and save me, U Lord, tutti. :^=3=^=t=S=S::tri -T^^-l j_^:ff=^ :iri=ii =1: In cline thine ear un - to de - li - ver me. O tutti. -Q-P. -fL .fL ^ .^ .^ ~=je: ::fcJ^ =!= Lit: :e=^: i^^iriai -e- It: 31 In cline thine ear un - to me. de liver, de - li - ver me, O -^^=fl ?^^E? 3=Es: 2^=i:: '.^^ Lord 1 in thy righteous - ness. Be thou my stronghold, and my house of de- -r-^- d=i :ti: :az3t xt 1- ^rizt Lord ! in thy righteous - ness. Be thou my stronghold, and my house of de- -f:-^ I „ xizz Lord I in thy righteous - ness. ytc SE -e- I Lord I in thy righteous - ness. ^^- ^«q= 4^^ Lst ^^B3HS?SES^* fence For thoa hast pro - mi . sed to 3Z*'-s^ ri 1 lirrazrt: fence. For thou hast pro - mi - sed to soli. -^p::t qtzff: 5:::^ 3S Z=?!=i=22 ::j z3=3: izt: ^i r Be thou my stronghold and my house of de - fence. 1=^ B3 -e—h- H 1- -t- Be thou my stronghold and my house of de - fence, ! 1 !! —!!! 88 THE BRITISH MINSTREL; AND tutti. -:^-- :P--^ —1 I -t :p=:f: :2i=i— ft«J: :ii ~\- ttztz -t- In thee I put my trust, O tutti. -tf-q=:q: li-i: 3^i^=Ce=fi—5:I In thee 1 put my trust -ff-r-i 3=?:=^=^: :p=:3=:=t tft: '— : I r-I J^ ^Enttf^l*?3?=Ef; I——— ~-.^ ^ __L_k- -I— For thou hast pro - mi - sed to save me. In thee I trust, O tutti. —p.-.P-'^s- :ff~p i^iq: WI: :P=f: :^f: #=^t:~p ferts: 1—I- :^-=pr For thou hast pro - mi - sed to Bave me. trust, O Oy soli. irfcjfc'rrrr: _p f 1^. _e p. --^Wr- n^tfzirE=t:z — — |:i=S=j: —t: :t=p :tifS=h: -t— Lord! In - cline thine ear un - to and save me, O Lord. /C^ soli. irq: ;=!-qs=g;; :zi: :i=§5= ;=ir3-;^=:±: m i7 zi- - Lord I In cline thine ear un - to and save me, O Lord, soli. tutti. :P~JC :d^:q^: m :S~3q: ijizng: Lord I In - cline thine ear un - to De- soli. tutti. -e- 3±i: -p—"- :r-f: ifziini: -©- t=:4- ZHZZJZZ :cr:c -I— I Lord In - cline thine ear un - to me, De - ii - ver, De- tutti. Adagio. /7N -f' «__ci_d_ » 1»- _«_p.""EB^dEli: ,_Jf— -e— — #*: --1-!—^— z^rf ~(- O Lord! in thy righteous - ness De - li - Ter me -ff t-~~- --=t '--"- -| 1— '---Cl- - Lord ! in thy right - eous - ness ! De li - ver me I if • ^r ^ ' r ftipziezzpizt -j^-=t * **- H— |-€l— ?tti=i; cziLi-trpn: =±:r~t=i=:J=t-t=l=dI =! —t-- li - ver me, O Lord I in thy righteous - ness De - U - ver me :^i[3ili^"=Sl§ 333; -^ li - ver me, O Lord! in thy righteous - ness! De - li - \'er me MUSICAL AND LITERARY MISCELLANY. 89 WITH HORNS AND HOUNDS IN CHORUS. CATCH FOR THREE VOICES. Atterbury. 5=E i: 1 S=^^5i*llE^-— I^^E^ 1 :t. With horns and hounds in cho - rus, Let's ush - er io the day. with irqr iteH Mm =ir=^iJ=-I^ElEl^SSaiSEl The 6un will soon sliine o'er us. rise, make no de - lay, a - rise 1^=:?;: ^—I--- ^gr^ -w:=^ srtr*~i— —u- tr-'-h- Now the stag is rous'd be - fore us. A - way, come, come a - way, cornea- way, come away, the stag is rous'd, a - way, come, come a way. CHURCH SERVICE, ORGANS, &c., IN Graun. The organ of the cathedral is good in ANTWERP. parts, particularly in the diapason and soft stops, with pedal pipes which go down to an abyss " not The first musical performance at which I was loud but deep;" thechorus is, however, too squalling present was an afternoon service, or complin, as it and not well voiced. The bass of this instrument is called, the work of a native composer of this city is evidently of the same family with onrown organs named Kraft ; it was accompanied by the organ of St. Paul's, Westminster Abbey, and some others; aud a small baud of instruments ; but the voices were where the richness and body of tone speak for the not sufficiently numerous to convey the sublime honesty and ability of the builder, and remind us emotions which choral music always does when the of those good old times when that accursed trading tutu parts are supported by a large and good choir, nuisance, a contract, was not thought of. One's 'Ihe violin accompaniments were played with admiration is extorted at Ihe tasteful design and great smoothness, and excellently in tune. The elaborate workmanship which is manifest (ui the models of this composer seem to be Hasse and cases of the organs in Antwerp ; and thai at the Graun, and his composition partook largely of the cathedral is built up with a poetical conception of bad and common-place old Italian style of melody, the splendour which befits these enchanted palaces containing long-winded solos,passages now obsolete, of sound—the "loud uplifted angel trumpets" at and sing-song ungraceful ornaments, as far removed the mouths of the winged musicians that proudlj from the present notion of musical beauty as the stand on the eminences on each side of the instru- Hottentot Venus from that of Titian. In the fugued ment, really give a fresh dignity to its tunes in the points of his choruses the author was more suc- imagination. To my mind, these graceful figures cessful, and showed by the How and smoothness which look just like to fly, are never seen to greater with which they were introduced, that in ecclesi- advantage than when the organ is pealing forth astical harmony and florid counterpoint he was with a solemn-stepping bass, to some procession not out of his element, and here his sequences below ; and I like the idea of putting such a screen reminded me of the solid and stately march of over these mechanical contrivances and metal pipe^ No. 93. 90 THE BRITISH MINSTREL; AND and of feasting the sight with a pleasure precisely and deficient either in ear or in the management of analogous to tliat which the hearing receives. their instruments. The orchestra, which contains At the Dominicans' church the organ-case is still the performers on a flat surface, without any gradual more wonderful, but here the artist has suffered his inclination such as we are accustomed to, would be fancy to run riot; the carved figures there are hell- unfavourable to experienced artists, and is much brood, all monstrous gorgons and hydras, such as more so to these ignorant soldiers. Tlie trumpets might float through the brain in an ugly dream, were played with so strange a lone, that it was " worse than fables yet have feigned, or fear con- difficult to cecognise them in their curious disguise. ceived." I cannot say that the organ playing of Though many passages of the melody in this com- the Flemish demands much praise; but in stepping position are no longer consistent with modern taste, into a Catholic chapel one morning, I was amazed I may safely assert, that in a well-worked fugue, and at hearing the chaunt accompanied with a number an artfully constructed chorus, few composers excel of ascending and descending scales (some of them Vincenzo Righini. On the conclusion of this chromatic,) played with great velocity by the per- service, which was to me a perfect curiosity, the former's right hand, while his left nand and feet organist played a sortie of that frivolous, incon- sustained the chords. To me this man appeared sistant character, which seems to be peculiarly to be endeavouring to burlesque religion, and to admired in Brabant ; and which was neither more turn the service into a joke. But I believe it is nor less than one of Nicolai's old harpsichord son- unnecessary to cross the water to find that devotional atas, lilted out of its quiet obscurity to the music- solemnity in music is not considered incompatible desk of a cathedral, a place where its author, in the with the nimblest and most volatile linger in the highest intoxication of vanity, could hardly have accompanyist. Such impertinence shows that fancied it. Though harpsichord music, or pianoforte music, though in the main an intellegible language, music, or even harp music, may be accommodated to is still variously construed according to the tempera- the organ, provided it contains sequences, or some- ment. thing grave in its construction, it appears a strange perversity of choice to fix upon a piece which is On the festival of Corpus Christi, a mass by diametrically opposed to these qualifications. The Righini was substituted at the cathedral for one by organist, after service, justified his selection by Haydn, which had been promised; and on this observing, that a gay style best suited the frame of occasion the wind instruments were supplied by mind in which the priests and congregation found the military band resident in the city, and the themselves after discharging their spiritual duties, chorus was augmented. The regular installment and a brisk movement had great efiect in creating of a regimental band in the service of the church an appetite for dinner. Whether the gentleman's here, has raised the suggestion why in these " piping argument was founded on fact or not, I have ever times of peace," when men have no longer to play found the Catholic, after mass, and on festivals the double-bassoon on a forced march, the assist- especially, more tenacious of his dishes and wine, ance of those people might not be required for mure joyous and convivial than on other days. charitable musical performances at home ; if such regulations were consistent with military disci- pline, It would make music cheaper, and in part There is no public secular music of any kind to remove the objections which have been raised to be heard in this city, with the exception of the vile the uselessness of a standing army. Righini is scraping which is endured at the dinner table of the chiefly known to the English amateur through the inn, an infliction which irritates the nerves, and medium of Mr. Latrobe's valuable collection of slops the eoncoctive process. Music is too heavenly sacred music ; but detached and isolated specimens an art to be degraded into mere sauce, without a give but an imperfect idea of his excellence as a protest, though that be useless; if it be good, it composer, for which purpose it is absolutely neces- cannot be co-enjoyed with mouthfuls of ragout; if sary to hear an entire work performed. An Italian, bad, it gives one indigestion. Music engrosses, it bitten with the love of German harmonies, and " kills the flock of all afl'ections else that live in us," naturalised and adopted into that school, makes an and though it rather encourages wine drinking and excellent musician ; melody is his paternal inher- luxurious excitement, it resents that one should itance ; he has only to acquire a better method of satisfy the grosser animal wants and the ethereal clothing its nakedness than is usual among his nature at the same time. Hogarth has, in bis countrymen. Cherubini, who has run something Enraged Musician, given the portraiture of my friend into the extreme of learned accompaniment, when Dr. H ; when any sudden and impertinent in a happy vein, shows that the union of the two eruption of sound distracts his attention from what schools leaves nothing to be wished for in a com- Sergeant Dalgetty terms the onslaught, hecordially poser. The Kyrie of Righini's mass in D which hates this dinner harmony, and consigns it with opened in the minor, was particularly impressive the sorrel soup of Fiance, and the white soup of from the solemnity of the movement and the inde- Germany, to everlasting perdition. pendence and boldness of the accompaniments, I had the pleasure of spending a musical evening and had it not been deformed by a frequent recur- with M. Le Brun, a resident of Antwerp, and the rence to the major, it might have been taken for early friend of Haydn ; a gentleman who, in a green Haydn ; but there seems a want of consistency in and lusty old age, shows a pleasing bigotry and changing the character of the music, while the ex- exdusiveness of preference for the works of his old pression of the words is invariably melancholy and companiim. As that war of words in which I have penitential. The " Et Incamatus est," with clarionet been frequently engaged for the respective supra, obligato, struck me as full of elegance and feeling; macy of Handel, Haydn, Sebastian Bach, and but it was much injured in the performance by the Mozart, has become a tiresome service, partly out bad intonation of the accompanyist, who was, alas I of civility as a guest, and partly out of a conscious- noWillman,and played much too sharp. In Antwerp ness of having been a renegade at diS'erent times the wind-instrument players are raw and imperfect from one cause or other, I on this occasion quietly — ; MUSICAL AND LITERARY MISCELLANY. ^1 alloned Haydn tu receive the piilm. The niece of songs of the ancient opera school are poured forth M. Le Brun, who has been a pupil of Woelfl, by the singer, who addresses under these words showed an admirable discretion in the performance some less exalted but more substantial divinity. A of some of Havdn's sonatas, particularly in that set little of this leaven will mingle in the service of dedicated to Madame Bartalozzi, as well as in a religion, where the spiritual and carnal boundaries sonata in four flats, written by the author for of musical expression are not better defined. In Hummel when a boy, and she discovered a firmness England it is difficult for a lover of music to pass a of hand, and cultivated taste in adagio playing, cathedral in which the organ is sounding, without which I have never yet heard equalled by a female stepping in for the sake of the plagal cadence, perfiirmer. After hearing these masterly compos- a piece of simple grandeur, which will always, itions, I could not but regret the innovations that while our nature remains, affect powerfully ; but in have crept in upon the style of writing for the in- Antwerp there is not only this attraction, but also strument ; the search aftereffects of light and shade, the most inventive and florid compositions ; and instead of a succession of good musical ideas ; crude though the performance is a little rough, and the harmonies, and violent changes, instead of a flow attention much interrupted by the scuilling on the of natural modulation. Although this lady is in pavement of the cathedral, yet the matter is frequent, the constant receipt of the newest capricios and and is accomplished out of pure love, and not as a fantasias which are produced by the lightning job that is to be dispatched. fingered virtuosi resident in Paris, they remain The music here costs nothing, and it is heartily untouched in her portfolio from her inability to to be wished that not only the cheapness, but the discover their meaning ; but the charm of Haydu's modesty of the performance, were paralleled with pianoforte music remains ever fresh and undecayed. us. The cantor informed me, that though their The last musical service which took place during library contains the works of the great masters of my stay in Antwerp, was performed in the cathedral Germany and Italy, they do not wish to hack their at night; it was delightful to stand at the extremity Haydn and Mozart by too frequent a repetition, of the nave, and, through the long vista of arches, but reserve them for holidays and extraordinary enveloped in thick darkness, to see the blaze of feasts. torchlight thrown on the high altar, the gorgeous During mass, a tall gaunt Swiss, armed with an robes of the priests, the swinging of silver censers enormous halberd, stalks up and down the cathedral, which warm the air and embalm the pictures in the terror of those who turn their backs on the their fragrance and aroma ; above all, to hear Gre- host ; and it is surprising, that among so much to gorian phrases softened and mellowed by distance, soften and ameliorate the asperities of the temper, theefi'cct of the whole was so overpowering as easily this fellow should be ever brooding mischief, never to make one credit those tales of overwrought fancy so happy as when dealing his "apostolic blows" where people have suddenly imagined themselves among little boys, who occasionally collect in a cublimed, deified, ecstatic. The reason is at first crowd round some one of the doors. The sight of taken prisoner, and there is little inclination to ques- an unsheathed blade in a Christian temple is an tion the import of rites and ceremonies, to which all eye-sore ; and the hired ruffian who carries it was the noblest arts are made subservient and tributary ; to me so personally obnoxious, that when I found but the mind at last works out its own salvation, it necessary to ask some questions, to pay him for seizes what is good and admirable, and soon, in one his trouble in answering, the fierceness of his of these edifices, as in a Pagan temple, worships manner made me laugh inwardly. Ramble among the spirit of beauty in all forms, forgetful that the Musicians of Germany, by an English Musical uncharitableness and bigotry exist in the world. Professor. It is a pity that women's voices are not enlisted in the service of the mass at Antwerp : these kind of BIRDS. soprani are much better adapted than boys for the AN INVOCATION TO sort of expression which modern Catholic music Come, all ye feathery people of mid air, requires, especially in the refined solos of Mozart Who sleep 'midst rocks, or on the mountain summits and Haydn; the charm of pathos and simplicity Lie down with the wild winds; and ye who build which belong to the latter class of performers is Your homes amidst green leaves by grottos cool here thrown away ; and though the passages may And ye, who on the flat sands hoard your eggs be correct as to tlie text, they ill assort with the For suns to ripen, come ! O phoenix rare ! childish pipers that give them utterance. When If death hath spared, or philosophio search the young singers have passed over that part of their Permit thee still to own thy haunted nest, lives so prettily described by Cherubini in Mozart's Perfect Arabian ; lonely nightingale ! Figaro " Non so piu," if they have previously given Dusk creature, who art silent all day long. promise, nature no longer withholds from them But when pale eve unseals thy clear throat, loosest that last best gift, the indefinable charm which Thy twilight music on the dreaming boughs. distinguishes the style of genius from that of line- Until they waken; and thou, cuckoo bird. and-rule correctness; be it called soul, sensibility, Who art the ghost of sound, having no shape or what it may. I have never heard playing or Material, but dost wander far and near. singing from children, however far they might have Like untouch'd echo whom the woods deny advanced in the mechanical part of the science, Sight of her love, come ail to my slow charm ! which possessed this quality. Come thou, sky-climbing bird, wakeuer of morn, Every composer who writes music for the Catholic Who springest like a thought unto the sun, , service makes the Virgin an ideal mistress; as And from his golden floods dost gather wealth Solomon addressed the church in his Canticles, (Epithalamium and Pindarique song). " calling her soft names in many a mused rhyme,'' And with 't enrich our ears ; come all to me, so does the musician exhaust his fancy in tender Beneath the chamber where my lady lies, " phrases for the Mater divinie 92 THE BRITISH MINSTREL; AND THE SHEPHERD TO HIS LOVE. THE NYMPHS REPLY. Comi!, live with nie and be my love, If all the world and love were young. Ami we will all the pleasures priive, And truth on every shepherd's tongue, That grove or valley, hill or field, These pleasures might ray passion move, Or wood and sleepy mountain yield. To live with Ihee, and be thy love. Where we will sit on rising rocks But lime drives flocks from field to fold ; And see the shepherds leed their flocks, The rivers rage, and rocks grow cold By shallow rivers, to whose falls And Philomel becometh dumb; Melodious birds sing madrigals. And age complains of cares to come. Pleas'd will I make thee beds of roses The fading flowers in every field. And twine a thousand fragrant posies; To winter floods their treasures yield; A cap of flowers, and rural kirtle, A honey'd tongue, a heart of gall. Enibroider'd all with leaves of myrtle. Is lancy's spring, hut sorrow's fall. A jaunty gown of finest wool, Thy gown, thy shoes, thy beds of roses, Wliieh from our pretty lambs wo pulj— Thy cap, thy kirlle, and thy posies. And shoes lin'd choicely for the cold — Are all soon wilher'd, broke, forguUen, With buckles of the purest gold. In folly ripe, in reason rotien. A hell of straw, and ivy-buds Thy belt of straw, and ivy buds, With coral clasps, and amber studs; Thy coral clasps, and amber studs, And if these pleasures can thee move Can mc with no enticements move, Come live with me, and be my love. To live with thee, and be thy love. The shepherd swains shall dance and sing But could youth last, could love still breed For thy delight each May morning Had joys no date, had age no need; If these delights thy mind may move, Then those delights my mind might move, Then live with me, and be my love. To live with thee, and be thy love. ChiiHloplur Marlowe, born l!>ij5— killed 1598. Sir Waller lialeiyh, born I6a2—behiiaded 1618. DAINTY DAVIE. Words by Bur'Hs. Vivace. i^r-r^l=j:zq!v—r^pjrzqsr-:^:—q"=rz-ri--=::|zrzijr:;z=i=qz=z=g^r=qzr^ Now ro - nj May comes in wi'flow'ra, To deck her gay green spreading bow'rs. And aU^f^rezEirpzzi-fE ._:?tf=eEfr|ztz&=rp: -tz\zz :p=:p i~K ilii -r- H '-f bfcii^jzr:^ :zT-:^z±zlz i-tzzfzz —J I t— I :*r±:—— :Ust rzti now come in my happy hours, To wander wi' my Da - vie. The 3i:fcizrr==iz|t .zh ^-. -tf=:e. -Jtztzz l^Ei^^E^^ trt.t=U:^l -h" -i-- V z:p-izc::(tr| _^^iZp_, z:zwz -#=e: ztrcztsi_c:_|—i_H ,— I—p.. It: iFJ^ cryfl tal wa - ters round us fa', The merry birds are lo - vers a'. The —»—•- 1 » •— tf_t_4=:rp=ir r- -I- — I — I 1I MUSICAL AND LITERARY MISCELLANY. 93 :frr-*-!t- -t^t IliiL *^i—4—^^s—i_^»c_^— _3—w^i—r:i__pt_[_ D Bcented brees - es round us blaw, A - wan - d'ring wi' my Da - vie. — ^" « "-5 » Ts:: ==3—===qrl*«r:S »-»- :»=e -r 1- i^: ~ -1—. ) i-^z I I —^_:| 3_^__,_,^— I ——— — |- — —^ — '2b Vs. ^~z ^— — *.._^rl—^—I —jji Meet me on the war-lock knowe, Dam - ty Da - vie. dain - ty Da - vie, -» g- — »- — fr — ^±%zt-- :p=t=:fi:= r- -p- -\ — r- i_«—I —_ rtzp: jfEbgeif-pLiHrfz: ^-'-J-4 =3trfe: tit :tEz:t: Tliere I'll spend the day wi' you. My ain dear dain ty Da -=*— 313. (E -H:n-zzr. zszsz ztztzc-zi zzt—^-t-\^- .qi-pid 1- 11 r- -I r- ff AVhen purple morning; starts the hare, I'll flee to his arms T lo'e best To fiteiil upon her early fare, And that's my dainty Davie. Then through the dews I will repair, Meet me on the warlocli knowe, To meet my faithfu* Davie- Dainty Davie, dainty Davie; 'Vi'hen day, t-xpiring in tlie west, There I'll spend the day wi' you, The curtain draws o' Nature's rest, ily ain dear dainty Davie. ROMANCE OF THE ORCHESTRA. letting it fall down, but was restrained by my elder I once witnessed a scene in the orchestra of and more wily friend, who whispered to me "never Covent Garden, which, for ludicrousness of cll'ect, mind, I'll serve him out." He then changed places and the mysterious manner in which it arose, sur- with the lady, and all went on quietly till the fiill passed anything that ever came under my notice. of the curtain, when I suddenly missed him. He A friend, considerably my senior, and a play-goer returned, however, in a few minutes, with a large of the time of the Kembles, was one of my com- piece of—yes, of candle; and he gave me a look panions; the other was his wife, to accommodate which indicated that I was not to see anything. whom, being short-sighted, we had established Yet I did see, that while the rest of the audience ourselves in the front row of the pit, on the were looking round the house, he leant over, and, prompter's side. At the commencement of the unobserved by any one else, applied the grease with overture we found that the scroll end of one of the dexterity and effect to the strings of the oft'ending large double-basses intercepted the lady's view of instrument. He then took his seat, apparently as the stage, and a request was preferred by my unconcerned as any spectator in the pit. In due friend to the performer (a most eccentric-looking time the bell rang for the music to the afterpiece, genius, with only one eye, and that apparently and we saw our musical adversary enter, release turning on what mechanics call "an universal his instrument, and seat himself. He then tried centre,") to alter his position, but he very un- the strings at his ear, and finding all right, indulged courteously refused to move; and still worse, on himself with a pinch of snuff, and quietly awaited the rising of the curtain, he left tiie instrument his time. The second bell rang—the leader gave secured in a perpendicular position, so as to com- the preliminary tap-tap, and off they went in the pletely obstruct our lady's view. Thus he left it, in overture to Tancredi. After a few bars it was out spite of all our remonstrances. I, with the desperate enemy's time to chime in; be sawed away with indignation of youth, was for cutting the string and right good will, but, to bis utter amazement, with> — — — 94 THE BRITISH MINSTREL; AND out producing the desired effect. He K.olced down above all, on a life of long-tried integrity. It inquisitively with his single optic, but without com- requires an acquaintance with the world as well as prehending the mystery. Again he tried, and of with music ; great industry ; a clear head, capable course with the same result; another downward of arranging complicated details; and that union look, and the truth seemed to flash across him. t>f firmness and good temper which is necessary His one eye glared most horribly ; but not ou us did for surmounting difficulties and reconciling jarring his anger fall. In front of him, perched on a high interests. It requires a thonmgh knowledge of stool, with a step halfway up for his feet, sat a nee everything performed, down to the slightest note homo, working most industriously at a violoncello as of the most insignificant instrument in the score; big as himseli, and in sweet unc THE STAMMERERS COMIC GLEE. Dr. Hamngion, A^odera«o. 1st XENon. ^EE^^EfePEN^E :35: 3frpE: :35r:f=P= 'wz :t=lzn t=pdrq=:pzF :P:^ O sir can you tell, O sir can you tell where old Goody Groaner the midwife do 2nd Tenor. Ee^ Bass. ^E?= ^m 1^1 :P=r; -—•-p. -45—-- Xz fz? f:±z^ ~i- "I— -t- r- dwell, Goody Groaner the midwife, the midwife do dwell, \- ri=q=:3z=m-T=m=zz^z =1—I :i-i-t :S==i: 'm Who who who who who who who who who who sir. whom = — r MUSICAL AND LITERARY MISCELLANY. 95 ^-i=rf~-=q: rpOt ::]: —--, ^- zt. —' 4^ 3::: t- — where, where, pray, sir, where, P^*y *^o sir, do sir, do sir. 1 -»- -|^ -»- -|»- -f- -^ B] re-pz^np-dt: :3?: 3rzfrzp 5EEE^£= Ibp=j^:=7-rT-|-=:J ^^=^pE?3I I I I I I will te - te - te - te - tell jou you you you you sir you sir :r=p: Z^fZ :=P= -(=-^- :Ei=rE| :pr=^=c T i —' -I — "I be quick sir. be quick sir, mj wife sir. is fiick sir. be quick air. iiqzzrq— -Fi ^- —I- -* * —.^—^-1 5j ^_c*_:i_::s__i_j G- -O- -e- "ir — — she she Bhe do li - li - U - li - live, she do do do do 3IEEE5E: :3dzz:i~*: No no no .A 1_^, irrg: rpczit: :^r^~p—p: 5~^zi=: 3:: ^nrp: 3ZZZC 1:: :t 111 my wife sir, is sick sir, is sick sir, be quick, be quick, be quick I x::qr:q: izzdzx^Jt*: i=:ir:i=3: :x!izM=:]ir{zj^-f-j!=:g E^EpE^EM live, she do do do do live, she do live, she do do do do live sir, g] jESE3E5E^EiE|Ep--r£z:»rg»E!E5E^E :zrz33: t~r-|—r- X=^-^ I I 1- e1 no no sir, old old Goody Gro • Groaner is gone gone go izzpr^crpdiz- :p=p: :jqr=:3:i: -X:z.\z 1; pray sir, pray sir. be quick I pi'''7> quick, quick, zouns. :S5ZZSZ|r -ipziE- :^: —SE^ElE=i^f" live sir, 0-0 - o-o-o-o- ver the way, 0-0 - 0-0- ver the way air, SI -W—w—^-\-\ 1 ly-b^ly—g- =H-rq=rbzt=t:=F=tr ::ti=!=tr-^«— ne, gone, go - go-gone, they say sir, no no no no sir, no no no no — h — — 96 THE BEITISH MINSTREL; AND _p. wrdk^z A- drzcif- -?r=._ _^ :t=~t: 1:: zouns jou'll be all day, sir, zouns, zouns, you'll be all day sir, poor Jenny ~q: ^^^==1 :p:-r: Z-ZZSZHfZ :f=i- stay stay stay sir, stay stay stay sir, I 1 —t-^-^-^-a—^ .__ "i_ri_i;£zri,-^-ii.-^-_p—»--»-.-^__- ' hr-t-b—h:—f-—I —»~^-|y -\r-iT—\r tt—hr—b—t-i C—U^-^—-- Ql_it_tt_t,t:— ilz:^lz:rlz:ilz: JOcts^^r^ d: no no no no, gone they say sir, no no no no no no no no, gone they say sir. is bad sir, poor Jenny is bad sir, such stuttering, such sputtering, such stammering, 1—1—:a:zq-=q:I 5-4- ztt±.\ :a=3r 1 sir, will tell b^ by and by sir, will te - te - te - te - tell, will te - te - te - te- 5it; :=E=~E|^EEEEg^«: -^—»—^--y- ::=]z-t=a no no no, he he he do lie Bir, do such liammering, 'twill make a man mad sir, make a man, make a man mad sir. piH=!=l^3a^=§=^=lE^i=^§=g^fi tell. will tell tell by and by sir, by and by sir, I will I I 3i=r*=-i=g=i»: zvrzwz :q==t=: iEE3E=E3EEiEE^=EE^=l lie lie. do lie sir, he do do do do 1 I 35.-^^_; :?-?z:f^: Zf~inr. j=Kr:^r:= r rizrzjt: :5= 'twill make a man mad sir xouns, zguns, 3-1 :Eg2gig-3Egfe^gl"^g5£?i^ill te - te - tell by and by sir, by by by by and by sir, by sir, by and by sir. t=:±=t z-X F=P=F=FEF»-re: w. ^ Z4_:*_dr — I \- x=x — ± he he be do lie sir. he he do lie air. do do lie lie lir. — MUSICAL AND LITERARY MISCELLANY. 97 INNOCENCE. ROUND FOR FOUR VOICES. George J- Webbe, Boston. dim. -^ '^^^=Eh -€l- M' fouD-tain from its ky i^rzff: ?=^=i= :lz:rr^=i: i E'er tripp'd with foot so free, e'er tripp'd with foot free, =1: L^i igii^ She hap - py. hap - py as the wave -f- ! That dan dan • ces the THE OPERA AT PRAGUE, AND MOZART'S won his richest laurels. It was in the orchestra of MUSIC. the Prague opera-house, that " Le Nozze di Figaro" The Bohemian's love of good music, and his (an opera unrivalled for tenderness and melancholy) capability to produce it, are alike proverbial. was first performed; and it was there, too, that the " Accordingly, the theatrical music of Prague is splendid music of Don Giovanni " first fell on the about the best that is to be heard in Germany. ears of an astonished and electrified audience—an The interior of the opera-house is very light and audience which, on that occasion, boasted, amid its handsome. It has three tiers of boxes, and a host of musicians, the presence of the immortal Haydn. As into parquet ; also a pit, the seats of which are only Hooked the orchestra, and beheld opened upon paying an additional sum of thirty the harpsichord at which Mozart himself had so Kreutzer, Wiener Wahrung, to the entrance money, frequently sat, I could not help imagining the which is a paper florin of about tenpence sterling. enthusiasm which, in this land of music, must I have already heard the operas of " Die diebische have been felt and expressed, when the brilliant Elster," or the " Maid and the Magpie," and " Fra and soul-enkindling themes in " Figaro" and " Doa Diavolo." The former of these was performed in Juan" were poured forth from the voices on the a style that I scarcely ever heard equalled. The stage, and accompanied with all the correctness, overture was played in a manner altogether con taste, and power of a Bohemian band. What a amore ; and the efl'ect of the wind instrnments, flood of thrilling sensations have these themea which were admirably in tune, was quite electrical. universally excited since that memorable night; I remember being present in Italy, on the first and how enduring will be their sway over the passions feelings of future representation of this opera, and of joining, not aud generations ! The only in the universal burst of approbation that was music of Mozart belongs, not to a passing age, but given to it at the fall of the curtain, but in the triple to eternity. It speaks to the changeless sympathies call for Rossini to appear on the stage, to receive of the human heart—the unalterable pleasurable the meed of public harmonies of the human ear ! When I think of approbation ; yet, at this moment I am at a loss to say whether the performance of the wayward, sensitive Mozart, and the universal this opera in Italy or in Prague was most to be feeling of sympathy which his productions excite admired. Of this, however, I am certain, that the in every quarter of the world, I am forced to confess the Bohemian orchestra, in point of wind instruments, power of music over poetry ; for where is the was far superior to the Italian. " Di piaeer" was poetic genius to be found, that can be said to have sung by Miss I.. Gned in a very brilliant and fallen on a course so certain to touch for ever thie sprightly manner; while Herr Siebert, a star from heart-strings of the majority of mankind, as the the opera of Vienna, filled the part of the Podesia soul-speaking author of "The Zauberflote?" Be- with much ability. His voice is an excellent basso. sides the field of fame which it is the fortune of the The beautiful duet with father and daughter, was musician to enter upon, is far more extensive than given with great taste and effect that of the poet. The genius of the former is not The amateur in music, on entering the Prague restricted to that of the great, the learned, and the opera-house, can never forget that within its walls refined, but extorts approbation alike from the Mozart, that most glorious of the sons of harmony. savage and the sage. Stratiy's Leilersfrom Germany. No. 93. I ' h 98 THE BRITISH MINSTREL; AND YE WHO SHUN THE HAUNTS OP CARE. DUET FROM THE "ZAUBERFLOTE.' Words by David Thomson. Mozart. Andante. T=i:=d=t: 4^ :q=:q: :E -.r~r-r-r :^.i:zi-iz i:z;pzzi: :i-i:gi=:i=^ i^^ ._(_- I r -r-r-t- Ye who shun the haunts of care. To our forest wilds repair, Where thro' clear ce- :pc:~ q=i:: :pz: 3ilE^EE«E£E^: -Q- :f=pt: It igzii^Pzip: :P=:P, -t-^h- i Ye who shun the haunts of care, To our forest wilds repur, Where thro' clear ce- m- :=r =1=!: -JCZJfZ iir*zE =cfci: :Wzi: tdrind Ti-*- -r Tu • lean air, Fhcebus rises brightly; Here thro' never - ending shades. You may rove till tztzt: ^: *zr2ttpzp=t:e: — -I > • ni lean air, Phoebus rises brightly ; Here thro' never ending shodts 1^- :3=P: ia^§i?5?5sEd:S -.r--r-^=j^ 1—-h- -r- ev'ning fades, you may rove, may rove tiU ev' - ning fades, Ne-ver has the ipErzfuiiczii ^ ±=::i=X :E=:=i=~t T i; E^^E=^=t= I you may rove till ev'ning fades, you may rove till ev' • ning fades. Ne-ver has the ;tfK:?E 3di qtr^ntzit HH-^5iEE3g ' = 1 S —«i«i taii£ po • et's rhyme Feign'd a sweeter, soft - er clime, Where the restless foot of time SeEE=Etznt: -"=1— ' 1 1 -P-l -r,--' ^- "-i 1 — \1/ po - et'a rhyme Feign'd a sweeter, soft - er clime. Where the restless foot of time ad lib. Moves a-long more light-ly. Nought is heard the gale to swell, Save thei woodman ass zw—w=f—w: :p=:P=t=fi :t=-t; :i=i=f^p: r- -f -t— Moves a-long more lightly. Nought is heard the gala to swell. Save th« woodmas ; !r ; — ; MUSICAL AND LITERARY MISCELLANY. 99 h&zi\zi==i: rr^p :3=e=P: =Szz^z^iz=i---it :zi=r- i- -ji—^- :i-S= in the dell, And the bo - lemn Sab - bath bell. Far a - long the mountain. ss qt— f: ?=:t=: -jiz=zii—^^n :Pz:p=:pz:pz I ^^^ -I—— in the dell. And the so - lemn Sab • bath bell, Far a • long the mountain. TC^p: :p=:p: -o-^rt --\z ZltZI^Z ipt^^EEa; -r -1-^ Hera no noise at dawn of day, Drives your dream of bliss a - way, drives your dream, your .-pnP:.^. tr.-?z-^ ij:^: 33: L I I. tztiirf: :^: i •r Here no noise at dawn of day. Drives your dream of blissa-way. Drives your •H^—1^- Hint E^S^^^E^pTEgg^ liniiziz-J: I dream of bliss way, Tet the wood-lark hov' - ring nigh. Sings as morning - ^ f P-=PE -J-—i-- - ' '' - I I 1— — F— ±:=:=t -e— liiiizzpnp: :t: i- dream of bliss a - way. Tet the woodlark hov' - ring nigh, Sings as morning ,Oi od lib. ope's her eye. And at eve a lul . la - by Near yon murm'ring fountain. dJj: rpcTic l=:f: K^-e: .M—jJ. :pz=Pz=p=qt :p: I t t— 1- ~t— i——— 1^^ ope's her eye. And at eve a lul - la - by Near yon murm'ring fountain. THE STRICKEN OAK. His sapless roots are sear'd and dead. The withered leaves compose I rambled through the sylvan wood, his bed His branches round him lie. And rested where an oak-tree stood, naked, torn, The monarch of the glade Now and stript of green. So little like what they have He reared his proudly spreading form. been Apt emblem of mortality And seemed to court the coming storm. That rolled above his liead. As some protecting mother dies, Again I passed the monarch's throne, And grief bedims her children's eyes, But there, alas ! uo more he shone They weeping round her lie. The king of all around. So lie the branches of the tree, His shivered branches, rudely torn, All scattered o'er the grassy lea No more his stately trunk adorn, They wither, droop, and die. 'Tis stretch'd upon the ground. WeeUy Dispateh. ' IGO THE BRITISH MINSTREL; AND THE SOLDIER'S RETURN. Words by Burns. Air—" The Mill, Mill O." Andanle. When wild war s dead - ]y blast was blawn, And gen - tie peace re - aFiEi^e :^: T" 1^- :q=: ::^- :^ft: =:]=i: :^: -iz-pirzr^ S£ ep^e: -tif- c5 I turn - ing, And eyes a gain with plea sure beam'd. That % 3H3E:^ -p ^ -» r- 1 jt=:n ^^titfz-^: :t:p: rarizie: ^tzt it-izrS!:^: iiit I had been blear'd wi' mourn - ing. left the lines and ^ ^EEx=t:^' ifct: d: I -J^--. 3E=p: -P^i-*?—c^ sW: :^=t: gg^^ii :L=t field, Where lang I'd been a lod - ger, My hum - ble knap - sack -b-*- ^ 3S — :^=P: :t=fc :==p=Uit ^—'iJ-Pm ;=i E^l I * .-& i^rzpr :iri: «;f: i^:e: :e±! :Wr.i==pr= :l— ^ m-—h-^i itzzi: r^ -r my wealth, A poor but ho - nest sod - ger. _^_4 ^~e1|§e^eEe& -1=^ = ;-===:i:'=±:=tHic It: A leal li^ht heart beat in my breast. At length I reachM the bonnie glen, hands unstain'd wi* "Where early life I sported My plunder ; ; And for fair Scotia hame again, I pass'd the mill and trysting thorn, I cheery on did wander. Where Nancy oft I courted. I thought upon the banks o' Coil, "Wha spied I but my ain dear maid, I thought upon mother's dwelling my Nancy ; Down by her I thought upon the witching smile, And turn'd me round to hide the floo<} That caught my youthful fency. That in my e'e was swelling. ; —: ; MUSICAL AND LITERARY MISCELLANY. 101 Wi' altet'd voice, quo' I, Sweet lass. By Him who made yon snn and b1cj« Sweet as jon hawthorn's blossom, By whom true love's regarded; I am the man, and thus may still O I happj, happy may he be, That's dearest to thy bosom. True lovers be rewarded. purse is light, I've far to gang. My The wars are o'er, and I'm come hame, And fain wad be thy lodger, And find thee still true-hearted I've served my king and countrj laog Though poor in gear, we're rich iu love. Tak' pity on a sodger. And niair we'se ne'er be parted. Sae wistfully she grazed on me. Quo' she, My graiidsire left me gowd, mailin' plenish'd fairly And lovelier grew than ever ; A ; Quo' she, A sodger ance 1 loved, Then come, my faithfu' sodger lad, Forget him will 1 never. Thou'rt welcome to it dearly. humble cot and hamety fare. Our For gold the merchant ploughs the main, Ye freely shall partake o't The farmer ploughs the manor j That gallant badge, the dear cocltade, But glory is the sodger's prize, Ye're welcome for the sake o't. The soilger's wealth is honour. She gazed— she reddened like a rose The brave poor sodger ne'er despise, lily Nor cuiuii hjm as a stranger : Syne pale as ony ; She sank within my arms, and cried. Kemeiiiher he's his country's stay, Art thou my ain dear Willie ? 111 day aiid hour o' danger. COME LIVE WITH ME. Andante. -ir^jL. ===xESE?_:Ei^pzz^-iz idrq: ti-z~ziz=z- —:?=.-^: t~\:z^=iz irfcitE: Come live with come live with me and be my love, Ist Tenor. 5t=s :=l=^=^=f: :P=Je: ^ES±E^E:^Ti :a-i: :_=:* :i=pi=:p=z: 3t:i: Come live with me, come, come, come live with me and be my love, 2nd Tenor. ^^EE^fEllE^ :ttrJ: it 3^ Come live with me, come, and we will W Bass. ^e; :M=:p: I Come live with me, come, come live with me and be my P IciTei and we will all the plea - siuea y - r 102 THE BRITISH MINSTEEL; AND - eres. :Bl^ :pi^ fz :P=c t=wz p^tf^i^pr^ -r r ±=t: rtnt r-r-i=£ S JC4: prove that grove and valley, hill and field, or woods and stee - py mountains yield, cres. J :c=1=:q: ^ =Re: -n y-F-y :il=3l: atzS: -^-g-jzza :i=3: atri: :*=i: prove that grove and valley, hill and field, or woods and stee - py mountains yield, and I will / <* ::r~T-r-y:rjt= _»- , . r y~y 1 I '^ ^H 1 -iT-' i ^F— -I iT-1 —P±^^ :tc=t=:T— prove that grove and valley, hill and field, or woods and stee • py mountains yield, and I will -P- . f ..e-_ :n: ^^E5^^^ 2d; ± t± ± :ir+- :i=l prove that grove and valley, bill and field, or woods and stee • py mountains yield. :e=t£: :^=ic m. -j>- » y » yzjr > k' k i^->:-::t^ and twine, and twine - a thousand firagrant po - sies, a cap of flow'rs aud -r -t-t- ^-r=^-. ^^--^^t^^y-l7—^— ' "- make thee beds of ros - es. a cap of flow'rs and ==ts r=ESE^=*=-f^ 1 -p=— make thee beds of ro - ses. cap of flow'rs and :pr^=:I=: uPrj^-U-Pt-jt: -N--K f-r-r-T: :4e=1^: :1?- I^'. !,> ^^ and twine, and twine a thousand fragrant posies, a cap of flow'rs and rrr-inrrp: f^-ry=g=gqfffrf=g :ff:rp r±rtfcz^=:ffr:f^::r:il:^^^ itzzt^zit 3=nrzt Win ru • ral kir-tle em • broider'd all with leaves of myr-tle. A belt of :e=P; ry-^-y— : izrl: frr- -4- 4c=lfc :t2::=t: —^W ^'vz: z:i=i1 :a±rjt ru - ral kir- tie em - broider'd all with leaves of myr-tle. belt of q=q: ^=r^ rt q^irzfs: :i=i :rt= :pz3ti itizzjtzirri: :*=-*=* ES 11^ ru • ral kir -tie em - broider'd all with leaves of myr-tle. :pf=f: •Ts~—rq 5=q= njs: ifiztri #• :i=i= -ji-v-ll- IzztziHAi ru - ral kir • tie em • broider'd all with leaves of myr-tle. r MUSICAL AND LITERARY MISCELLANY. 103 -^^r- P -fC^ ^rrfz:: straw and yy buds. 1^=!=:^ fH-^-P-fC 1— alat.- straw and TJ buds. And :lsn: r 1 r U-f.-4_J- ta^m Uti^*: tgni: A CO • ral clasp and am • ber studs, And :f=p: 3t - -\ r r T' i F jt:*=zi: / iritizpc :ftp m: -f=dz= dizrC: ^s :5J:;: then live with me and be mj / ^-^=f^ ^^zpLpn zipzzpr i^iiftl 'iitr.z Ji^ ±zt i^ if Mieee plea-sures ma; thee move, / Ni—:^: *^ — :r= :^p=:ft :(»t W.^3E=iefEi!=t S^ [if-'—/-J^ if these pleasures may thee move, then lire with me and be m; JUt -|K :«^=P: =t:: ^=?^ ±=i:] :i:T-i :(= X I iP^Pje: ¥=:ttd=±: t^.!bff=t :*:*: lirjt i tcr-t^- ^^^ lore, the shep-herd swains shall dance - - and sing, ^iTl^ -r -i i=- m^t3 w r- g For thy de • light each t£^5t± tOTO, 104 THE BRITISH MINSTREL; AND i; =i: bSE 1 :.„^^ ^:-^~=^ IfEHi May morn - ing. ':^&kMM -i=-=;-i=-^ :^i,^: ;fzp=^= -t-t- If jojs like these thy mind • ma; moTe. iE^SzEztrl Then live with irt -r-=i- :*rii it^: if JOJS like these thy p .^=.»_^. :?-; :P=P: -^-Wt==:ti; ;=tz±:=fe:= P -&_=!- :==p=l: a=z If joys like these thy p .^ft. :d:=^: ^iEEES=^ T :a3-*:zzuti zzp: :P= '-_ i :£ I _^£^ E^E and be my love. / :?!:?: :P-P: :SE ^ d=t :izi:: mind may move, then live' with and be my love. IFPrprzi; :^2z^2dzzff-zp^ / =rirE|nzsz: rpzprzt: zzinz zzixiizz ^a^ :t= mind may move, then live with and be my love. :q_qi :p3:f: =zd==l= ip^^rp riiznzfcz It: :trzz*zi: ztzt —; ; F ! : ; MUSICAL AND LITERARY MISCELLANY. 106 THE MARRIAGE BELL. Is coloured with a future bliss, Too heavenly for a world like this PV J. H. R. BAYLEV. It hath a soul inspiring tone, 'Tis sweet to bear those notes of fire, Which stirs the spirit sad and lone. Struck from the minstrel's burning lyre And sheds a lively influence round, There is a joy that swells the soul, Wherever flies its merry sound When music charms " the flowing bowl"- A pleasure in some well-known voice. It mellows down the lorn one's heart That bids the loneliest heart rejoice To meet its fate, and bear the smart An ecstacy that springs from soug And wafts the aged back once move A rapture in the social throng I In fancy to those scenes of yore, But where's there an endearing spell When early joys and feelings grew, That gladdens like the marriage bell ? And vow to vow proved firm and true! It falls upon the lover's ear Yes, one and all, from youth to age, Like strains from some diviner sphere ; From the unlettered to the sage, The tale it tells the young and gay, Have felt that life hath not a spell Whose life hath been one summer's day, That gladdens like the marriage bell 1 IF LOVE AND ALL THE WORLD WERE YOUNG. Sr W. Balelyh. GLEE FOR FOUR VOICES. Music by 8. Webbe. Moderato. *=t=riF^f-»- ^ ALTO. EEEE love and all the world were young, :p:=Fj:e: i^EEE^^iEl --4- 1st TENOR. EEEEEEg^E|E^= i=^1e^eS-=^ -[-- If lore and all the world were young, And truth on ev' ry 2d TENOK. rpn^r^ip: EEB=EgEgie5st=ZJE If love and all the world were young. And truth on ev' - rj Si -^—»—»- i=t :=t BASS. :^S: j=--=i- JtzM. :i=in=l== ifczlfiriz:: If love and all the world were joung, :P:=f=r:p=p: zw-zt-zsr. :e==f: t^-- -m p_ .W-r- -I 1 h :p :fe:==t£ Thy fan - cied plea sures might me move. And I might lis - ten :p:=:?En:p=£:rK :f==pzr^: :^ zw=.zw=^ ai; it^iii^zltizt:: :t=t==ziz :i^-^-- shepherd's tongue. Thy fan cied pleasures might me move, And 1 might lis - ten —Ijt=|S-jt ~^-=^=g^—p^ -=i- ^W:i=^^£ !=riE3=:4:£?r£E :J=:i=:W-S:d^^'^-^^^S^ -^-t- -T shepherd's tongue. Thy fancied pleasures might me move, And I might lis ten Wi^lL—\z:w=zwrz.w=^lsz.e— ::==!^; m P=t: f— ^r=:==^^ :t :t==P: EEEEE ife^ Thy fan - cied pleasures might me move, And I might lia-tea No. 94. 106 THE BRITISH MINSTREL AND floclis fiom field to fold ; The n - vers rage, ri \ers rage, and r=^- :f~~i: |^5gg ^^^^ field fold; The ri - vers rac^e, the ri • vers raj;e, 1^: 1^=- r}: ^^^E^f~Ei=: :X3: I field fold. The ri - vers St :=!=r=l-=;- 1:===^: field to fold, The n - vers rage rage and /r\ F :f-—^- j_. :tEc :t: :t: zt—'p=fjL-ztrjX=ztz±i hills grow cold, hills - grow cold, Then droop - ing Phi - lo - niel is dumb. ^ p -€i- f:#f=3Ed=P=P=^i^n!=p=PE:=ffr=r^ iEI?E*E rttirfc i^lrrnizrt: :p: and hills grow cold^ and hills grow cold. Then droop - ing Phi - lo - niel is dumb, And ~=!z=zd^ Zi- ri=5=it=L=i: :xi:=i:z iliiSi :;iz=i-iz and hills grow cold. Then droop - ing Phi - lo - mel is dumb. And ^, P m -r=^z :r-=i=^=s=, 1 I hills jjrow col' - grow cold, Then droop - ing Phi - lo - mel is dumb, And h ^ r MUSICAL AND LITERARY MISCELLANY. 107 piii lento. I—«-=-»^i i |a_=i_^: S3f±pX^ z^tzzii^: -I— Tlien drooping Phi lo - mel is dumb, And age complains of piu lento. Eszff*^: --^^^ giEg? ;tot:3;=:f-j:i; :^~^iz --tzz^- :rtr:te::zp=EI age complains of rare to come, Then drooping Phi lo - mel is dumb. And age complains of piu l».nto. r=-: H>— ifs: ii^iip: ziiri: ^£ EH kirzf: -TC3=:idzDir.:J--i.i3iz -*.-^:5t=5l: :t=fc ai^e complains of care to come, Then droopin^"; Phi-lo - mel is dumb, And age complains of jiiu lento ?^is=ie: i^r^s te ^§^=^!=«==^^-^H :ixi: jii. JT*V age complains of care to come, Then drooping Philo - mel is dumb. And age complains of calande. ^_^ ''"^ pastoral iuaitnt^i'. ~ ~ A. W.^ ^^ ^ p :P:;=P=rPz=|^ :P!:P^.-f: -r-=i-F^ ::ti=zfc care to come. thy beds of roses. Thy cap, thy Ir ^7\ ziii/czpr:^zn:^.;— --^^ri:^ z=l=^===|=iftPpf=i=piz=:fzp*±:?=p: care to come. Thy gowns, thy belts, thy beds of roses, Thy cap, thy ignrj^irjEirpEr S5??= -*> =adzjBxaJz±:but;^t=Ez zp=_t^zbt;=^t^l zt^ tli? r- care to come. Thy gowna, thy belts, thy beds roses, thy cap, thy p q==isa: -p-=i-r- tziitztz :tzpre: :3=S: iSii: 1=!C :t=fc: dz=p=lg care to come. thy belts, thy beds of roses, thy cap, thy -ft- :t zczt :!::: ;t=^ — 1,^«'—I— 1— kir - tie, and thy po-sies. All these in me, in me cnn no thing / :P=P:zp: :t: rtzi :fc li=:p=3:zt=^art5tzE=t=fc kir - tie, and thy posies, All these in in me can nothing / z^^r.1 i^t :=i:::::;s;: rp-f: f±^-i*=#pi^zs=: :t=l:: :^~SE.^E^S3? Itir - tie, and thy po sies, All these in me can nothing f :P±P: :p-i=P=:f: -^±?:=t: :p:r^=r - ii= I— :t: -I— :S* kir - tie, and thy po sies All these in me can thing 108 THE BRITISH MINSTREL; AND =rr--!^torz^ iSzt^: -i=-=w=-p rt=: It iie^i^^i move. To live with thee and be thy love. and ir^;: -I W—W-F- 1 ^^B^^^M -I hr 1 :f^ ^?1^ zprpzt^l move, To live with thee and be thy love. If youth could last, and P :=1= :q=q: :az3tl!E|: :il--3i i=ia :3r-S:t =r3t: :^-^\ To live with thee and be th^ love. If youth could last, and ^^¥^^ :^ -iriZfLl iE=* ztz --t- ^iS: move. To live with tliee and be thy love. -pl:fL,:!^..|^iji. ,.^.^-pz^ d^z1tzz\~^j.zfri=f.p::q;:^jf- f^ U Xzz^ :t3= love re - main, Had joy no date, and age no pain, Then these de- / p :i:=p:!r|rjE--=:fg:yEr:?s=3E=|-e---f:p=C w:z:zwzz Z^'ZfZZfZEE*E^ :t: li=ut=^ =;=t=zt:===P=t:=:ts love re - main, Had joy no date, and age no pain. Then these de- / p Ei^-^E irrszwri :(E:i:r-1=:p-"f=:ff: i^z^^je: T" ^-'A- ztz r=:C:dr:!irE=r4c love re - main, Had joy no date, and age no pain, Then these de- a; :p=1=d^| t- :ixi—SI Had joy no date, and age no pain, Then these de- / -^-i_ -P^-^-..-,fz:=pz=|=P±p=:? :1==q: - I |y ^ :t=i=:trzi: i -I- ti:r:{L:-i=i=i);I tfcsznlf- lights my mind might move, And I might lis - ten to thy love. f "^ « Ir 2^^i5:f= zftzzzirs :^ :Prp=:t Ip^ZZpI --^rf: =t=t-fc :dr±=ti: lights my mind might move. And 1 might lis - ten to thy love. z-^d: ZfZtLj.ZZizV. :t±p=-4t: ^zz^tzim^^z\zf!^^z -fcizi; lights my mind might move, And 1 miL'ht to tin love. EEzEp-: :=!==!: Id: ^z^-- ±=t= :z==i:i= :=*::-ii ±.zzmzikit.S : .L-L-LB lights my mind might move, And I might lis - ten to thy love. — — = ! MUSICAL AND LITERARY MISCELLANY. 109 WOMAN. When fields of blood re-echo shrieking cries, I And hope's lone star hath left the shrouded skies; " manhood's haughty crest is fallen low.' When 'Tis then thy mighty heart shall fully prove Oh, woman! truth and passion rear the throne The strength of all thy constancy and love Where thou dost sit triumphant and alone; Who longest lingers at the bed of death, Bright shapes of fitful fancies throw With kisses winning back the fleeting breath? Prismatic colours o'er thy beauty's glow Who longest at the chill lone tomb shall stay. Before a thousand shrines thy feelings burn, Pale sentinel o'er cold and paler clay ? As vestals wave their tapers o'er the urn. " Last at the cross and earliest at the grave.'' A seeming fickle nature oft imbues Ah, woman! 'tis thy chosen hour to save, The colour of thy mind with rainbow's hues When manhood's haughty crest is fallen low, Yet, when awakened to some daring deed, Shattered and broken by the stunning blow. When grief and trials come and nations bleed, J. N. Maffitl. HOW SWEET IN THE WOODLANDS. DUET. Dr. Harrington. SOPRANO OR TENOR, ^^HifeiPgi^fei -I- How sweet in the woodlands with fleet hound and hornj To 2d SOPRANO ..p K. OR TENOR. =zjz3:zi=:?=iE*:i-fei::E —^-' '-^ ' pJgi^^gg^gE^lg^ipaggEJblzintrr: :=l==P5rq?5r:| wa - ken shrill e - cho and taste the fresh morn. But hard is the iiir =1!=^ ^-F-i»^ njq-I—^h-|»- .T :p=p5i:s; :i=3: :»=:i^=li^ -r—K*- chacemy fond heart must pur - sue, For Daphne, fair Daphne, is lost to my view, is hfcj: q=q:; zizwi !ESS:P=:q: :i=i: E??^E£EEl^=^ElE3EjZ^E^^Ep~lE«^3=^-^^ ii^^iiiiiipiaipi^ilg^ lost, fair Daph - ne is lost to my view. As - sist me chaste Dian the q= —I— i_|i. -r-P- *EE^=^E?EfEEa^Et p :t:: I b I » — no THE BRITISH MINSTREL; AND ;—r=£:pEzt^ -& '^ ¥^, .1 ^1 ^^— ^ !ztu r-tj5^±d=Ua=tz!5lir?5-'EIS njniph to re - gain, More wild than the roe-buck, and wing'd with dis - dain. In 1=F5: l:^^^:^; liE^S^ *-©- i:.^: ?^gi 'i_zt3:i: pSi=^igEg^El|E^^ |!t=tiri: iife^ pi - ty o'er - take her vvlio wounds as she flies,Tho' Daphne's pursued, 'tis Myr- 1^ ::lr5zz=]-=P5 -I — -e- ^~?= :W:EjEJ^ •- =3z^=-p: i=i—irff: H— /7S - ^^ =^ .5|-H-=!- ::p:=^p: P^l-F— —^— f-rz^rwz =-e- ipzi: ^ gjp :C:=F=I te:=t^— ti^: -I— —1.^1— .—I til - lo that dies, tliat dies, that dies, 'tis Myr til - lo that dies. aa=: /7^ ~^-z^^^ gziEiEE E^aiife THE SMUGGLER Words by Thomas Cory. John Davy. Twas one morn when the wind from the north-ward blew keen - ly, AYhile :p l=Ui=tiP: :^ g±EEi :e-~t :f-P=^ ,t:= £E -p Eiz: "StiZ"'— qs;: :^^: zi^MzUt :f==P: :zS::^t»=zqr;s =fr^^i X :E^^E&E:S!lE^EEiE^ :t^=^d of sul - len-ly roar'd the big waves-«._ the main, A fam'd smuggler. Will Watch, Itiss'd his -^- .,_ -g:: Ep5Et-&-^^- _-:&-.-f^- I [ ——r-^p^5-i BF^t$^^c :— b.R=' — 1 — — —— ; MUSICAL AND LITERARY MISCELLANY. Ill kzp: :e=r^ ^ =^"=W- ici= 1 then rene - ly, Took helm and to sea bold - ly It JL.i ^. SE^ sa=: ^—i^l ^=t a-j- :P=^=P: I steer'd out a - gain. Will had pro- mis'd his Sue that this trip if well ended, Should p. » I ^^.^ -?L._i_J. Bt^E^te i=:t=::d=|±p- X ?3= :4:; cE^EgE^ coil up his hopes and he'd anchor a • shore, When his pock - ets were lin'd, why his -€S- -e- -er -»- -©- 1- aHEES=li :pzz^: ij: :d:: 1- :p; I .'^ «._ a) ,. ax: eq=f=:r-r^=5J3=*~^==p=:p==!;«=|=s5:-K^^_-|; —t— itz: i^ =|: -e- :p= iii^iil mended, „. life shoulid be -e- The I he had broken he'd never break laws ;¥Fi;^ -^ Iliiiiriii His sea-boat was trim, made her port, took her lading. ** But should I be popped off, you, my mates, left be- Then Will stood for home, reached the offing, and hind me, cried, Regard my last words, see ""em kindly obeyed *' This nij»ht, if I've luck, furls the sails of my trading, Let no stone mark the spot, and, my friends^ do you In dock 1 can lay —serve a friend too beside." mind me, "Will lay-to till ni^ht came on darksome and dreary, Near the beach is the grave where Will Watch To crowd every sail then he piped up each hand would be laid." — ; But a signal soon 'spied 'twas a prospect uncheery PoorWill's yarn was spun out, for a bullet next minute, A signal that warned him to bear from the land. Laid him low on the deck, and spoke he never more ; His bold crew fought the brig while a shot remained •'The Philistines are out,*' cries Will, "take no heed in it, on't Then sheered—and Will's hulk to his Susan they bore. Attacked, who's the man that will flinch from his gun? In the dead of the night his last wish was complied Should my head be blown off', I Bhall ne'er feel the need with on't few known his grave, to his To and few known end ; We'll fight while we can —when we can't boys we'll He was borne to the earth by the crew that he died run. with Through the haze of the night a bright flash now ap- He'd the tears of his Susan, the prayers of each friend. pearing, Near his grave dash the billows— the winds loudly " Behold I" cries Will Watch, " the Philistines bear bellow down ; Yon ash struck with lightning points out the cold bed Bear a hand my tight lads, ere we think about sheering. Where Will Watch, the bold smuggler, that famed One broadside pour in, should we swim boys, or lawless fellow. drown ! Once feared,now forgot.sleeps in peace with thedead 1 = 112 THE BRITISH MINSTREL: AND MELTING AIRS SOFT JOYS INSPIRE. GLEE FOR FOUR VOICES. Words from Hughes' " OiIr in Praise of Music." Or. William Hayes. Ajff'ettuoso. 1st ^1=^=^^^ Id: SOPRANO. &=EE -^-na- i^zsr :5^-€i- hz znzizSiz glS; :=!: ^- Melt - ing airs soft joys in - spire. Airs for droop - ing 2d SOPRANO. ^rQ-TJ: -©— 1 ^m^Melt - ing" airs soft joys in - spire, Airs for - ing droop ALTO, ^^^^ -^^ Melt - ing airs soft joys in - spire, Airs for droop - ing BASS. ^^^^=^^-^- lq==q: 133 l3^i33E^Sm. nimoji^ 3d--^ iE^^E^El ff:x5=:^:=|=cj:i:f ^crs= :35: ::s^^5: P3^E?= =S—^^ hope to hear. Melt - ine as a lov er's prayer, Joys to m^zzzzjsz SE3 nixjz aidrgzl^rgj^xJz^^-rl^SI s hope to hear. Melt - ing as a lo7 - er'a prayer. Joys to -^ -©-zfcl±^rrcj::F^ Id: rci: d -3-—- S- s - - hope to hear. Melt inir as a lov ei"'s prjiyer, Jo^s to :^^-- ^ -e-©- Z2i-=B: -^-v ;^ ;i^ s.O Q- ^ZLSM: ^insfe flat - ter dull des - pair, And soft - !y soothe the am' - rous fire. (T\ tr z^^j^^iJ :-o~-zJ: j - lEz^^S^lEil^i ^ «3 O flat - ter dull des - pair, And soft - ly Boothe the am' - rous fire. =K^- ^-- :33: E izi^ L-Q- -l 3:3: :W=3t -v^ §;-d-^-,,1 ra I flat - ter dull des - pair. And soft - ly soothe the am' - rous fire. :caq: 2d:ai2d: :1=i- EEE? BE ^iH^^ —-©- I MUSICAL AND LITERARY MISCELLANY, 113 IN MY PLEASANT NATIVE PLAINS. SONG FEOM "THE CARNIVAL OF VENICE," (1781). Words by R. Tickell. Linlttf. Allegretto. .-«- H-J- #r2f.i]s3: :=|: JW*tzz\ &E^^ :i~f: rxizzz- ^** -t-- In my plea-sant live plains, Wing'd with bliss each ^|=i=l'^1ztz-z\z ;jgp|Eg=i=^Ep-FS—»— i—»;fc-i^^:—I—— ~j- i*5jizwn It? 3!: :p=|: mo - ment flewew.uS Na - ture there in epired the strains. ±fL-f#=t=E.SJEE=iE =f^ -J—,— ->._,—!_, -f=^:43=J^=P=i :i=3i i ^- ^m pie the joys I knew: Jo - cund morn and aEi=^ z—q: m=: =fc-=^= -8-- -r- zz^r m :ir L^E^ ~|i •^-^^ ^ S: P 3=z*: ^ ev'n • ing gay. Claim'd the mer - ry, mer - ry de -p. 3= as 1==!:: ^5E3E m E|Ft$=|=r4 l==Ui=: Hit -#- -•- - \ N I /r\ -^^=4- 4- :^ -r :J^ ^ zMzrjt: ^ES J± lay,lav. S3 Claim'd the mer - ry, mer - ry iTOun • de lay. :=tr: 33= i !lSE a Tlt:=t:gzt :qii ^^ iiH :|?'^=|?^r 1*- Fields and flocks, and fragrant flowers. But the breath of genial spring. All that health and joy impart, Waked the warblers of the grove, CalVd for artless music's powers, "Who, sweet birds ! that heard you sing Faithful echoes to the heart. Would not join the song of love? Happy hours for ever gay^ Your sweet notes and chauntings gay, Claim'd the merry, merry roundelay. Claim'd the merry, merry roundelay. No. 95.-1 Jd —, 114 THE BRITISH MINSTREL: AND BRAHAM'S "DEATH OF NELSON," AND ceived the lady duly seated in a private box, with LADY HAMILTON. her little adopted Horatio at her side. It needed Mr. Samuel Spring, formerly the box book-keeper no ghost to tell Mathews the scene that would follow, as soon, therefore, he quitted of Drury-lane Theati , was what is called a cha- and as the racter, and had acquired an excessive faith in stage, seeing Spring, he thus addressed him, first it with Mathews' infallibility ia all things connected with taking out his watch, and looking at a solemn and earnest expression of face—" Spring, I give his mental faculties ; and Mathews, discovering this, was always saying or doing something (previously you notice that at about twenty minutes past nine " contrived) that ensured the increasing wonder and o'clock (the usual period when the Death of reliance upon the gifted powers of the comedian. Nelson" occurred) a large lady now sitting in the After the burning down of the two great stage box opposite rmll be taien very ill, and require patent theatres, the Drury-lane company acted at assistance. Do not be out of the way, but at the Ihe Lyceum; and in 1810 an opera was performing time mentioned be ready with a glass of water and there in which Braham sang a very popular song, a smelling bottle, for she will be attacked with a the " Death of Nelson." Mathews conversing one violent Jit at the period I have mentioned." Spring day with Lady Hamilton, was questioned by her as looked into Mathews' face with a faint smile upon to the merits of the new opera, at the same time his lips, which immediately subsided into a thought- stating her intention of accompanying some friends ful expression of countenance. At length the critical of hers to the theatre that evening. Mathews con- period arrived, Braham began his song, and before finished, siderately advised her ladyship to forego her in- the second verse was sobs and cries were tention, explaining that there was a song in the heard all over the small theatre. Spring rushed " piece, the subject of which would touch her feel- into the green-room pale as his shirt," and seizing ings, and distress her very much. Whether Lady the water hastened to the fatal box, exclaiming Hamilton forgot this prudent warning, or whether with an awe-struck voice —as he hastily passed she sufl'ered her desire to listen to the hero's praise Mathews behind the scenes " Oh, sir, you are a ! to overcome her apprehension of the result, or from conjuror ! The lady is tn strong convulsions Eraser's Magazine. whatever cause, it so fell out that Mathews per- THE FAIRIES. GLEE TOR THREE VOICES. Dr. Callcott. With spirit, I f t _^ ^ :k:=!^ — — 1st TREBLE. H :*=:|=^z: ;i-*: I it—j ^._^_ 1- -i -• Mark the merry elves of fai - ry land 1 mark the mer-ry elves of / z^=2zits:is;:=^qE 2d TREBLE. --it—in :sr!S lzi:z4zTiz:i~i~ +• :i=:ii I I I I Mark the mer - ry elves of fai - ry land I mark the mer-ry elves of / -__ I (_ ^ 1 f. 1- — — i tzf:=ts--z^:zK:^ rprrp- --?=:?: BASS. jd~t:iz:i=:*=i: lizii: =^=fct?: ::lz::dz=:lc :s=z ±=i: •+—i-- p i^riils: -^-- zzt s=Fp==S^ 2i:: =fc:il=: :ir*zMz5z - fai ry land I In the cold moon's gleam - y glance, io the cold moon's foi - ry laad I In the cold moon's :P= zflzwq^ -zi:: ^S^£ ^ ^ zi—zii ^^EEEL=I^^ -h H^ • - fai ry land I In the cold moon's gleam j glance, in the cold moon's MUSICAL AND LITERARY MISCELLANY. 115 gleam • y glance, in the cold moon's gleam - y glance, They with dolce. i-iN-l-UVrs: ES= -^^±.z They with shadow - y morrice dance. P -S-is: :is;nqs;: :i=:3: :^:: :iz.ti=:i::^=^itEj —e— Bhadow - y morrice daDce, They with shadow - y morrice dance, Soft P :ff=ic =p-=- .W=t 3 ;^^--fc xtz rt: :p=t:§ shadow - y morrice dance. Soft mu - sic dies a- PP f :g=:pr_p =P:-P :3=bi:=p: =*:=t: '—r- Soft mu - sic dies a long the de - sert PP / I I- qr=t=q3z!S— rrX ——q=l=q:— . p^rirm: 3*=:p: ^=i= '~f:-=ti tixjt :t= r L-izI: mu-sic dies a • long the land, soft mu - sic dies, soft mu - sic dies a - long the de-sert dim. PP d= -X --0— a Q- •^f^: :i=:p: :zlz :zt si— rr2i: 23: I long the de - sert land soft mu - BIO P slow. dim. tT^ PP ^7\ IFif^A fspirit. =1=— WlfE I*"" J i-Wz: -e—'" :3zd=ixa=;lr +- I land, a - long the de sert land, a - long the de - sert land. Soon at P /7^ PP / =^=t= -^- )- I— —— I— i—*— ::g:=l=i= ^H d— —^M—I—::; -o-BJ'— land, a - long the de sert land. a - long the de - sert land. Soon at P PP / -+ S] ^ j^rizzdzfir: lixi: r*r.:i=:tzizH:= ± ^^. I :t:r± dies a - long the de sert land. a - long the de - sert land. I 116 THE BRITISH MINSTREL; AND P slow. dim. JWitA spirU. t--r: iPrqr =1= :^=p: ss ^=t.: ^E X lizz*: peep of cool • eyed da;, Soon the nam'rouB lights de - cajr, soon at P dim. /( I ^j=3t: mm I ^^^^m peep of cool . ejed da;. Soon the num'roua lights de - ca;, soon at slow. t P dim. a=pf rd=:l: ZitzU :3iz=3L r~p Tempo prima, slowly. dolce. dim. ( f I -1 f- 3trp: p"^-,—.J!=l-^=^1^-)—F—t— 3*=:^: ^ :£r^: :p:=ic: mer - ri - 1;, mer-ri - 1; now, mer - ri - I;, Af - ter the dew moon they A . . — , ^ N N \ :^=pc :S- :i=3i: ^ :W-£-J^- i=i=i-- :i=f mer-ri - 1;, mer-ri - 1; now, mer - ri - 1;, Af - ter the dew moon they SE lll^l crej. /^ I i_j »_ t t I i* gjggjggg^psaaW-W-ff- =p=rp=:p: fertczHcdrtEitc: l:=b:ri:: :t=: - - - - fly. mer-ri-l; now, merri 1;, merri 1; now, merri 1; af ter the dew - y ares. /if? lit I I P =4s qs^ •I H =PE3i=|E: :P=P: :i=p=Pzf= -izHE: :f^=er:p: :f^=r: -^r\r ifcdz -| -tr-tr-tr- —t^-ir fly. merri-l; now, merri -1;, merri-l; now, merri-ly af - ter the dew - ; / P ores. - Sir :|=izp-e=e: ^1^ :^=fq SE^ii ! ^ b — MUSICAL AND LITERARY MIPCEl T ANY. 117 dolce. f - ^- :fs-r r: vr-w iz^: i^-*: utlcrfcrtr =t: ^ moon the; fly, af - ter the dew moon they fly. mer - ri - ly now, dolce. I / T^^s: &iZ*Z3t ifciJ: zdriji-i-fc: H 1- I moon they fly. af - ter the dew- moon they fly, mer - ri • ly now, / 3i =1= :?v=K i: at :p-t=:t=e= 7^=^ :i— ji^i: -!»•—1»-— !»• /» -^-#- / #-.-1 teic: iPtfPd :r=^=t^ :iz-^:tnt :iczpc ^f=:p: a=U=t -br-fer-tr- mer-ri - ly, mer-ri - ly now, mer-ri - ly, af ter the dew - y moon they V f \ N \| rxns ::=]: rir:ffr:e= .W-W-W- 3=:*I ~4—r m mer-n - ly, mer-ri - ly now, mer-n - ly. af ter the dew moon they rr-r: p / ^-—b—tr-T -^-&. ^ N jt:*z3 ^ P y-r-y-F^r^rg^p:t=W: Zfi: frizi: qzj-^j—^-1^-=^ ^—CZ -+— I -i3l fly af - ter the dew moon they fly, they fly, they fly. O. P :Pr3id~3t :S S 3t:il^-gil I I I fly af - ter the dew - y moon they fly, they fly, they fly /7N /> H— a±EE :e=:Pr rp=p: :l—ir zEES :t: 1 fly, they fly, THE VICTORY. In that day's glory, whose obscurer name Hark,—how the church bell's thundering harmony No proud historian's page will chronicle. Stuns the glad ear! tidings of joy have come, Peace to his honest soul ! I read his name, Good tidings of great joy ! Two gallant ships 'Twas in the list of slaughter, and bless'd God Met on the element,—they met, they fought The sound was not familiar to mine ear. A desperate fight! — good tidings of great joy But it was told me after that this man Old England triumph'd ! yet another day Was one whom lawful violence had forc'd Of glory for the rulers of the waves! From his own home, and wife, and little ones, For those who fell, 'twas in their country's cause, Who by his labour liv'd; that he was one They have their passing paragraph of praise Whose uncorrupted heart could keenly feel And are forgotten. A husband's love, a father's anxiousness Tliprp j was one who died That from the wages of his toil he fed ! I 118 THE RltlTlSir JIINSTREL; AND The distant dear ones, and would talk of them Now lies at rest. Be thou her comforter At midnight when he Irod the silent deck Who art the widow's friend ! Man does not kno\T With him he valued,— talk of them, of joys What a cold sickness made her blood run back fight; Which he had kni)wn—Oh God ! and of the hour When first she heard the tidings of the When thev should meet again, till his full heart, ivlan does not know with what a dreadful hope His manly heart, at last would overflow She listened to the names of those who died, Even like a child's with very tenderness. Man does not know, or, knowing does not heed Peace to his honest spirit ! Suddenly With what an agony of tenderness It came, and merciful the ball of death, She gazed upon her children, and beheld For it came suddenly and shattered him, His image who was gone. Oh God ! be thou And left no moment's agonising thought Who art the widow's friend her comforter On those he lov'd so well. Robert Soutliey. He ocean-deep BEHOLD THE LAMB OF GOD. SEVENTH CHOKUS FROM " THE MESSIAH." Largo. Handel. qiv: SOPRANO. sE^e; :P-P= zd: ^HS; Be hold the Lamb of God, • —K—I* m —»-s 1 ="^ I'-^ff• — ALTO. E^eElE -p^-=l- Be - hold the Lamb of God. Be - hold the Lamb of TENOR. 1^ :E Be- -l=-=l- BASS. ±Z Be • hold the Lamb of .-K- :8f $5:3^ -p.— -_ i^=)i: z^=^zzw=t^ -i- *=:W: liini: .-:it± S^ 4fi: Behold the Lamb of God that ta • keth a • way, ta-keth a - way the if • 1=- -^=^ f^^^^l — Efe y~" God, the Lamb of God that ta • keth a - way the eins :-rJfc2r=5r| :iP: :P-- :f3ff ZfCZ^TJE: |y— t: =&|=E"f.^-I^^ :s5z:— -i^ hold the Lamb of God, the Lamb of God that ta - keth a - way the ::iE: :pm?t:=!L±t SE^ --=9- 5*e£eE£eS ^-^\=^z ^: -/-'- -tr- God, Be - hold the Lamb of God that ta - keth a - way the MUSICAL AND LITERAKY MISCELLANY. 119 t=f^iMr. -^— :P3«: ipc^r: Sfc |y—Ir-^ ;^*—jS*^ :fe=?^: r^=:^.-^r^ r- ^sins of the world Behold the Lamb of God, the Lamb of God, of fe=:^ ±7. f^tPCJ :5zfc 3cr:J& -fci^ fcrjfcrtE 1 of the world, Be - hold the Lamb of God, the Lamb of God, Behold the Lamb of liEZir ^!^: ==:P=p!t!3Ez:^ ^^t^w- :iL:^=t^zt:p-j:f :53E:r?E=p:: t~t^ iittini: Icz:^: iSr •tr-tr- T- :fc::^ fc:|£=u=t;=l sins of the world, Be - hold the Lamb of God, Be - hold the Lamb of God, Be- S±=E 'W=-W- ::ff=5=t=pipK: —9— It^n^ ifczlcz^t±^ sins of the world Behold the Lamb of God that ta - keth a - way the slos of the world, the sins of the -Jl=^ iffzszt t==e=P lt=fc-t; ^ iS£ -^ t~/-^-|- world. Be • hold the Lamb of God, Be- hold the Lamb of God that taketh a • way the % It: -l=-=^- -zEzt. :e-tSc=fc i world. Be - hold the Lamb of God, the Lamb of God that ta - keth a- -Jl ^: ^^=3=p: ^^=^z^^P zp: :r=^=ts; :=P Ir world. Be - hold the Lamb of God, the Lamb of God that SEEt^^Pzb^^Ex -p =_ ^:!¥: — ^E^^ t- :t=;:-: world, Be - hold the Lamb of God, the Lamb of God that — — 120 THE BRITISH MINSTREL; AND iprzip: -e -o P- -| /- 1 1- Bin9 of the world that taketh away • urrf::^ fz.'^zBlz] :qE!:t:t=p: i^lt::? :^^;^P±^zrj s^^ -ps-a- m•^^ s J2=te=:ii:t way the bIds, the sins of th« World, the eina of the world. that "f~T7r ta • keth ft • way the sins df the world, the sins of the world. ta - keth a • way the sins of the world, the sins of the world, -e- '^- the sins of the world f^ ifLfi-^:-^-:?:. -^•- i^ »= ^—k> <^— t=dt=!;=± I ta - keth a • way the sins, the sins of the world, the sins of the ^=:"£Ef^ ^t :Ss=:^—Wr. :Pit= ^f^=^ :P3 :#iz=t=tc: :tc=::d that ta - keth a way the sins of the world, the sins of the m n-i»- EE=^^ESEt=^^^ r :g-L^L-l^, that ta • keth a way the sins of the world, the sins of the :pEZ?t 1=^^-4 -mr -r-n- ip^^ziri: -t :ts=l2rtt: :& ^ -t- the sins of the world, that ta - keth a • way the sins of the world. -*-^-P-ft^-^-A» -It. . . -g»-^^-^-»-v-^r-q- -^E^^^^^^Ei^^mf:^^^^^ ±z world, the sins of the world, that ta-keth a - way the sins of the world z^tiftizt; ^ 0-— -^ t=:p=ff: :^i= :^zp=e; -- :j=i: ri=e: I tr-ly^ :td :3m world, the sins of the world, that ta-keth a - way the sins of the world. :ts:4s|: ^&:±==1 i-i:-a=:iq=P=:t==f^=E:-t: world that ta-keth a • way the sins of the world. —— ! 1 MUSICAL AND LITERARY MISCELLANY. 121 FAREWELL THOU FAIR DAY. Words by Burns. Air—" My lodging is on the cold ground," Larghetto. 4^-, ^Sr- dszqs::: i=«-f*=2=i: -5—5 St*! ^— -:i~±:z-U-^- 1E^£^ :fi: :^— j— Fare - well thou fair day, thou green earth, and ye sliic3. Now gay with tho a±^ o: :p: SAT I]— -j^z=^=K=^ f^— rl^i- qs=iS=!^: ^. i^EEElEE^E :i=sr=fzz: bright setting sun. Fare - well, loves and friendships, ye dear tender ties ! Our ^1:^ ^ Si^^ =,—4^zp=l=r=z: :p=zl: T- It: S S -\- S S dls::?: ^=5==?= :=lzr:i=i=.-: -1 =l=-|. race of ex - istence Thou grim king of te |r - rors, thou 3t -J1^- ii-t- :*-=4= -t~ I P5 :^=d!s:ns: :^::m. frj^ : :j<=3 izii life's gloomy foe. Go frighten the coward and slave ; Go teach them to iPxp:: SE :^L===:=r l^e iiil -^. :^=Js: :i=* E«==zz£Erf=z=lz!;tnrir£i3ES^=B::: tremble, fell ty-rant but know, No ter - rors hast thou to the brave. ^^^ -ft _« = fi = l: s= Tftou 8trik*st the dull peasant, he sinks in the dark, In tho field of proud lioiiour, our swords in our hands. Nor saves ev'n the wreck of a name, Our kinj;- and our country to save; Thou strik'st the younp hero, a glorious mark I "While victory shines on life's last ebbing sands, He falls in the blaze of his fame. O, who would not die with the brave I 12-2 THE BKITISH MINSTREL; AND THE OX'S MINUET. "Of Rorhau!" cried Haydn; "What? are you from that little village of Hungary?" AN INCIDENT IN THE LIFE OF HAVDN. " Not a doubt of it," returned the yisitor ; " and In 1770, the reputation of the German composer, what then?" Joseph Hajdn, had spread over all Europe. He " I was born there," exclaimed the simple and had visited Paris and London, and in both cities warm hearted composer ; " I was born at Rurhau, had been greatly cherished and admired. But he andfoi forty years 1 have not seen it! Embrace me, was glad to return again to Vienna, on leaving my friend, my dear fellow-countryman !" The tears which he had wept like a child. The house which ran down the composer's cheeks. In embracing he occupied in the Austrian capital was a modest Hermann, he felt as if he clasped in his arms all one, and was situated in the suburbs; but it was a whom he had loved in boyhood, when, poor and house honoured and resorted to by all the great needy, he had sung in the village choir, to gain a lords of the court, who would lain have possessed morsel of food lor his widowed mother. the character at least of being connoisseurs in " And you are from Rorhau !" repeated Haydn, music, and patrons of its professors. There, too, dwelling afl'ectionately upon the recollections called did poor artists often find counsel and aid in their up ; "come, sit down, I beg of you, and let us chat distresses. Born of humble parents himself, Haydn of our native place— that place which one loves for was ever mindful of the wants of the obscure and ever, whatever may have been the toils there en- humble followers of his art. Generous, virtuous, dured !" Hermann's heart was as much touched as sensitive, and simple as a child, Joseph Haydn that of his celebrated compatriot. He sat down, ought to have been perfectly happy in his course though only after some pressing, and talked of through the world ; but this was not exactly the Rorhau with the musician. Finally, they came case. When very young, he had wedded one whose back to the minuet, and Hermann departed, happy personal attractions made a strong impression on in the promise given to him that he should have him. Unfortunately, her spirit and temperament the music sent to him as soon as possible. proved to be of a very inferior order, and for thirty Sensitive as a child, Haydn yet felt a glow of years the great musician underwent much domestic pleasure from the recent recognition, and disposed discomfort in consequence. Yet he was a faithful himself with a cheerful heart to commence the husband, and even loved his wife to the last with epithalamia minuet. But great was his surprise, all the strength of his first and boyish affection. on turning to his harpsichord, the confidant of all On his return from London to Vienna, Haydn his cares and joys, to find lying upon it the purse found his wife the same being that he had left her, which Hermann had held in his hand on entering morose, obstinate, imperious, and quarrelsome. All the room. The purse had these words attached to that the poor composer could do was to fly to his it on a piece of paper: '• Hermann, butcher. Street little study, and in that retreat seek consolation in of St. Etienne, to the greatest composer of Ger- j the pursuit of his beloved art. One afternoon, after many." Haydn was equally surprised and delighted | a storm of the ordinary kind had passed over his at the delicacy which had prompted the manner of domestic horizon, Haydn tied to his sanctum, and bestowing this gill. But calling his domestic, the bad forgotten his troubles awhile over his harpsi- composer ordered him to be ready in an hour to chord, when his domestic brought him information take back the purse, with the desired music, to the that a man wished to speak to him on an affair of house of the butcher. Being then left alone, he pressing moment " Let him enter," said Haydn. proceeded to the composition of the minuet. " Pray, pardon—excuse me," said a stout jolly- Often had Haydn written at the request of kings, looking personage as he entered the room, holding but he had seldom felt himself so inspired as when a heavy purse of florins in his hand, and attired in throwing on paper the musical ideas intended to the habit of a cattle-dealer or butcher. " You are grace the nuptials of the butcher's daughter. The famous. Sir," continued this individual, " for being air which he produced was fresh and lively, and the grandest composer of minuets in all Austria, or smacked of the rural simplicity of the composer's any where else in truth ; and as I am going to have native scenes. But ere the piece wasquite finished, my daughter married tomorrow, I come to ask you the soothing ecstacy of spirit, under the influence to oblige me by making one on purpose for the of which the musician laboured, was dispelled by nuptials." the entrance of his wife. Her presence put to flight "My good friend," said the musician, "you em- the familiar genius of his art, and discord took barrass me by this request. I have made few or no place of the harmony that had floated for a time minuets, as you seem to have been told; the few around him. trifles of that nature which have been composed by " What is this that your servant Frantz tells me would not do for dancing to. They are things me?" said Madame Haydn, with an accent indica- rather written for artists, and are mure learned than tive of a latent storm; "you are about to send avtay lively." a sum which you have justly acquired, being given " So much the better," replied the stout cattle to you for work to be done." " fret at merchant ; that is the very thing I want. My son- "My dear," said Haydn gently, "do not in-law, that is to be, is famous upon the clarionet, this. Be more just. Is a miserable little minuet and my little girl is clever at the harpsichord ; so worth a heavy purse of florins? It would be you see, Master Haydn, that your grand music wont robbery, almost, to take it." go like pearls to swine. And then, to own the "Always the same!" cried Madame Haydn; truth to you, I am as proud as an emperor, though " ynu will never be worth a copper coin, and your 1 be no more than a butcher to my trade. I heard fine generosity will bring you to" your beautiful mass on the birth day of our gracious "The Temple of Fame!" interposed Haydn, with sovereign, Joseph II., and I said to myself, "This a smile. composer is the man who shall make a minuet for "The hospital, rather—you weak, simple crea- the wedding of my little girl, or my name is not ture !" Hermann of Rorhau?' " " Come now, my dear," said Hajdn, "speak no MUSICAL AND LITERARY MISCELLANY. 123 more on this trifling matter, but leave me to finish gave it to a copyist to have the parts seperately set the piece. 1 have promised, and you know J never down. The butcher's intended son-inlaw, who breali my word. There I am religiously faithful; was really a musical amateur of no mean skill, had and to you my dear Elizabeth" got some performers of ability engaged for the Madame Haydn, ill tempered as she was, some- wedding, and these he assembled on the evening times could not resist the tender pleading of her that the minuet was brought home, and had it husband, whose ill health made him often an object played most delightfully. But it was at the wedding of pity, and who had preserved for her, as has been assemblage that Hermann's triumph reached its said, all the affection of a lover, in spite of her height. There the minuet excited the most rap- usage of him. Rut on this occasion she was de- turous applause. termined to stick to her point ; and, accordingly, "It is Haydn's!" cried the jolly butcher in a she coldly repulsed his conciliatory advances, and perfect transport; "it was for me— for me, his reiterated her demand that he should keep the purse countryman— that he composed this wonderful of Hermann. The composer would not yield to minuet!" this, and reading his determination in his usually " Haydn for ever!" cried the guests. gentle features, Madame Haydn became but the " Let us go on the instant and thank him for the more enraged, and pruceeded to measures by which honour he has done us," said the son in-law. she might at least punish her husband's contumacy, " I have thought of this already, my son,'' replied if she could not gain her point about the purse. Hermann, "and, what is more, have prepared a The cabinet of Haydn, like those of many other surprise for my countryman. I left him a purse preat men, was a place not distinguished for order. before, but he has sent it back. Since he wont take The composer, indeed, loved to have his scraps all my money, I will be quits with him in another way. lyiug loosely about him, blotted with the magic 1 will pay him in my coin." symbols which were to aflbrd a fund of melody to •' That will be bringing back the golden age, jjosterity for ever and ever. His cabinet was, in when all was done by exchanges," said one of the fact, a scene of great confusion, and Madame guests; " M. Haydn has given you a minuet, and Haydn knew well that one sure way to put her you are going to give him" husband almost beside himself, was to attempt to "An ox!" cried the stout old butcher, "and a put things into a different condition. In this tender living one, too ! And what a size he is I The show point she now attacked him. Seizing a broom, ox in the market the other day was a calf to him. the sceptre with which she governed her household, He is here in my stable, all ready to be presented !" she began to sweep the room into order. The first " To the stable ! — to the stable !" exclaimed all cimsequence of this step was, that a cloud of dust the guests simultaneously, seizing their hats from was raised which brought on her poor husband a which floated favours of all hues. They proceeded severe cough, and compelled him momentarily to to the stable, and there beheld a most magnificent fly the apartment. Profiting by his absence, she ox, with his long curling horns adorned with parti- swept together the manuscripts which lay on the coloured ribbons, and with his white skin as clean table and on the floor—in short, here and there and as if he had been cut out of Parian marble. The everywhere ; and one little scrap, reckless of what whole wedding party, men and women, were now It might contain, she tossed into the fire. Alas, it assembled by Hermann, and arranged by him in was the minuet for the wedding of Hermann's little procession order, with the ox at the head. They girl! marched thus towards the house of Haydn, the Haydn entered the room immediately afterwards, musicians all the while performing the minuet of and, attracted by the blaze, looked at the tire, where the great composer. The hour was not a very late he on the instant recognised his yet unfinished one, but Haydn had gone to bed. The noise of the minuet, just expiring in the flames. A giddiness music and the party entering his court awoke him. seized him; he uttered a cry of anguish, and fell He was at first annoyed somewhat at having his on the sofa. His wife waited only till she saw him rest disturbed, but when he recognised his own recover, and then, conscious that she had inflicted minuet, his surprise was extreme. He was sure sufficient punishment, fled to her own region of the it was his minuet, but there was an additional bass household. accompaniment that astonished him, falling as it Haydn was in great distress about the lost minuet. did on his ear at irregular intervals. This was in He could not re- write it from memory, and the fact, the ox, which took upon itself to help out the hour was advancing at which he had promised to music by an occasional low, like the grumbling of send it. The scene just related had made him ill, a tempestuous ocean. and had incapacitated him for anew effort, even Having thrown on him his dressing-gown, and had there been time for it. Under these circum- taken a lamp in his hand, Haydn appeared at one stances, he bethought him of some minuets which of the windows, and was received with sh(mts by he had sent to his publisher shortly before, and the marriage assemblage below. The composer dispatched his servant to bring these back to him. thanked Hermann warmly for his attention in Luckily they had not yet been published, and the paying this visit; hut when the jolly butcher manuscripts were got. Haydn then selected the pointed to the superb ox, and begged his accept- best, and partly remembering the late piece, gave ance of it as a token of gratitude and esteem, the this some new and perfecting touches, and then musician was at first so tickled with the idea of the sent off' the remodelled minuet to Hermann, along thing, that he burst into a hearty laugh, in which with the purse of florins. After this, Haydn was a he was instantly joined by the merry crowd beneath. little more at ease. Fearing to offend Hermann, however, Haydn The minuet sent to the butcher, though perhaps cheeked himself, and accepted the present with not quite equal to the burnt one, was yet a charming many thanks. He then descended into the court, composition, being at once lively, elegant, and found a stall for the animal, kissed the bride, and original. Hermann on receiving the precious ma- retired again, loaded with bouquets in showers from nuscript, embraced it with delight, and immediately the wedding guests. | — 124 THE BRITISH MINSTREL; AND All the while the serenade was goinfj on, and the of Haydn's works. As to the animal itself, the pei)ple were so charmed with the minuet, that every living proof of Hermann's gratitude, the composer, window had half-a-dozen night-caps projected from after keeping it for a time to enjoy the pleasing it, at the risk of death to the owners from the night thoughts called up by the sight of it, gave it to the air. hospital, that it might have a worthy end in doing But the fame of the minuet did not rest here. good to the poor. This was a thought worthy of The story soon spread over all Vienna, and every the generous and single-hearted composer, but it one wished to have the piece ; so that, in reality, was one, it is said, very displeasing to Madame this trifle produced an accession of fortune and Haydn. She did not long survive this event. Her fame to the great composer. The minuet received good husband lamented her, but there can be no and still retains the name of the " Ox's Minuet." doubt that her departure left his latter days in Under that title it will be found in every catalogue peace. The Star. THE OX'S MINUET. Haydn. nt ^ifl=tO :f:*3: EIEE i=l^ MUSIC AMONG THE TURKS. was almost brought to its perfection, principally through the exertions of Osniau Eft'endi, who was was not till the reign of Amurath that this art It himself a great master of the art, and formed a among the Turks. That was cultivated or known number of able scholars. prince having ordered a general massacre of the The first, however, that applied notes to Turkish Persians the taking of Bagdad, was so moved by at airs was Prince Cantemir. His book was dedicated the tender and affecting air of a Persian harper,' to Sultan Achmet II. and is become very rare. that he retracted his cruel order, and put a stop to Although the Turks highly prize this work, they the slaughter. The musician was conducted, with seldom use or imitate it ; contenting themselves to four of his brother minstrels, to Constantinople, and compose and execute memorite;; according to their by these the harmonious art was propagated among ancient custom : so difficult, it seems, is it to reduce flie Turks. to a regular scale of notation the theory of Turkish Under Mahomet the Fourth it flourished ; and music. Not that it is without system and rules, as some have too rashly advanced : it has not only all * The Abatfe Toderini, from whose valuable work the times and sounds of ours, but, possessing quarter the materials for this sketch are taken, used every tones, is much richer in materials, and consequently means to find this celebrated piece of Sach-Cule (for more melodious, than ours. that is the name of this Persian Timotheus). But it Niebuhr was misinformed when he said that was never noted, it seems, and is only played by the of rank would think themselves dishonoured frreatest masters from tradition. In the " Poetical Turks Kefijister," vol. viii. there is an ode by the late Eyles by learning music. So far from this, it makes a Irwin on the triumph obtained by the Persian musi- usual part of their education. It is only in public cian over the ferocity of Amurath. that they disdain to sing or play. — — — ; ! MUSICAL AND LITERARY MISCELLANY. 125 Oner, and after him other writers, have asserted, extremely beautiful), and the endless variety of that in the infirmary of the seraglio there is a effect which a judicious combination of them can concert of vocal and instrumental music from produce, delighted his auditors by performing a morning to night, for the purpose of soothing the grand fugue in his own masterly style. Apropos of sufferings and exhilarating the spirits of the sick organs, we are reminded of the folhiwing anecdote: and valetudinarian. But this is absolutely false, as On the occasion of a charity sermon being preached the Abat^ Toderini was assured, by a person who in London some few years ago, a well-known had been twenty years a physician of the seraglio. musical professor was presiding at the organ. The manner in which the musical portion of The musical instruments used by the Turks are j admirable 1. The Keman, resembling our violin. the service was conducted attracted the attention of 2. The AjaUi-keman, a sort of bass viol. a gentleman present, who anxious to ascertain the 3. The Sine-heman, or the viol d'amour. name of the organist, applied to the pew-opener for 4. The liebab, a two-stringed bow-instrument, the requisite information. Unable, however, to almost in the form of a sphere; but now little used. obtain it from that quarter, he thought of applying 5. The Tambour, an eight-stringed instrument, to the organ-blower. On ascending to the organ- with a long handle, on which the scale of times is gallery, he found that important functionary re- marked. It is played upon with a small flexible posing after his labours, and addressed him with plate of tortoiseshell. " Pray, my good fellow, can you tell me who played 6. The AW, which isakind of flute made of cane, the organ to-day ?" " / bleiv it," was the reply. the sound of which approaches to that of the Apprehensive lest his question might have been German flute, and sometimes to that of the human misunderstood, he repeated it, when " / blew if was voice. This is the fashionable instrument among again the reply. " I am quite aware of that fact," persons of rank. said the gentleman, but I want to know who jdaxjcd " 7. I'he Ghtrif, a flute of smaller size. it." Sir," answered the tormenting rogue, " I 8. The Mescal is composed of twenty-three cane have told you twice already it was I blew it, and I pipes of unequal length, each of which gives three shan't tell you any more." Annoyed at the fellow's different sounds from the difl'erent manner of blow- seeming impertinence, the gentleman took his de- ing it. parture. As he was leaving the church, he met the 9. The Santur, or psaltery, is the same with ours, beadle, to whom he put the same question. " Mr; and played upon in the same manner. I. Blewitt" was the beadle's answer. Scotsman. 10. The Canun, or psaltery with catgut strings, on which the ladies of the seraglio play, with a sort LINES FROM THE GERMAN OF GOETHE. of tortoiseshell instrument. These are all chamber instruments. The fol- Again ye come, again ye throng around me. lowing are military ones: Dim, shadowy beings of my boyhood's dream 1. The Zurmt, a soct of oboe. Still shall I bless, as then, your spell that bound me? 2. The Kaba Zurna, a smaller species of the Still bend to mists and vapours, as ye seem ? same. Nearer ye come— I yield me as ye found me 3. The Boru, a tin trumpet. In youth, your woishipper, and as the stream 4. The Zil, a Moorish instrument; what we call Of air that foms you in its magic wreaths. the cymbal. Flows by my lips, youth's joy my bosom breathes. 5. The Daul, a large kind of drum, beaten with Lost forms, and loved ones, ye are bringing, two wooden sticks. with you And dearest images of happier days 6. The Tombalek, a small tympanum or drum, of First- Love and Friendship in your path up springing, which the diameter is little more than half a foot. Like old Tradition's half-remembered lays; 7. The Kios, a large copper drum, commonly long slept sorrows carried on a camel. And waked, whose dirge-like singing 8. The Triangle. Recalls my life's strange labyrinthine maze, 9. An instrument formed of several small bells And names the heart mourned many a stern doom, liung on an inverted crescent, which is fixed on the Ele their year's summer to top of a staS about six feet in height. summoned the tomb. The band of the Sultan is truly grand, composed They hear not these my last sons, they whosegreeting of all the best musicians in Constantinople. They Gladdened my first,—my spring time friends have play in unison or in octaves, which practice, though gone. hostile to harmony in the musical senseof the word, And gone, fast journeying from that place of meeting is productive of grand martial eflect, and is very The echoes of their welcome, one by one. imposing. Critic. Though slrauger-crowds, my listeners since, are beating ORGAN IN THE MUSIC HALL, Time to my music, their applauding tune EDINBURGH. More grieves than glads me, while the tried and Irnc^ If yet on earth, are wandering far and few. The alterations which have been lately making on this noble instrument under the superintendence A longing long unfelt, a deep-drawn sighing. of Mr. Hill, of London, its talented builder, having For the dark spirit land o'erpowers me now; been completed, a considerable number of profes- My song's faint voice sinks fainter, like the dying sionals and amateurs assembled in the Music Hall Tones of the wind-harp swinging from the bough. on Saturday (30th Sept., 1844) to hear the eftect of And my changed heart throbs warm—no more the improvements. The interior of the instrument denying having been inspected, and its complicated me- Tears to my eyes, or sadness to my brow. chanism as far as possible explained, Mr. Blewitt The near afar off seems, the distant nigh, took his seat at the keys; and after showing the The now a dream, the past reality. quality of the different stops (some of which are Filz Greene Hallcck. — 126 THE BRITISH MINSTREL; AND A SONG FOR AUTUMN. Autnmn cometh night and morning, Summer waneth night and morning, Night and uiurning cometh I By the nightly- rising moon. Niglit and morning waneth ! Flowers are (ading on the lea, By the splendours of the noon. Leaves are changing on the tree, By the flowers that have no fellow, Gossamer is silvery bright, Purple, crimson, gold, and yellow; Thistle-down is tioating white. By the pattering drily down the Every blossom's leaf is shed, Of nuts and acorns brown. Fruits are hanging ripe and red. By the silent forest-bough Singing-birds have flown away, All may know 'tis Autumn now. Fast or slow the year go, Alter this can summer stay ? must No, no, the year must go. .4nd 'tis gorgeous Autumn now. Summer has departed now. Mary Umvitt. IDALIAN QUEEN. DUET FROM THE OPERA OF "THE CASTLE OF ANDALUSIA' Andante gramioso. Dr. Arnold, Iz^-^Mzsiz^^zKr^K I-dalian Queen, to thee we pray, I - dalian Queen, to thee we pray, Re- ^ t-9'-J- Si^::^ ^— p*- .-i_i_ jiz*zi= -.±rj:g:nzZi,t.r:^ ===S=ts[r:Is: -#=: -•-p- *- EEES^FiEiE :si:«— :^rS£: -53= cord, record each tender vow, Ee - cord each ten - der tow. As ni^ht gives PJs r_4j:_:5?3: .^_e;».^.3_ |t=p:=K: •* *• '^^- :t^r^tc -»*i— b*i "r-- n."! l7~h'-~>**'— — place to cheer - fu! day. Let hopes of fu - tufo bliss al - lay. The pangs we suf • for hf=Jf- ^t—H' •-E^?E=:^^ ~ :Si=l: w —*-l -^=Lt- now. The pangs we suf-fer now. Let hopes of bliss al - lay the S.-^- mI, Let hopes of future bliss al - lay the pangs, the ^ MUSICAL AND LITERARY MISCELLANY. 127 tfz*-^, =1== =:^-rtsr{^ «--«• t~-^-w- Hzn -=*-*=:* Jc=if=i^-. ^-azi^z^E^^ pangs we suf-fer now. I - da - Han Queen, to theo we P'^y* I - da - Uan :f=lt :^s=^:^ :*za=:i= pangs wo suffer now. tf^-, tf-=t*:rir«i»:«:i: -^ »i^ Queen, to thee we pray, Re-cord, record each tender tow, re - cord each ten - deif -3f-Jz ff==t=i:=: VOW. As night gives place to cheer - ful day, Let hopes of fu - ture bliss al- -^ --:5::igq 1 , -N-N-^F-a-ffl— — » » »— K^ »— -V— ;=ff=5z )z::^=ic :b=3irSEfcz:t^:5^ lay, The pangs we suf-fer now. The pangs we suf - fer now -^-:f=i:^. fzff:, rtzizipu .^z-i=.^^z5J E^?!E!gEj :5^- -•~,tI-*»«— ZIILpZ ^zj^zt the pangs we suffer, the hlz?za^ezp:ztea^ezPz=pM»f£!+*^ztzgEizzz=5=PF—.t^ft- :£^===|~^ i=±:=F±i=-za:zgzztz£ta=^=g=g= i£i!Lti3iq3zzS:Pz:^dz»z:i^Tpz v-"-^ ^- :fc*r,:#zzezfzf:i:^z-zfz^ :>:-2a-i =zte:zt^z^z:?:*zlz^znz^: U|_ L.k»,i_i»^«„^.^i_i a pangs we suf - fer now, the pangs we suf-fer now, the pangs we suf - fer now. g;;^Jzzrz|Sg>-,-—|-^I&zF:pE:^:i^.-—|-^r^--.4-Zz::izz^z^:p: —^ -=z:^— z^ ^z^Sz^uiftzzlzicztztct:^ — — — 123 THE BRITISH MINyTUEL; AND NELSON OF THE NILE. CATCH FOR THREE VOICES. fir. Callcotl. --I -I .-J ._!_. I- =- — =j: ^— =^SE3 -e-f :i=ai i 3d: The knell of ty - rant laws I hear Bri - tannia's flag tri- —- -Q , :!z=3:rzz a 1 _ -e :?--irt: 3=rr 31 ^ Jz=:l: Son of the Nile thj dar - iugf hand Haa crush'd the .j_4—4-,--1 I- H-— i-^—-—p rpzin^zri: -e»- -e—- ri::::^: ;zi: Now safe from the as saults of war. Let's drink a ^^^ pL-pi—_ umphant, tri - uirphunt rear. knell, ^ - - ' i;:q: qrr :m=: :s:i= ati: foe, on Egypt's strand, son of the Nile, :^e=it:i=:i= ^=^p:ri=:p- :z2: -er- ^i *=:^ health to ev*ry Bri-tish tar. Let's drink a heaith to Let's drink a health to 3!—ft__.=-=:qz =P=:t -e =^- I knell. Bri tan tri- ^ -K -ri~^-A- ' szr.\ 1 Lm-i 3 son of the Nile, Has crush'dthe foe on Egypt's strand, on Egypt's rpnf: =^=1^::?: 3Erp -W=9~ S-fz Sit II X --fcrltjrizr :t^ :t Let's drink a health to ev'ry Bri - tish tar, let's ::rq^=^ -©—p- =1= r3=:ir:E 33Z3!: phant rear, triumphant rear, O =^ A leqc :=!: -Q Fi- :^±zi=:i±3-^ KCZt :p=:f: 33: feZ^IztzilEZfc -p strand, has crush'd the foe on Egypt's strand, the foe on Egypt's strand. ±-, rpnp :»:^: ^-r. -e— 1=- - :i£zx: :5r-=z:; 1/ /-ir- ii^^^ drink a health, let's drink a health to ev'ry, ev'ry Bri - tish tar. The bars between the marks are only to be sung at the fourth repetition. — — — MUSICAL AND LITERARY MISCELLANY. V29 BEAUTY. Andantino. Pleyel. tfz^^d^d=:d^=5^-:s=i=zj-i±il=riq=i]!:5!-=!t=iz:=::z=i=::5;zq^zz:^pHii|-=i!cqz=z What 19 beauty but a flow 'r, A rose that bios - soms for an hour, :p;:=fr:|=z=: :& :tc:prts: ^_j—I —I —1\—i-^p-t^ -wV iqzzzs^!:::^:::! ;:d=«=:i= lirii: X ^ cher - ish'd by the tears of spring-, Fann'd by ev^ - ry zepliyr's winj^. ?=^E :i=d^-rl^-^ir-f^-r-^^-^^- 4^.^^__l^^^^. zi: ElEl=IEl^E|iE|Egj=J See how soon its co - lour flies, Fhishing, trembles, droops and dies. I I I I I I I ! I 1 [- I yZ Z-p-P-?--izzp_ —————>-—iz-'r'-z:!———— —|——^— — 1- _Q_^ aax .4- , \—1»^ N- ——^M—^^^ — — ^—• 1 1 ^- firi M — zizizizfczjz^ r z^z^^-i :a:'"«! «- ' ^,, I with wint'-ry face. Kv' - ry transient joy to chase. Age will come :tEZ:t:=::tEZ -^H r zir-zitz: v-r- Age will come with wint'-ry face, Ev' - ry tran - sient joy to chase. -^ -P- -P- -9-- -^ -f -Jcr ziff: z^zzwzzf: SEE .zidzzfc -•- i 1 •I 1— ••fT Friendship's but an empty name, Declc, O deck, your couch with flow'rs, GIitt'rin(T like a vap'rish flame, Laugh away the sportive hours, Youth flies fast and soon decays. Then since life's a fleeting day, Bliss is lost while time delays. Ah 1 enjoy it while you may. No. 97. —; 130 THE BRITISH MINSTREL; AND ON MUSICAL EXPRESSION. which has nothing material for its subject, that which cannot be obtained from painting—whoso It is not unfrequently that we find persons, as it sole object is nature. has been wittily said, wlio listen to music with their Music, nevertheless, by the manner and the ears, hiit not with the soul,—who deny the power movements agitating the mind by the aid of the ear, of musical expression, and consider it a chimera. places before us all the objects by which similar Were it possible that their opinion could be true, sentiments were produced, and which the art of the what could be more cruel 1 Blusic would then hold painter itself could do no more than recal. no rank among the fine arts, since men of genius An isolated strain or song, is insufficient to ex- would disdain to adjust sounds which could not press the poet's meaning without the aid of hannoni/. reach theheart, and the sensible-minded would then which is the most essential part of the science. be deprived of the most delightful means of com. An air or simple theme is nothing more than (so to munication. Happily however, musicians from speak) a train of sounds extracted from the four their own transports feel tliat the science is made parts of harmony, and in general is far from to excite, and of this we stand frequently in need, flattering the ear of an audience; but the union of yet not so as to produce mental fatigue. sounds which constitutes this divine auxiliary to Others again, confounding the idea with the music, were it possible not to consider it absolutely word, understand by expression, that of imitation as the essential, fundamental part of the art, we only ; and as music does not imitate materially, as cannot but be struck with the resources it furnishes painting does, they conclude that expression is thereto. foreign to it. To be convinced of this, we have only to listen But why require of music to paint in sounds ? attentively to the fine choruses of our great masters, would it be required of the painter to sing in where the voices unite, conflict, or respond. Do colours? are the same means employed to carry the we not distinguish amiil these sonorous masses, the impressions of the two arts to the mind? The march of parties constantly opposed—the lustre and means of painting are colours—with their extent, brilliancy of the more acute sounds uniting them- diversity, and combination ; the means of music selves to the vigour of the grave— the velocity of the sounds—with their combination and duration. Yet one and the gravity of the other— the repetition of the musician would no more confine himself to the the same theme in divers tones —the contrasts, copy of sonorous bodies, than would the painter to suspensions, and interruptions; the great difference the imitation of coloured ones. The common produced by a single change of its concords, and ambition of these two artists is, to urge, but in the difference again resulting from the same chords, difl'erent directions, a passage to the human heart. presented under another view. Can we compute The one exhibits the passions to our sight, the other at nothing these magnificent effects, varied infi nitely ? to our ears by the accents produced; the result of This is the magic of the pallette of the able painter. which, being a happy combination of impressions, We cannot be ignorant that many airs owe their alTords to us a moral pleasure, far superior to the great character solely to the nature of the funda- physical pleasure derived from those organs. How mental harmony, (frequently unwritten), accom- is it, that any should be found willing to reduce all panying them, and which no less than suggested the charms of music to the brutal sensation of hear- them and that which gives them life. ing? Have they wanted that exquisite sensibility Whatever is expressed in words, is essentially an which renders it so delightful to a warmer imagi- idea : music alone expresses the lively affections of nation, ami which has the happiness to be endowed the soul ; and is as a witness escaped to divulge its with a soul capable of relishing its sweet emotions ? secrets. Music therefore does not imitate, it only In that case we may say of them, as it was said of attests the passions. the Gentiles, they have ears and hear not. The sublime imagination of Gluck (in Orpheus) Some again have doubted the meaning of an idea carries liis hearers down to the infernal regions, in music. This doubt is a little embarrassing. from whence they are transported to Elysium, and There are some truths so palpable that even when evidently proves that it is not without reason that we hear them denied, we scarcely know from what music participates with painting in expressing to order of principles to draw in order to furnish the the susceptible mind, all the passions which affect proof required. Truths already received as incon- the human heart. The difference between the two testible principles serve as proofs, and have no need arts lies in the means (as has been said already) of demonstration; —such is thenature of sentimental which each employs. The style of an air forms no truths, which almost refuse it. Nature, it is true, picture, because the ear is not destined to receive the in rendering such demonstrations diihcult, has also same pleasure as the eye. The sound expanded on taken care to render them superfluous. In proof the pulsation of the air is not as the canvass, of the effects of musical expression, who has not capable of producing permanent impressions: it been enchanted with the songs and choruses of would moreover be ridiculous to require from an Handel, and the beautiful symphonies of Haydn art producing sentiment only, any idea of an image. the grand compositions of Gluck, Mozart, etc. A little reflection, with persons who possess the When onee the memory is filled with these su- sentiment alone of nmsic, but more especially such blime pieces of the orchestra, can it be maintained as have a knowledge of the science, and who do not that nmsical expression is nothing? Is it possible limit this enchanting art to the composition of a to forget the impressions made by these productions country dance, or an insignificant romance, might of genius, which are to the ear what the finest make many approaches on the subject (which would paintings are to the connoisseur? It has been be superfluous here) to prove to the detractors or insisted on, moreover, that music derives a great indifferent in music, that this art expresses, but portion of its expressive power from words does not paint the passions. but this argument, with respect to much of the Let us cease, in spite of the experience we make orchestral music of those great masters, is illusory. on the subject every instant, to assert that all It would be unreasonable, to require from an art the fine arts have the same mateiial imitation ; let : ; ; ; —;——— — MUSICAL AND LITERARY MISCELLANY. 131 us cease to consider harmony as necessary to the 'Tis a song of the deeds of other times musical art, and its efl'ects as void with respect to Of the proud high hearts of old ; song, or vocal strains or themes. Let us ackowledge Which thy mother thy infant eyes to close, in this constituent part of music, the precious At the gloaming often told advantage it aH'ovds to the living and natural ex- Of a craggy steep and a castle strong pression of torment, of pleasure, of tranquillity, etc., Of a warder drunk with wine; of the mind. As to the rest, let us follow the precept And a valorous knight, and his ladye-love, of Horace By thine own beloved Rhine. Pictoribus atque Poetis, Quidlibet aud.iiidi semper fuit acquu potestes Proud singer ! I see thy pleasing eyes, ; Thou art thinking on that river; in order that it be permitted always to painters, to The rush of its waters deep and strong, poets, and to musicians to seek for, and employ the Shall dwell in thine ears for ever; help of those strong analogies which establish so Thou art sitting in dreams by that stream afar, delightful a connexion among the fine arts. And a fresh bright wreath you twine Of the happy flowers that for ever Let the musician be picturesque, the poet blow ; melodious, the painter rich with the treasures of By thine own beloved Rhine. poetry ; but lest the abuse of these analogies should Thou hast changed thy to softer cause the ambitious or the ignorant artist to song a strain , wander, let each of them bear constantly in mind And thy cheeks are wet with tears his just limits, and his true demesne. The home of thy youth in thy father-land, 'Neath its sheltering tree appears, The painter furnishes us with the most lively And thou seest thy parents far away, representations of such objects as are interesting And thy sister lov'd like mine, in language we find the means of procuring ideas; O ! they long for thee ! as thou for them. and music would be the pledge of both, had we to And thine own beloved Rhine. communicate only by way of sentiment. Thy song is done—we are parted now And may never meet again; FREDERICK THE GREAT AND THE PASTY. But, wandering boy, thou hast touch'd a heart. And thy song in was not vain ; During ids stay in Amsterdam, the King wished God's blessings on thee, poor minstrel boy, to taste a Dutch pasty, which he bad heard spoken May a happy lot be thine ! of as particularly excellent. His companion was May thy heart go uncorrupted back directed to order one of the landlady of the house To thine own beloved Rhine ! in which they lodged. On this application the Robert Nicull. woman eyed him with a look of some contempt, from head to foot, and said, " Well, Sir, as ye would like to eat a pasty, have ye the money to pay for LEONARDO DA VINCL one?" Balbi assured the good woman that his companion could easily pay that sum, for he was a There liave been two distinguished musicians of virtuoso on the flute, and by playing a few hours he this name—one of whom flourished in the middle of could get plenty of money. She then enquired the fifteenth century,and the other in the beginning what a virtuoso was. Balbi explained the meaning of the eighteenth. The first was a scholar and of the word, and told her that the stranger was an illustrious as a painter, as well as one of the most excellent performer on the flute, who was travelling excellent violinists of his time, and a great favourite to " of Francis the First; the second celebrated make money by his talent. Oho ! ihen I must a compo- hear him," said the hostess. Away she posted to ser, was born at Naples in 1705, and educated at one the room where the King was, and setting her arms of the conservatories in that city. His first opera- " akimbo, " Sir," said she, " as ye can pipe so clev- tic production Iphigenia in "Tauride," appeared erly, will ye just pipe a bit "for me?" At this at Venice, in 17:25. The success of this piece was unexpected address the King was taken rather by so great, that many ot the principal towns in Italy were ambitious of having for surprise ; but Balbi told him, in a few words, what him their composer. " had passed. Frederick cheerfully took the flute, He afterwards set to music La Rosmira fidele ;" and played for some time, in his best manner, so Siroe;" "Didone;" " Semiramide riconoseiuta " that the landlady, delighted with the performance, and Artaserse." This last opera, his chef d'ceiivre, was fixed to the spot. When he had ceased, she was heard with a degree of admiration equal to said, " Sure enough. Sir, ye can pipe nicely, and any that has ever been excited by the powers of earn a penny; now I'll go and make ye a pasty." modern music. The recitative of Da Vinci's " Didone" was considered as a model for future dramatic composers; and some of the first masters have profited by the example. This master was THE GERMAN BALLAD SINGER. the first who conceived the idea of accompanying recitative with a bass. The beauties of his com- Like a passing bird with a sweet wild song. positions were numerous and striking; but his Thou hast come to my native land ; excellence was that of moulding his melody to the And amid the noisy crowded streets expression of nature, and of doing all that music Of the stranger thou dost stand could eft'ect towards picturing the passions. This And thou poorest forth a ballad lay. great musician died in 1747, at theage of forty-two Of the land where the laden vine owing his death to poison secretly infused in a cup its rich Dips ripe fruit and its sheltering leaves of chocolate, by one of his own servants, at the In thine own beloved Rhine. instance of a relentless and revengeful enemy. » » — 132 THE BRITISH MINSTREL; AND DEATH AND FUNERAL OF BEETHOVEN. and a long musical procession chaunting a dirge The constitution of Beethoven in youth was arranged from his own celebrated march on the death of a hero, attended the body to its place of robust, but in the latter part of his life it was much is cemetery in one the pleasantest broken down by care and sorrow. For the last repose, which a of country roads out of Vienna. The laurel wreath, six months he received the constant assistance of a musician poets in this physician, who contrived to alleviate his pain, appropriately offered to country, was dropped into his grave by Hummel, though it was impossible to restore him to health. and we may imagine with what feelings when we His illness terminated in a dropsy, which caused know that he had been an old friend of the com- inexpressible suffering. Beethoven bore it with poser, but separated from one of those resolution, supported by the proofs of sympathy he him by unaccountable misunderstandings which sometimes received on all sides. During his last days, the estrange the most cordial and sympathetic spirits, surgical measures resorted to greatly increased the which in this case only left him time to make violence of his anguish, but his death was a gentle and his peace and to assume his office in the last sad slumber. This took place on the 2f)th of March, ceremonies over his friend. Foreign Quarterly 1827, in the 36th year of his age. The obsequies Review. of Beethoven were performed with many honours, SCOTIA, LAND OF LAKE AND MOUNTAIN. GLEE FOR FOUR VOICES. Words hy James Manson. music bi/ Julius Seligmann, Allegro. 1st TENOR. IZZqE ^^^ #^ - Scotia land of lake and moun tain, Truth, fervent love and 2d t=s^=^ TENOR. ^ ^ ^i^=^ Scotia land of lake and moun • tarn, Truth, fervent love and 1st m . p — » -i\ » z|*~^ BASS. ilcEz: 'bf* \/ \f r J r- ^ ±1 Scotia land of lake and moun - tain, Truth, fervent love and * • m—»-.— -^ 2d m BASS. 4M^ J i'-i' t / L' ^' 1/ ^ r pp / ff^ff^^ bravery. Freedom's gift to gallant hearts shall guard thee 'gainst all despot PP cres. f S3: EZMZZSZIE TST-jt bravery. Freedom's gift to gallant hearts, shall guard thee 'gainst all despot pp cres. / • • * ?EZ3 v^-, ^ r ?^^ bravery Freedom's gift to gallant hearts, shall guard thee 'gaiiist all despot vp cres. f » • a PP^§ qI li S- ! MUSICAL AND LITERARY MISCELLANY. 133 ff !zaz=53 b'i r- n~y =P=^ fsi ^^ ^ arts. For old Scotland, na - tire Scot - land; Shall ne - ver pine in slavery, For old ir^ ~o- * :f=^^ 1t=l4l 35 Z2 =itest -QL "* «• *i F^ ^ k ^ arts. For old Scotland, na - tive Scot - land. Shall ne - ver pine in slnverv. For old ff « ^ m 0| I- ^ m ^ eS arts, For old Scotland, na •• tive Scot - land shall ne - ver pine in slavery, For old / > > > " • as T— ^ ^ 1*^-1»- ¥^ 4=-=l- ^ -&^ -Tj. 4 JCXM -p=^ i^^ ji_C_4: ^ P P ^^ -P^ Scotland, na - tive Scot - land. Shall ne - ver pine - - in slavery. -^ • fi * * t"* » P i V ^ ^ ^ - - Scotland, na tive Scot land, Shall "e . ver pine in slavery. Ui a ^^-^i^ i*—!• Scotland, na - tive Scot - land, Shall ne - ver pine in slavery. • . » ^ 1* ^W=^l -©^ ^± j J- ^ J P J Sunnier lands can yield no pleasure Of old Scotland, much lov'd Scotland, Home round our heart entwineth The sun of friendship shineth. Thy manhood's truth, thy woman's love. In our Scotland, native Scotland, Bleak though thy sky, on field and grove The sun of friendship shineth. MUSIC THE COMPLETEST RELAXATION. lectual occupation, who at certain times would An old author in a fine vein of humour apostro- gladly exchange their overworking thoughts for phises those happy sick men who have been sensation, knew the complete relaxation and reno- fortunate enough to meet with his works, and truly vation of mind which music affords, they would all we know no one who lias soothed more languishing become players. We might quote the authority of hours than one of our day— Sir Walter Scott. But Dr. Priestley on this subject, who advises literary even in the fullest health there are intervals in our persons even with a bad ear to persist in the pleasures ; there is the satiety of books and the practice of music. The philosopher might have fatigue of writing, against which a resource is remarked that the utterly bad ear is the anomaly wanted, and which we will venture to say is found in our constitution, and that if the elements of in nothing so complete ?s in music. The piano- music were imbibed as a school exercise with the forte is an instrument always at hand, and it rudiments of grammar, there would be few who in depends neither upon friends nor upon the weather, after life would not soon be in a capacity to please but solely upon our own fingers. If men of intel- themselves and others. — —— — ; — 134 THE BRITISH MINSTREL: AND THE MOTHER'S SACRIFICE. There rose a shuddering sob '' God loveth a cheerful giver/* As if the bosom by some hidden sword Was cleft in twain. "What shall I tender Thee, Father Supreme, For thy rich gifts, and this the best of all ?" Morn came—a blight had found Said the young mother, as she fondly watched The crimson velvet of the unfolding bud Her sleeping babe. There was an answering voice The harp-stringsrang a thrilling strain, and broke That night in dreams: And that young mother lay upon the earth, " Thou hast a tender flower In childless agony. Upon thy breast—fed with the dews of love : Again the 'Voice Lend me that flower. Such flowers there are in That stirred the vision heaven." " He who asked of thee But there was silence. Yea, a hush so deep. Loveth a cheerful giver." So she raised Breathless and terror-stricken, that the lip Her gushing eyes, and, ere the tear-drop dried Blanched in its trance. Upon its fringes, smiled—and that meek smile, " Thou hast a little harp, Like Abraham's faith, was counted righteousness. How sweetly would it swell the angel's hymn. Yield me that harp." Mrs. L. H. Sigoxirney. SURELY HE HATH BORNE OUR GRIEFS. SACRED CHORUS FROM "THE MESSIAH.' Largo e staccato. Handel. CANTO. ALTO. TENOR. BASS. errs ±i»- :ff:!=f—^[iirff: BSrt:=r^=r^rEEr±:: ' -E^^—jy ^ car ried our sor - rows Sure ly, sure - ly he hath borne our griefs, and — (_"<-—*-——l-*P F- -^^ai- Zt=i^-^^zz]^z car -ried our sor - rows, Sure- ly, sure - ly he hath borne our griefs, and ^ZpT—i—fi—~—ZZZZ :q5 PE— zwJZW-zzifnrw- E±kz^zz\czzi^zti.zz^i ;aZf— -^-=^«—m3 .'^irJ i- z^-^- -I— car - ried our sor-rows. Siu'e - ly, lie hath borne our griefs, and :fk^ ^^=^- :^^Ei^^ :E:=tz Se£ee^eSe?e? zz\zzz.^.3 ; ; MUSICAL AND LITERARY ailSCELLANY. 135 :*r:«:rfr:pci:^ri:=i—^-JpE2:jE=q ^qjTZji. EEE^E^E^EEp^-y *nfc :xz -v I-- —d: -I- -I— - carried our sorrows; he was wounded for our trans gressions ; he was I 1 1 :>— 1 1 f- 1 tr—IjT—tr— \r-\r 1 1 (r :^E tr -f=~i- 4=:=E:=:^ carried our sorrows he - - was wound - ed for our trans - grc33ions ; he was :i--?-j:p=tq5z:ffr:f=ff-j:^~t::p=:=r:. iligii=gi=i :lz:=t£: carried our sorrows. he was wounded for our trans - gressions ; he was :dr=t k—li>^*—g-; :w=W^ —^Hr-|—b— tr—'-—'- lixi: he was wounded for our trans - gressions ; he was TTff' -?5=r?~f~p=r?: 5EbEEE3=EtE5 —*^—* :lzzzt: :^=t^: -It b- bruis - ed. he was bruis - ed for ni - quities the cbas- — ; l W—1^ .^?-_.»_,_»__0__^^P^»-_j£^l^_5_|_^^_»_^^_____. 3E[:: :^-^zH:p=-: E^zEE :t- -I r 1 bniis - - he bruis - for - ed, was ed ni quities ; -CH —=]; =t;^: JS=;=l ±zE=S: i=^=:fs: :fz=f"* ~f==t^^ ^JE:^^^^J^l bruis - ed, he was bruised for our i ni - quities the chas- 3E=j: a :i=i: g55 2i- bruis - ed, he was bruis - ed for ni - quities, i$:^^ri=g?;P=tz-?^F=====^^e= r^:z«-^^rb^=S=3: iSzizi: tiztt=p :t: ~bza-d tisement, the chastisement of - - our peace was up - on him. "^- :f=fi^_^. :^tp=e= ifzrqi EEEEE^ •pi- :lzzfc :t i tlie chastisement, the chastisement of our peace was - up on him. :._*. :h:zii/E=ff=—r^rz -t-W. :e=x5=: i^izrrt:- !-tEr=t:z?zt: :t=t: ::t:=te:-J= ^J^^Et^ rtrtE5:!=2=: tisement, the chas - tise - ment of our peace - - was up - on him. rszp: :£:=! f7-- ir •i=^er? i , ....f'-je: :s= i= :P^s;=*: S JZLZ- itrtzt:: i the chastisement, the chastisement of our peace was up - on liim. ! ! ; —; ; — 136 THE BRITISH MINS'IRt;L; AND revisited home some of them coming RURAL SOUNDS. ; upon me like departed voices, which, although not forgotten I carried the sweet sights and sounds of the make the hearer start when he finds them so near woodland with me into the huge city, and many a at hand. They reminded me of scenes gone by, time, while bending over my lonely hearth, they of companions who are now dead,— of happy hours have come upon me like music from heaven, and I that can never return,—they came full of foolish have " blessed them unaware." From the low regrets, and humming of unseen insects in the air, to the heavy "Silly truths murmuring of the bee, as it flew singing from flower That dally with the innocence of love to flower, or was lost amid the drowsy brawling of Like the olden age." the brook, had my heart become a treasurer of their Rural Sketches, by Thomas Miller. melodies. There I first heard the solemn tapping of the woodpecker, measuring the intervals of silence; and saw the blue-winged jay as she went THE CLIFFS OF DOVER. screaming through the deep umbrage, startled by Rocks of my country ! let the cloud the harsh sounding of the woodman's strokes. crested Your heads array ; the grey rabbit stole noiselessly as Sometimes a And rise ye like a fortress proud, spirit past me through the long grass, or the ruddy Above the surge and spray squirrel caught my eye as he bounded from branch to branch. There the melancholy ring-dove struck My spirit greets you as ye stand, up her mournful note, and was answered by the Breasting the billow's foam cuckoo, as she stood singing on the tall ash that Oh, thus for ever guard the land, caught the sunshine by the side of the forest. Then The sever'd land of home up flew the lark, carrying his " tira lirra" heaven- ward, until he was lost amid the silver of the floating I have left the sunny skies behind clouds, and the wide azure of the sky rained down Lighting up classic shrines, melody. Sometimes a bell came sounding solemnly And music in the southern wmd, over the distant river (glimpses of which might be And sunshine on the vines. seen here and there through the trees), until the deep echo was broken by the dreamy cawing of the The breathings of the myrtle flowers rook, or the lowing of some heifer that had lost Have floated o'er my way. pilgrim's voice ilself in the wood. Anon the shrill " chithering of The at vesper hours sooth'd the grasshopper" fell upon the ear, or the tinkling Hath me with his lay. of sheep-bells, mingled with the bleating of lambs The isles of Greece, the hills of Spain, from the neighbouring valleys; or up sprung the The purple heavens of Rome pheasant with a loud " whurr," the sunshine gilding Yes, all are glorious yet again his gaudy plumage as he divided the transparent ; I bless thee! land of home ! green of the underwood in his hasty flight. Some- times the rain fell pattering from leaf to leaf with For thine the Sabbath peace, my land! a pleasing sound, or the wind arose from its slumber, And thine the guarded hearth roar first, to mulUing its at as if awaken the silence And thine the dead, the noble band of the forest, aud bid the gnarled to gird oaks up That make thee holy earth. their huge limbs for the battle. Nor was it from the deep woodlands alone that Their voices meet me in the breeze; all these sweet sounds floated ; hill and valley, and Their steps are on the plains outstretched plain, sent forth their melodies until Their names, by old majestic trees. filled the very air became with dulcet sounds, made Are whisper'd round thy fanes : up of all strange harmonies. The plough-boy's whistle and the milk- maid's song mingled with the Their blood hath mingled with the tide voices of children in the green lanes, or the shouts Of thine exulting sea ; of labourers in the fields, as they called to each Oh, be it still a joy, a pride, other. Then came the rumbling of huge wains, 'fo live and die for thee I and the jingling of harness, mixed with the mea- Mrs. Hemans. sured tramp of some horseman as he descended the hill. The bird-boy swung his noisy rattle amid the PASQUALI'S THOROUGH-BASS. rustling corn, or the mower ceased his loud " rasp, rasp," and leant upon his scythe to wipe his brow, The almost only thorough-bass instruction used or listen to the report of some gun that sent its in England for more than thirty years, that is from rolling echoes through the valley. Sometimes the 1763 till about 1795, was a work in folio, published baying of a dog, or the clap of a far-ofl' gate, was by Thompson, in St. Paul's Church-yard under the mingled with the sound of the hunter's horn, or the title of "Thorough-Bass made Easy, by Pasquali." crowing of cocks, as they answered each other from This book had been printed some years before; the distant granges. The shrill plover wheeled first at Amsterdam, (in German) and then at Pans, above the wild marshes with its loud screams, while (in French); of which last edition that used in the bittern boomed in hollow concert from the rank London was a literal translation, but was imposed sedge. When the village was neared, the humming upon the English public as a new and original of human voices came louder upon the ear, or the publication. Notwithstanding its having a respec- sounding of the thresher's flail was broken at inter- table rival, (Heck), it maintained its place on the vals by the tinkhng of the blacksmith, until all was desk of almost every organ or harpsichord prac- lost amid the gabble and deafening clamour of titioner; and the two Thompsons (brothers) always some neighbouring farm-yard. Many of these old said, that the profit of its sale was the foundation familiar sounds fell pleasantly on mine ear when I of their fortune. : — —— — MUSICAL AND LITERARY MISCELLATTi. 137 GOOD-MORROW. Words by Thomas Heywood (1638). Mozart. Allegretto. . - daj, - Pack clouJs a way, and welcome With night we banish sor row ; Sweet ^-i^EB £=c=:-£r„p=£dE^S=E f—^— -Si-J^L jtils: S^Iq *1 m -^—•—^ egE^3:ri=tr^feE!^;^;^^ r :S=i= s?_=i3 air, soft; aloft, - blow Mount larks To give my love good morrow I Wings from the wind to :^=^,^: ifizpnrt ;t=: S=^= ^- i\ K«K — —^3 ' —^** ^««,-,-^_-,a_Pi. fs. —1^ si\~^ —'^r:i— srr-*—*-^ — please her mind, Notes from the lark I'll borrow, Bird, pru, nethy wing, gay waalrblirblers sing, To ariE^EESEiE -p- ±^-f:--^ =t:: :t: :!=: -^V~, =!Szil: tirisqi qs^: :rn£=i=:: Z^2ZW-q^ -tz^t: lii give my love good morrow I To give my love good -ft r It: :P=^: It; ^IIes :-j=tz^: llilil Wake from thy nest, robin red-breast, Blackbird and thrush, in ev'ry bush, Sing birds in ev'ry furrow. Stare, linnet, and blithe sparrow ; And from each hill let music shrill, Ye pretty elves, among yourselves. jrive fair my love good-morrow ! Sing my sweet love good-morrow. THOMAS CARTER. " Love in a Village." She only played in Dublin. My countryman Mr. Thomas Carter was the At one of the rehearsals of " The Castle of composer of beautiful " the air of Oh, Nanny, wilt Andalusia," Carter pressed me to bring him in to thou gang with : me;" andM. P. Andrews's hunting- hear the music —this being out of rule, I refused, song, of" Ye sportsmen give ear;" and another air, until he promised to keep in the dark behind the which Miss Wewitzer sung in " Rosetta, in Love in scenes. In the middle of the rehearsal I felt a tap a Village," which from her manner, was the greatest on the shoulder ; I turned, and there stood Carter favourite of any song I ever heard sung upon the in full sight, in the stage-box close behind me. " stage—the words are Cease, gay seducers"— but Before I could express my surprise and vexation, Carter's is not the original air that came out in he whispered—"O'Kecife, introduce me to Harris j" No. 98. — — — ; : ——— 138 THE BRITISH MINSTREL: AND at the same time throwing his leg over the Ijnx, he Campbell, the daughter of his host,—a lady no less jumped on tlie stasje, and began to direct tlie band, celebrated for the graces of personal, than sbe has applauding-, grimacing, shutting his ears, and since been for the charms of mental beauty,—at running backwards and forwards along the whole whose shrine the incense of the poet's heart was front of the orchestra— it being a rehearsal full offered, and to whom he addressed some of the band. "That horn too sliarp —very well, oboe most touching eOusions of his lyric pen. that passage again jiiano Mr. Tenor—bravo C're — Many were the summer rambles taken by the scendo! Ha, very well!" I was mortified and young poet in the woods surrounding Inverary confounded, and soon after missed Dr Arnold, who Castle, with her whose companionship made the had previous to this been, as usual, diligently picturesque scenery still more beautiful ; and it was attending his duty with the band. All alarm, I during the crossed the stage to where Mr. Harris stood, at the opposite stage-box, and remarked, " Wliy, Dr. ** Stolen sweetness of those evening walks Arnold is gone!"—"To be sure," replied he eoollv, "When pansied turf was air to winged feet, " when you bring in Mr. Carter to direct his music." And circling forests, by ethereal touch This gave me a lesson never to bring in either Enchanted, wore the livery of the sky," Tom Carter, or any other acquaintance, composer, that the encounter or discomposer, behind the scenes. with a poor maniac occurred, which gave rise to the well-known ballad of " Carter liad been brought up in the choir of Crazy Jane." The Christ Church Cathedral, Dublin, and was organist alarm naturally excited in the breast ol a lady, at a meeting to Werburgh Church. Any music he bad never so startling—possibly exag- gerated by the imagination of Lewis—threw seen before, placed before him, upside down, he an air of romance over the adventure, which, infused into played it off on the harpsichord. « * « the poem, gained for it a degree of popularity I wrote the Epilogue to Mrs. Cowley's comedy of scarcely yet abated. " A Bold Stroke for a Husband," produced at Coven! Garden in the year 1783; it was partly The following is the original version of the ballad " musicai,aud to a pretty simple tune, which I heard of Crazy Jane," copied from a MS. in the hand- at the bouse of Gilbert Mahon, in St. James's writing of the author: Square. He was the finest singer in a room I ever heard, and sang it, accompanying himself with bis Stay, fair maid ! On every feature, guitar. On my admiring the tune, be told me I Why are marks of dread imprest ? Can a wretched, helpless creature was very welcome to it, if of any use to me. The Kaise such terrors in your breast ? next day I wrote words to it. Mrs. Cowley's Do my frantic looks alarm you comedy was acted, and Mrs. JIatlocks warbled ; Trust me, sweet, your fears are vain : the Epilogue with great success. Longman and Not for kingdoms would I harm you Broderip, tlie music sellers in Haymarket, entered Shun not then poor Crazy Jane. into treaty with me for the purchase of it, and I agreed to sell it to them, the words being my own, Dost thou weep to see my anguish ? and the music the gift, as I considered, of Gilbert Mark me, and escape my woe Mahon. A few days after, Thomas Carter, the When men flatter, sigh, and languish, Think them false— 1 found them so I composer, called upon me in high indignation : he said the music was his own original composition For 1 loved, oh ! so sincerely ; None will ever love again that Mahon had no right to sing it to me, I had ; Tet the man I prized most dearly no right to put words to it, Mrs. Mattocks had no Broke the heart of Crazy Jane. right to sing it on the stage, the band bad no right to accompany her in it ; and Longman and Broderip Gladly that young heart received him, had no right to it sell it loved buy of me, or to the public Which has never but one ; in their shop. He seemed true, and I believed him On this explanation, I relinquished to Carter bis He was false, and I undone ! own property, but had much difficulty in calming Since that hour has reason never " The enraged Musician." We were shut up a Held her empire o'er my brain. Henry fled ! — with him, for eves: long time in a room at the Blueposts Tavern in St. Fled the wits of Crazy Jane. Alban's-street, and, though I made him a present of my own words to sell, instead of my disposing Now forlorn and broken-hearted. of them myself, he would scarcely listen to me. Still with frenzied thoughts besec. Men of genius are sincere, even in their wildest Near the spot where last we parted, paroxysms of anger: I was, therefore, induced to Near the spot where first we met soothe, rather than resent, Carter's passion. I told Thus I chant my lovelorn ditty, him if he would be quiet, and lend me his line ears, While I sadly pace the plain I would sing him a song. I sang his own de- And each passer by, in pity. Cries " God help thee. Crazy Jane 1" lightful composition of "Oh Nanny wilt thou gang with me." We were at last friends. Recollections of John O'Keeffe. The ballad has been wedded to music by several composers ; but the original and most popular melody was by the celebrated Miss Abrams, who fashionable THE BALLAD OF CRAZY JANE. introduced and sung itherselfat parties. After the usual complimentary tributes from barrel- At Inverary Castle, the ancient seat of the noble organs, and wandering damsels of every degree of family of Argyle, BI. G. Lewis first felt the influence vocal ability, it crowned not only the author's browr of a " bright particular star," which, if it did not with laurels, but also that of many ayouthful beauty, entirely rule his destiny, certainly held a powerful in the shapeof a fashionable hat, called the " Crazy influence over his future life. It was Lady Charlotte Jane hat." Life and Correspondence o) M. G. Lewis, MUSICAL AND LITERARY MISCELLANY 139 LORD OF ALL POWER AND MIGHT. ANTHEM. bf' 1st TREBLE. t±-- Lord of a[l pow'r and luiglit. Lord of all pow'r and -ff- 2d TREBLE, i:--\-T- :3-qS; i=:i:rtj=^z: _^_.^—^_ Loi'd of all povv'r and might. Lord of all powr and zpcpz^r —^=j===!i TENOR. :ff=3='zi~J--r- r^r:jz:-jr:|zEJzJ=z^=i| r ~T- =tzc=z Lord of all pow'r and might. Lord of all pow'r and a:l2zazi:rr-=^: fi- 3z; BASS. -e— zztzziz: -.i-\ -^. ,-=#=qz3rp: ar^-- rut -Jzy: rizii -ji-^-^- might. Tliou ttiut art the au - tlior, Tliou that art the SOLO. =^~ :!!:=:pq: s? zq^z:1Zrz|zdz^z5^qd riz: z«zszi* z=Eiz-_*z:iz:«zl '-*-':i7- Thou that art the giv - er, Thou that art the mi-ht. it^zzil: 33: might. ±fl-z#z=?zz^ae chorus/" -^z ::lz:zdzqzp: :Pz:p=f: 1- :iz*.-iiz; EggEfelE^E^ dz=±zzizzdzdz:3z:i: 13^§^ giv - er of all good things, Graft in our hearts the love of thy -ff #~=l: Mzj^q:: :3^: zzi=:i-.i-bi*t^ :«z:iz:izJz2dz:*Hz«z3=*=J:i=."'- 3L-3-- '3:- giv - er uf all good things, Graft in our hearts the love of thy / :zdzrt=j:z :f=p: -^—^z=z^=\ -t- zizziziM: ::iz: Giiift in our hearts the love of thy f =^=zzpz=zqzz: ±^zr. =^=bE^^lzlE ^ r--"--rt- — 140 THE BRITISH MINSTREL ; AND :S=q=:f 33^E5^ :Szi: lE^3Ei name, the love of thy i-ff :=t=qs; :=] ^= S^niEE^ q=d-^ linia: ::1-q:: :Srj^- ^-•-i:-'-an*-*- ^-:^ name, the lov e of thy name, increase in us true re lig - ion. =1: L:3d=i^ij=i «rrd=:zi=^ ' i I name, the love of thy 3rl. -e »- -e—P- t- =!=: ~i: CHORUS. ^=e-r:f: :t==l£: £^E^^I=i:ElE|i^'iiE3ipi&£^^ Lord of all pow'r and might, nour - i&h us with all —PS=d~q:r-ifl— ]-^- iz=i:-b:izi I Lord of all puw'r and mii(ht. :zii:zd==q^==: -fi: -z^=zzpzr^==zz|: t=tt=t:: Lord of all pow'r and mi^ht. —e- —©—i=- IMP^eMiOiMl> -I— ^.».-. N— qs;=:j: izzii :pE=f: mmm -i.TZ ;=ijzi=tz:: good - nes9, Lord of all pow'r and nii^ht, and of thy j^reat z^z S=d=:Uzd: z^^EmE^z =^EE£EEE=E3S*E£EaE£gEEJ :iri Lord of all pow'r and might, and of tliy great ^- —izrzzi—Hzrq^i ..J— -tf= :k-3: -.Hzzii:: Lord of all pow'r and might. :ff==*mzr 33=1 —^--« ^- rrtr: —e- — :t=r 1- 1 - — — MUSICAL AND LITERARY MISCELLANY. 141 ^#=3= :iz±:3t mer - cy, and ' thy great mer - cy, keep us, keep us. III' -1—^— ^- ^^SSSE^gE^^E^^ --z\z V=t — --i-- •i:-^ mer - cy, and of thy great nier - cy, keep keep -f :#: SES I ^;»^CHORUS. tf 4^ »j. -— — — —1^ :=l=^ Z\=f zHF^ :f=f= izzi: 3d: P=P f=^==|; :s_: *-^- ;t r inzf: Hi keep ua in the same through Je - sus Christ our Lord, Through :q==]t rrs:-?:!ri=3: 33: :i=2i: :i=i= *-^i=: keep us in th^ same through Je - sus Christ our Lord, Through /7N ^=ff: - r r 1^ Through rr\ 33 .I=_i=_ t= Adagio. /^ :=|z-H=|= Irg^Eg^jaSE^=J^^:t=i: i 3Z El= Jo Chiist our Lord, men. /7\ ^ f*^i=ii 2fc l|3 Je Christ our Lord men. -e-; ©-; :^: -^- rxir. P men. Je Christ our Lord, 33; -€>-^ zqz: t=-^ —I ~i- :zri: — 142 THE BRITISH MINSTREL; AND NOW IS THE MONTH OF MAYING. MADRIGAL FOR FIVE VOICES. Morley (1595.) :t=ls TREBLE. linjrzfc*: f±:trp: W=^- -(- :z!r=c. S i- -I Now is the month of May inj^, AVhea merry laJa are playing, Fa, la. =1 ^- =!=3q=:4:: --U ALTO. .i=i- i=:i:=bii:::i±rir:3:•l--|-«-s-^ |i^ Jizizzi::=3trid Now is the month of May-ing, When merry lads are playing, Fa, la, TENOR. :^:r^~f=?E: i^^S: :pr:p=-t; Now is the month of May ing, M'hen merry lads are playing. Fa, la. :^—f.--^ a±ESEEIE*3EE« -J-- 1st BASS. ffi=t=bp=it:=fc:«= -H i:=lc= Now is the month of May-ing, When meiry lads are playing. Fa, la, 2dBA.SS. -W-'S :P-P=P:I Now is the nicnth of May-ing, When merry lads are playing, Fa, la. ]^^E^i5E£=pgE|Eg^§5ii la, la, la, la, la, la, fa, la, la, la, la, la, la, la. Each with his bonny lass, A -f- :]=: in: :q=zs: :jr=3s;dzd!si^ =sTit?=i= zi-^izi=i=i= =a=w=w=S iB i23=±i*zl la, la, la, la, la, la, la, la, fa, la, la, la, la, la, la. Eac'i with his bonny lass, A ilzd: ^- ifrjE-jE: f=p: fzrzE^^jfz -e^-^ :[=: izbiztziz: ifezt rzlfzfcd rtztztzt^: i-'- 32l la, la, la, la, la, fa, la, la, la, la, la, la. Each with his bonny lass, A zF:|:z:zq=zzz| pczzzEzp: ajEiE^E-^ fcfc :pzji: If: m^^m la, la, la, la, la, fa, la, la, la, la, la, la. Each witli his bonny lass, A qzp: r- T- -I — la, la, la> la, la, fa, la, la, la, la. b, la. Each \vlth his benny lass, A ; — — MUSICAL AND LITERARY MISCELT ANY. 143 S4s: ^rrrtipzpri^ rprz^zfz t~^^^z^^&^r-^--hp±^Ep=iE :pi — ztzfjE: _(_. 3=i: -t—l^t=^ r-^ A-I-. dancinf^ on the grass, fa, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la» =i^qs^ qsa- :^=^z -jz p=qs;q^ :jri=iiidi^=:z±^i*=i-: SI- j±izzi=?r^==iziCtizM. dancing on the pjrass, fa, la, la, la, la, la, la, la, la, la, fa la, la, la, la, la, zi=T=!=r=;q:^;—===!=lz|=:qnj^ =l=fes: f—f—m^^—^-l- ^:1=q: tP=ti :W=i=P=f: m :ixi=:p=P: lizizi -\— -t~r :i=i: -*- dancing on the grass, fa, la, la, la, la, la, la, la, la, fit, la, la, la, fa, la, la, la. -p.-" ^|R if^-^- r:ir^=pq=nq:—rzt: ggpg^g :fe=F: i= :*=ft^EE 1 dancing on the grass. fa, la la. In, la fa, la, la, la, la, la, la, :pr^r^=r: ^- :S=M: 3±l: :iEzt: 3=t :isp^ fc^t=P: i]_H—j-i^- ^=P^.^ liztrlc: :i=* dancing on the grass, fa, la, la, la, la, la, la, la, la, la. la, la, la, la, la. llz^zm zi_ i^zrqzrtrn^ =S=:i=:r_rJi: rj»=:i: :e---i=:f 3^-zit^^^^pEg i-r- F=:f la. The spring clad all in gladness, Doth laugh at winter's sadness, Fa, la, la, la, la, la, :l=p :)=T ^s !S=Is: — r--] 1 1 ^^-P- :q=^:\ H>-H— igxlHrjdz^irri:: -I —•—•- -J- i ziri: ^~i.-^- —•/-^-d— -ri—i—^-4-\—^T-jt—*-*- la. The spring clad all in gladness, Toth laugh at winter's sadness. Fa, la, la, la, la, la. .—€«-:«;-• :jf-ic=:js=pr -^—P— —f I —1-^^(_, :-4iz:^p=lrdz:[ :fe:::i::=S=±r(i:riz:nz=:bf5irtEEI a. The spring clad all in gladness, Doth laugh at winter's sadness, Fa, la, la, la, la, la. :*=p: :3q=:prrfE: :t :i=:i:=tq=:p:rp :t=fcfe:: ' -t- 1 la. The spring clad all in gladness, Doth laugh at winter's sadness, Fa, la, la, la, la, la. SfrSBl rjrzzzzrp: :7t=^ t=tq: -©ilUi :P:=P-I*: :^^iz*=pn 'ci^ zjt=M:zt^-^--i:. i-| ^]^- la. The spring clad all in gladness. Doth lough at winter's sadness, Fa, la, la, la, la, la, ^— 144 THE BRITISH MINSTREL; AND :frzl: :P=fc z^pzPfffiir lixi): h-; '-m- _j_p_j_| J=-=i=:i=te=^ r -1-- la, la, fa, la, la, la, la, la, la, la. And to the bagpipe- sound. The nymphs tread 3=qz=!i ::5:=is -^----,_ —i_i^—I— —q=:q:I —I =S^ZMCzMziz lirarsi la, la, la, la, fa, la, la, la, la, la, la. And to the bagpipes sound. The nymphs tread ^rS=^— .^zw^w: iqrriln itf: P(tSL-^=|l^ :p==i: jxiz 3=*: izriz: 1- tpndrr*:i::I la, fa, la, la, la, la, la, • la. And tc the bagpipes sound, The nymphs tread Q- 3: -P=P: :P= 3^ irfc 3rp: la, fa, la, la, la, la, la, la. And to the bagpipes sound, The nymphs tread 33: e- €i-P-»~=i=2E5H — :pzpz=t=i=P=t izt: f- -tr-lr r-/- 1^ i — la. fa, la, la, la, !a, la, la. And to the bagpipes sound. The nymphs tread -BZ^ qs;=^: P-P: 2±- :P=zs=d: :srj^izMz »ESEpEiE -t~/- :t2=^ lS=i: :|=: out their ground, fa. la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, Ip. *:=& ^=^=^: sd=^ :s:d^ *Z3*; ^SEE^2 :i=3: «3t :=? :i=:i: aa: out their ground, fa, la, la, la, la, la, la, la, la, la, fa, la, la, la, la, la, la. Hz^zrqnlfc :j=rS:rs: zriL-mpzpr; :ii: :P=P ff-Ji :Wn:i=:e=:ff: :i=ni-3r ^m r- :i=S: :t=C I out their ground, fii, la, la, la, la, la, la, la, la, fa, la, la, la, fa, la, la, la, la. -lft :r_^. *=[: iffrrpqzrqi :|=: gEE«£ rzfc :^P ifcfc out their ground, fa, la, la, la, la - - fa, hi, la, la, la, la, la, la ¥- :p=s: 5;=^ ^¥ :^=pc: qs;iEs P—»-» :fe=lriz=£: i:* — :p=:^ :iri: :f: H9i OTit their ground, fa, la, la, la, la, la, la, la, la, la, 1.1, la, la, la, la, la. : MUSICAL AxN'D LITERARY MISCELLANY. 145 A ROSE TREE FULL IN BEARING. FKOM THE OPERA OF THE "POOR SOLDIER." Shield. Moderato. ,^ ._-^ __- i v w ,n>. A rose treo full in bearing, Had sweet flow - ers fair to see, One rose beyond com- = »—=;- I—,""K F»—B— :&:- 53SE*ElEIE|ElE :i=i=«zt: paring. For beau - ty at - tractedme. Tho' eager once to win it. lovely, blooming, r—ft-« — -l-z^-t: _C=^Z[^_ --^'-x^ ,^ \ .,_-|__j^_. =:S==fc:^ SIe^eIeeieie; :Ji: :i.-B=:^:l== fresh and gay found a canker it, And now throw it far a - wa; ,3.?^ :fc ?_E*E^E5E E^e|eSe|eE^: IIe^e^I \y How fine this morning early. The clouds seem big with showers, All sunshiny clear and bright, Sunny beams no more are seen, So late I lov'd you dearly, Farewell ye happy hours, Though lost now each fond delight. Your falsehood h;is chang'd the scene. FERDINAND RIES. it was from Albrechtsberger that he subsequently The death of this distinguished artist, which took learned its theory. His personal history, owing to the place at Frankfort on the 13tli January, 1838, is a then troubled state of the continent, continued to heavy loss to modern German music. He was be made up of change of residence, success deferred, valuable, too, for other gifts besides his powers of and consequent depression of mind, which was at composition and performance; and, in announcing times powerful enough to dispose him to abandon his departure, we shall cause many to regret an his profession. By the recommendation of a friend, intelligent and cheerlul companion and a kind however, he was induced to try liis fortune once friend. Of the earlier years of his life we know more in Russia. During his tour through the north little, save what has been printed in tlie musical of Europe his extraordinary powers as a pianist dictionaries. These inform us tliat he was born at were acknowledged with due honour; he was Bonn in 1783 or 1785, his father being a violinist judicious, too, in availing himself of many popular in the service of the Elector of Cologne; that he Danish and Swedish melodies in his concert pieces, was early known for the precocity of his genius, which contrib^ited to secure for tliem a favourable and that his first master was Bernhard Romberg. hearing. His northern plans, however, were dis- The entrance of the French into Germany threw turbed by the campaign of I8I2, which induced him when a boy on his own resources, and it was him to visit England, then the only settled European not till his energy had been tried by many struggles habitation. He reached Loudon in 1813, and re- and reverses that he succeeded in reaching Vienna mainedhere for the next twelve years, during which and placing himself under the tuiti(m and friendly he is understood tohavegatheredasufiicientfortune. care of Beethoven ; he is mentioned as the favourite He then retired to Germany, paying us a few sub- pupil, and the first ever owned as such by the sequent visits,— one, it will be remembered, for the author of " Fidelio." Under this master, however, production ofhis oratorio" The Triumph of Faith," he only perfected himself in the practice ofhis art; at Dublin ; during which, too, he wrote a slight No. 99. r — 146 THE BRITISH MINSTRET.; AND " opera, The Sorceress," for the English Opera grand concert-pieces, his concerto in C sharp minor, House. To these notices it may be added that his "Swedish Airs," and his "Rule Britannia." while resident among us, and an occasional visitor, We have often expressed a wish that his select he made himself as much beloved (or his urbanity works were more frequently performed; the conse- and cheerl'ulness as respected for his theoretical and quence would be an admission,—however little practical attainments. anticipated in England,— that there is no modem His works are very numerous ; comprising two German composer after Weber, who, for original oratorios, the last of which, " The Kings of Israel," invention, skilful construction, and melody wild has yet to be heard in England—two operas, and a and spontaneous, deserves to be ranked so near third, on an Egyptian story, in MS.—symphonies Beethoven as his favourite pupil—Ferdinand Ries. and pieces for full orchestra, besides many cham- —AthentEum. ber-compositions for stringed instruments and the piano-furte. They are, indeed, too numerous ; many LATE of them being merely thrown ofl' " for the use of THE RUKE OF ORLEANS, AND schools"and those amateurs who cannot or will not FERDINAND PAER. study deep music. Their general characteristic is Some years before the revolution of 1830, there a want of selectness of taste : their author some- was a crowd at the Oi)era. The Duke of Orleans times indulging in direct plagiarism—sometimes, came, attended by a general officer. In the passage in search of what is spirited and piquant, trenching leading to his box, he observed a poor man, who upon the commonplace; they are also chargeable had been unable to find a place. with an abruptness of manner, and a tendency " How, my dear Maestro," said the Prince," are towards sudden and unreasonable transition and you obliged to listen at a boxdoor?" extreme harmony. But we have always felt as if " Your Royal Highness,— ' began the composer. every tenth work by Ries was an exception, in right " Come," said the Prince, " such a situation does of its classical and sterling excellence ; and we not befit an artist like you. I have a place f'lr must instance his quintett in D minor, his piano- you ;" and he seated the musician by his side. forte quartett in E flat, his piano-forte trio in C The old man often told this little story. His minor, some half-dozen of his piano-forte and name was Ferdinand Paer. He died a few years violin sonatas, as many of his quartetts; and, as afterwards fuU of years and honour. Musical Times. SAY WHAT IS LOVE. GLEE FOR THREE VOICES. Thomas Carter. Con alltrgo mezza voce. / mf ± rrzift: ii-szEiz zz-B-Jt- -m-P- 5±EE|»: :p=:fc 'J-iil ^•-zf±^—t -1-- I -r- -Sf~\, 1- -t-- Say what is love, pray who can tell, Where is it seen, where does it f _ mf f gzqip^ins -*-— -^ZTi-^ iEp^i —V- iizz=^—^—^z\ Say what is love, pray who can tell, Where is it seen, where does it /_ mf / :s:=— ::!=: :i=r: w.--.t-^—p_^_p_| =^EE=3: :tcdi=-: :^Ct: />- -I— iter:l»=£ ::ff=5; ?= dS^: F-£^EE£^^= l^iri^zi: ±3: I dwell. By what signs may we know it, by what signs may we know it, :$^qs;=qs; i^ 3:iS=qs^: SzKqs;: :i-i==i: iSfr* riziizzi: :i-|±W: dwell. By what signs may we know it, by what signs may we know it, -Vl ^ Iff—^rP=:r-P:=?E=:^: & =zz:«r=tzElrfcr!«:: £^; I — MUSICAL AND LITERAKY MISCELLANT. 147 c pp i=dr. If: r^»-l-^i:-t=l- --fz:^. EEt rlEZ^W: ;a: ^^ili :ti!=: steal - ing look, a faul t'riDg tongue, faul - t'ring tongue, a pp ^fari^EjEjggz -=]_|e: lii-f-iir ?P=i=^= :t=3=5- :tz^: steal - ing look, a faul - t'ring tongue, faul - fling tongue. 'J' PP 3^ :::(E__=i_S_--i: ;tFiL=p:i SEP r^t 13^—.=1 a faul - t'ring tongue, a faul - t'ring tongue, P y dim e calando. ^ / '^-|I|:k:|*i :K^: SE^EjEEi: ::tz —I^JZZ. ^-J I . .r -I 1_ I X steal ing look, a faul t'ring tongue, faul - t'riDg tongue, our cres. P ?f' EEEEEiz^S 4te=p=:^|[= if: ipi :ti=t=^ a stealing look, a faul - t'ring tongue, fault'ring tongue, our cres ff-'^'^'^ P sf p sf i:§-t=fc- SEE le-trt ± -1^ :w=:^ S :fc=fc::fc stealing look, a faul - t'ring tongue, a faul - t'ring tongue. :Pq=P rSnJs _-pr:f:: I— £2£E| :t=P: rJzzhfci=:iz:tz« ifcj—i: -^i— iz=::fc: jzrzfc e -ver thinking, acting wrong, our e- ver thinking, acting wrong, are such as plain - ly ±— rzrrizfzip: n:«^ —I*"* ^* zE£:rfc£->::^ :=fs i=:ii :Pt:d^.:ts:ni =l^ ±=:jc jzri-izii:^ri=3rjii=3Zi 0- ver thinking, acting wrong, our e -ver thinking, acting wrong, are such as plain - ly a±EE -^- :-\->;-S EEE^ -S: :3=:3=:S: our e - ver thinking, act-ing wrong, our actingwrong, are such as plain . ly -i^^»-g-|»--^ z^-J^^dpc-t-Z-tz :fc=-1z: iizifcrfc /- -tr tr k- show it, are such as plain - ly show it, our e - ver thinking, acting wrong, are :P=i3fc=rj!s :fr:(^ tnfciJzzji: show it, aro such aa plain - ly show it. our thinking, acting wrong, are -(t- 3idEr^3r=z^: 3;=^ :k: =S3 '^=^^ EE^E^EzIie: :W-i show it, are such as plain - ly shc"' it, our thinking, acting wrong, are 148 THE BRITISH MINSTREL; AND mez. l"^- 1^- :br—f==S=fs: ~x— :4S-s^:ir -X— :_(E_*_p_ Sj: ::it3^ :fc:t«:=i=i= :t^r^z3: :i=W: .tzzl=^r,t=t-z' Z?^lltt 3^i^=izi~ i such as plainly show it, are such as plainly show it, are such as plainly show it mez. y :^ ^-^{-^ ^y^£^E?E^^E^E!ES^^—I— h. Buch as plainly slioivit, are such as plainly snow it, are such as plainly show it. 7nez. y :^=ip: :=S z:e=i=f=rp ==Sl- a±zE :jE=f=^ --w--^-- :£=^ :^=:^-^=|£g=|±z' :fcri^=l2-!^z:t^z=^=l2:=c: :fci£: £uch £S plainly show it, are such as plainly show it. are such as plainly show it. For thee, dear nymph, whom we adore. By hope deceit 'd, by fear opprest. Suffering much yet fearing more, In turns each passion rules the breast, We sigh, we pine, we languish. Yet we endure the anguish. ROSABEL LE. GLEE FOR THKEE VOICES. Words from the " Lay of the Last, Minstrel." Dr. Callcott. Moderato. z^k:=S-^=:: -iz lat TREBLE. s=:^-=e=3E: SEir :.t=-^t ±1.4: ztzi:z&qrzti^J^fciitt: ^I listen, listen la -dies, listen la- dies gay I 2d TREBLE. O listen, listen la-dies, lis - ten la -dies gay! BASS. Mezje: -i^zwi in- :lE=zm t: O listen, listen la-dies, lis - ten la-dies gay. No haughty r\ P —_ (J :i!=z=:qs; !**• ii^EEii«islHg I ty 'm No haughty feat of arms we tell ; Soft is the note, and sad th^ StE; ii^gi: Soft is the note, and sad the r\ P ^z==s= ijEza—s-(E :^-z.l -G- ii^=:^=;^p: feat of arms, of arms we tell, Soft is the note, — — — MUSICAL AND LITERARY MISCELLANY. 149 -^-- =i=^i :ff: EpE^fE limidzf: ^a=:as lay, that mourns the lovely IJo - sa - belle, that mourns the love - ly S=s: =s ±:3=3=: ^ :Sx^:i^^^^il lay, that mourns the lovely Ko - sa - belle. the lovely gaEE53S5E£5 :f2:js: :^ZK :f=:f: -w=^ !^=S ZZ1.-IZZ =&^E^E^E^ :t=t^: :[=: :t:: --t: jizi Boft is the note that mourns the lovely Uo - sa - belle, that mourns the love - ly With animation, dim. cres. dolce. -.?s=F==r=^=F^i :pr; :C=t2=:^ :^12 •» :t=t :=i: -\:ii—zicz ~1^=" ICZI Ko - sabelle. Moor ye the barge, ye gallant, gallant crew I and, gentle ladye, dim. cres. dolce. EeE^=^$ES I rl^lmtil 5—^ &-" 'r~^— Ko • sabelle. Moor ye the barge, and, gentle ladye. dim. cres. ^ _ -n.. _ « «» » n :q=q: :^- EEEE^E^i :lc=t |=^=^^Ezg3p:| :T :ti Ko - sabelle. Moor ye the barge, ye gallant, gallant crew 1 and, gentle ladye, stormy ligl^i stay ! Kest in the castle Kavens - hew, nor tempt the stormy .ft . fi. ,__ ^_^ ^- aeign lo Btaysiay i! Kesti\e5t in methe castlecastie Kavensuavens - hew,new, nornc tempt the #EEEEE^5E^E|EpEiEfES^rai-^^^3~E: wave to - day, the storm - y wave, the wave nor l^iEE§El5=E^EfeiiE| ._j^_! wavew.-vvp totn -. daydnv thp. «t;orm .. v wave, the -^ ^EiE' ^— :i~=3= wave to - (lay, the storm - y wave, the storm - y — 150 THE BRITISH MINSTREL; AND ^^^^^^iSli^^liilRatherp slow. r- tempt the storm - y wave to - day. O'er Ko3- lin all that drea - ry P qs;=q: -qrrjr-H- d: i==i:;3-^ ^:s9eI tempt the wave to-day. O'er Ros - lin all that drea - ry P q: 3i ^-W-t q: ^=ii a:^-£EE^E^ i -1—^- nor tempt the storm - y wave to - day. O'er Ros - lin all that drea - ry trriizzqzrz:,. :P=?: gE^E&iE|ES=^ :3; -'gr—'-'^ :fc:fc night wond'rous blaze was seen gleam, to gleam :!i;nr. ::g57=qr^zzid=qr:q=bq=zs|—I —3=H==iSiiS zzji. 7^-Ji^ night a woiid'rous blaze was seen to pleam, to gleam -—ji^^' ^E5=wz^zw:z —^S=l=p-:fq: qs; ;t=t:t It: S X :tiz :i= night a wond'rous blaze was seen to gleam, *twas broad - er than the With animation, cres. \ ::^'- :x5=:q ^^- ::^- :t: ::!== i-t:W^ to gleam 'twas broader ^E bright moon beam, 'twas broader cres. watch fire light, gleam twas broader ^ Slow. rte:^ gJjS W—y-&- 1^ —"^-tj-—I*— fc»— ggH aigg^Sl t?=:^rfc ( than the watch fire light, and brighter than the bright moon beam, the bright moon beam. than the watch fire light, and brighter than the bright moon beam, the bright moon beam. than the watch fire light, and brighter than the bright moon beam, the bright moon beam. MUSICAL AND LITERARY MISCELLANY. 151 1 M 1 1 m Rather fast. There ore twenty of Kosliu's ba - rons bold :£i.P:- St eE ztdjz: ii-^ Lie buried with - in that proud Dolce. tz;±;i 'JL- zf^: W-\ &lf itrfc itZtE rzidi: :t:;E yi -I- Each one the ho-Iy vault doth hold, each one the ho - ly vault doth Dolce. '-Ki :K^ zSzzfz ra*3S^E^^^5e -^1=^ ^»z^tpi=|=i:5*: Each one the ho-ly vault doth hold, each one the ho- ly vault doth Dolce. 9; -e- 54- :x5i =-EE3 :=l: cha - pelle ; Each the vault doth hold Rather fast. :*-rq: =il5q§q; :^=d: W- ;=|5p!t=:ff=£: Iff::; --r-»- :t=i: =irifi= =ttfat :P= fzztr:^ rtzjzrlz:: ^3 ^ hold. But the sea holds KosabelW! lovely Rosabelle I lovely Rosabelle ! And each Saint rr^PP :m=L |-^^SgE^E^5p|E*^Egg :i=ir =^5r!5di^-3=|=i=:^: hold, But the sea holds Rosabelle! lovely Rosabelle! lovely Rosabelle! And each Saint Zi.ZJt- iSiff: :ff=:ffq E^i-i-*: jzrdziz Pl3=l t—C: :l= But the sea holds Rosabelle! lovely Rosabelle! lovely Rosabelle I And each Saint Inirtrfre: -»-=i- :s=ff: :P= ii^^g^ :tc=^: i-- r- Clair, was buried there, with can - die, with book, and with knell, / ^ l:=±==\. q=t :p=d^:z^: j^iEi: :i-i:= =:3' iRzzzt; --1- -f-- Clair, was buried there, with can - die, with book. and with knell. ^- ai rzzffz^zffi :r«-^zff: ==?f s=£=e=: iid: ^ :lc-lz:: O ^— fe g Clair, was buried there, with can - die, with book, and with kneli. ^ — 152 THE ERITISH MINSTREL; AND dol. Moderately. IlSHZ EEE^Egr^rz|z:gi=^^ ifi^pzri^i:: 2g|E ;3=^ tj^t ^' But tlie sea - cave rung, and the wild wind sung, The dol. rqr==&. :i~q- llgi'tr-^ZTiZZKZZ^^— L-iizqSr;^—^r=S5 J~iz wi :S_* ::i=i= 1=^ But tha sea - cave run*^, and the wild wind sung. The dol. BEE rszwz-wz ipz^zzfzzff: zfLzrz.^— :^==^ :p: ^=^r:=:tz—t: X But the sea - cave rung, and the wild wind sung, The :di Si! |EEE^ :irzii ^=^=^: ^^i=9E :3=5=j±ifi dirge of love - ly Ko - sa - belle. But the sea - cave rung, and the t,~:1: ss -,«^- FEEi :=|3=::5==i ::i=3: li:;: -^ &33=E^E^ga dirge of love - ly Ro - sa - belle, But the sea - cave rung"] and the rr^ P Sj q-JI_p ..'^-'X- :i--i: =1^! :iz±li: —^z:^-^::^ dirge of love - ly Ro - sa - belle. But the sea-cave trzt. :q— :^: -^lr-:^-^-3- :5~: :f==t :t:=^^l wild wind the dirge of love - ly Ro - sa - :i==P ^^^^ :=iS 5^i =:«:r3=;ii E^^EiE^ :—3: =:3=i: wild wind sung-, the dirse of love - ly Ro - sa 5^: :ff==!c:=^: :!E=S.: =rt=t2=l^=r[£: and the wild wind sung, the dirge of love - ly Ro - sa (CN dim. k- •« :=1^= i--—=r EEE5 ZiTJtZZ'^tX :z=a; belle, the dirge of love - ly Ro ~ sa - belle. dim. S3^E^= E=5==5=55zds=b=ir ©- ^ belle, of love - ly Ro - sa - belle. ^7\ dim. :^ Id: 3EEE *=^: :^: -^^ ri: I e I e— ±:: aEiiiiieiiii—— —— ~ -e>- belle, the dirge of love - ly, love - ly Ko - sa - belle. — i ; MUSICAL AND LITERARY MISCELLANY. 15S LEEZIE LINDSAY. Scotch air. iloderato. r*1~ s'""^" - -^ !">; ~ 1 - - -i T 1 — — r~—^i— iP=|:q5i^r=Jz=:S^-J-i- P^IL-* i.-* - i ^ - =s;=5| _l J! T^—Ji- Will je gang to tbo hie - lands Lee - zie Lind - say. Will je » - . . '^ ^^- f 1 -!r m m r 1 r »J., ri '• •- - ] r I b-4-i—J J — '.1,1 ' 3^^ —b-t—t-r-i— -4 -Q- :f=S: 3gEiEE3: :^-:^ ^"^^ =g= :t^=l2 gang to the hie - lands wi' me? Will ye gang to the X e±=s —1"««.^—^3-i=izpzrzi :0 izi: ;c=t :!=j: ;t;=j:ri-_- */ iij^qs;: :lE^it 3fE!E 1^1 hie - lands Leezie Lind - say ? My pride and my dar - ling to be. ^zfqcrtprpzri^z :^ m^^m r Will ye gang to the hielands, Leezie Lindsay ? I've gowd an' I've gear, Leezie Lindsay, Will ye gang to the hielanda wi' me ? And a heart that lo'es only but tliee Will ye gang to the hielands, Lee^ie Lindsay ? And they a' shall he thine, Leezie Lindsay, My pride and my darling to be, Gin ye my lov'd darling will be. O ye are the bonniest maiden. She has put on a gown o' green satin. The Hower o' the west countrie And a bonnie blythe bride is she. O gang to the hielands. Leezie Lindsay, And she's aff wi' Lord Ronald Macdonald My pride and my darling to be. His pride and his darling co be. HAxMILTONS CABINET OF MUSIC FOR classes had previously no opportunity of procuring. THE PIANO FORTE AND ORGAN. Thus far they have fulfilled the intentions of the In announcing this new work our Publisher has Publisher and their respective Editors. Still enough taken into consideration the wants and wishes of a has not been done. Many of the subscribers to very great number of the subscribers to his other these works have requested that the choruses, melo- publications, " namely, the British Minstrel," aud dies, &c. should be printed with a piano-forte ac- " the Universal Tune-Book." The first named of companiment. According to a fixed arrangement Iheabove works was meant principally for the voice, in the conduct of these works it was impossible to and thus its choruses,&c. have been published with comply with such a requisition, but that the wishes out piano-forte accompaniments ; while the second of piano-forte and organ players might be satisfied, was intended as a compendious selection of airs for Mr. Hamilton proposes now to bring forward a persons who perform upon solo instruments. These new musical work suited expressly for performers have been eminently useful in spreading abroad, at on the above named instruments, to be called a cheap rate, music of a kind which the working- " Hamilton's Cabinet of Music." So. 100. — — — e — 154 THE BRITISH MINSTREL; AND It is proposed that the " Cabinet of Music" will collection of music can expect to gain a circulatioa be divided into two portions,— one of which will con- which excludes Terpsichorean melodies from its tain selections from the oratorios, and other sacred contents? No one. Young and happy hearts ex- compositions, with full piano-forte or organ accom- press their pleasure in singing and in dancing paniments, which may be used along with the vocal and far be it from us to curb the exuberance of score of the choruses already published or to be feeling which finds an outlet iu such delightful published in the " British Minstrel." In this exercise. But we are not so enamoured of the last division of the work, from time to time will appear novelty as to wish to see the pages of the " Cabinet some of the mighty songs of Handel, Haydn, &c. of Music" filled exclusively with Polkas. No. We such as " Comfort ye my people," " I linow that have a liking to a small modicum, of Waltzing—and my Redeemer livelh," "Deeper and Deeper still," have a relish forthe " Centre dance"— and we rejoice " f* Total Eclipse," With Verdure Clad," &c. &c. in a Scotch reel, there is so much of character in it The second division will contain a selection of those that we dare claim for it a remote kindred with its standard and classic songs and duets whose fame foreign cousin, it is so natural and gives so much rests upon the approval of a sounder judgment than play to physical enjoyment—and then there is the tliat which is awarded by mere momentary popu- placid, full-dress, unfatiguing Quadrille—so full of larity. This portion of the " Cabinet of Music" will sober stateliness— it cannot be overlooked. Music comprise specimens of the productions of the great- for all these will be found in rich variety in the est and best of our native composers and song pages of the second division of the " Cabinet of writers, and selections from the Great Masters of Music." To speak plainly, each number of the work Italy, Germany and France, such indeed as will will be divided into two portions, separately paged, assist in heightening and permanently fixing the the one to contain Sacred Music, the other to con- taste of the People. Blany of these gems of melody tain Songs, Airs and Dancing Music. The work have ceased for a time to please the ears of the is to be edited by Mr. Mather, of Edinburgh, a fashionable-concert frequenting patrons of music, gentleman whose name stands so high in his pro- but they have not therefore lost their power of fession as to require no commendation of ours, and charming—but must live and be admired until whose abilities are a sufficient guarantee for the poetry and song have ceased to have the power to excellence and the accuracy of what he undertakes. yield a pure and chaste delight. The second por- We are assured that neither labour nor expense w ill tion of the " Cabinet of Music" will also contain be spared to make the " Cabinet of Music" the best some of the best dancing music. In this age when as it will be one of the cheapest musical works ever the Polka has almost shattered to pieces time offered to the people of Great Britain. venerated habits, and by its graceful and expres- For more particulars as to the size, price, and sive gyrations and atitudinizing has nearly thrust time of publication of the " Cabinet of Music," see waltzes, gallops, &,c. out of the ballroom, what the advertisment on the cover of the present part. TELL ME, THEN, THE REASON WHY? GLEE FOE THREE VOICES. Atterbury. AffeAuosQ, 1st SOPRANO. -i-p- EEi=* =tzt==:--dr Tell then the rea - son why. Love from ^ — ..«- - ::S-*Lr-o--i-n- _ i - 2d rrqr_^r=_^_^rr _i=— SOPRANO. ~* -=t: =^-^ —e—^- ? Tell me, then, the rea - son why, Love from hearts ' 1. * o i^"-~ s — I Y-\ BASS. 1 t— -*= tE^ ft-4-(— r^~ =«i-h: t= rifrrt ^-p-F-t -\ 1~ 1 — "^ . . Tell me, then, the rea - son why. Love from hearts, love from h — ^ — s MUSICAL AND LITERARY MISCELLANY. 153; igfq:" •• • ' ' 3l=*: 1.5= ==»' - - » '- O-i-l 1 3 >.^- hearts that lov*d does fly ? Why the bird will build his P ^#r=]= d=q: rr-i- t=s;=d; H=i: H- =^==1= -e 1 :i:^ir--* a - that lov'd does fly ? Why the bird will - - buUd his p . a- ^t-p. —P%»-^ ^-_— in: :P=f: :=i-S3 3: ^^m -^1— -ri~ hearts in loTe does fly 1 Why the bird will build hia / irizzcrr^ip: :]=i: q=q: r^gri^ :*=ii: kixn :izj: nest, Where he ne er in tends to rest? Still / mez. irpzil: t#=q= 1- \z-tz ^— ^^=4 ^ r*: &-^: i Where he ne'er in teuds to rest ? still on /• :Sf^ ^:#r=P=f=3: ===t ^=f: i: -|— nest where he ne'er, he ne'er in • tends to rest? Still on wmg or on his knees. Love does nothing 313 -e 1- 1^=^: ^^F==^=#==: ~P=PE— wing. his knees. Love does thing p =5: .f-_^ ^- xd: =qt ^—pi- — -ii§- fl^^jji^^ !z^=:::3- by de grees, All his joys are fleet - ing dreams, H 1 rrdzq: -±iw- ^ ^U qi-D de greeSj Ail his joys are fleet - ing, fleeting p 33 tfz=f=$:—f=s^fZ2 t-=^- :t=t: :*i*: S^ It: ± by de • grees, All his joys, his joys «ire fleet - ing, fleeting 166 THE BRITISH MINSTREL; AND zfi:z=rq3:^=:|=-s-»- :r^z=3: -I iti^^^i: Jzixa All his woes es • tremes. J=f qrzHirq: ^- —»= :iiEE^Ei3ES33i-:^ l^i^^i.—^x)-'-' dreams, All his woes - ex - tremes. f SilEff if^ezpr: l-~ie=P: #zp=ff«zrt:: ill z=r —HZ 3E: dreams, All his ex - tremes. AND WITH HIS STRIPES WE ARE HEALED. CHORUS FROM "THE MESSIAH." Alia brevt moderato. Uaiidel. tre: SOPRAMO. 1^^^^^ :r3: :p=P=5 And with his stripes we are heal - ed, And with his -€ j-^— ALTO. It-R- :&S-- ^ 35: And with his stripes TENOR. ^e= 1^1 BASS. 3i^^KTr 1^; ±:--f: :tt=|E at 3i: lit: ^ stripes we are heal ed, we are J- -4— -e e-^tpq: i^lfn^: rjr :tflE: P ~e- we are heal ed. T^ iEEE: i -E5- :zi- And with hia MUSICAL AND LITERARY MISCELLANY. 157 :=q: :r::pE: :32i; iiEES: ti;*=^=t =c:t: ii Ileal - ed, And with his stripes we are heal ed, -Q-^-C^-a- -^^-i: X3: :x3: -r-*-r r M I r^- And with Iiis stripes wo are heal -e- - "y- d: m: :sr^-^.bo-' iEE :iizz:±iziz P^= ^^§^- 1 stripes are beal ed, 3EEa i ^^^^: 3 And !lli§3= :Sre^: mm we are heul ed, And :±^: inzSuzi -trcr- 1^ ©- I r I I "v I ed, And with his stripes we are heuleil. EEE T- Eaii :35- jST- :c:d :=p: q=t: And with his stripes we are heal - ed. heal O . ^ :3q: -&&- :xiz=^z =cs=:±H= :^=|i: :qi2t EEE -1- :::l: I with liis stripes we ore heal trrijqrrj: 3q_ -i^: :es:>H ^W^ :cx: S 1 ;til: ±=i: :2d; with his stripes we are heal ed. iSn; m^ 1 =5as=t S^:£ -:r- ed, And with his i=q: i&P: ^ as ZfiZZH jrzpnlir^qztiil^e^ s: :e=t fziargi: od, And with his stripes we are heal ^ 158 THE BRITISH MINSTREL; AND arzz 5EEE '&: 4::trpr:^'=rj.- :^:P::^ ,i:-^---b^r3-?irr-^-'--1-tir fr*- And \Vith his stripes we are heal :tr lrk=tFCJ: =cd:rdEEEEIztr^p^i£zE^=zdz=^-| stripes are heal -e- .^!i3- 3E :c:: ^1 ed. And with his =l=ic .X3_ t-l?---Ir-P^- :fcii :^=t=Hzfe: =K5«: E'^E -I- *iW: And with his stripes we are heal EEEESE :zi: :z£: ^; -©- ed. rcc: !^ ^^4ri 3d: ::lZ2d: li^H tilt. "CT~ -e-8-^- Br-fczrzztFa: ;P=p:5: stripes we are heal -*-^- EEE jzs: 3x: ed. -P-T- zrt^rzzd: ^S= :z: 1^ ^--1- ^= And with his stripes we are :pcfcc: :35- 35-e-ra= 5z£E3i:i:*i? dzrnt :W.z^=l=ei: -e- aiEE :i5"-i: :o:: -^- ~-*=F' ^ --tztzl -t-- ed And with his stripes we are ' MUSICAL AND LITERARY MISCELLANY. 159 —It- — - r-^-^' heal eJ, 33—3q: q^ris^ii: :c3n =F^« ^KE^IziiO: :=l~=zl: q=^: nzcpzpi:^=ir3: And with his stripes we are BEEVES ,z=^~-3q— zn: :?i=e£^E|3^^ ::q:: iir-c 1- H^ faeal ed, -±=Z7ZZiZ^-. ~^=^5fE t^ ^r* :2t:E3z=:=:5^ heal ed. And with his =¥^=====-=-- • -ei — And with his stripes we are heal X3: :=!= ^g^^=^~^=1--~: =a?^= -*—*- 2d:: 3i: -©- :e2:: heal ed, ::^-z:d: 3:2: s :t ^S^ ICE m And with his stripes we are heal ed. :=|: EEE: ^^- X2:: ..^_- stripes we are heal ed. #—^-i-»-J—^-•—1 s^E m- 1^ •11 I I I And with his stripes we are ed. 1 1 ^Ei=SE -»-( 1 f- 1 1 1 H- 5E^E 3:: :=!: And with his stripes we are heal W :ii=z=S: 35: EE: i -¥^ :ziz=9: And with his stnpeg we are — 160 THE BRITISH MINSTREL; AND ^ jt trn.:P:,-:9t_-gi^ *—--H-) ^ 1 1- 1? . ' -- f- » | =1—^e^ :C3: ztfcs:: -£=r i I P I heal =£5$ ^%€»- ip^pc xr -Jtip: E^ RT- ^. miK ed. And with his stripes arc heal a±s -5^ iprstf e- EE :!=£ :P^=I -€>— heal ed are heal --©-- ssrrrr: 3q:±P5: gE I :i^ 35- inrzo: And with his stripea we are heal ^---q-Q- :e=P -© =^ e- xx: -e— ZILZiZ EEE I I. ed, icr: -S3:5=i;q E^S^ :c=:fS^^ ed And with hia stripes we are beat •e- b-^ q~ o-.^- y7ri~i>"~z:-q— ^r fczrj: ed. And with bis Adagio. 32: 33: 3131 fcsffi: EE: 35: utipizt: i :::^ -r- S ed. '-^-» -^- -©-. J—y- =apErpE^:^=f: ^€v-|t[flrTfj-[i : -^ :35: Iftrt -1-t^zrftzd:^^ E3:~ B4+e)_H-ll ; I ^1 1 I 'I I T And with his stripes we are heal ed. i:2_ rtr: zq: S (»=t*rp: IIO H- ed. •-©- 221^E=d:ix: -e- -e-: r-r-t=: :|= :^==fla#: ijz: stripes we are heal ed : : ; MUSICAL AND LITERARY MtSCELLANY. iGi MAGGIE LAUDER. Spiritoso. Scottish air. y—r=i-r{s=:^=j^H^=z^- :i—3ii=i=* ^i IfEZZ^fflZs' :zf=rt£: :^:=5£:=£!EE^zE^EEEl "Wha wad - na be in love bon - Die Mag - gie La\i - der, A. :rz=p: -I- S ^ N N I —— I 1 pip - er met her gaun to Fife And spier'd what wast thej ca'd her. Right :p—pzbF^: =tE=e: t= gz^=Jiz?E|-==|qzJzz|==Jd~3:izsE^i-i=^z=^zz^zE^| EH:=z=rpzzzzztzzz=z^zzzzzfzzz=Jz:^zzz=s=~szz=|v|r:::«rr3(z«zl ly r I III scorn - ful - ly she anewer'd him, " Be - gone you liai - Ian shak - er, Joj g^ztfzzi=zzzfEZzz=pz: -J ^zz#=^zzz=t:==tz: :izi; :Sfi: ^ -SzS t- 35;=Js:: ;^.E5es!eie E|=i3g3=?5i?rt|3; on your gate you bladder - scale. My name is Maggie Lau - der." -ft- -•- -•- gr-i=»^Ee^EESEE=f: -t azzii" i:: 3~ Maggie, quotb he, and by my bags, Then to his bags he flew wi' speed. I'm fidging fain to see thee About the ; drone he twisted ; Sit down by me, my bonnie bird. Meg up and danc'd it o'er the green, In troth I winna steer thee: For brawly could she frisk it. For I'm a piper to my trade, "Weel done, quoth he : Play up, quoth she : My name is Rob the Ranter Weel bobb'd, quoth Uob the Ranter TJie lasses dance as they were daft. It's worth my while to play, indeed. When I blaw up my chanter When I hae sic a dancer. Piper, quoth Meg^, hae ye your bags "Weel ; hae you play'd your part, quoth Meg Or is your drone in order? Your cheeks are like the crimson ; If ye be Rob, I've heard of you, There's nane in Scotland plays sae weel. Live ye upon the border? Sin' we lost Habby Simpson. The lasses a', baith far and near, I've liv'd in Fife, baith maid and wife, Hae heard of Rob the lianter; These ten years and a quarter I'll shake my foot wi' right good-wil., Gin ye should come to Anster fair, Gif ye'U blaw up your chanter. Spier ye for Maggie Lauder, No. 101. — — ; ; 162 THE BRITISH MINSTREL; AND The foregoing admirable specimen of the Scottish really afford to have these scratched out. A white humorous son{^, was first published in 1769, by Herd ; wall would be better than such pitiful scrawls. the authorship is generally ascribed to Francis Semple The concert began at two and ended at half-past are a later of Beltrees ; the following verses, which live, for there were no less than seventeen pieces. addition, merit place : a I shall give you a list of them, accompanied by a few scholia, or marginal glosses. The cantie spring scarce rear'd her head. And winter yet did blaud her, 1. Overture to the "Jung frau Von Orleans." When the Kanter cam' to Anster town, I prefer the peaceful and religious part to the war- An' spier'd for Maggie Lauder. like; or at least I should strike out some resolutions A snug wee house in the East Green, and discords from the latter, iu order to give greater lent her It's shelter kindly ; simplicity to the whole, and perhaps greater his- Wi' canty ingle, clean heavth-stane, torical consistency with that period of musical art. Meg welcom'd Rob the Ranter ! For musical war and peace have a different char- acter in different ages, and yet each belongs to Then Rob made bonnie Meg his bride. the An' to the kirk they ranted other—relates to, and illustrates the other. The He play'd the auld " East Neuk o' Fife," martial part of this overture employs all the arts of An' merry Maggie vaunted. music in use at the present day, and is thus out of That Hab himsel' ne'er play'd a spring. keeping with the pastoral music, which is mani- Nor blew sae weel his chanter, festly of a former age. For he made Anster town to ring; 2. Scena from the " Freischutz;" MissRobson. An' wha's like Rob the Ranter ? I have had bad luck with this scene in foreign lauds. For a' the talk an' loud reports In Paris, I heard it sung very accurately, but without That ever gaed against her, the least expression, by Dauioreau Cinli ; and there Meg proves as leal and true a wife. are at least a hundred Demoiselles in Berlin who As ever was in Anster ; could accomplish the task as well as Miss Robson. An' since the marriage knot was ty'd, 3. Duet from Rossini's " Donna del Lago,'' sung Rob swears he couldna want her. by Grisi and Rubini. Grisi's voice is powerful, For he lo'es Maggie as his Ufe, and cultivated according to the true rules of art An' Meg lo'es Rob the Ranter. but her musical elocution, nay, even her very tone, has, occasionally, something vulgar which you never Blr. Chambers tells us, that he " did not neglect, on hear in visiting Anstruther, to * spier for Maggie Lauder;' German singers. Less voice, with more and was pleased to find, that the inhabitants of the elevation and sentiment, would produce more effect. town have not only preserved the tradition of her Rubini trembles when he holds a note; whether he existence, but even know the exact place of her resi- takes this defect for a beauty, or whether his voice dence. She lived in the Bast Green of AHstei;a,\ovi is growing old, and he cannot help it, I don't street, connecting the town with the adjacent fishing- know. Much less lungs, voice, art and expression village of Cellardykes. Her house was a cot of one are required for all that trickery, whispering and storey, and stood upon the north side of the street. shouting, piping and quavering, than good-natured The spot is now occupied by a garden. The house admirers think. itself has not existed within tlie memory of the present 4. " Concerto for generation ; but all the people concur in pointing out Pathetique" the piano-forte, by this as its site." Picture of Scotland. Moscheles. I will only put two questions as to this : First. Would not every piano-forte concerto be the better for being delivered from such powerful accompaniments as drums and trumpets? Is not MOSCHELES- MORNING CONCERT. the contrast too violent, and the effect of the prin- cipal instrument enfeebled? Secondly. The piano- Although I was greatly delighted with the spoils forte is, in many respects, inferior to all stringed I gathered yesterday at the Museum from the and wind instruments; but it has one great advan- Letters of Randolf and Bedford during the embas- tage—that the player can execute several parts at sies, and would gladly have stayed longer, I was once according to the rules of harmony. Why is obliged to break off after three hours' work, because this peculiar advantage, of which the old German Mrs. T had the goodness to promise to take school invariably availed itself, now utterly ne- me to Miischeles' morniny concert, which began at glected both by composers and perlormers ? two in the afternoon. 5. Air," Ah quando in regiotalamo" by Donizetti Though I am no friend of concerts in general, sung by Madame Caradori Allan- A hodge-podge yet as Mr. Moscheles' is one of the choicest and the of unconnected phrases, tacked together with sol- best attended, I determined to hear it, as a sample feggios, sung with accuracy and facility, and greatly of what the London public likes, ana what it can applauded. obtain, in the musical way. 6. Aria. " Largo al factotum," sung by Lablaehe The concert-room in the King's Theatre has a as admirably as before. But it is better suited to steep orchestra, reaching to the ceiling at one end the stage than to a gentleman in black, with white and tiers of boxes at the other. On the right is a kid gloves, iu an orchestra. bare wall ; on the left, three narrow windows " lighting the whole room. The space in the centre 7. Quintet, the dirge of Rosabelle," composed is tilled with benches, but only every other row has by Horsley, Mus. Bac. A simple ballad, requiring a back—a sort of training for the outside of the a simple, lyrical, touching melody, cut up into stage coaches. 'J'he room has neither size nor recitative, solo, and quintet; and to my taste, utterly beauty to recommend it. The walls are shabbily spoiled by the employment of all sorts of compli- and tastelessly painted with arabesques, more like cated scienliiic expedients. those on a China tea cup than those of Raphael's 8. Terzetto, " Ambi morrete," from Donizetti's Loggie. So rich a people as the English might " Anna Bolena," sung by Grisi, Lablaehe, and i ; MUSICAL AND LITERARY MISCELLANY. 163 Rubini. Oue must have resigned all idea of dra- 17. Instrumental piece of Mozart—omitted; in- matic music, and have lost all memory and trace deed, the quantity was already too great; though it that such a thing ever existed, before one can give is most certain that the quality would have been one's admiration to the senseless roulades, the materially improved by Mozart. Donizetti is not a dancing rythm, the starts, screams, and die-away dish from which any man of sense will endure to whispers, with which a royal tyrant, his wife, and be helped twice ; and Rossini's operas have been her lover amuse themselves and others in the hour so often repeated, that anything else would have of death. The simplicity of opera composers has the charm of novelty in the comparison. But the now become so audacious, and their audacity so public, perhaps, will have it so; and, still more, stupid, that art will probably once more raise itself the one-sided and meagre education of the singers from these disgusting tricks to a pure and noble may make it inevitable. style. At the pi'esent moment this cholera rages, as What infinite odds between such a concert and it seems, all over Europe. Sebastian Bach's mass in A flat, well executed. 9. Concertante for piano-forte, violin, and violon- The greater part of the audience were ladies, as cello, Beethoven, played by Moscheles, Mori, and is generally the case at morning concerts. "The Lindley. Beethoven's daring flights occasionally men are too busy to go. All, even the youngest, border on lawlessness ; but he is a man who has a wore bonnets; their dress was simple, but rich and pleases or art right to ask of art what he ; rather elegant; without eclat —nothing extravagant or must ask him in what new dress and adornments glaring. — Von Reavmer's England. she shall present herself. With dithyrambic frenzy does this high-priest of art cast the jewels of his treasury into the air ; and even the broken fragments which fall to the ground would suffice to compose SUMMER EVENING AT HOME. many a costly ornament. But when impudent Come, lovely evening, with thy smile of peace, stones at our heads, are we baja.zzos fling dirt and Visit my humble dwelling, welcome in, for to fall on our knees and humbly thank them Not with loud shouts, and the throng'd city's din. their favours ? But with such sounds as bid all tumult cease 10. Duet" Cedialdestin," from Meyer's "Medea." Of the sick heart ; the grasshoppers faint pipe Miss Masson and Rubini. Dramatic intentions, Beneath the blades of dewy grass unripe. means and ends, thank God, not so entirely vanished The bleat of the lone lamb, the carol rude as in more recent producti 164 THE BRITISH MINSTREL: AND HE WAS DESPISED. SACRED CHORDS. Charles Henry Graun. Largo con offetlo. p f^^-. =—.:==i SOPRANO. t-f-^- :?z:fzS= ...^i 1 •*«' t I 1 — — >-/- He was do - spis - ed, de spis - ed and re - ject - ed of men, ALTO. I He was de - spia ed. de spis - ed ..and jeet-ed of men. TENOR. siS^Ei ic: :gi itzp:^^^^. -"zrrfcrlzirLid He was de - spis - ed, de spis - ed and re - ject - ed of men. p :Ss: anES --Eii^^z _P_| 1 :^=e: zEzzferizztd BA.Si3. -Jt.%-=i=W=s=-f: zz=t:=:^ -r- He was de - spis - ed. de spis - ed and re - ject - ed of men, / _^ q!5:::1i tztszU^t :3=:?:#Sz:izl ject - ed, and acquaint - ed, acquainted with f jected, j:and acquaint - ed, acquainted with ^^=S= :f-»:zez:ez:^ -^—tr~l V ject - ed, and acquaint - ed, acquainted with :is;=S -^^m.iczt: -A— ^---r- and acquaint - ed, acquainted with --K- =ls:=K =!s: :^z^z:pzd :ir%-i-- S^EE^E^:E9^:iE^E ^ 11 :zSz:«i— -Sizi^:: — ji grief. He was de spis - ed and ject - ed, A man of I -'mr-P^- 3- 1^=:^: Ebtffi -A 'A'- EiEgE?E?EpgEi| I rJz:S?: #^- 1 r'^^'f-T i r I grief, He was de - spis)ii - ed and re - ject - ed, A man of : IP Ijfx^—aEZTfZZ -f-e r- _g—:g:-^--| e ^—\ i-i^- 'zz:qzz:t£z4^ — grief. He was de - spis - ed and ject - ed, A man of -I- -A- a±Z3ai .^_p- -+- :fcz^ — <*-j ' *- I —t— -e^ —jr—tr:--*— grief. He was de - spis - ed and re - ject - ed, A man of — — MUSICAL AND LITERARY MISCELLANY. 165 =5£::=& rpzzEs^rz^^ ^=p=^=r=r)E== *-f^-_-ezi|;^£zi^E| !t. 1—tr— 8or - rows and ac - quainted with grii man of sorrows. 3EEE£E t~lz:g:=k~=:l:p; — ». / flor and ac - quainted with grief, man of sorrows, EE^ilEiEE^^^iE^ E"^E^ sor - rows and ac - quainted withwil gi'ief, man of sorrows, -=]: '*=^--±--rt Eor - rows and ac - quainted witli grief. A man of sor - rows and ac - quainted with grief. I iS iS -ff^- :p: zizz-szzt:z -ff^- --Z%-- -e- I A man of sor and ac - quainted with grief. ? \z=.:iz -B-^— . t: —p_izl=z 1 -U fcE^ESEEsi^E^fe!=§=t^' -I—/— A man of sor - rows and ac - quainted with grief. Xzwz :?== -k -/--ir- '~r-^^3il=!=i= A man of rows and ac quainted with grief. 166 THE BRITISH MINSTREL; AND GRETRY. and the savage master himself took him by the hand, and told him that he would become a musi- Gretry, the composer of the music of " Richard cian of great eminence. Some little time afterwards Coeur de Lion," was born at Liege, a well-known his voice began to break. It would then have been town in Westphalia, in the year 174) . At an early prudent to have forbidden his singing; but this not age he became sensible to the charms of music, and, being done, a spitting of blood was brought on, to to this sensibility, when he was only four years old, which, on any exertion, he was ever afterwards he was near fallin;? a sacrifice. It is related of him, subject. Not long subsequently to this he was that being left alone in a room where some water placed under the care of Moreau; but such was was boiling in an iron pot over a wood lire, the the exuberance of his genius, that he had previously sound caught his ear, and for some time he amused attempted several of the most complicated kinds of himself by dancing to it. The curiosity of the music. " I composed six symphonies," says Gretry, child, however, at length prompted him to uncover " which were successfully executed in our city. the vessel; and in so doing he overset it; the water M. Hasler, the canon, begged me to let him carry fell upon and dreadfully scalded him from head to them to the concert. He encouraged me greatly, foot. From the care and attention that were paid advised me to go to Rome in order to pursue my to him by his parents and medical attendant, he at studies, and offered me his purse. My master in length recovered in every respect from this accident, composition thought this little success would be except having a weakness of sight, which continued mischievous to me, and prevent me from pursuing ever afterwards. When he was six years old his that regular course of study so necessary to my father, a teacher of music, placed him in the choir becoming a sound contrapuntist. He never men. of the collegiate church of St. Denis, and unfor. tioned my symphonies." Gretry walked to Home tunately, but necessarily, under the tuition of a in the early part of 1759, being then only eighteen master who was brutal and inhuman to all his years of age. Here, in order that his genius might pupils. Young Gretry had his full share of ill- be as much unfettered as possible, he studied under treatment; yet such was his attachment to this man, several masters, and he almost every day visited the that he never could prevail upon himself to disclose churches in order to hear the music of Casali, it to his father, fearing that by his influence the Eurisechio,and Lustrini,but particularly that of chapter might be induced to take some steps the former, with which he was greatly delighted. that would be injurious to him. An accident, which The ardour with which he pursued his studies was so for a time put a stop to his studies, deserves to be great, that it suffered him to pay bul little attention related liere. It was usual at Liege to tell children to his health. This consequently became much that God will grant to them whatever they ask ot impaired, and he was obliged for a while to leave him at their first communion : young Gretry had Rome and retire into the country. One day, on long proposed to pray on that occasion that he Mount Millini, he met a hermit, who gave him an might immediately die if he were not destined to invitation to his retreat, which he accepted, and he be an honest man, and a man of eminence in his became his inmate and companion for three months. profession. On that very day, having gone to the He returned to Rome, and, young as he then was, top of the tower to see the men strike the wooden he distinguished himself by the composition of an " bells which are always used during the Passion- intermezzo, entitled Le Vende Miatrice. ' His week, a beam of considerable weight fell on his success was so decisive that he was very near head, and laid him senseless upon the floor. A suffering fatally from the jealousy of a rival in his who present for the profession. courted in the capital of person was ran extreme unction ; Admired and but on his return he found the youth upon his legs. Italy, Gretry here continued his labours and his On being shown the heavy log that liad fallen upon studies with assiduity and perseverance, till Mr. him,—" Well, well," he exclaimed," since I am not Mellon, a gentleman in the suite of the French killed I am now sure that I shall be an honest ambassador, incited in him a desire to visit Paris man and a good musician." He did not at first ap- In his way to that city in the year 1767, he stopped pear to have sustained any serious injury, but his at Geneva, and there composed his first French mouth was full of blood, and the next day a depression opera of " Isabelle et Gertrude." Respecting the of the cranium was discovered ; on which, however, performance of this work he relates an amusing no operation was attempted, and which was sufl'ered anecdote. " One of the performers in the orchestra, to continue. From this time, but whether owing to a dancing-master, came to me in the morning the accident or not, it is not known, his disposition previously to the representation, to inform me that was considerably altered. His former gaiety gave some young people intended to call for me on the way in a great measure to sadness, and never after- stage with acclamation at the end of the piece, in wards returned, except at intervals. On his return to the same manner as at Paris. I told him I had to Italy. " will, however, the choir he acquitted himself by no means the never seen that done in , You satisfaction of his father, who for a time withdrew see it here," says he, " and you will be the first him for the purpose of his receiving farther in- composer who has received this lionour in our struction. He was now placed under the care of a republic." It was in vain for me to dispute the master as mild as the other had been severe. When point; he would absolutely teach me the bow that his father replaced him in the choir, his improve- I was to make with a proper grace. As soim as ment both in singing and playing was found to the opera was finished they called for me sure have been very great. The first time be sang in the enough, and with great vehemence. I was obliged choir,the orchestra, delighted with his voice, and fear- to appear to thank the audience for their indul- ing to lose the sound of it, was reduced to the pianis- gence ; but my friend in the orchestra cried out simo; the children of the choir around him drew aloud, " Poh ' that is not it! —not at all! —but get back from respect ; almost all the canons left their he matter?" asked his brethren seats, and were deaf to the bell that announced the in the orchestra. I am out of all patience," said elevation of the Host. All the chapter, all the city, the dancing-master. " I went to his lodgings this all the actors of how to present the Italian Theatre applauded him ; morning, on purpose to show him — ; — MUSICAL AND LITEllARY MISCELLANY. 167 himself nobly ; and did you ever see such an in a low tone of voice, "Take care of my flowers! awiiward booby ?'' It was some time before Do not crush my flowers!" obtain in Paris piece to Gretry could a compose; An anecdote or two in proof of her generosity and he was first introduced to public notice there. and considerate kindness may be worth quoting: in 1768, by writing; the music to Mannontel's opera Malibran, as I believe every one is aware, had a " Le Huron.'' This met with the most flatterinf; remarkable talent for musical composition. This success. The opera of " Lucile" followed, which talent, however, she exercised only for amusement, was even more successful. His fame was now giving to her friends or to charities the pieces she established in France, and he produced near thirty composed. On this occasion Madame de was comic operas for the great opera house in Paris. present, a lady for whom our fair cantatrice had the Of these " Zemire et Azor," and " Richard Cceur de greatest respect, but whose pecuniary Lion," have been translated and successfully brought circumstances were deplorably reduced. Vi'illingly would Maria on the English stage. The taste of the Parisians Malibran have assisted her, but the pride of Madame tended greatly to corrupt that of Gretry ; but he precluded the possibility of a pecuniary ofter; has done much towards improving theirs: they she therefore resorted to an ingenious little artifice Have met about half way ; and perhaps the genius to cfl'ect her generous purpose. Madame 's of the French language, the style of singing, and son, a lad of sixteen, was present. " I understand the national prejudices, even if he had determined that this young gentleman has a great talent for to continue inflexible, could not have admitted of a poetry," said Madame Malibran to the " nearer approximation than we find in his music. mother. I am going to propose a little speculation Sacchini has been known to say of Gretry, that he between us. Having written six airs for publication, I remembered him at Naples, where he regarded him want words for them; will you undertake to furnish as a young man of great genius, who wrote as them, and we will divide the profits?" The proposal niuch in the style of that school as even any of the was instantly accepted ; the young poet produced Italian masters; but that when he heard his comic the verses, and they were sent to opera at Paris, many years afterwards, he did not Madame Malibran. The songs were never published ; find that his style had much improved by composing but Madame de received six hundred francs as her to French words and for French singers. GreUy, son's share of the profit arising from them. during the times of anarchy in France, became tainted with revolutionary principles. He died at One day a poor Italian refugee applied to La- Montmorency on the 24th of September, 1813. blache for assistance. He had received permissi()n Parke's Musical Mc^nolrs. to return home, but alas I he was destitute of the . means. The next day, at rehearsal, Lablache ANECDOTES OF MALIBRAN. broached the subject of the refugee's distress, and proposed a subscription. Madame Lablache, Don- One of her early performances was marked by an zelli, and several others, subscribed each two gui- amusing incident. She had to sing with Velluti a neas. " And you, Maria," said Lablache, turning duo in Zingarelli's "Romeo e Giulietta." In the to Madame Malibran, " what will you give?'' "The morning they rehearsed it together, and at that re- same as the rest," answered she carelessly, and went hearsal, as at all preceding ones, Velluti, like an on practising her part. With this little treasure experienced stager, sang the plain notes of his part, the charitable and kind-hearted Lablache flew to reserving his florituri for the evening, in the fear succour his unfortunate countryman. The next that the young debutante would imitate them. Ac- morning Maria took an opportunity to speak to him cordingly, at the evening performance, Velluti sang alone. " Here are ten pounds more for your poor his solo part, interspersing it with the most florid friend," said she, slipping a note into his hands; " ornaments, and closing it with a new and bril- I would not give more than the others yesterday, liant cadence, which quite enchanted the audience. fearing they might think me ostentatious. Take it The musico cast a glance of mingled triumph and to him, but do not say a word about it to any one." pity on poor Maria, as she advanced to the stage —Memoirs of Madame Malibran. lamps. What was the astonishment of the audience to hear her execute the ornaments of Velluti, im- parting to them even additional grace, and crown- SINGING FOR THE MILLION. ing her triumph with a bold and superb improvisa- 'Twill be a most harmonious state of things tion. Amidst the torrent of applause which fol- When every one, instead of speaking, sings. lowed this eflbrt, and whilst trembling from the A dun will give a musical rat-tat, excitement it occasioned, Maria felt her arm rudely And at his charges should the debtor carp. grasped as it were by a hand of iron. Immediately The latter in refusing will he the word " Briccona !" pronounced in a suppressed flat, The former in del'ending will be sharp. and angry tone by Velluti, alforded her a convinc- The lawyer, though with music in his breast. ing proof that every triumph carries with it its mor- May leave his client to a prison's fate, tification. Where he may find, at least, few bars rest, Maria Malibran's nervous temperament and ro- a Unless he pays his bill in time, mantic turn of feeling inspired her with a passion- six eiyht. Music already many comprehend. ate love of flowers. During her performance of To them its terms are practically Desdemona, on the evening of her benefit before known; Andante, when they act to serve a iriend alluded to, she betrayed her fondness for flowers in Allegro, when the profit is their own. a singular way. When Desdemona lay dead on The singing for the million must, indeed. the stage, and the Moor in his frenzied grief was Be in accordance with the Chartist's choice; preparing to inflict upon himself the blow which For if the proposition should succeed, was to lay him prostrate at her side, Madame Mali- All in the country then would have voice. bran, fearing the destruction of the bouquets and a wreaths which lav scattered round her, exclaimed Criiichskanhs's Comic Album. — ' 168 THE BRITISH MINSTREL; AND LIGHTLY TREAD. Andante. GLEE FOE THREE VOICES. George Berg. 1st Treble - - Light - ly tread, 'tU lial lovv'd ground, Hark 1 a - bove, be low, ^ _ J4. 2d^d TREBLITreble. :pz^^: :d!s: z4^=^ :f=^ 'ji—1*— Light - ly tread, 'tis hal • lovv'd ground, Hark! a - bove, be - low, a - Bass. SliilEiEEE -fe:=:trr :lt=:l .,_^^»_^_ -p;"- ^|-P-/»- --Pf-ff--,:-^-^-?-. ip^f: -f~js— |-H--P-b~!-|/—[-I—=H--H-f-iff-|~l^-i It—I—l«--P~»- -H->l^—j|- =;- 1^*!; p~| !-«*| !-«•, F— -l-'»P-«—|-l-»«i — — —'^-1— — round, Fai - ry bands their vi - gils keep. Whilst frail mor - tals sink to :^==P= .=1- ^P±EE£: :P3»: :i==l^: -!->*r ._^^l i^ round. Fai - ry bands their vi - gils keep, Whilst frail mor - tals sink to d: :ff=^: :p=^ =ez^ -J^—W- -ff: E^E^ :P==E= /- --V-- =5=l=:p:?* '-I— -I _»"/ EcEE|EE^E|E£=SE|EgE^ sleep. Gilds the brook that bub - bling plays, /> ^-g-tf—l-TflT- ==r=rfs:i=:q* ^e^eIe^eSz: sleep. And the moon with fee - ble rays, Gilds the brook that bub • bling plays, d^-tzvi^zr.z\-w-^z\-——\ -g-©.--^. ii^iigfj-pp r- h^^-ff-*-*^?- =^x;:zbt^=fc:hp3^dzts?:=p£diP5t--=^rto=5= =Er±=bfe^=-d—=:b:!^"tc3z^=^rr:zd=L3:-=i= Jtiit As in murmurs soft it flows, Mu - sic meet for lov - ers' woes. iiEiH^iE^ii^p As in murmurs soft it flows, Mu - sic meet for lov - ers' woes, :=!: EpEtciEIEaES i , f — MUSICAL AND LITERARY MISCELLANY. 169 O WHISTLE AND I'LL COME TO YOU MY LAD, Lively. Words by Burns. i^rszfi :t=i: &\ ifnzz^z:^ I—-t *-•"-' y^ - '-S-^ -H--lt_;t-ife=t=— li—j whistleand I'll come to you ray lad, O whistle and I'll come to you my lad; Tho' fa - ther and mother, and a' should gae mad, O whistle and I'll come ^=f=^ 1 1 H— .1 1 1 r=5ESEt- •^i ^ to you my lad But war - i - ly tent when je come to court me, And come na un- :tt=tr::^=4=:tq-&=h:-P-i==I^Pr=u=:C: r- :i— ._i». ;lfc=3Ez:?Ez:«rP=E= zj-p :fc=p: :fz:P: ::3=: ::t^l2 less the back yett be a-jee;Syne up the back style and let nae - ho - dy see, And .^_, 1 9-- come as ye were na coming to me, And come as ye were na coming to me. — F- h=^ — —'-p-! - p-" 1— \ !-- — h-'-It-!— r-F-l i—p-r — At kirk or at market, whene'er ye meet me, Aye vow and protest that ye care na for me. Gangf by me as though that ye cared na a flie And whyles ye may lichtly my beauty a wee; But steal me a blink o' your bonnie black e'e, But court na anither, though jokin' ye be, Yet look as ye were na lookin' at me, For fear that she wyle your fancy frae me, Yet look as ye were na lookin* at me. For fear that she wyle your fancy frae me. O whistle, &c. O whistle, &c. The above air was composed by John Bruce, a famous violin player in Dumfries, about the middle of the last century. No. 102. — J 70 THE BRITISH MINSTREL; AND THE THREE GRACES. Words by James Hanson. A. Methfessel. Spiritoso.JF :^=jc f^ - 1st TENOR. j-Prt? :g=fjty r-fiprh: E^e zAz:3t: i3=:t "When beaming light from heav'n, To glad the world was giv*n, ff :rs: 2d TENOR. Tfcnwr lEE ziti-^z e^^^^^Efel When beaming light from heav'n, To glad the world was giv'n, ff -T-L-P: :f=t.: e-^r- BASS. ^Egg -et-P' i —frprzi :^=s: :p=:p :3q- :^=|i: -[=_.. ii: ±:=t: Three an - gels then bad birth. To bless the new form'd earth. ^=Mdi.i n|: :P=P lixi: :frzir=i): -rt-P- 2_^ :fe:=t5: Three an - gels then had birth. To bless the new form'd earth. :rfs=::1===l=| :n=zl: Si^i :ir=i: :i—i: First Truth with power arrayed, Behind this twain so fair. Th' Almighty will obeyed, Bright Freedom cleft the air, With placid mien and smile, All glorious was his state, Meek, pure, all void of guile t Unawed, sublime, elate. Then Beauty, chaste and young, Truth 1 Beauty's friend and guide, Whose lip spoke love and song, Fair Beauty, Freedom's bride. Her heart the hallowed shrine And Freedom, ever be Of Charity benign. With man in amity. NATIONS WHO PRACTISE AND REVERE men with a love of virtue, and lead them to tne THE STUDY OF MUSIC. practice of their duty." " Are we desirous," say " of The Chinese, a nation which, from its antiquity, the same authors, knowing whether a state be governed, the morals its the singularity of its customs, and its jealous resolve well and whether of inha- corrupt, to continue apart from intimacy with all others, bitants be virtuous or let us examine what inspires us with the greatest curiosity, entertain kind of music is esteemed among them. This rule the highest veneration for music. * " More than was not neglected by Confucius when he travelled eight centuries before the existence of the son of through the different kingdoms into which China was divided in his time; some vestiges of the Antiope, and of the famous singer of Thrace, it is an- recorded that the inimitable Kouei said to the Em- cient music even then remained ; and his own ex- perience had taught him how much influence har- peror Chun, ' When I touch the stones which com- pose my kiny (musical instrument), and make them mony has over the passions and movements of the send forth a sound, the animals range themselves soul. It is indeed related that when he arrived in Tsi, around me and leap for joy.' The ancient music, the kingdom of he was entertained with a piece according to the Chinese writers of every age, could of the music called Chas—that is to say of that call down superior spirits from etberial regions music which Kouei composed by order of Chun." " raise up the manes of departed beings— inspire For more than three months," says the author of his life, " it was impossible for him to think of any- tliing else ; the most exquisite food, prepared in " See Alexander's Narrative of Earl Macartney's the most delicate manner, could neither awaken bis Embassy to China, p. 424. taste nor excite his appetite.'' : ; MUSICAL AND LITERARY MISCELLANY. 171 Among the Saxons and Danes music was much the Rans dc Vaches of the Swiss, the sound of which esteemed, and the knowledge of it proved to Alfred in an instant renders them intoxicated with delight. the Great an essential advantage. " It is well This air is said to have been so dear to the Swiss, known how he, in the disguise of a harper, entered while engaged in foreign service, that it was forbid- the Danish camp and discovered their great neglect den, under pain of death, to be played to the troops, as of all military precautions against attack. Seizing it immediately drew tears from them, and excited the favouralile moment, he flew to the Earl of De- so ardent a desire to sec their native country, that vonshire, who alone was privy to all his intentions, they deserted or fell sick, and died of what is called took the field at the head of his troops, surprised " La Maladia du Pays," or Nostalgia, by medical and forced the camp, routed the invaders with authors. much slaughter, and gained a complete victory. It The inhabitants of almost every nation have is said that Alfred enjoined and encouraged the their national music, the love for which increases study of music among the liberal arts, in the Uni- with their growth, and grows more intense with versity of Oxford, of which he was the founder." their years ; it is inhaled with every breath, and In those days, and for years after, no man was con- heard in every sigh of the wind. When, in a dis- sidered a gentleman who was not acquainted with tant country, a well-known melody suddenly bursts the science.* " Caedmon, the sacred poet, who lived on the ear, indefinable are the associations which during the heptarchy, had attached himself so it conveys: home — kindred — all that is dear is much to serious studies, that he neglected music brought to memory, as if the hearer were instan- being in company when the harp used to go round, taneously transported to the place of his nati. (for it was customary at festivals for each of the vity. Next to the sight of a beloved home, is the company to sing and play in his turn), he left the delight of heart in receiving, through the ear, party, ashamed that it should be remarked that he sounds assimilating with our earliest and most in- was deficient in a branch of education which was nocent employments and recreations. No disposi- esteemed necessary to complete the character of a tion, however stern or soured by the ills of life, can gentleman."f refrain from dwelling with feelings of sensibility on The Cambro-Britons thought music indispensa- the scenes of juvenile happiness which no other ble; it was with them a regal accomplishment, ne- means is likely to bring back so vividly to the ima- cessary to form a prince and a hero. Music pos- gination as a well-remembered air that has been sessed wonderful influence over their minds, and chanted in the dwellings of our fathers. rendered their unfortunate bards, in consequence, The modern Hindoos have airs faithfully handed so obnoxious in the eyes of Edward the First, that down by their ancestors in Sastras,v,here the whole he condemned them to death. The Welsh music science of harmony is personified in six Kagas, or, even now retains great originality, and a peculiar as we may call them, major modes; to each of wliicli pathos and expression at once unique and beauti- is attached six Raguis, or minor modes of the same ful. strain, representing so many princes, with six wives The Irish and Scotch, in the earliest days, held to each. But as the Indian allegories speak much music in high veneration, and allowed their bards more expressively to the eye than to the ear, we and minstrels many privileges. Most justly do they learn from appropriate paintings to the several estimate their national airs, for they breathe the modes that the performance of each undivided me- language of nature. What heart is not roused and lody is exclusively restricted to some season of llie enlivened by the sprightly hospitality expressed in year, or point of time in the twenty-four hours, at many Scotch songs, or melted into pity and love which only it is opportune or admissible. by the softer and genuine strains of feeling depicted The great perfection to which music has arrived in others. After listening with amazement to the in point of science throughout Italy and Germanv, execution of brilliant bravuras (which, while they is too well authenticated l)y the valuable composi- astonisli, excite no pleasurable or lasting impres- tions of deceased and living masters to need much sions), how often are the most delightful and inde- remark. The works of the former have raised a cribable sensations awakened by a Scotch or Irish monument to their memory which must last as long melody, which presents no other charm than its own as taste and reason hold sway over the mind ; and intrinsic simplicity and peculiarity, void of all ex- the latter exist to speak for themselves by the com- traneous ornaments, but infinitely richer in those positions which they are continually presenting to of nature and feeling. the public. In every land music has left some well-known We can trace music even to the land of barbar- relic behind her to be handed down from one gene- ism, whose inhabitants, plunged in the dark chaos ration to another. There can be no stronger ex- of ignorance and error, are alive to no sensation so ample given of the po wer of national music than powerful as that which music has the power to awa- ken ; hers is a hand that never touches the heart in vain—almost in every bosom there exists a chord * Bede, Hist. Eccles. Lib. iv. chap. 24. attuned to harmony that vibrates on the finer feel- + Philomathes, giving an account to Polymathes of ings of the soul. the society and entertainment of the banket at Master The American Indians, both north and south, Sophobulus', regrets his ignorance of music. "Sup- possess a natural taste for music both vocal and in- per being ended, and music bookes (according to the strumental. According to Bartram's Travels, the custome) being- brought to the table, the mistresse of Choctaws are eminent for their music and poetry the house presented me with a part, earnestly re- and from the sensible expression which they give questing me to sing ; but when, after many excuses, I to the different subjects of their selection, a power protested unfainedly that I could not, every one be- ful effect is produced gan to wonder. Yea, some whispered to others de- on the passions of those who listen to them, particularly their manding how I was brought up ; so that, upon shame by moral songs of mine ignorance, I goe now to seek out mine old and elegies. friend Master Gnorinms to make myselfe his scholler." The inhabitants of Olaheite are said to sing a Morley's —See Introduction to Musicke, page 1. solemn song every morning at sunrise, and it is 172 THE BRITISH MINSTREL; AND very rare to meet with a person amoncr them who band; the gamelin was arranged under shelter of cannot turn a tune. The fair sex in Otaheite are a roof near the entrance of the court. —*' There are the most favoured of Apollo ; lor, during the day, several kinds of gamelin used by the Javans. That their principal pleasure consists in singing their before us was the gamelan selindro, which consists own extempore compositions. of several instruments resembling the harmonicon The airs of the New Zealanders (according to or ancient stocatta, termed ' gambang.' The ' gam- Captain Cook and the still later communications bang gansa' is a harmonicon having eighteen of John Liddiard Nicols, published in 1814) are wooden keys, arranged in a sort of trough or boat, plaintive, melodious, and in style resemble some of which yield very pleasant tones when struck with our sacred music; they are fond of singing in parts, the proper sticks. 'I'he ' gambang kayu' has nine- and then joining- in chorus at the end of each teen metal keys ; there were three other similar verse. instruments of smaller size, each having from five The Ashantees have as strong a claim to atten- to seven metal keys; they are named saron, rie- tion, on the score of their musical talent, as any mong, and selantam. A bed of ten small gongs, people in the interior of Southern Africa: for, called a bonang, a large gong placed horizontally, though their strains are in themselves so wild that two large ones suspended from a wooden frame, they can scarcely be submitted to the regular rules and along narrow drum, formed the bass, while the of melody, yet, from their sweetness and animation, lead was given by the rebab, a sort of two-stringed they are entitled to be ranked above the generality violin. This instrument is held very much after the of barbarous compositions. Mr. Bowdich, in his manner of the violoncello, and as the player was missiim to Ashantee, gives a curious account of the seated on the ground, his left hand was elevated to musical powers of a white negro from the interior press the strings while the right exercised the bow. countrv of Imbeckee. After describing his person, The music was pleasing and rather soothing in its to which it seems nature had not been very liberal, tones. The musicians were allseatedd la Turque,and Mr. Bowdich continues in nearly the following were generally patriarchal in their appearance ; the words: —"His harp was of wood, except that part leader particularly so, when he turued his witliered producing the sound, which was covered with skin, face towards heaven and accompanied the notes of perforated at the bottom; the bow, to which the the rebab in a high and pathetic tone. The ga- strings were fixed, was considerably curved; the melan is preserved as an heirloom in the family of strings were twisted round the pegs, which easily a Javan prince, and handed down from generation turned round when the instrument wanted tuning. to generation : the one before us had long been The tone was full, harmonious, and deep. The the amusement of the prince's ancestors." man sat on a low stool, supporting his harp on his The same authority gives us some information knee and shoulder, when he proceeded to tune it concerning tlie taste for music which exists among with great nicety. His hands appeared to wander the Siamese. While in that country, he had an among the strings until he formed a running ac- interview with the Prince Momfanoi, whose taste companiment to the most extraordinary vocifera- was evinced by the contents of his own apartments. tions. At times one deep and hollow note burst " On a sofa at one end of the drawing room were looked violins, flutes, flageolet, on which the Prince forth and became broken ; presently he up, and a pursuing all the actions of a maniac; and, whilst performs." These instruments, however, were pro- the one hand continued playing, he sung forth a cured from the European andAmerieanmissionaries. " peal which vibrated on the ear long after it was Farther on Dr. Rusehenberger describes a musi- produced. He became silent. The running ac- cal instrument invented in Laos, the country to the companiment revived again as a prelude to loud north of Siam proper. It consists of fourteen bam- recitative, uttered with the greatest volubility, and boos, each half an inch in diameter, and from eight ending with one word, on which he ascended and to twelve feet long, placed in two parallel rows, con- descended divisions far beyond the extent (in taming seven each. The barrels or tubes are of pitch) of his harp, with the most beautiful preci- graduated lengths, like those of an organ, and from sion. Sometimes he became more collected, and a the resemblance to that instrument this might be mournful air succeeded the recitative, without the termed the Laos organ. About two feet from the least connection ; and he would again burst out square end the tubes pass through a short cylinder with the full force of his powerful voice in some notes of wood at right angles, and about three inches of the Hallelujah Chorus of Handel. To meet with above it, each tube is pierced by a small hole, to this chorus in the wilds of Africa, and from such a which a finger is applied when playing. The being, had an effect I can scarcely describe ; I was player holds the instrument between the palms and lost in astonishment at the coincidence; there could blows into the open end of the cylinder. We re- not be a stronger proof of the nature of Handel, or quested that some of his people would play for us. ' of the powers of the negro. I naturally inquired if Wow I' exclaimed the Prince Momfanoi, in his will this man was m his senses, and the reply was, he usual manner of expressing surprise, ' Wow— I was always rational but when he played, at which play for you myself;' and at once calling an old times he invariably used the same gestures and man who was resting d la Siamese, he took the in- evinced the same incoherency." strument between his palms. The old man crawled The Javanese require especial notice. With these close up to the Prince's feet, and, sitting d la people music forms an item in all their ceremonies, Turque, looked up into his face while his highness whether of state or of religion : their music is ge- played a showy interlude. The minstrel shut his nerally of a simple and pathetic kind. Dr. Rus- eyes, and, turning his withered countenance heaven- chenberger, surgeon on bfiard of the United States ward, began singing a melancholy air to his mas- ship Peacock, which sailed round the world in the ter's accompaniment. We were surprised at the years 1835, 1836, and 1837, has the following de- power of the instrument, and much pleased with scription, which cannot fail to interest the reader: the performance. He had no sooner ended his —" We procured an invitation from a Javan prince song than the old man began to move back to to visit him and hear the " Gamelin " or native his former station, but a word detained him at — — ! — ; MUSICAL AND LITERARY MISCELLANY. 173 bis master's feet. ' Now,' said the Prince, ' I sing it, when, notwithstanding his situation in the will giye you another kind of tune, and at once river, flames burst violently from his body and con- struck up an air which might have been mistaken sumed him to ashes. These, and other anecdotes for Scotch had we not been assured that it was of the same nature, are related by many Hindoos, Siamese. The minstrel gathered confidence from and implicitly believed by some. The effect pro- the music, and sang with much spirit and better duced by the inaig multar r&ug was immediate rain effect than at iirst." And again he shows how and it is told that a singing girl once, by exerting music is united with all the business of life, whe- the powers of her voice in this raug, drew down ther in its most important and serious duties or to from the clouds timely and refreshing showers on the render agreeable the hours of relaxation. " About parched rice-crops of Bengal, and thereby averted one o'clock the golden barges of the King were in the horrors of famine from the paradise of easterii sight. Accompanied by the oflicers in full dress, regions. An European in that country, inquiring and the band, he repaired to the vessel of ceremony. after those whose musical performances might pro- The flaunting banners, the music of their pipes and duce similar effects, was answered that " the art is drums, and the glitter of gold and silver in the sun, now almost lost; but that there are still musicians formed a pretty pageant, and indicated with what possessed of those wonderful powers in the west of scrupulous ceremony everything is conducted at the Iiulia." If one inquires in the West, they say, magnificent court of Siam. As the casket (containing " that if any such pertbrmers remain, they are only the treaty of amity and commerce) was raised, the to be found in Bengal." Of the present music, and Siamese band played plaintively and slow." In the thesensatipns it excites, one can speak with greater next page Dr. Ruschenberger says—" We were en- accuracy. Many of the Hindoo melodies possess tertained in the evening by a band of amateur musi- the plaintive simplicity of the Scotch and Irish, cians, playing singly and in concert on instruments and others a wild originality pleasing beyond de- resembling guitars, hautboys, &c. It is stated that scription. Counterpoint seems not to have entered, the Siamese use more than a hundred different mu- at any time, into the system of Indian music. It is sical instruments." not alluded to in the manuscript treatises which I The music of the Hindoos, says Mr Montgomery have hitherto perused, nor have I discovered tliat Martin, is certainly not in accordance with our any of our ingenious Orientalists speak of it as ideas of harmony, though the Hindoos appear to being known in Hindostan." be as much affected by it as a connoisseur at the In Mr. Wilson's translation of a Sanscrit play, Italian Opera. Sir William Ousely amuses his entitled " Mrichchhacati," or " The Toy Cart," and readers with a few of the marvellous stories related supposed to have been written about a century be- by the Hindoos of the effects of their ancient mu- fore our era, we find the following beautiful lines sic, and of the decline of taste among themselves. on the Vina or Hindoo lute : " On the sul)ject of those ancient and extraordinary Althoug;h not ocean -born, the tuneful vinct melodies," says he, " which the Hindoos call rdugs Is most assuredly a gem of heaven : and rdgtnts, the popular traditions are as numerous Like a most dear friend, it ch?ers the lonely heart, and romantic as the powers ascribed to them are And lends meeting new lustre to the social ; miraculous. Of the six rings, the first five owe It lulls the pain that absent lovers feel, their origin to the god Mahadeva (Siva), who pro- And adds fresh impulse to the glow of passion. duced them from his five heads. Paravati, his wife, constructed the sixth, and the thirty rigints were composed by Brahma. Thus, of celestial invention, CEAD MILLE FAILTE. these melodies are of a peculiar genus ; and of the three ancient genera of the Greeks, resemble most It is perhaps not generally known from whence the famous expression of Irish hospitality " Cead the enharmonic ; the more modern compositions are Mille Failte," was taken. It occurs in the of that species termed diatonic. A considerable conclud- ing stanza of "Eileen Roon," and is thus trans- difficulty is found in setting to music the riugs and a lated by Furlong : rilginis, as our system does not supply notes or signs sufficiently expressive of the almost impercep- A hundred thousand welcomes, tible elevations and depressions of the voice in these Eileen a Roon melodies, of which the time is broken and irregu A hundred thousand welcomes, lar, the modulations frequent and very wild. What- Eileen a Roon! ever magic was in the touch when Orpheus swept Oh ! welcome evermore. his lyre or Timotheus filled his softly-breathing With welcomes yet in store. Till love and life are o'er, flute, the effects said to have been produced by two Eileen a Roon 1 of the six raugs are even more extraordinary than any of those ascribed to the modes of the ancients. There are two songs entitled "Eileen a Roon" Mir Tansine, a wonderful musician in the time of "Ellen, the secret treasure of my heart." The old the Emperor Acbar, sung one of the night rJlugs at version, from which the above stanza is taken, bears mid-day : the powers of his music were such that internal evidence of antiquity. The first line of the it instantly became night, and the darkness ex- second stanza of it, " I would spend a cow to enter- tended in a circle round the palace as far as the tain thee," proves that ii was composed before coined sound of his voice could be heard. I shall say little money was in general use. The following is es- on the tradition of Naik Gopal, another celebrated teemed the most probable account of the circum- musician in the reign of Acbar, who was command- stances which gave rise to it; ed by the Emperor to sing the rilug dipaka, which, " Carol O'Daly, commonly called MacCaomhlnsi whoever attempted to sing, should be destroyed by Cneamha, brother to Donogh More O'Daly, a man fire. The story is long: Naik Gopil flew to the of much consequence in Connaught, was one of the river Jumna and plunged himself up to the neck in most accomplished gentlemen of his time, and par- water, when Acbar, determined to prove the power ticularly excelled in poetry and music. He paid of this raug, compelled the unfortunate musician to his addresses to Ellen, the daughter of a chieftain — — 174 THE BRITISH MINSTREL; AND named Kavanagh,a lovely and amiable young lady, the original and sweetly simple song of Eileen a who returned bis affection, but her friends disap- Roon. The following is a specimen of the transla proved of the connexion. ODaly was obliged to tion of it by John Anster, Esq. ; time, leave the country for some and they availed Blind to all else but thee, opportunity his themselves of the which absence Eileen a Roon I aftorded of impressing on the mind of Ellen a be- My eyes only ache to see lief of bis falsehood, and of his having gone to be Eileen a lloon 1 married to another. After some time they prevailed My ears banquet on thy praise. Pride and pleasure of days ! on her to consent to marry a rival of O'Daly ; the my day was fixed for the nuptials, but O'Daly returned Source of all my happiness t Eileen a Roon ! the evening before. Under the first impression of his feelings, he sought a wild and sequestered spot Handel is said to have declared that he would on the sea-shore, and, inspired by love, composed rather be the author of Eileen a Roon than of the the song of Eileen a Roon, which remains to this most exquisite of his musical compositions. Yet time an exquisite memorial of his skill and sensibi- it has been palmed upon the public, under the name lity. Disguised as a harper, he gained access of Robin Adair, as a Scotch melody. Burns asserted among the crowd that thronged to the wedding. that it and 7Mo%^store, which he termed Gramach- It happened that he was called upon by Ellen her- ree, were both Scotch. He was in error ; but the self to play. It was then—touching his harp with circumstance is a proof of their merit and his taste. all the pathetic sensibility which the interesting Robin Adair himself was an Irishman: he was an occasion inspired—he infused his own feelings into ancestor of Viscount Molesworth, lived at Holly the song he had composed, and breathed into his Park, in the county Wicklow, and early in the last " softened strain" the very soul of pensive melody. century was a member of the Irish Parliament. In the first stanza he intimates, according to the Dublin Penny Journal. Irish idiom, that he would walk with her, that is that he would be her partner, her only love for life. UNFADING BEAUTY. In the second that he would entertain her and af- He that loves a rosy cheek, ford her every delight. After this he tenderly asks, Or a coral lip admires, will she depart with him, or, in the pensive man- Or from star like eyes doth seek ner of the original, " Wilt thou stay, or wilt thou Fuel to maintain his fires ; come with me, Eileen a Roon?" She soon felt the As old Time makes these decay. force of his tender appeal, and replied in the affir- So his flames must waste away. mative; on which, in an ecstacy of delight, he But a smooth and stedfast mind ; bursts forth into his " hundred thousand welcomes." Gentle thoughts and calm desires. his To reward his fidelity and afl'ection, fair one Hearts with equal love combiu'd. " contrived to go with him" that very night. Kindle never-dying fires. The other version' was composed by a Munster Where these are not, I despise bard of the seventeenth century, who endeavoured Lovely cheeks, or lips, or eyes. to excel, by a profusion of poetic embellishments. Thomas Carew died 1639. ADIEU YE STREAMS. GLEE FOR FOUR VOICES. This Glee gained a prize medal in 1778. Andante semjjre piano. huffman Atltrhury. «— I -Jf—-lA ?;——--JV^^r :x3: ALTO. :^ PI— X.-\ dieu ye streams, je streams that smoothly flow, ye :^*-: :n=:5: ±t=.-^z X 1st TENOR. ±±=fz:t:. :x3Z2i: 1^=^—tJ —Q: Adieu ye streams, ye streams that smoothly flow. t-%^ #==3: =T 2d TENOR. X3: :i=i=:»: -^—©- Adieu ye streams, ye streams that smoothly flow, ^- —r 1 1 1 Q- Stizlzazzi: 1 BASS. IZt :$=XL =IEEI ±^ES jCX Ya — e MUSICAL AND LITERARY MfSCELLANY. 175 -e- z^:^z :x3: :q:p:*=p:n E3E irt ^EtSE3- - X i=F o o 5:^=4: — 1- iS iial that soft blow, ye trees by -^- :J=^^-^;?q -l-H-.- :33- :Kit:w=i:^~\:. -tf- :$:rc: o-^ t^\ re- je ver - nal tliat suft blow, ye tree3 by ^: :pc=|i: ::1: .=^ :p=P: rci: -—©- nd: je vernal airs that soft - ly blow ye ^&z le^ ver - nal that Boft - ly blow, ye :^' -e-P> :g>-|-q|'.4-syj:|=^n|i: -e ritf—izcc 3=td: ± :«^ bloom - ing spring ar - ray'd, by blooming spring ar - ray'J, ye :fz5: —J^—^^ J^^^-e. :x3zr=2d: :3:5= rats:: :p: rlzrDz bloom - ing spring ar - ray'd, by blooming spring ar - ray'd, ye -f-S- + 1: 3qz^«=?ji: I- :r3: — -a— —^—-e- :t=t ^- -I trees by bloom - ing spring, by blooming spring ar ray'd, ye __ ^ Q ^=i=iP=i=t: :P=f==^=; 3tS iz: ±r::t-=:3: ^- 1 trees by bloom - ing spring, by blooming spring ar ray'd, ye J: / -^ tji- 315= :j^-e- — ^f^- :3q= m birds that war • ble through the shade. XJn - hurt from you, my ^: nf^— e- ^-4==|: 3-^zbjiz 3=-^tfzt -e— :-=:]: jai '^ :d: 1- birds that war - ble through the shade. Un - hurt from you my f :t:i|: I- zsb^ :x3==zt -I — birds that war - ble through the shade. XJn hurt from you my o- O- -^ -:=)- '§&-^~ :r3=. e- ^E& irzir -^— --T- birds that war - ble through the shade. TJn - hurt from you my ^— — 17G THE BRITISH MINSTREL; AND .^ F -*Z*- 3^ o- rex: 335:: ::c5: o 3:?: 3^ S f-^Sz^ ^==11 =1 ^-e- =1= i- soul could fly, nor drop ono tear, nor heave one si^h, Bat forcM from I- :^: ^— ^f^ fzfz^, 1X3: ::r3; ii^- ^^^^^i|^_^: :t4=r3;^: But forc'd from /7^ -Srff- :q: ;=]r=1=: r:\zoiz:=^ :22=3drtcj3di: zi^e—«r-«— ©-"—< l^^^l soul could fly, nor dio[) one tear, nor heave one sigii, _ ^— ^ /> :q: :s:5- BI&. s?- jq_Q. 3= 1X31 -^--ei- irrrj: ;3zs: :3d: But forc'd from f-tf ^ -O—^, :^zz ^^IS Ce lia'a charms to part, All joy de - serta my droop-ing -#- ^#^-1 -e 4-^ X -r- t-f^ 3d=Z=. -e-t ics:: -•e- :zt3: n; _-trt:-h-" Ce liu's charms to part, -f::» =:x3=:s: St tfzrgz^:? :o:i: :zttzi: :=!: @E^=SEff«:E^ —I- ^--=1- I -^- Biit forc'd from Celia'a cliarms to part. AH joy de - sorts my drooping ^^=^~ :4: a±&l -e :i3: :&E 33: t-- m ;ttrE3i= Ce liu's charms to part. P/> /7^ ./ ;' /^ 1 i-Q—rs :--^r::i4-t;3i3rqE|r:^=^^rgz^i3q-:p~^pg3q=zi: -tf:r:=zr:^=±===33^=l=±rE=dd==!=dc=zi:E:dz^=J: :o: heart, my drooping heart, All joy de - serts my droop - ing heart. PP rrs f P ±^: :^-- 3=:pj:q: :i=!i -1= :c3: :x3rz3; ^r=^=3i:W: 1X3: I -©- -^- PP rr\ f -t H—e- :—=:or.=^:d=x3=z^-Jz:^x rrjz 3E3 ^1^; heart, my drooping lieart. All joy de serts my droop - ing; heart. PP /T\ f _ P 3^^3:5: a±E«E: X3Z :?R 33j: :=#: ^-K^-e- ±irP=2i- ~i^—zl-\—~ ._,_. ^ — — MUSICAL AND LITEKARY MISCELLANY. 177 WILT THOU LEND ME THY MARE? CATCH FOR THREE VOICES. Modercto. Dr. Nares. ::^=^~ -=p==pz=rp=r|=r^:35— EEe^ =—ftziz :p= mm Wilt thou lend uie tby go mile? :^=q^: z:3^: iztii: :zi*-.i: But if thou wilt her spare, i j=:=^—jz=|-=x3'£fo| i15: 3i Oh! HiTr say you -e -e 3EEEF^= -I- -Jzzti: r- :3Z5: No she's lam'd leap ing stile. — -j e- z:J=q=:3: -:]: Thou Shalt hare mo - ney for - - thv i^EZZpzzj^: :=|zzzz: .23- :t~.f:z:^zzi~\-. zt3z^=t=rc=j::^6=P: ipzzd.^ ziz :±a :t 4: -t— zztz:cz:t=:zz!z_|— ^.^.4. Mo - ney will make the mare to ^o, money will make the mare to go. PROFESSORSHIP OF MUSIC IN THE We have much pleasure in presenting the follow- UNIVERSITY OF EDINBURGH. ing extracts from a letter which Mr. Guyuemer has addressed to the Very Reverend the Principal and The public has been informed, by means of the Senatus Academicus of Edinburgh : Scottish newspapers, that the Senate of the Uni- versity of Edinburgh have declared the Chair of I, a foreigner, devoted to an art as sublime in its Music vacant, because Mr. Pearson has never en- range as its influence is universally felt, present my- tered upon its duties. Last year, when Sir Henry self before you as a candidate for the chair of music. R. Bishop retired from the Professorship in conse- Though born of good family, and I mpy say highly connected, a revolution in one of the French depend- quence of ill health, several gentlemen appeared as encies, by the destruction of my father's property, candidates to fill the situation. Testimonials were obliged me, at an early period, to adopt a profession presented and examined —the list of candidates for future support. A natural taste, cultivated by was reduced a day was named when the election — the opportunities which surrounded me in Paris, to would take place: this day approached, when Mr. which place my father had retired, of hearing works Pearson announced himself as a candidate, and of the best masters performed in the most perfect craved time to bring forward proofs of his ability style, irresistibly led me to adopt the profession of to perform the high duties of Professor of Music. music; and from a very early age my education, com- He was elected —a session elapsed—no course of bining therewith that which is in all respects essential lectures was announced—no duties were performed to a gentleman, was directed to a thorough accom- — and thus the Chair has again become the object plishment in the art which I profess. For many years in the Con^ei'vatoire of Paris a school celebrated of honourable competition. The following gentle- — throughout Europe— Iwent laboriously throughevery men are named as candidates:-—Mr. Donaldson, gradation of its study, including the theory of harmo- Mr. Guynemer, Dr. S. S. Wesley, Dr. Gauntlett, ny, counterpoint, and composition, under Catel, Perne, Bishop. re-application of and Sir Henry R. The Keicha, and the best masters of the day. 1 had also the last-named gentleman is in consequence of im- the great advantage of enjoying the personal interest proved health. It is slated in the Edinburgh Scots- of Cherubiiii and Auber, by whom some of my earlier man that the election will take place in six or eight compositions were critically inspected. Since this \^ eeks. perio 1 1 have been an acting member and associate of No. 103. r 17^ THE BRITiSH MINSTREL: AND the leadinfiC Musical Societies in Paris and the Philhar- language is the one which is now most natural tr monic in London ; and liave, during^ my professional me. career, been constantly connected witli some of the As speedily as I can collect them, I shall do myself greatest musicians in Europe. the honour of presenting you with such testimonials My compositions are numerous, several of which as ] hope will be satisfactory to you. have been performed with success in London, in Paris, In conclusion, Very Reverend Sir, and Gentlemen, and in Italy, by the principal artists in the several ca- let me assure you, that, not only from my education, pitals ; and,thouf^h embracing" a great variety of styles experience, and impressions, morally and as a musi- and subjects, such as orchestra! overtures, quartetts, cian, but from my ol»servation of the great capabili- vocal and instrumental pieces, written in eight real ties which surround me in this country, if conscienti- parts (a test of severe scholarship), sacred composi- ously and wisely directed, I am too sensible of the re- tions, containing fugues, glees (one of which obtained sponsibilities attached to the high office which I seek, the prize given trienially at Manchester), and various to neglect them ; while I shall be too proud of the melodies, they consist chiefly, as 1 hope their perusal great opportunities which ray position would afford will attest, of compositions which cannot be even at- me, not to devote continually ail the powers whicli 1 tempted except by those who have studied the art in possess by nature and the acquirements which I have its severest and most classic schools. gathered, to their fulfilment. Should you therefore As a teaclicr, 1 have devoted myself principally to honour me by your selection to fill the chair of music the yiolin. the instrument on which I aimed at profi- now vacant, it will be my devoted aim to encourage ciency, and which I studied under the renowned Bail- the native taste for melody of which this country af- lot —to the voice, which I studied in Italy —and to fords 30 many exquisite models — to train the talent composition. I have likewise been accustomed, at of which these bear an evidence not to be contradict- various times, to give lectui'es, and to tram numbers ed, not only by my scholastic lectures, but, if possible, in classes ; and, as a public performer, have led and by forming schools of music among all classes of so conducted the orchestra on repeated occasions. ciety ; and thus to prove to you that, in spirit and in Though acquainted with the principal modern lan- letter, the great object of him who founded the Chair guages, and speaking three fluently, it is chiefly essen- in your gift may be efficiently carried out, and con- tial, with reference to my present object, to inform verted into an increasing and a lasting national be- you that I speak that of this country with accuracy, nefit.— I have the honour to be. Very Reverend Sir, indeed, having been settled in England for the greater and Gentlemen, yours, respectfully and obediently, part of each year during a period of twenty years, and Charles Gdvnkmek. considering myself as one of its adopted citizens, its THE HARDY SAILOR. Grazloso Dr. Arnold. = z—:=rz^z::^f^^zz^z^'^z— zzpzsi:z!-r^-— zpzi'^-z%:z,. =^ ±=:±zaz-^:'z=: The bar - dy sal lor braves the o - cean, Fearless of the roar - ing wind, -m—m-—»• —»~ .p-^-pzz:^- —^zz:^—\i-\^z t 't--^— — zzpzzKz^zzz^: zn'^zwzznTr----yzzzzz%zz'^zz^-:\zz!!fZzzzzzz' Yet his heart with soft mo - tion Throbs to leave his love be - hind. jr-z^: &i=lE=;E5E:^Ei^ tliro))s. throbs, throbs, vet his MUSICAL AND LITERARY MISCELLANY. 179 ^^s?-*-,-—-|--«a-»-^—!^--=S:' --^-=r- -BE :^^: 35 e^#^:e| -•*»! ^—'—1*1* ^^^E^Ei^^E^E^z heart with soft e mo tion throbs to leave his love be - hind -a- -»•- 3±=FEfE±^EE|E =zq: =t=:^=:tr=t-E|r:=: EEEEE' :zc: r- ^='=p: :^r leave his love be - hind to leave, to leave his 3±EE=E=^- EIE?: iEE==E|=:|E|EE «- • »- ±iEESE :=bp==^: — — -1 ^-\—r Fine.rT\ i=^EEfeE35 :^=-i!|EEEE^E-ijESEE^E=5^E^Ef:S^E:^ l « *-•- love be - hind To dread of foreign foes a stranger, Tho* the youth can 3±z(T-=t====?l3:a=p3:5=p:B=^=|=£=|z-Ed~(»=:f=r|^=IEp=:p-p=!pE| :^^-f:riz; i r- -4^,- 4—^-4-^., =^|^=?=-*=:^iE3==zhiz^:=p=£^Ez*r:biz=tz±=:t=i:SEilz:5=:l=: daunt - less roam, A - larm - iii^ fcnrs paint ev' - ry dan'rer, In a ri - vul .-pzz^zicz:— z:|i3|ez:^z:pFz: ^EzEz^' :\^z-x:zzzi^z: — — -.i^ K 1"*»- M^^^^^^^^^^^i^^^&=z«~^- ^^Zl — left at home, a larm - ii.g IVjirs paint ry dan - ger p. Piiz^—^ ^ n= ._,__^_=.- ^_= SIEEEEi zze: :rzz; r^!^z^=z=t£zztzz=g. :zzrp=!:; zzzzt=z=zz=z I n«-«l IV -\—|-H%-I^^ -iV- 1 1 1 ——^__. EfefezgE^EE^E|^^Ei|Eg|^ a ri - ral left at home M:h^t--r-$hrt:t-& -_ft_^- :CZ5: :z^: |^e^e^e^ee|e|e I ! !! 180 THE BRITISH MINSTREL; AND NOW WE ARE MET. CATCH FOR THREE VOICES. Alltgro. S. Wehbe. -:\zzz-:\—zx. — W.'- :i]z=iisr-=S'- 5=e=qr.Ii^_d±ir:* ziizz :M=5-S: =:i=:r): ^3: G- Now we are met, let mirth a - bound, now we are met. let mirth abound. ignsTTs Il: "r=^e"f:qK ^pz-pr:*:: f± ^=i-i-K:P: :fc::^=^— 1. :fcr:^:^ :!=: ii And let the catch, and let the catch, and let the catch and toast - go round. ~-=lS :?=i: :2^: zf=r-. :p:ze:r^ -^- 5r=-=fz^: S-jt: :t= rt^:^^:: rj^rfc And toast go round. And toast go round, let the catch and toast go round. THE MAY-FLY. GLEE FOR THREE VOICES. Allegretto. Dr. Callcott. p +—f" -+ N-. 1st ^: q^zzsz^; 5ESHE! SOPRANO. fcrdzz zzi=i=iz =z^=t=?z=*lEEgESEEl^gS-i^ Poor in - sect poor in - sect What a lit - tie P __!_ J— ?d -jz I^ZZ)^ SOPRANO. ^is^=:!rz4Z=q— =zzszrjs;zti= =z^5=:^z± :^ - Poor in - sect I poor in - sect What a lit tie ( 1 BASS. ajzzfazzlzzdlszqszpz zzj= —pi- izzzzEzfcziJzzlzzizzizzzz zzziiz. Poor in - sect poor in - sect 1 hizz=zl: rzzJzsrqsiz^:^^5s;r!^: :Jsz-=i:zz| -#=E:z2: :zz-J==i±i:z*zi day, what a lit - tie daj of tun - nj bliss is -^: ;—:=:qs;:d^zzzq: :zz-s;: W^-H* ::zi:s: wi :z:z2; IIi^i^iziizzzzi: lit - tie of Bun - ny bliss is da , what a day P S3 "w-t :f= =Eff:ir^z:^z^z^ !i^^J=pE==^=i what a littlo (lay. what a lit - tie day. N — I MUSICAL AND LITERARY MISCELLANY. 181 / thine, what a day of sunny bliss is thine I And yet thou spread'st thy light wings / '^t^^B'E^l iqlsiqisizs;: fr-i.-i=s±=S±z :i:zi-i. thine, what a day of sunny bliss is thine! And yet thou spread'st thy light wings ^1^^=^ I -• •— f ?^eeE=B ^:=P: — — -\^—\r- liisi what a lit - tie day of sunny bliss is thine I And yet thou s[)read'st thy light win^s ===!: qs;=^ ==*nz;i; l^=^Sd=t=:=fe:— gav, and j-et thou spread'st thy light wings gay. And bidst them spreading shine, and -f 3;r^ gay, and yet thou spread'st tliy light wings gay, And bidst them spreading shine, and N ^^v—|v-,— — IV --^^WZTA B±I :?:=?:: :3:^: :3i=:*: He^Se 42=^: :zU: itEZfc I gay, and jet thou spread'st thy light wings ^av. Aiul bidst them spread ing shine, and 1st. 2d. -fr-- ~fe:i3i~i:c:i- :l==^i5E!BE3E^E^*^Ki^:i^ife^:Sil*-'—--—#*- bidst tlicni spreading, spreadingf shine, shine. Thou hnnim'st thy short and bu - sy tune, V ^ii=g3£i.ediEl J=i=i=S bidst them spreadinr;, spreading shine, shine. Thou P r^zpLZ =S=l^f-f: ^i^il; lizii: lent bidst them spreading shine, shine. Tliou humm'st thy tune, Thou cres. p -ff' tf=: :pE=:5=^: ^te:: 53=3: Un - mindful of the blast, un - mindful of the cres. t=*s==s- 4 .p a. 15:= — #*= =^F.^=E^ •f3^ humm'st thy short and bu - sy tune, un - mindful of the Qrts. J -ir humm'st thy (une, \in - mindful of the blast, — — 182 THE BRITISH MINSTREL; AND / P ft :==i!s==fs==|S: -S=^: -tzzwi. i-i:=l£=:^~fe:=z^d=t~tr= blast, unmind - ful of the blast, An unminj - ful of the blast. And care - less while 'tis hs^ sqs;i;^= 53i3^ =?^-:^- =5S=^:=^-^: -."xj- ±3±i"^tf:i:i*=*:s=i'j^ti _zf;i: careless while 'tis burr.inj^; noon. How short that noon has pjst, ^^:^^--: ==?s^^^=ri^q ^—t~«r~}H*^- :s:ifs careless while 'tis burning noon. How short that noon has past, And careless while 'tis —.|=i;sj"s==S=^s;d=i]=p=|=zpz:izr::t=j burn mg noon, I3ow short that noon has past. and -1** =#==p==5=:=^= :p-jza=i=i: -P—h-—h-^-Si^i and careless while 't's burning noon, How short that noon, that cres. :^=Z'^=q:s:: - 1 3^-VJ?=:a:iz:j:j=:b:a.-r-?z:3:f=±a=hr^-^-i=S=:i: burning noon, and careless while 'tis burning noon. How short tliat noon, that, cres. -j— ^_^pi 3e=J=:fe?E?^ -e- — a- 1 :#i^r±=:; = =:f- :P=t= I ^- ._;5i— 1 i-iir— <^—\ careless while 'tis burn ing noon, How short that noon, that —& l-itti :f=n: :#=4 ^ =±:=i=:^:t|=:srfte:P— —s.3_|_q_-i. =t;=-i:a= z«~ noon has past. A show 'r would lay, w ould lay thy beauty low, A show "r would ::=Mr: m5=ztfz=]=:q: =3^ 113^:=^= =q^: d: iDzar -izifcj: :4 noon has past. A show'r would la\, would lay thy bciuiiy low, A show'r would B±lHi^ -.Wzzwzz t=t=: =;p±irp=]=:p=:p=:t:>±P: =f£=z=p=|Et:f:l -r- noon has past. A show'r \vould lay thy beau ty low, A show'r would — — I MUSICAL AND LITERARY MISCELLANY 183 ^z|jr,r==:p,z:: ==Cs:3§?=^=^= zi±-=S ^E^^53 •|3.-rzfz:z^t3i£:^ S*rt:E^£ :=l=l=l^r:t6^2=ii==i lay, would lay thy beauty low. The dew of twilight be - - thy storm of iy§iil&^|s|Eg-f lay, would lay thy beauty lovr. a±i^e---i tW- :==?e: :t:: •— -p»«—"^1 \0^[ ^1 :£#rt=t^3 — — lay thy beau ty low. The tor - rent of thy n=zd=:r =::^=z==^=h!^--B=fzjEr des - ti - ny, The tor - rent if:; .=!S: ^#: _il=«=izE=^ =iS==qsz3sza= = iizzzi±:ai=izzL-: thy storm of des - ti - oy, -»-^_»_»_ Pz^=f^: — ^' -t "^' '"St^"i^^T:^^~g—^^"*'~~^ o - verthrow, the tor - rent of thy verthrow, the tor - rent =zp: :d=q: a:=zj^z^=q^:5~|:rzS:=z:^S:5:=| :rfff=:tzf=f: —f.: KrzzEriii J— :^z=:zt=j<: ?=J*=:tiiz*=:azzz:zfczszzzzSz=d of thy verthrow, Ihy storm of des - ti - ny. Then, tlion, rr\ P -^z :pzzz^zz=zzi£|:r^=qzi iszzS^ziJs: 3r: WI -zinzizziz-. :=S- thy storm of des - ti - ny, Then, then, liizzi: 3±f~-^=zz^?z|z^^'^z^=?z:^=Ez :»zztzzf=:^:z -•—=!—•—. tzfc :*:: ::fe:zzE=fe:ziz:= of thy verthrow, thy storm of des - ti - ny. Then, then. l-^^ C3z:z^=|===j: #=d^^rqs^s£b:25:5:=^-5:zb^^!s^z|zz^:^:^, :z:3d: :izzi; in - sect, then, then. in - sect, spread thy shining wmg. ~^^-Z^-=i.' =s;=q^ --ziz i^ :zis::^??z:5:5: 3^==S^ z5z:^z^-«z-z 33: in - sect, then, then, in - sect, spread thy ahming wing, aj^zfszzfcprz :fc=- rpzzpz^- rrzrf^ :i=i: z:i: -^—^— gil then, then. in - sect, spread thy shining — ' 184 THE BRTTISH MINSTREL; AND ^-^•H—.^.^~=s;js ^rSq^q^l «=*= -iirrzri: spread thy shining wing, Hum on thy bu - sy lay, hum on thy busy ;^-=^-3S=5:ifiT^ spread thy shining wing, Hum on thy bu - sy lay, hum on thy busy z-zsSrUN: —ffZfr-J!;:2iz:|zt^z;iZjEZ—:^z^^== :f=zzzzzzp: 5±?tf=zt=£: zizi::fzfzjiz S^r^ -I /- winfj, spread thy shining- wing Hum on thy bu - sy lay, tlu bu sy / ^zz^ms: =d^=i:=, 15=Jf:dS ^zSfznzrs^: fz:?: ;tzp~pztzt:f: :^?z^ziz:iz zi :^!iz*;3C*z:*z: :*Z3; zdrzjzizt zfzzfczfczfctz^i lay, For man, like thee has but his spring, for man like thee has but his / 1^:=^: —^s^ ,r- :=^:rjs:|=qs;zq^: #z-=:^zz^zq^:ii: —S---1C— q^=S: :dzqs;-. *z:i: zgE^:i:=*zl=3z:i zzl=az: =::?zz:i:zaz:l lay, For man like thee has but his spring, for man lilie thee has hut liis z-^zjtqg: =rzzzzz:4S:ziS: 5zsz:pz:fz —ft—W ?!ffeEt=E -* l:r— :p=p=::s:ziz3z:Pz:!P-^-^- zj^z::iz:: v-v- fczjc: lay, Formanliiie thee has but his spring, for man like tliee has hut hia q^ i=gS==:1ttzzizzi==-^ i^zzdz=[ss: itziiz7.zzn: ~»-i izr*;a: :^=f= > ;5::*zizaz: izzirzzi spring, Like thine it fades a For JsizzIs:^zte:z^FZzqsqiiZz^Z| ^zztfzz.-^ i^:izz:*z:lz-_^-iz-^zJ5zlz^z^^lz?±=?:^ZKizlziz*zi;iZ^:izl Spring, Like thine it fades a /ay, For man, like thee, has but his spring, for S;%^z:ff:zfz:z^=qzrz:zzzizs;zzzn=^z|--^=z5ZZ^^|zp^zSJztffz'| zzzzgzzzjgzfezzgEl-j _^ j= =:iz.-^-z—z=?=E?zzz?Ez5:tzl spring, Like thine it fades way. For man, like thee, has 2Zffzzp:ezr.—zq^: j^zzSzq^: K :iizi=a:z EEE'^ES^iEJS zzd=z=q: -^-^r SZ 3d: I man, like thee, has but his spring, Like thine, like thine it fades .^ziszis--H>^-=s;-_^_j^--.w-zs_zs;:z;3-:^- ~izS§i^z^zlz3E^zS: 1 man, like thee, has but his spring, Like thine, like thine it fades a - way. ^^-%££z:ff=p=zpz-]zez^Pzztzz*z; --*- t R:- —zlEZZfe::\r — 2i: H but his spring, lias but his spring Like thine, like thine it fades way. — ' a MUSICAL AND UTERARY MISCELLANY. 185 BRUCE'S ADDRESS AT BANNOCKBURN. ^Vords by Burns. Air—Hey, iuHi taitie. Scots whahae wi' Wallace bled, Scots wham Bruce lias af - ton led, Welcome to your #.i-^_^-!.*_,_^-=ja_.^. » -M-.^-^:. :^x:^:ti: zt:-t~^^ —I?- J-»---b-—»---i»— -•-"»— -t--f— :t: With energy. ^— fl— -d- ^^^!5-l«— ' "*^rl-az: =-,±zj:ij:;:|z:l::giB=az:a-azilz:bji:L-lzj= :f:i:«= go - rs lied, Or to viu - to rj! Now'stliediy and now's the hour, See the front of -••»—»-- -i- •4- ;c-p 1 ::t=q: -a- -I H-™,-- -b.a.'- -I—«.^ -••i T"-il-- .3 haiS -4^- :d^: ]E^=]^3E=n' 1= EliE^^^^fe^iBEE - bat tie lour ; See approach proud Edward's pow'r, Chainsand sla ver :t:-^- -•»:E_-t::-ft- —9-- -A- asE; 9-- ip=ti :^-K- <—H-l- ^-- -r "Wha will be a traitor knave ? By oppression's woes and pains. AVha will fill a coward's D:rave ? By your sons in servile chains, "Wha sae base as be a slave ? We will drain our dearest veins. Let him turn and flee I But they shall be free. "Wha, for Scotland's king and law. Lay the proud usurpers low ! Freedom's sword will stronfjly draw, Tj rants fall in every foe I Freeman stand, or freeman fa', liberty's in every blow ! Let him follow me ! Let us do or die ! This noble heroic ode, which has been adopted by universal consent as the national patriotic song of Scot- land, and which, like a talismauic pass-word, springs to recollection in every great cause where freedom or liberty is at stake, was written by Bums in 1793, to the tune of " Hey, tuttie taitie," and sent to George " Thomson for insertion in his collection. Mr. Thomson objected to Hey, tuttie taitie," as being an air un- worthy of such spirited words, and set the song to the tune of '* Lewie Gordon," lengthening the last line of each verse for that purpose. He aftei-wards, however, changed his mind, and gave the words and the air as Burns originally intended, acknowledging that having examined " Hey, tuttie taitie" with more particular at- tention, he thought it much better adapted for giving energy to the poetry than " Lewie Gordon." The tune of '* Hey, tiittie taitie" is one of unquestionable antiquity. Burns says that he met with a tradition in many parts of Scotland that it was Robert Bruce's march at the battle of Bannockburn. This tradition is disputed by Ritson, on the ground that the Scotch had no musical insti-uments in these days beyond *' little horns"— notion entirely subverted by the numerous embellishments of musical instruments on our most ancient archi- tecture, and by the express assertion of olden writers so far back as the 12th century, who assign to the Scotch and Irish a high state of pei-fection in the musical art. Mr. Syme, one of the poet's best friends at Dumfries, tells a romantic story of '* Bruce's Address," having been composed by Burns during a stonn of *' thunder, lightning, and of rain," among the wilds of Glen Ken in Galloway, in July, 1793 ; but this does not taUy with Burns's own account of its composition in his letter to Thomson, dated September of the same year. " There is a tradition," he says, "which I have met with in many places of Scotland, that the air of ' Hey, tuttie taitie' was Robert Bruce's march at the battle of Bannockburn. This thought, in my yesterniyhfs evening walk. warmed me to a pitch of enthusiasm on the theme of liberty and independence, which I threw into a kind of Scottish ode, that one might suppose to be the royal Scot's address to his heroic followers on that eventful morning. I showed the air to Urbani, who was highly pleased with it.'' Whitelaw's Book of Scottish Song. No. 104. ^ — 186 THE BRITISH MINSTREL; AND DAME BURDEN. GLEE FOR THREE VOICES. Con spirito. :w=j^z-.w~w^ 5EE|5E5E:E i^zi^izprif: :3E=:«:=fi3: fe-l :»i«:£|- -p-t- :tz:fc kSzfc: :t: I Dame Durdon kept five servinj^ girls To car - ry the milking pail, She aI-"so kept five rj^--w::::w~W- Gzwz r.w.--.wz'.fZJF- -K~W—SZ.-.WZ-.fL- -•-p-*- z:^: :z^=i= :t£=:t=:t£: 5zSztE: ZX=.-iA~tZljLZ 1—>—^—j^- Dame Dtirden kept five serving girls To ear - ry the milking pail. She al - so kept five ;z1:=j^:j=:4^ ~ztr.z^" zifs::i|±:qs:d-— a±6E3! :if^: :t#«q li-tzi: z^zzr.~iczt-. -ii:i-:at:l;: -P-fe :trl^;I il^q: -p- rff- — ( ^— «*- -I ~b— -W^P^'. :^~\=.:^-. lab'ring men to use the spade and flail. 'Twas Moll and Bet, and Doll and Kate, and \-^ . —^—r.._|— -irPr; =:jE=r^==^=:f: s \—\=ztzzE:::± ::|i=i:~t-5* -Jiizz^: lab'ring men to use the spade anH flail. 'Twas Moll and Bet, and Doll and Kate, and Efr:t£=jc'=f=:]z±=:i:~^==ff=hdrs=azj ::1==fs; zS::z^.d^z^zi:z±--tz~^zti7zzifAz^ :i=:*=:«i:i=: -i=i=S:ri: f— :f— !S~?e: :p~^~^-^: :q^ :P=p: f-i:|3-:~t:ii:i--S: :t^=:t£=:tc x: Dor-o-thy Draggle - tail, And John and Dick, and Joe and Jack, And Humphrey with his ==K| —p[_#_:^_:f_:S_: —»^4=-»- E^?~^=EEE-^-p Erfizp:-r~i 1'~^" ^Mi- -t: :\zz±: r Dor-o-thy Draggle - tail, And John and Dick, and Joe and Jack, And Humphrey with his -»._^_:e!: zzffzzttf: ;*:z-z:*:Jf^._ zzpziiEzrtzf" ::*::zjEz ^±z^:z^:zii:z-i-t:- z-tidzz\^: zztz:zfEz:t:zfe- -p-^p- :f:zfz:f:z«:z?E —p=—=1- -1=-=-^ %—i '^iz'^z^zrz^: jf:^^ ::t£:z^z--^zt:=i^:I flail, Mol - ly, BLt - ty. Dol - iy, and Dor - o - thy Draggle- -^-: —i-P-=- :p=^: :pzf: :«=:^z:fz::jE:zff: zit^zziz: :t^=;r-^ flail, kiss'd kiss'd kiss'd And Do - ro - thy Draggle- :!^.:!!sz:KSzzK\ jz^zzip: Biizzi: pzzidzjz^—:^zzqdz -P-—^- :itz*:zitziz:iz: 'Tvvas John and Dick And Joe I ; — MUSICAL AND LITERARY MISCELLANY. 187 -Jf=W^ q^zifsrztszqi hS^=^ f=i=|i=: =:^=zi==iz|i-Jtr|=*: :p=p:I tail. And Kit - ty was a charminR maid, to car - ry the niillciiig pail, and -W—W- r^—r- jfiz=w=z!fr- — 1— I j -Jcz-t.t=^: :p-ii: :P= r- — ir.=^- r tail. And Kit- ty was a cliarniinij maid to car - ry the milking pail, and '-f=^W. -P fr I m—\- g±E!=^E ±.—^-.— — t-t^ --^-=w. ~t^: -ji^--i.t rrs ad lib.f^ tempo. ipFzzp^rzfzzp:: :^=P=P: :P=P: If: :fc=te:=fe:: ==t=^ Kit - ty was charming maid, To ry the milking pail. /7^ --rizzfi :==)i==?izrf—pr i^th: :t:==t2: :^zz=: :^=tsr=l^: :ti=Uz= Kit - ty was charming niaiJ, To car - ry tlio milking puil. WZ=\ZZZ\Z=Zi :t Z^ZZtLZZfL L-izzjiziirztE: =te:rdI =\l Dame Durden, in the morn so soon, 'Twas on the morn of Valentine, She did begin to brawl The birds began to prate. To rouse her servant maids and men, Dame Durden's servant maids and men, She did most loudly call. They all began to mate. 'Twas Moll and Bet, &c. 'Twas fitoU and Bet, &c. A MUSICAL ENTHUSIAST that he had a pretty good opinion of his own vocal Dr. Ford, the Rector of Blelton, was an enthusiast powers. Once, when the clerk was giving out the in music, very singular in his manner, and a great tune, he stopped him, saying, " John, you have humorist. His passion for sacred music was pub- pitched too low—follow me." Then, clearing up licly known from his constant attendance at most his voice, he lustily began the tune. When the of festivals the musical in the kingdom. I have psalmody went to his mind, he enjoyed it ; and in frequently met him, and always found him in ecsta- his paroxysms of delight, would dangle one or both cies with Handel's music, especially the " Messiah." of his legs over the side of his pulpit during the His admiration of this work was carried to such an singing. When preaching a charity sermon at excess, that he told me he never made a journey Melton, some gentlemen of the hunt entered the from Melton to Leicester that he did not sing it church rather late. He stopped, and cried out, quite through. His performance served as a pedo- " Here they come—here come the red- coats—they meter by which he could ascertain his progress ou know their Christian duties: there's not a man the road. As soon as he had crossed Melton Bridge, among them that is not good for a guinea." The he began the overture, and always found himself in Doctor was himself a performer, had a good library the chorus, " Lift up your heads," when he arrived of music, and always took the "Messiah" with him " at Brooksby Gate; and Thanks be to God," the on his musical journeys. I think it was at a Birming- moment he got through Thurmaston toll-gate. As ham Festival that he was sitting with his book upon the pace of his old horse was pretty regular, he his knee, humming the music with the performers, contrived to conclude the " Amen chorus" always at to the great annoyance of an attentive listener, who the Cross iu the Belgrave Gate. Though a very said, " I did not pay to hear ijou sing." "Then," pious person, his eccentricity was, at times, not re- said the Doctor, " you have that into the bargain." strained even in the pulpit, [t need not be stated — Gardiner's Music and Friends, « THE BRITISH MINSTREL; AND BRIGHT BEAMS THE MORNING. IIODND FOR THREE VOICES. Words by James Manson. Cheruhini. Andantino sosttniito. tzzrr. :-=!^=|z: zp=^^J; lES :q=p: E5fc^=i €>— :zii--W^W- *-pZ3dz ~1- EfEli ic: rtE Bright beams the morning, Nature a - doming, Gilding each mountain. izdi: -lEm-. SS 1-" -W-—1- F— !— -r^—P-z]r:p=:tt~ =^SE^F :te:zl=t=^: zitzp: 3r£i:BipiEi=| spangling each foun • tain. Birds sing, and flow 'rs bloom to Hail the new day, Bright beams the It: :e: 1^^ t-t- ^—,_.—^. :iz: morn - ing, Na - ture, nature a - doru - ing. Gilding each moun - tain -^ -€1— T-P- in -e- i^Egl§ilsli=figi^i Bright beams the morn - ing, Nature a - dorninir, Gild - ing each moun - tain i^^-=^- rtxpt: r:«: :^±=F=:j: tzt^za: :z3=f: sJ-p-c-z' It: r- ~i- I spangling each foun - tain, Birds sing and fiow'rs bloom to hail the day. rfzfzgz ~=l=l :t=^ :3E^^Efe-pEEE:^:E3=SEl:EfEtE£EPE-J spangling each foun - tain, Firds sing and flow 'rs bloom to liail tlie day, Bright beams tlie -Jzzz » — — — 1 MUSICAL AND LITERARY MISCELLANY. 189 -Q- r^^rp: 3d=:p=P: ZftZpZ d=:^ &- /- :t: :=t2i-i-J=l -h -I— Bright beams the mora - ing, na-ture a - doming-, Gilding each qS=: '--K 1-1-=—I—i—«- :P=t:: f=:pr ::* IT: il=^=t=:/- jtr:zJ=l=rK-±.-=t:d=?:i;—rjj d I— morn - ing, Na - ture, nature a - dorn - ing, Gilding each moiin - tain. It: q:^:; :==j. ^ ~:ii=q=pzr_q:i;£=:p:»= Z3q=r^::qe: a — P3:i=— :^- 1 p. ^zzit:^ :f^=z^ H ;:^z=t:=:tc: i i- t—1= =r?==i=t: --1 P - - tain. Bright beams the morn - ing Nature a doming, Gilding each moun :=]: zziz z^^^^-^ z?q=:f:=i; :3Z5; ziz moim - tiiin, spaii,^liii^ each foua - tain, Hail the ::»zf--:^- :=!: irrszi: :=i=±zit d--^S: ;zi-p: iSzziz i^ -r r- spangUn;]^ each fouii - tain, Birds sing and flow'rs bloom to hail the day, P :x^rr:jE-:f: Iz^^z^zztt-^z ::Px^: ::z!==p=:^ :t= :;t=fc spangling each foun - tain, Birdssingand flow'rs bloom to hail the day. Bright beams the P ^ Briuht beams the morning, Nature a - dorn - ing, Gilding each moun - tain, p iizzzizzz:zzirizzz;:z=qzzizi]: zdz==!=q!s: £^^->EiE|zz3n:3=|:^=P-P^--1 zztEf--^ - .1 zzrjzzt: zir:i.-z:iz:l r- -e 1 ^, Bright beams tlie morn -ing. Nature a - dorn - ing, Gild - ing each itzqzzjlszzzzz: zzfz«=_-^ rz—zzzzzz ztT^ -1- :1^=i: W-^t-'f- iz^zirizzEz^ EpE3E:5-f-f: :t: liz^jz: tzz:l= :azzd: z2: =^—f -r I fcr- morn - in^, Na - ture, nature a - dorn - ing, Gilding each moun - tain, ^z^^zzfzj: —»^i isszzfizie: S=?: :^z: :czt^: :pzzt :e^ spangling each foun - tain, Birds sing and flow'rs bloom to hail the d.iy. ._i^- zdzq: :^^==sE: -^- :zzfz:iz zi- itszzzgz: —r- izi: :zliiz*z==: moua - tain, spTn«ling each i'oun - tain. Birds sing, Hail, hail the day. —^ /7^ ^7^ rlzE±JE^Egz|zzizz^ :3=:!^=e: zzdzze==qzz: ZQZiiziszi:; 1 i t- — r- 'C5~ spangling each foun - tain,' Birdssingand tlow'rs bloom to hail tho day. — — 190 THE BRITISH MINSTREL; AND BERANGER AND MUSIC. few days ago we heard Mr. Benedict perform upon this instrument, and this able musician drew from Among the testimonies to the importance and it a variety of effects of the most novel and beauti- interest of vocal music as forming part of the peo- ful kind. A person listening in an adjoining room pie's education, the following is not the least plea- would suppose that he heard a piece of brilliant sant. It is a fragment from a letter addressed by piano-forte music, accompanied by three or four B^ranger to a musical society at Ghent, which had exquisite performers on wind instruments. So rich requested him to become a corresponding memher. and various are the resources afforded by this most " Accept (says the veteran) my most sincere thanks. ingenious invention, that (as we heard Mr. Bene- I have never had any taste, as you are probably dict observe) it will give rise to a new style of piano- aware, for academical societies ! but you are only forte composition. As an accompaniment to vocal forming an association for singing ; and it is a case music it will be invaluable, as it will enable the for me here to repeat the burden of the song, of accompanist to introduce, with the utmost ease, all which your letter so pertinently reminds me those effects produced by the harmony of prolonged ' Non, non, ce n'est point comme i 1' Academic.' sounds and the delicious breathing ot wind instru- ments, of which the piano-forte has hitherto been You tell me, too, that your society is made up of incapable. We have no doubt that ere long tV.e of the people, artisans ; and I, gentlemen—men vEolian attachment will be regarded as an essential who unceasingly desire the amelioration of the la- part of the piano-forte. Morning Chronicle. borious classes, am bound, as far as I can, to en- courage you to assist in this improvement, by the art of music and song, which exercises so much in- ANECDOTE OF MALIBRAN. fluence over the million. I sing no more; for me, occasion, the whole night the age of silence has arrived ; but I am only the On one having passed more ready to applaud those who sing; and the at a ball, on her return liome, hnding she had to title of correspondent to your society, which I ac- play that evening, she retired to bed and slept till cept with gratitude, will prove, I trust, my interest noon. On rising, she ordered her saddle horse, in its success and its duration. It will prove, too, galloped oft', returned home at six, partook of a I hope, that whatever be the limits given to coun- hurried dinner, and away to the Opera, where she tries by political interests, there remains always the was to play Arsace. Having dressed for the part, bond of brotherhood between those who have lived she was about to announce her readiness, when, under the same laws, and who speak the same lan- overcome by exhaustion, she fell down in a fainting guage. Berangek." fit. In an instant the alarm spread, and assistance was summoned. Twenty different remedies were tried, twenty bottles of perfume and other restora- IMPROVEMENT UPON THE PIANO tives profl'ered, and among others a bottle of harts- FORTE. horn. In the confusion of the moment, Monsieur An addition has been made to the powers of the Robert (who was terrified out of his senses by this piano-forte, of such magnitude, that it is equivalent unfortunate occurrence) unluckily seized the harts- to the invention of a new instrument. It consists of horn, and applied it to the lips instead of the nose a piece of mechanism of a nature so simple and com- of the fainting prima donna. Bladame Malibran pact, that it can be added with the greatest ease to recovered, but alas I the hartshorn had frightfully any piano-forte already constructed, without in the blistered her lips. Here was an unforeseen misfor- slightest degree interfering with the machinery of tune; the house was already filled—the audience the instrument. This additional mechanism (which was beginning to manifest impatience. It was now Mr. Coleman, the inventor, has called the " jJDoliau too late to change the performance—Monsieur Ro- attachment,") is upon the principle of the seraphine, bert knew not what apology to offer. " Stay," ex- producing the beautiful prolonged tones of that in- claimed Madame Malibran, " I'll remedy this." strument; but the peculiarity of Mr. Coleman's in- Taking up a pair of scissors, she approached the vention is, that these tones can be produced along looking-glass, and, though suffering the most acute with the ordinary tones of the piano- fgrte. The pain, she cut from her lips the skin which had been performer can, at pleasure, produce the sounds of raised by the blisters. In ten minutes afterwards the piano-forte only, or he can combine these with she was on the stage singing with Semiramide- the pure jEolian tones of the new mechanism. A Soutag. TIME HAS NOT THINN'D MY FLOWING HAIR. Allegro. DUET. Jackson. f p =! p- :E=5-3=i=S--:^= -| \y l^Eiii^: 'rime has not tliiiiiiM my flow - in^ hair, Nor bent ma with bis Ti;ae lias not tliinu'J my Hjw ing hair. Nur bent me with liis — ! — — — MUSICAL AND LITERARY MISCELLANY. 191 z-:q!s - i"»«j •— :S=-si=: — — -^-1^ I—^^«— r i^ElE 1 I'.in li'i lut I A It * ivli V an i;nnn - - - ron liaiid I Ah ! why so soon the bios som tear, 'Ere Au tumu jet the p I— -Z]^^ -— ——=1—zfs:— .^J=^- 1 ^=q=5=jztI I :P±i;3:: -d—— f—^ j!:z; =t=t^: il^^T^l ron hand Ah ! why SO soon the bios -som tear, Ah, :i=4: S:==:^i^~d: ;rg#ji^=jzpz5=q ^ESEEEr^ EEf;tf^:SE£ EE^E^gEiiJEE :izzt 4t fruit de - niand. Ah, \vh^ so soon the bios - som tear. Ah, why so soon the :zzz:i^:z|§ rit- 4_r- ::P:z#pEZp: r^izi^zii' E-i-.:i±^-: :in; Mzr^Z -I- ^ -I why so soon, Ah ! why so soon the bios - som tear. Abl i=iiEE^EfeSE^^^E!S3E^^^^E5^zizqzj^zq:3=q:===?cz|:zz^=q=q^^zzgzz:p=il=q=q!^zzzs=: \ bloa - som tear, 'Ero autumn yet the fruit de - mand, 'Ere l-^-z -'-f- zzfs: tf- :i=z-P=^=:P: :#f: :t^ -^e; Ah I Ah I why so soon the blossom tear. I 1 1 1 WS 1 1 \^ ta^l zU au - tumn yet the fruit de * mand, the fruit de - mand. cres. :izzd: the fruit de - mand, the fruit de - mand. / |z::^!s:q!s:q!^zq=3z: =££; s:z=lzSz:iz:iz:iT3z-z:dz: =S=E^;EgEiEiilEE^3E5i^= V Let me en - joy the cheer - ful day, 'Till ma - ny a year has / £zizzlz:z^:z!tq^zqrfq:zE==l=:^-^:q:^5=q!r:l=L-E3z4=p:ri=fzzs= —izaz:i:zj:zir5zgzi:zh-3i--3Z^:azSz=^z:^r:ziz^=?E^z=ti=^d Let me en - joy tlie cl eer - ful day, 'Till ma - ny a year has rallo. zizizzz^zqzzz zzz=:z=^:?^zz?^Zj:z^=:zr=:=C^q^ =zrzp=Szjz±: zgzj!:z£zlz3zjzJz|:gz3:^j:f!z^ ^^EEfEEEFI azi: izizzuzzt o'er me roU'd ; Pleas'd let me tri life a - way, And sing of lovo ere -f-n :;^=^: S--^-,««».——1^^ -1" -,*«--*»-' ^E^iErz^E^^E^EsEiEiEfeiEi :i:izir -^:B:::?^i::i - o*er me roU'd ; Pleas'd let me tri - fle life a way, And sing of love ere —Q ^ I — — — 192 THE BRITISH MINSTREL; AND J a tempo. K—,** :s:=s: :S -wr:w^ :i=:g=:il=:iz:i: liig .^_^. I grow old. Let me en -joy the cheerful day, Till nja - ny a year has / ]z:=5r-=5r-=ir=s -^z '-f-'-W^-^-a- =r^==Si:=^:::J -4- #^ :^=:i~r :3i=zl I grow old. Let me en - joy the cheerful day, Till ma • ny a year has p -JS-1 )^S=:l=q=^ iisii^l^i^^i^lEi o'er me roU'd, Pleas'd let me tri - fle life a - way, And sing of love, and p :£=^^' :==!55q=j1=5=1=^= z:r^-p:: :p-* f"-^-i=:| r- o'er me roll'd. Pleas'd let me tri - fle life a - way, and mes. :P~^, tr. ff—^r =t ::!: P=P^ I :iT:f=Fzp -Jz^z\r. .rzz^. 1 |-d—:a i~*—4:i=:i: :* ±n:=te: -h- — I sing of love, Pleas'd let me tri - fle life a - way, and sing of love ::«==!: :=!: :i=izi:! Bing of love, Pleas'd let me tri - fle life a - way,vay, and sing, sing of _^_P -I—!- _ i^zfLzhz ^_z|EgEgpE:»EipE| :tz=4: — I -lr-t--r- sing of love, ere I grow old, ere I grow old, P'eas'd let me tri - fle rrs P :S=ij=qz3!?q: idzzqzizzzqz: :^zis;:qz=5: izqzHzqzzfz: ,.^-_e- -I^ iSEH: iz:i:zi:z3z:ir 1— R-l i— :^zxi±:z: love, sing of love, ere I grow old, ere I grow old, Pleas'd let me tri - flo -^ ^-. zz^-- -p z=zJz3zz^=jzzjzzgz:|zzgz^zzJzz:^=:^zzJ— zi^^zzj^z: life a - way Pleas'd let me tri - fle life a - way, / :fz-= zzrzf=pzz:^zz:^-Zf=z:EZ»iz:izzi :;zzzzd!^zzz!zzzz:s:z| -f=~ :iic: :Crtzz*ziszziz5=izz ?z9zzizizzi: ifczzts: life a - way, Pleas'd let nie tri - fie life a - 'way. and f 2d time largo. :==?: zszi-jr.zjtz gjggjgHgg^g ~^-: H- and sing of love ere I grow old, ere I grow old. -f- z--fdz:pz:fz:f: :3^-.J-J„L J=zX e^i^iilsg^li i -I- sing of love, and sing of love ere I grow old, ere I grow old. : a —— MUSICAL AND LiTERARY MISCELLANY. 193 CANZONET. These, these are joys of evening time, Which scarcely wait the morn 1 Methinkg it Bounds much sweeter than b; day, Silence bestows such virtue on it.— SAaispeare. Not in the rich and courtly hall The heart's pure faith is given ; Love dwells not in the sparkling blaze, But when the greenwood shadows fall When noon rests on the stream Beneath a twilight heaven. His tender fiow'rets dare not raise Life's crowded pomp and pageant sbow Their blossoms to the beam. May darker passions move, When gleams the moon through latticed bowers, But solitude alone can know And stars are shining bright. The incense thoughts of love. He communes with the shadowy hours, worldly cares are hush'd in sleep. And woos the silent night. When Love wakes at such an hour, The dream; perfume of the rose. Younc; hopes their angel vigils keep. The violet's deeper sigh. And joy resumes its power. The music of the rill that flows Though night, in all its dusky state. In liquid cadence by. Athwart the skies be thrown, The sweet tones of some village chime, Yet beauty's glance can then create On sweeter echoes borne— A noontide all her own. Literary Souv. ALL WE LIKE SHEEP HAVE GONE ASTRAY. CHORUS FROM "THE MESSIAH." Allegro moderalo. Handel. CANTO. i^crp: -[=_=- E^^S^^Er ± -g 1— -.3—-ST- All ire like sheep, All we like sheep have _-^-._J 4 \} "i .1<:: £ ALTO. (_* r EEE^ -p-=i-ES^E^E^E! —p- q: — :p=:|e: fc|i: :3F-== AU we like sheep, All we like TENOR. r I - ::p=P: -p— —y. :t:=t =ir±:a- i— -I All we like sheep, All we like sheep bare BASS. m r 1 P^rtPrp: ^^ :t: ;l=:t: AIl we like sheep, All we like sheep. p^iT^^Si gone a • stray AU we like sheep. AU we like Si i=iF=: .p.-s. if^fe :t: 1^1 AU we like sheep, All we like No. m. 194 THE BRITISH MINSTREL; AM) - ^=?^- —M I I I i M- rflaagS^Tn'Tn ^=:^^jji3j^-|:^ij sheep, we have tarn £E -l^-l S£f^ —1=- f=l#^:3^^pS^' r- sheep have gone a - stray m i^^^ sheep, we have turn - ed. -»-p1»»- O— I U___W _i * :*Zt: -^^ H- 1 sheep have gone a - stray ::3S=^=:pzp.rr^~ .:s5- li^^r-l^: :t=: 3=: ed ev' - ry one to bis way, we have turn ed ev' - rj one to his own ev' - ry one to S t- I ;Nh^ -p_«. All we like sheep -»--* "»»*--^- i^rrzff: .-teizil^: :p: fe£?g=2ES^ ._i_g ^"'^~^"~"^' .-I 1 C*~/ I f-f way, ev' - ry one to his own way, AH we like sheep !• :p;=:K:fzt^z^: -p-^- £HES -j i=:i~3: :=t:==t:==LB=' :t^=:p: 2^ his own way All we like sheep have gone a - stray - .|=_M. p-»: ^=§:- -i=-=t -w~ft: -P-^ *=tz: ~±zp:rt: ,fe:z5E: All we like sheeo have gone a • stray ; — I MUSICAL AND LITEEAEY MISCELLANY. 105 ils;=!:s:i;^rzr=piL;;EBtp=-,-e^- j=j^. :P=p: £^ have gone a - stray we hare 7^^^^^:^mi have gone a - stray b^g^jk :s=p: ".P-=^^i tzzz: H-^l-t-j-^l-!— we have turn 3±=|EEK S3-t=?: :^t= I^f- iii^^^ig^ turn - ed, we have turn qs;::a5=q: =^=^.«—Fi»-»*-»Ff-i*Fi»-»F^*r*'ff^*K^t!?= --^--r- :i=i): ed ev' - ry one to his own way ai ii== :tir. J^:wz ;&»±:P: -I br ed, ev ry one to his own way, to his own way, we have r-^-r we have turn - ed, we have turn - ed ev' - ry to his own way, :S=S: ?i^ z-zt:M-^-- sr£E^=^zi:f- EziEzl^: .=P:az=:t£: -P=:p=^==p= :l^ii=l :e=E we have turn - ed ev' - ry to his own way, A .t^^-- ^=^ *=^^: 1= we havo turn - ed ey' - ry one to his own way, — 196 THE BRITISH MINSTREL; AND :?=fi Ucq: i^rp: K!L-qE ifczfc S=3t=iZ -P-=?- -^- zizriiz -tr— turn - ed ev' -ry one to his own way, AU _ -•- -^ -•- --tc-l^.-^:^-!- -^—(»- -w=w=^ ff^*- - v-v ^&E^t=^ :^=5rte: it -^. v-tr I we have turn - ed ev' - ry one to his own way, AU iftzpc ^z^izpi^npzipE r* 1/ [^ tE=t^t= J2=:te i^ we have turned, ev' - ry one to his own way, All :P:^-. :|trp :~i- ^ ~^lc :fc=^ -Jt^r^i we have turned ev' • ry one to his own way. All we like sheep p!!z^tipLSi=ptp=q!5r js--i 3=?e: i=:z:*=:i; U.I 1-^ 1„ have gone a - stray 1 iSggjg^^gffpaJ 1^^ gone a - stray we have ^ fe- g] .I_«_pi_-1 m iisTzlz: s^=i*S35=EE have gone a - Btrajr 1 : — — MUSICAL AND LITERARY MISCELLANY. 197 ii ;=^rrp=tfc=fc: :£E^ -1— .4— zjcr^: / / I I we have turn • ed ev' - rj one to hia 5— t±±i:t^tM:Sf^l=tt&:B:iS==fc:i^— turn ,ed, -!»*.(« ~-f: eppff^^Sfsfl^fe g±=: ==5: I -u_U we have turn :tp rtrf: :=^^-p: :Lr-|r ~i-zzM=zl- we have turn ed, we have turn . ed ct' - rj one to "'rtrff: Epcrp: -4 Pr: :is^: ES -f= . o :RF. 7" way, we have turn - ed ev - rj one to :|Er=St :e=pEr=|E: 1; :=--=fc:=te=t:.ip we have turn - ed, we have turn - ed ev' - ry one to -^••••iU^^fJt* :s=^ us;: iztni: p^SbSt^ES Ij—3t :t£=t I ed, we hare turn • ed, we have turn - ed ev' - ry one to d^: :*z=e: =^=iS5! :tE--fc we have turn-ed ev' - rj -j^ ^tpcr±: mfz -• It—br r^ :i^-M: — br—I— ._ -p. - we have turned ev' ry one to his own way ; i^rids: =^--:1S=p v—4—r- :c=3trfc bis own way ; we have turned ev'-ry one to his own way; :s=ts: ipczt ::t=e: ^5rt^ :i:ri: line: jT-zc: itzfcrJ m his own way we have turn - ed ov' - rj" one, ev' • ry one to his own — — — — ' 198 THE BRITISH MINSTREL; AND v^-(fc- ifcff: :ic:e: :^~i ~ r- i Js: :t£=i:: one to his own way - to bis own wa;, AU we like sheep, AU r: d^rfc ^^ ::r=^*: zdzizlz:X _ «.—c ^ «. m. ^- -f^^K- ey' - ry one to his own way, AU we like sheep. AU F'r~^-r- ::p=tc "K iitsqtrrpEz^ :f=:P: - r - -i- tP: -^r^ P :fcE=e: 1 we hare turned ev' - ry one to his own way, AU we Uke sheep. AU ar a :p=t -1 ^^^^ ± r way; bt' - ry one to his own way, AU we like AU :j-n: :^=pc : pL_a pe: z^zzwr. t=^ :i-i: — -tr- :tc: i=:^: mi we like sheep hare gone a - stray f^0-i :esee?- :pE-^: i we like sheep haTe gone a - stray zrJLzwi. lz=z\=z-izzjz—0z:^z=l^ m fe^EE I we like sheep have gone a - stray we Uke sheep hare gone a - stray :e=pr=t: .^__iL_|». l£=4t=t=: BfgEi^ rizrzfcirt: we have turn - ed. we have turn - ed, :tr-tc -r I w—m— — 1 — we have turn - ed ={=1 :!?:: we have turn - ed, we have -P"^: rtc-tc;: %E^ ifczfc 1 Be haTO turn • ed, we bare turn • ed. — — — < MUSICAL AND LITERART MISOEIiLANY. 199 N-r :p=p ry one to his own way, J^ -ft- -ft. ^ 1- ^ I p.1-. f.1-. «. _ »«. »_!-• I i — —m-—M -_^>.H'-r- — — — — — g 1 we have turn • ed ev' - ry one to his own way, we have :\^-=^ — i^iiz^tcrnciztc: turn • ed ev' - ry one to his own way. *-_»_, ^ :p=Pf= --^^iL ;=SS^^3 ev' - ry one to hia own way, we have turn :f:fepEi-:| ifcz^: I * '-i—1—l-W-(— - ^L' I we have turn edj we liave £5W%=#e' ed, we have ed, we have we have turn • ed, ^•-^ a» .-fecrife: p== :PrtpE-- I ! — ^r^~EEr-=c ! I -^B ed, wa have turn • ed, we have turn £2£!SESSSS?3S£g2§^EsS ^H turn ed. we have -&^&^t':t^u^tk^^-frr --!*- we have turned. JgZ.Z M p- fL :^-^rqe==f:=P: :~fc: dcrlc -=:fc •t^Tlr zt^ntc iiii; ev' . ry one to his own way, we have turn - ed g--^ ::1=z= :P=t: "r-pie: Szzzzt: E?=EE?E^E^ ed ev' • ry one to bis own way, we have — r 200 THK BEITISH MINSTREL; AND -rtsrrnsirpnp: :errp[~:p=: 'Iz^t rt: 'M—^: z\^zZ-ici±: :t=± -^=k=:L-=t^rtc=:^lE I- turned ey'-ry one to his own way, we haTe turn - ed ev'-ry one to his own ;=^^^=:f=&c:^r=:^z^^ -*_*- zz^^^z±E:^JErEE£z±=^z^ :iz:~fcrzlz:=jz:: :]: tt—w- z-^=f=pi::e=:*-ft -tr—br- -1—1 I V V \/ / ev'- ry one to his own way, we have turn - ed ev'- ry one to his own :!*=?: -9- ^ -JgZZW-ZZW- :p:=ffr=!Ez:ji:zp:: |y—|y—I ^ ifcrrfc m: 4==t==t:: rtEzrtErz^r:^ :t m ev'-ry one to his own way, we have turn • ed ev'-ry one to his own :e--P-— — 3HEj^pi^:£-i^tr: tze: ±rrez2P=p: Ui—» y=.t: ~?:=_ic :t aizzlzrrfc :^=t£ PiEgEg turn-ed ev'-ry one to his own way, we have turn-ed ev'-ry one to his own (7S Adagio. rdrrrd:: :=!=ns i^B^q:^ o- EE^EJEJ^jgEg ^ iizi=±izt =ti«-TJ: P^ i- i- way, And the Lord hath laid on him, and the Lord hath laid on ^. ~j— ss^z J- ~l- -jM-sHz 13 :±pi m 5^' i w^. And the Lord hath laid on him, on incnc: r =r: :i^i: way, And the Lord hath Idd on him, on him. --O- =q: 3: pi^ S^zzzizzMnzi: way, And the Lord hath laid on him the :-^=^: 1^3:5: i:^ :33: iqr^pE; :3: tpd: 1 :P3*: fcn: :q: r g±^|-t1CT|m him, hath laid on him - - on him - - the 1 niqui . ty of - us aU. -Q- trC3= 25=P=K ;^r=--- !B35: ittzt: :jC3I S^ r^pcm :33; Tr . . I him. hath laid on him • - the i niqui - ty aU. is? ^rlrri-fc :j=3: lEEl^l^^ 1=1: -i- bath laid on him the i - niqui - ty of all. i^ =1=1==!: i c:>H Szd: igzi: 3i= :c5:; Trrj-=:z 2_ ZZZi 12:*=* -€H- Lord hath laid on him - • the i • niqui - ty of all. MUSICAL AND LITERARY MISCELLANV. 201 TULLOCHGORUM Words ly the Rev. Mr. Skinner. t&^^z:r-^(iq^z=i^.ilp^^pg^ig^SE^^gg ^ Come gie'a a sang Mont-Rom . ry cried, And lay your dis - putes all a - side.What SEE :t: ^:^g^p^igg^i-^ggil nonsense ia't for folks to eliide.For what's been done before tham.Let Whig and Tory all agree. -wrt: :^^:: ' 33f^ -p^—•—I— ,*—»— :?=J=W^ -Jg^ n- jt:^ j^. t;^: iisrifd-- E^^3 ^^E^E^E£E^i!S5£E^|E£SEi!33ES^E?E^ "Wliig and To - ry, Whig and To • ry, Whig and To - ry all a - gree, To drop their whigma- zt-zzzr^z a±ii :rr=::^r: EIE "tE^ nlrc: :p=: =i=iS^:Uiii ifsr: :»= qs;:^^ iF^: :qs^=2^ tia: 3t:g^: |3=j£^fe^Ee±E|E5EEl^ - lor-um ; Let Whig and To - ry all a gree To spend this night wi' mirth and glee. And ati. E^^IE: ==*=^=|i:t=r-- "(=: :J^z=.\zzz rtf? -I r- With energy. ^i|^rn=:-==:= -Ji^^^ s=|= F^^- :^ ^Ej. lEz^z :t: ^m cheer - fu" sing a - lang wi' me The reel of TuUoch - go -rum. L_p 1 d , 1 1- 1 O, TuUochgorum's my delight, riythe and merry we's be a'. It gars us a' in ane unite, And mak' a cheerfu' quorum. And ony samph that keeps up spite, Blythe and merry we's be a'. In conscience I abhor him. As lang as we ha'e breath to draw Elythe and merry we's be a', And dance, till we be like to fa'. Blythe and merry, bljthe and merry. The reel of TuUochgorum. No. 106,- Id. ! ; 202 THE BlliriSH HirNSTIlEL; AND O, Tullochgoniin'a my delight, and one or two otlier favourite Scottish songs, w;is It ^ars us a' in ane unite, for many years minister of the Episcopal chapel at And ony sumpVi tliat lieeps up spite. Longside, in Aberdeenshire, and died in 1807, at tlie In conscience I abhor him. advanced age of SQ years. Blythe and merry we's be a', Blythe and merry, blythe and merry, Blythe and merry we's be a', FELICIEN DAVID, And mak' a cheerfu' quorum, Felicicn David was born at Cadenet, in the de- Blythe and merry we's be a'. partmentorVaucluse,iu France,on of As laDf^ as we ha'e breatli to draw, theStb March, 1810. And dance, till we be like to fa'. His father, who was a man of moderate for- The reel of TuUochgorum, tune, and an excellent musical amateur, died two years afterthe birth of Felicicn, leaving fourchildren, There needs na' be sae great a phraise, of whom ourcomposcr was llie youngest. David had, Wi' drint^ing dull Italian lays, even at this early age, shown syinptoras of extraor- I wadiui strathspeys, gi'e our ain dinary musical organisation, and his father had, For half a hundred score o' 'era. before his death, already foretokl the brilliant ca- They'io donfFand dowie at the best, reer of his child. At four years of age he could Doufi" and dowie, douff and dowie, already sing several They're douff and dowie at the best, airs with extraordinary correct- Wi' a' their variorum. ness, and was one of the wonders of his native vil- They're doufF and dowie at the best. lage. A great event in the life of Felicicn David Their allegros, and a' the rest, was the arrival of M, Gamier, the first hautbois of Thev canna please a Highland taste, the Opera at Cadenet. By his advice the family of Compar'd wi' TuUochgorum. Felicicn procured his entrance as an enfant de cceur at Saint Sauveur. Here he was soon remarked for Let warklly minds themselves oppress his pure and melodious voice, and the remarkable Wi' fears o' want, and double cess. expression with which he sang the beautiful can- And sullen sots themselves distress tiqucs of the Wi' keeping up decorum. Romish Church. M. Marius Roux, the mailre de musiqne of this chapel, directed the Shall we sae sour and sulky sit. Sour and sulky, sour and sulky. studies of the young musiuiaa, who soon surpassed Shall we sae sour and sulky sit, all his competitors. At thirteen years of age he JJke auld Phiiosophoruui ? composed a quatuor, and in ensuing years hymns Shall we sae sour and sulky sit, and motets, which displayed remarkable genius. Wi' neither sense, nor mirth, nor wit. When he had attained his fifteenth year he left the Nor ever rise to shake a fit chapel, and was placed in the Jesuit establishment At the reel of TuUochgorum ? of Aix, Here he remained two years, and, with the occasional assistance of M. Illichel and M. Sylves- May choicest blessings still attend ter, the two musical professors, he pursued his stu- Each honest open hearted friend, dies, And calm and quiet bo his end. and learned to play on the violin with extra- ordinary facility. At eighteen years of age he And a' that's good watch o'er him ! May peace and plenty be his lot, quitted this college and entered into the service of Peace and plenty, peace and plenty, M, Pelegrin, as lawyer's clerk, an occupation for May peace and plenty be his lot. which his taste and the bent of his mind unfitted And dainties a great store o' 'em. him. His restless disposition soon wrought a May peace and plenty be his lot, change in his mode of existence. He accepted the Unstain'd by any vicious blot place of second leader of the orchestra at the theatre. And may he never want a groafc The genius of Felicicn David soared far above the That's fond of TuUochgorum, accompaniment of wretchedly - sung vaudevilles Cut for the dirty, fawning fool, and the frivolities, the intrigues of the little theatre Wha wants to be oppression's tool. completed the disgust he felt for his ne%v employ- May envy gnaw his rotten soul. ment, while his simple and unsophisticated charac- And discontent devour him ! ter made him the scapegoat and the butt of the May dool and sorrow be his chance, establishment. At last one day an actor, forgetting Dool and sorrow, dool and sorrow, his couplet, and wishing to shift the blame from iVIay dool and sorrow be his chance, himself, turned upon David, and, before the whole And nane say, Wae's for me 'im I theatre, attacked him for his pretended forgetful- May dool and sorrow be his chance. ness. The public thereupon hissed unmercifully And a' the ills that come frae France the young musician, who from that day quitted his Whae'er he be, that winna dance uncongenial employment, A new post was soon The reel of TuUochgorum I assigned him; the place of maitre de chapelle at Of Tnlloehgorum Burns teUs us, "This first of Saint Sauveur was now vacant, and the esteem in soofis is the masterpiece of my old friend Skinner, he which young David was held, added to the disin- was, I think, passing the day at the town of CuUen, terested genei'osity of M. Sylvester, one of his com- I tliink it was, (Ellon, Aberdeenshire) in a friend's petitors, obtained it for him. Whilst here he con- house whose name was Montgomery, Mrs, Mont- tinued to compose, and some of his productions gomery observing that the beautiful reel of TuUoch- were of such remarkable beauty as to draw forth gorum wanted words ; she begged them of Mr,Skinner, expressions of admiration from Cherubini himself. who gratified her wishes, and the wishes of every lover One day an "O salutaris," for three voices, which of Scottish song, in this most excellent ballad. These just been composed by Felicicn, was played particulars I had from the author's own son. Bishop had of the conclusion Skinner at Aberdeen." The song was first printed in before a circle musicians, who on the "Scots Weekly Magazine,'' for April, 1776. The of the performance, crowded round him in admira- Kev. John Skinner, the author of it, and also of "John tion; the uncle, in a transport of enthusiasm, threw of Badenyon," "The Ewie wi' the crookit horn". himself on the neck of the young composer, and — — MUSICAL AND LiTERARY MISCELLANY. 203 promised to leiilise his wislies. The day after, accompaniments continued, the chorus began to Felicien David was on his road to Paris. Tliis raise the shouts of praise to Allah. Suddenly, and great city, now the scene of extraordinary triiimpli with the impetuosity of a torrent, acclamations for the young artist, and filled with his admirers rent the air; the Salle shook with the thundering and friends, then olfered to him a complete solitude applause of an astonished and delighted audience. of thought and feeling. Unknown and uncared for, As the " Ode Symphonic" proceeded, every point of poverty soon completed his wretchedness. On his rest was filled up by bursts and shouts of enthu- first arrival, at the beginning of 1830, he studied siasm. The performance over, musicians, editors, harmony under Lesiiem. He was successively a amateurs, all rushed to the lodgings of the obscure pupil of Reber, Ffetis, and Benoit; but soon his re- .and unknown Felicien David ; they found him in a sources failed him; his uncle, influenced by design- tit of hysterical laughter. The next performance ing persons, refused to continue his pension. Feli- of The Deiert at the Italian Opera House was at- cien took refuge at the house of his brother, Charles tended by the royal family and all the great of the David, a miniature i)ainter; but the united labour land. At Brussels and at Antwerp new triumphs of both barely sulticed to su])port life, Felicien have attended the performance of his extraordinary continued to compose, but no musical editor would conception. buy the productions of an unknown and unfriended composer. At this period lie began to write an opera, but the same impediment stood in his way, FLOWERS. and his only means of livelihood were a few music The cultivation of flowers is an etnployment lessons. David, with all the contempt of a youth- adapted to every grade, the high and the low, the ful and exalted imagination for the material wants rich and the poor; but especially to those who of life, found, however, that without bodily suste- have retired from the busy scenes of active life. nance the mind would not act; he tell ill; his cure Man was never made to rust out iu idleness. A was a slow one, and, as he himself said,"ia mlsere degree of exercise is as necessary for the preserva- tue Vimayinationy tion of health, both of body and mind, as food. It was about this period that David, carried away And what exercise is more fit for him, who is in by his enthusiasm, became a member of the sect ol the decline of life, than that of superintending a the St. Simonians, and chief composer to the order. well ordered garden ? What more enlivens the His choruses composed for the brotherhood at iSIe- sinking mind? It gives tone to the spirits, and nilmontant attracted much attention. On the dis- renewed health and vigour to the system. What is persion of the order, at the time when many Jua.v more ciniducive to n long life? The cultivation of Jrnres, abjuring their former dreams, returned to liowers is also an a])propriate amusement for young Paris to utilise their talents in the world, Felicien ladies. It teaches neatness, cultivates a correct David and the more persevering and enthusiastic of taste, and furnishes the mind with many pleasing the brethren, set off for the East. As they passed ideas. The delicate fiu'm and features, the mild- through Lyons, David received a present, which was ness and sympathy of disposition, render them fit to him of inestimable value —an excellent piano subjects to raise those transcendant beauties of which accompanied liim afterwards in all his wan- nature, which declare the "perfections of Creation's derings, and often soothed the weary spirit of the power." travellers. Tlie wonders and glories of the East filled tlie imagination of the young enthusiast. Oji treading the sacred ground of Palestine, his ideas Dli. ALDRICH. became expanded, hisgenius more elevated. He then The Rev. Dr. Aldrich, Dean of Christ Church, visited Egypt— for the first time the solemn grandeur Oxhu'd, was not less eminent as a musician than us of rAeDt'St'cf burst upon his mind. His sensations at a divine. By the happy talent which he possessed tliat moment were the forebodings of his destiny. of naturalising the compositions of the old Italian The wonders of that scene, acting upon his highly- masters, and accommodating them to an English wrought imagination, have now, ten years later, ear, he increased the stores of English Church mu- changed his fate, and elevated him from obscurity sic with many of the ideas of Palcstrina, Carissimi, to renown ! Since his return from tlie East, the Victoria, and other distinguished composers; and mind of Felicien David has laboured to realise the many of his anthems, and other works, are still impressions he then received. On the 8th Decem- frequently sung in the Cathedrals of England. ber, 1814, Felicien David entered the establishment Though the Doctor cliieliy applied himself to the of a well-known musical editor in Paris. He had cultivation of sacred music, yet, being a humourist, with him the score of his new composition The he could amuse himself by cmnposing pieces of a Desert ; he timidly ofl'cred it to the editor for sale ligliter kind. There are two catches <»f his, the for two hundred francs— which were refused. Ou one, "Kark, the Ixinny Christ church bolls," and leaving the shop, the affwlies of its performance another, entitled, " A Smoking Catch," to he sung that day at the Salle de Concert of the Conserva- by four men smoking their pipes, which, although toire met his eye. The young and humble composer sufficiently amusing, is very diflioult to sing. His anxiously awaited the result of that day's trial. excessive attachment to the luxury of smoking be- Many of the tickets for the concert had been given coming a subject of pleasant remark in the Uni- away ; the Salle was, therefore, crowded. Indif- versity, a student, one morning at breakfast, laid ference, and perhaps a little curiosity, actuated the his companion a wiiger, that the Dean was smoking greater part of the audience. Some give an anti- at that instant. A«ay they accorilingly hastened cipatory yawn, and some talked in whispers as the to the Deanery ; and, admitted to the study, told orchestra struck up for the opening murceau, the the Dean the occasion of their visit; when, ad- cnLrec an desert. As the piece proceeded, tile \\ his- dressing himself, in perfect good humour, to him pers were gradually hushed, llie yawn of indill'er. who had laid the wager that he was smoking, he eiice gave way to surprise, attention growing mo said, " You see, Sir, you have lost your wager; lor nientarily mnre fixed and earnest — the orchestral Lam not smoking, but fillinc) vi;/ ]npe," : — —^ 204 THE BRITISH MINSTREL; AND THE FLEET AT ANCHOR. Words by David Thomson. CHOKUS. Mozart. Moderato. i:ft:P=, SOPRANO. :gzgrgr-|—t-=P= !='EfcE£.-::!=rE^:rt:z-rzEi=:J i-II-Liz^zz Deep in the wa - ters the anchor is flung, Brsezeshave sunk in their 1 —I- =::l==l; -I—|. ALTO. ,EEEirPr:t:=p=zP=:fL-=e±S=BE:s5il HEESESI .,_._l__._^ Deep in the wa - ters the aDchor is Breezes ha?e sunk in their TENOR. ^^n^^jj^iiig ±-*-*- 4-4- Deep in the vva - ters the anchor is flung. Breezes have sunic in their -^-^- :]rq: BASS. e=EEE^££SEtESEIEf tz .^:=B. —^R?-4' :t::±L-zt ifzizit =t: r- pzzurrirzrzr: ggE^i di==^-r- :t qrzt&czfcg5ir^ ~vin: ;^E^5!=iE| caves to re - pose, Light spreading can - vass is mo - tion - less huirg. irtzzHzzzr: --^-i :^==|: s 4: i^zzi. :i=3:: iz=z^a=i=i: izzrfliri: :iiz3i— :t= 2i: caves to re - pose, Light spreading can - vass is mo - tion - less hung, iEEzz=z:=: ^-x =:l=:^zizl: 5^ Ti- *- -i- -& ^- -^- -i- caves to re - pose. Light spreading can - vass is mo - tion - less liung, zz^- ^SE^E^E, :f=fzzp: |cM:zzt=: s- -j^—^—f.:=|=P= r^zztzzt:: I [- I— :^:z:p=p: ^^iHi^E^ifiE ^-i=- rpzrtzztrzzt::r^ Talte the calm mo -meat which Neptune be - stows. Bark from jon ves - sel that's • •- .-e-l=- rPzzfzzr: Szz'~z"lz"^ff=3=S:— Z3 MUSICAL AND LITERARY MISCELLANY. 205 -^_-p--* :t: f=r- ^- E^zSE :t=t= Xz fepEEMI -I—— anchor'd so near, Faint - ly an an - Bwering cho - rus wa hear. f- l^=_^ii-^=^^grEsi^s^lii-|— anchor'd so Faint - ly an an - awering cho • ru3 we hear. -Ki ^zzmz :rt; :J":t :^J"-iJ: •-©- ^s^pl^^^ anchor'd so near. Faint - ly an an - swering cho - rus we hear. qrzqzzp: --wzzfi:. aHEE?! =1= .:^—pt. '^-W- ^9^=^- --tr. -r- I Billows together as peacefully sleep All round us lying our navy are seen. As if they ne'er had been whirl'd in air Masts the stars with seem to mingle on high ; Few are such nij^hts of repose on the deep, Soon with a wide waste of waters between, Brighter the joys we so briefly must share I Sadly at morning scarce one we may spy, Sweeter the song while the waves are at peace, Save from the mast-head, where dimly we hail, Since it so soon in their roaring may cease ! Far o'er the white waves the swell of their sail I LANCASHIRE AND CHESHIRE WORK- rate.* The classes are not exclusively confined to the MEN'S SINGING CLASSES. operatives; the only terms of admission are that every one shall subscribe according to his ability. The have bad much pleasure in reading lately We in superintendence of these classes has been confided to the Manchester Guardian an account of the con- Mr. Robert Weston, to whose unceasing activity and tinued success of the Workmen's Singing Classes, unremitting exertions the success is chiefly to be traced. and it gives us additional pleasure to observe that The expenses of these classes are defrayed partly by the the managers have resolved on producing a series voluntary subscriptions of some of the pupils, and of of cheap weekly concerts. Such entertainments the public at large, and partly by the proceeds of the form a delightful and salutary relaxation from the public concerts and oratorios given from time to time. The public, at certain rates cares of hard-wrought mechanical existence, and of subscription, receive an equivalent in tickets for the meetings of the when, as in this instance, the working men them- society. In addition to the instruction afforded in the schools, selves are taking part in the performance, the gra- the public oratorios and concerts must have had a tification is so much the more lasting. append We powerful and highly beneficial effect, in refining the an extract from the report of the committee, whicli tastes and amusements of the people. On these occasions was read on the evening of Thursday, the 20th the works of Handel and of Haydn have furnished the February, 1845, by Mr. James Hobday, the chair, chief source of attraction. The chorus has been se- man. lected from our own classes ; and, although it would be absurd to claim for them the same degree of profi- The committee of the Manchester upper singing; ciency as is expected from professional vocalists, yet school have taken the opportunity of the present their performances are highly creditable to themselves special meeting for laying before the subscribers and as well as to their indefatigable teacher, and have been the public a brief sketch of its objects and progress. supported by increasingly numerous audiences. The The association of the Lancashire and Cheshire work- success of these oratorios and concerts has been so men's singing classes was formed about two years ago marked, that your committee are impressed with the for the purpose of diffusing aknowledge and increas- opinion, that they are capable of much greater ex- ing the love of vocal music amongst the working tension : and it is with the view of obtaining from classes in the manufacturing districts. Since its for- the subscribers an increase of powers for this end that mation several branches have been established in Man- this meeting has been convened. The rapid increase chester, Ashton, Stockport, Rochdale, and other and marked success of the various music saloons in places : and it is estimated that not less than three to this and other towns, is a feature not to be overlooked four thousand have already been taught not only to by a philanthropic mind. It affords conclusive proofs appreciate, but to take an active part in the psalmody of the increased refinement in the habits and tastes of of the church, and in the music of social life. A pecu the people ; and, although there may be much to re- liar feature of this association is, that the pupils are gret in the mode in which these establishments are con- taught either free of charge, or upon such terms as enables the humblest to avail themselves of tuition. The music which they use in the classes is also provi- The music is printed and supplied by the Publisher ded for their use, or printed at an exceedingly cheap of the "British Minstrel." — — Ij 206 THE BRITISH MINSTREL; AND ducted, they prove that those who frequent thera are and that for the future it should be known as the capable of appreciating the divine art of music, and " Lancashire and Cheshire Philharmonic Institute." that it may be made the means of still further elevat- ing them out of the debasing influences which are too HAVE HOPE. frequently connected with it. The committee, there- fore, propose a series of weekly concerts, on the Sa- The vernal wind that whispers o'er lie seas, turday evenings, in some large and commodious build- From sunny climes, and plays among the trees, Saith, ing, where the best vocal talent shall be engaged, in with the gentle music of its breeze, conjunction with our own choirs, in the production of Have hope. rose, vocal and instrumental concerts, which shall be on a The that wept its wither'd flowers' fall. When rain more extensive scale and of a superior character, and at and storm had forced its funeral, lower rates of admission than any similar experiment Bids its young buds say unto,me and all, yet made. Our own clisses afford us peculiar oppor- Have hope. tunities for carrying such a plan into successful opera- The desert sands, so wildly, sternly hare, tion. In addition to this proposed feature in our pro- Whe;-e eye and heart smk 'neath the torrid glare, ceeding, the committee have to request your attention Have yet a fountain cool to murmur there, to another equally important. Although Manchester Have hope abounds with musical societies, yet there are few op- The tide, that, ebbing, leaves the native shore, portunities for the working classes, or even for the And backward rolls, as if for evermore, public of Manchester to enjoy, at a moderate charge, Saith, as it flows where it had flow'd before, the chief works of the most distint^uished composers Have hope. of our own country and the continent. Your com- The night, when darkness is ai-ound the earth, mittee have entered into correspondence with several And nature seems to feel the cheerless dearth, parties in the musical world, and have come to the Saith, with its starlight, and the fair moon's birth, opinion that it would be quite practicable to give two Have hope. or more performances per annum with the most dis- The dream, when guardian angels watch our sleep, tinguished .artists, and at rates of admission which And o'er the tranquil soul fresh visions creep, Whispers, should render them accessible to every class of society. in tender accents, soft and deep. Have hope. The report having been approved of by the meet- The merry morn, when in its purple car. It leaps in THE OWL. GLEE FOR THREE VOICES. Andance. Nicholas Freeman, 10c7. l-^z. zbtz:lfi:t==t:=::^d Of all the brave birds that 6 - ver I see. The owl is the fair - est in her do- -3: ,| , 1— H_U| ^ -,- r^r :^~L-I=[z==!=i=bf± -^-t--'- >-5-tt- z^z-jz^z-4l: '.S.Z'.W-ZS.Z t~^ =EE£rEEiE^E^I-:=tElFj=B '—I—' grce, For all the day long she sits on a tres, and w lien the night com^s a - way fl'cs _l] _. —j_e_^_|_. 5i=5zr2d-^dr£:i-3SrN:=i :r3zzi—c: tt-.-i 1 I 1 |__r I— — — — — gree, For all the day long she sits on a tre3, aijd v\ hen the night comes a - way flies zzzz^zffLif^zt2Zizzzzr~f^-s.?::z^z :^r:js:=)= — j—-_- I I ^:=z.fz:-ziz:^z .sd— a_i «| —1_.[— . zzizz\zz — — — I MUSICAL AND LITERARY MTSCELI.ANY. £07 ^zff=?= :p=|=3:5--=—1=== #-r3q=g: :t=._Fi_t_ -pi-p- -irc: ^ijpEEfEfE she. to whoo, Sir knave to thee, this sonf]f ia -well —I —i I— 1 — -fJ: x^r ^- 1- -p-pi-jE: H -P-P- :iiz\zM=:^-itz 3= :rrrzn: filie, to whit, to whom diinl;s thou, This song is well =r-p-H- ^^Uli szJ~izrsrrsirl (he, te whit te whoo, 5o^e Grf lib. :^tf?E^;EE^:pEl^£=^=^=f=^==*^=^=i=^=-± '^- -&- ~i- IS sung- I make you a vow, and he is a knave that drink - eth now. Nose, .^r=f-t:^:^z:f: 3±=i: :i.-:p: jxi:i sung 1 make you a vow, and he is a knave that drink - eth Nose, z^z:^=^-. g±i=SE^EPf^Ei^ zx^zrp: —fS: :zt. -1~t-'- -r m -*.tf- s?: i^iiiP: :?2r.K i:: r- :^: nose, nose, - - nose, and who gave thee that jol - ly red nose. •futf- ^^- 3^=1= :p=pq~^ —f^ ^- t:=^ :i= -»-7-al—H—|~7^-l f^'^ — :t: Jzitcir^r^ H 1- r- nose, and who gave thee that jol - ly red nose, Cin - namon and Mi=?E33SES :^=:f: izjf; 1 1 -I—— :3d2 :t^ 1-r- Chorus. : MINSTREL; AND 208 THE BRITISH THE SOCIAL MUSIC OF GERMANY. superiority, in music and painting it is almost al- ways seen. Natnre, before developing her gifts in music is cultivated more In Germany social 70cal surpass their fellows in the ap- good those destined to other country ; we mean that than in any preciation of beautiful sounds or beautiful forms almost everybody can join ; and singing in which generally preoccupies the youthful mind with its good-humoured songs which are those jovial and predominating tendency. We are not surprised, merriment and glee. These com- the very soul of therefore, to learn that young Sconcia, whose per- since the sixteenth cen- positions have varied little on the violin already places him in the old formance find, in the nineteenth, that the for tury ; and we first rank of artists, discovered an early taste music are still predomi- fashions with respect to music. He was born in the city of Baltimore, and schoolmaster Music is generally taught ; no nant. is now just commencing his teens. At the age of profession if he is not is permitted to exercise his on the knee, he was af. num- six months, while a baby elements ; and if you hear a able to teach its fected to tears by a composition in the minor key, singing in a vineyard, or a ber of country girls and discovered strong emotions during its repetition. drill, you are sure to party of conscripts going to He was most generally soothed to slumber by the singing iu parts. The Burschen songs find them soft tones of a musical box, which his family care- of the German students are well and choruses fully preserve. At the age of twenty months he must interest every traveller in known ; but what learned, after hearing it but once or twice, the music, perhaps more than anything that land of beautiful cavatina, "Dalla gioia," from Elise e with, are the pleasant family parties, else he meets Claudia, which Pedrotti sang with so much skill. young assemble together, and in which old and Notwithstanding his tender age, he could repeat it and sister, friend and neigh- father and son, brother without making the slightest mistake. At the age and cheerful evenings, with no other bour, pass long of four years he commenced amusing himself with resource than music, and requiring no better. They performing arpeggios on a toy violin ; but, in conse- sing in parts: and at these family and friendly re- quence of ill health, was unable to pursue his fa- compositions are frequently executed unions, difficult vourite occupation until some years afterwards. At is as astonishing as it is pleasing. in a style which this time he was noticed for his gentlemanly man- the LiedertaffU, literally " table The societies of ners aud address, and for a repose of character quite considerable influence on the music of songs," have remarkable in a child. At the age of eight years originated with Professor Zelter, Germany. They he spoke several languages with facility and cor- meeting was held there in at Berlin, aud the first rectness, and at the same time commenced the study 1810. fundamental laws of the insti- August, The of the violin. In 1834 he removed to this city, and tution require that no piece shall be sung which is his first master was M. La Manna, a celebrated Si- the composition of the members of the society. not cilian musician, who undertook the task of his in- songs are written for four male voices In general, the struction with a feehngof affectionate regard. His basses), for chorus and solos (two tenors and two subsequent studies were pursued under the tuition but songs (" licder") for three and six alternately ; of his father, who is a professor of music, well double choruses, are also written. This voices, with known and esteemed in Baltimore, Philadelphia, society was originally dedicated to social pleasure, and this city, and he was aided by other professors, assembled once a month after and the members who took a deep interest in the advancement of his societies ; from this simple beginning, these supper child, and cheered him onward in his career. To throughout Germany, and become the have spread Signer Rapetti's instructions in particular he owes extensive intercourse in the art. channel of an much of the beautiful execution and finish of style for which he is now so celebrated. When SONNET. Artot, Vieuxtemps, and Ole Bull came to this coun- try, young Sconcia was much with them, and be- Love banished heaven, in earth was held in scorne, came a diligent observer of their performances, prac- Wandering abroad in need and beggary ; which they were so And wanting friends, though of a goddesse borne, tising carefully the music in is studious and persevering, and Yet craved the almes of such as passed bye ; preeminent. He first ap- I, like a man devout and charitable, devotes most of his time to his violin. He Cloth'd the naked, lodg'd this wandering guest, peared in public at Washington-hall, in this city, With sighes and tears still furnishing his table. and there surprised the audience by his wonderful With what might make the miserable blest power, and the elegance with which he executed ungrateful, for my good desert, But this the chefd' aiuvre of De Beriot, His next appear- Intio'd my thoughts against me to conspire, ance was at Palmo's, where he performed a solo Who gave consent to steal away my heart, called the fantasia "Ma Celine," composed by And set my breast, his lodging, on a fire. a German artist of great merit. During Well, well, my friends, when beggars grow thus bold, Hauman, on brief tour through a No marvel, then, though charity grow cold. the last summer, while a concerts, Michael Drayton, born 1563, died 1631. part of New England, he gave several which were well attended, and were highly com- mended by the press. His next performance was A TRANSALANTIC MUSICAL STAR. at the Tabernacle, where, in company with a youth- the town by The interesting and handsome youth Sconcia, ful performer. Miss Bramson, he took ap- whose appearance alone would excite attention, storm, and was rewarded with the enthusiastic assembled possesses such extraordinary musical talent as to probation of the largest audience ever bold and yet a make him one of the wonders of the day. We be- there. His style is marked by a intonation is very fine, his lieve it may be laid down as a general rule, that all sweet expression. His most difficult great musicians have developed an early taste for bow is skilfully managed, he reads the as well as their art, and their biographers have not failed to music at sight, has a turn for humour " king of in- commemorate their youthful exertions. While iu pathos, and, in short, he masters the JVctb York True most of the professions of life precocity of intellect struments" with surprising skill.— is by no means invariably an attendant of its later Stm. —' MUSICAL AND LITERARY MISCELLANY. 209 THE PARTING. noras op /turns. Adagio. — ' * • : 3 -—«—«—«—c-j-*—'—o •—«— —«—J— — Ae fond kiss and then we sev - er, Ae fareweel, and then for :P: Btrti=raz3:^:TT^ -a. i :pr: =|: -S-- iiH^HiliiSiiiii^l e - Ter I Deep in heart-wrung tears I'll pledge thee, warring sighs and groans I'll ^=PE=1 S 3=: epa; 1 :ri=trI J^-Jv ^- S^ 1-1== riMEiE^g^: T ^— wage thee. Who shall say that for - tune grieves him ? While the star -=i ^^^ --nr- ^:zd^=£=:^-|^^=:c|F^=3^ iSE :Sl Sii g :S3: i of hope she leaves him ? But nae cheer - fa' twin - kle lights me. — \> -- — | > I— :^: :rC5r: :q- P5: El^^jg^^^ izzi: 1=:*itz*i»:^*?i- 7 Ae fond kiss! Dark dea - pair a - round be - nights IS - -^-s- g I ^. a^=^=3: -P—h«^- .jq-li. ^^ m= I'll ne'er blame my partial fancy, Fare thee weel t thou first and fairest. resist Naething could my Nancy ; Fare thee weel I thou best and dearestj But to see her was to love her, Thine be ilka joy and treasure, Love but her, and love for ever. Peace, enjoyment, love and pleasure. Had we never lov'd sae kindly. Ae fond kiss and then we sever, Had we never lov'd sae blindly. Ae fareweel, alas 1 for ever I Never met, or never parted. Deep in heart-wrung tears I'll pledge thee, We had ne'er been broken-hearted. Warring sighs and groans I'll wage thee. Ae farewell. Fare thee weel I No. lOT.-ld. — ; — 210 THE BRITISH MINSTREL; AND CHURCH MUSIC. the joyful, within the compass perhaps of half a. it is, that very rarely can we ac- The following excellent remarks are taken from stanza. Hence commodate the music to the words, so that au em- the Preface to the " Edinburgh Sacred Harmony," phatic note in the former shall not be applied to a published in 1829, and are from the pen of the small connecting particle in the latter,—a semibreve, late Dr. Thomson, who was a devoted admirer, it may be, wasting its magnificence on an atid or an j/—and a plaintive sentiment in the one treated and a successful composer of music for sacred pur- without the least sympathy by a sprightly bar or poses: two in the other. And it does not seldom happen, We would not speak of sacred music as an amuse- that a melody is singularly well adapted to the ment, or degrade it by association with sucli a words, till we come to the two last lines, or the last terra—though even the music, independently of the line and a half, when all at once our feelings are words that are allied to it, must be allowed to fur- grated by the union of sounds of most significant nish a source of high gratification to every one import, with phrases of common place instruction^ who is alive to the melody or " concord of sweet or of a most melancholy cadence, with terms de- sounds." But in connection with pious sentiments noting gladness, and even with shouts of victory. —with the poetry which celebrates the praises of The most perfect remedy for this evil would be tv Jehovah, recounts the blessings of his grace, or keep the words in their prosaic form, and to hav. expresses the various emotions and desires wliich the music composed for them according to the fa- have a place in the breast of his people, it should shion of anthems. That they might answer for never for a moment be reckoned among the mere congregational use indeed, it would be necessary recreations and ordinary pleasures of life, or resorted to make these anthems short, simple, and free from to for the purpose of beguiling a dull or tedious all fanciful modulation, all intricacies of harmony, hour. That is an abuse and desecration of the every thing that would be offensive to an ordinary thing. It shoui d be the exercise of a devout mind ear, however agreeable to the learned and scientific. and in that case, it gives suitable expression to the But the great, the unspeakable advantage would be feelings which are most ennobling and ornamental obtained of having music suited to the words in to our nature, and acts reciprocally in promoting all their variety of meaning, and in all their transi- our spiritual edification, and contributing to our tions from one style of sentiment to another. Where- purest and loftiest enjoyment Mere artists, or mere ever there was any native taste or acquired skill on amateurs, whatever be their taste or their sensi- the part of the singers, and any just, experimental bility, cannot truly and fully relish it. This is a understanding of the language, this would diminish privilege reserved for those whose love of music is the difficulty of execution, even if difficulty should accompanied with the heartfelt experience of that exist, because the music and the words would religion which lifts the soul to God and heaven, agree in being appropriate expressions of the same with whom it can be employed as a vehicle for the state of feeling in those who uttered them together, outgoings of all the manifold affections by which whether it were that of distress, or that of joy, they are moved, and in whose Christian suscepti- whether it should issue in supplication, or in thanks- bilities it finds a subject for every variety of its giving. And, then, a longer passage might be sung holy and inspiring influences. When the two things than would at first sight seem practicable, not only are happily united, sacred music has its perfect from the facility of execution created by the cir- work, whether it be used by the solitary individual, cumstance just now mentioned, but also in conse- by the domestic circle, or by the assembled mul- quence of the recitatives which it would be occa- titude, and whether it be used in the expression of sionally proper to introduce, and which, from the penitence or of trust, of tranquility or of distress, very nature ofthe subject, would frequently be a repe- of love or indignation, of hope or anxiety, of dejec- tition of the same note, or at least would take a very tion or of joy. It is believed that those who can limited range in the scale. In this way, anthems enter experimentally into these views, will find, in such as we propose would speedily and without the present work, what is more or less suitable to much effort become at once familiar and easy, and all the states of mind which they denote; and if, he sung by a large concourse of people with as in any case, the words may not be sufficiently ap- much correctness as a considerable proportion of our plicable, they can easily supply the defect, by ex- common psalm and hymn tunes are sung at present. changing them for others equally correspondent But as such tunes will still be preferred, being in with the music, and more congenial to their feeline's full possession of the field, and requiring little or and desires. no exertion from those who use them, it may surely That sacied music may be effective, it shunld, as be insisted on, that they should be made as perfect much as possible, correspond with the words, and in the point we have been considering, as circum- the closer this correspondence can be made, so much stances will permit The present stale of this mat- the more powerful will the effect be both upon the ter is faulty and absurd in the extreme. We have performer and the hearer. This, however, has been our sets of metrical words, and we have our sets of very little attended to by composers ; it is wofully tunes. And all that is deemed necessary is to take neglected in most congregations; and indeed, from one of the latter, no matter which, if the kind of the state and character of our psalmody in general, measure only suits, and to associate it with any a strict observance of it is impracticable. We have stanzas of the tune that may be selected by the a certain number of tunes, each having its regular, clergyman, or his clerk, so that the doleful Dundee ever- recurring, invariable strain; and to match is not seldom struck up to a psalm, beginning and them we have words made into lines of definite ending with " Praise ye the Lord," as if the people length, every one of them having the requisite num- were deeply distressed at being put upon the duty ber of syllables, and made to rhyme more or less of magnifying the name of their Maker. There exactly with its fellow, but varying continually in are two modes of remedying this evil to a certain emphasis and accent, and passing now from the extent, which might be adopted without any great grave to the lively, and then from the pathetic to trouble or incoavenience. ; MUSICAL AND LITERARY MISCELLANY. 211 First, care should always be taken to fix upon those may dictate—always keeping his fancy under due 'airs which are fitted in their spirit and character to restraint, and recollecting the purposes for which the particular words that are to be employed in wor- bis effusions are designed. This may atlbrd him great opportunity lor display genius ; ship. Scarcely ever is this thoroughly attainable ; no a of but, clauses will he frequently occuring that deviate if he succeeds in what is proposed, he will ex- from the general strain of the piece ; and sometimes hibit more ability than what the thing is imagined a whole stanza of this description will come in the to require, and he will have the satisfaction of way. But by uniformly aiming at the accommoda- amending some of the worst errors that impair our tion in question, those offensive discrepancies which common psalmodies, and of contributing to make result from mere inconsideration will be avoided, au important part of worship more edifying, more and the words and the music will harmonise with impressive, and more delightful. each other to such an extent, as to give the per- We wish not to debate the question here, whether formance on the whole its proper and undivided ef- instrumental music is allowable or lawful in divine fect. The persons who conduct this part of either worship ; and still less is it our intention to main- public or domestic worship should beforehand make tain, or even to insinuate the negative. But we have themselves acquainted with as much of the practi- no hesitation in stating our preference of vocal music, cal details of the subject as they can master, so exclusively, as being both more suitable and more that when the psalm or hymn is read out, they can effective. In place of a good and well played readily fix upon a suitable melody. Or it may be organ, we would have a good and well -trained still more useful, that the particular psalms or choir. The organ, doubtless, is a noble instru- hymns to be read should be previously known, and ment, but nobler still is the human voice. On tne the corresponding melodies also selected for them, former, we cannot help looking as an artificial instead of being left to the choice of the moment. contrivance, while the latter is the very thing which And to secure this point in some tolerable measure. a sincere, unaffected Christian worshipper natur. It might be of consequence to have the psalmody ally employs to give vent to his devotions. With which is used in any particular congregation so ar- the one we cannot have any strong or correct sym- ranged, as that certain passages were conjoined pathy, since it is a mere unconscious, lifeless ma- with certain tunes,—the arrangement to be very chine j but with the latter, who are our fellow-men, carefully and judiciously made,—and that the con- possessing the same moral sensibilities and engaged nection thus formed should be invariably observed in the same sacred exercises, our sympathies are just in practice. and powerful ; and every one must be aware, how Secondly, it would be a great improvement in our much depends upon the operation of sympathy in church music, were tunes to be composed expressly every part of social worship,and especially on that part for the words. Even this, indeed, must necessarily of it which gives musical expression to the various fail iu a multitude of cases, for a reason already ad- emotions that take possession of the devout mind. verted to, namely, that the words, though formed And thus to the native superiority of the human into regular metrical stanzas, are not accented with voice, over the tones of the finest instrument that uniform regularity, and that what may exactly suit was ever invented, there is added an advantage one verse, will not suit another with equal accuracy. which no instrument can possibly give, but which And besides, were the words to be arranged, so as we conceive to be essential in such a case—that of to be entirely free from this defect, the still greater feeling all the while that the sounds with which fault would be committed— that of frequently en- ours rise in unison or harmony, are emitted by in- feebling or marring the sense, and rendering the tellectual and spiritual beings, who have the same versification monotonous and insipid. But still, in hopes and fears, the same joys and sorrows, the same numerous instances, the object would be gained as faith and love, with ourselves. This opinion is con- to the predominant strain and character of what is firmed by experience,—the best church music on the sung. In the existing state of church music, all Continent being that in which the voice alone is the care that can be employed, and all the skill that employed, and it having happened, in some of the can be exercised, in adapting the music to the cathedrals in England, that when the organ was words, must necessarily be in a great degree unsuc- under repair, and the choir singing without accom- cessful. For a large proportion of our tunes, both paniment, the congregation were sensibly struck ancient and modern, have been composed without and affected with the change as a vast improvement, any reference at all to the meaning, of which they and the learned and zealous advocates of instru- were ultimately to be made the vehicle. The au- mental music were obliged to acquiesce in the thors set themselves to produce long, or common, judgment, because they participated in the feeling, or short metre tunes,as a display of their science, or of the multitude. from ambition to get themselves a name. And even It must he acknowledged, that there are difficul- though they had words set before them, these were ties connected with a choir, which are not experi- looked at merely to guide them as to the measure, enced in the case of the organ. When the organ and with no desire and no intention to convey the is once procured, the only remaining trouble con- verbal through the musical expression. Hence, the sists in getting a good organist. But the indivi- words and the music might be severally and separ- duals composing a choir are undergoing frequent ately good, whilst the combination injured each of changes; care must be taken with respect to the them, and the joint effect was either weakened by character, as well as with respect to the ear and the the want of correspondence, or made positively voice, that they bring along with them ; the drill- bad by a manifest contrariety between the two. The ing which they require is perpetual and laborious only effectual way of preventing this, is for a com- and sometimes it is no easy matter to select such a poser of taste and ability first to choose the words, number as are, in any tolerable measure, qualified to make himself thoroughly acquainted with their for the duty. All this, however, might, in most import, to enter fully into their spirit, and then cases, be got the better of, were the people suffici- to pour forth what he has conceived and felt ently impressed with the importance of this branch jo such appropriate strains as his heart and skill of public worship, and were they as anxious «• — — 212 THE BRITISH MIXSTRELj AND they ought to be about the proper mode of conduct- this identical instrument, before he fell in his coun- ing it. In this case, neither expense nor effort try's cause at the battle of Clontarf, A.D., 1014. would be grudged, and these will commonly remove To be sure, it is not such a finished article as Mr. all obstacles that lie in the way of right enterprise. Egan of Dawson Street can supply, at the ver) In training and practising the choir, we should al- goodly sum of a hundred and fifty guineas, and ways make use of the organ, or other instruments, whose pedals are as complicated as the levers and m order to give the singers the habit of sustaining articulations of the human foot. The old Irish their voice at the proper pitch—there being, as harp was intended more for the poet than the musi- every one knows, a natural tendency to fall—and cian, and was used as a subordinate accompaniment to insure steadiness and precision in the execution to the recitative of the minstrel ; and who, in look- of whatever they have to perform—an advantage ing at the harp of Brian Boro, rude though it be, that cannot be so easily gained, when no such auxi- would not kindle into a rapture of enthusiasm, at iary is employed. But having received this assis- the thought of that valiant minstrel king,—and tance in their preparation for public duty, it will feel his spirit swelling within him, as the words not only be unnecessary for them in church, but rise to his recollection, will mar the beauty and effect of their performance " His father's sword he hath girded on. there. Let the music be appropriate ; let the band And his wild harp slung behind him," be well balanced, and well trained ; let the con. gregation join in parts, and in a subdued tone of Yes ! though the harp be hung on Tara's walls, voice ; and there will be a chorus, which in point though it be as mute as if the soul of music had of richness, pathos, and sublimity, no power or fled, there was a time when the bard made its wild combination of instruments can ever equal, and far notes ring to his Tyrtasan strains, and roused the less surpass. We wish that this experiment were warrior to the strife, or awakened within him the tried by skilful men, and in favourable circumstan- softer emotions of love and pity I ces ; for, in many cases, we are sure that it would Brian Boroimhe left his harp with his son Don- succeed to a large extent, and in all cases it would agh ; but Donagh having murdered his brother be productive of improvement, which will never Teige, and being deposed by his nephew, retired to otherwise be either reached or attempted.* Rome, and carried with him the crown, harp, and When we speak of a congregation joining in other regalia of his father, which he presented parts, we deem it of importance to remark, that to the Pope. These regalia were kept in the Vati- females and boys should always sing the treble or can, till the Pope sent the harp to Henry VIII., but air part ; and men the bass, counter,f and teuor, as kept the crown, which was of massive gold. Henry their voices may best suit. If the former take the gavetheharp to the first Earl of Clanrickarde, in tenor as they sometimes do, and if the latter take whose family it remained until the beginning of the the treble, as they generally do, in our churches, eighteenth century, when it came, by a lady of the the effect is great impaired, independently of that De Burgh family, into that of M'Mahon of Cleugh, violation of the rules and principles of harmony in the county Clare, after whose death it passed which it involves. It is much to be wished that into the possession of Commissioner M'Naniara of greater attention were paid to this point ; for until Limerick. In 1782 it was presented to the Kight such attention is paid, our congregational music Honourable William Congnyham, who deposited it must remain very defective. At the same time in Trinity College Museum, where it now is. It is we would not discourage any persons from joining thirty-two inches high, and of good workmanship; as they best can. That abstinence from singing, the sounding board is of oak, the arms of red salley, which so much prevails in some churches, admits the extremity of the uppermost arm in part is cap- of no apology. Better that all sorts of voices should ped with silver, extremely well wrought and chis- unite in singing the melody, than that there should elled. It contains a large crystal set in silver, and be so much dead and painful silence. under it was another stone, now lost. The buttons, or ornamented knobs, at the side of this arm, are of silver. On the front arm, are the arms chased of THE HARP OF BRIAN BORO (BOROIMHE.) the O'Brien family, the bloody hand supported by lions. On the sides of the front arm, within two If any of our readers want to see a perfect speci- circles, are two Irish wolf dogs, cut in the wood. men of an Irish harp, let them go to Trinity Col- The holes of the sounding board, where the strings lege Museum (Dublin), and there they will see the entered, are neatly ornamented with au escutcheon genuine harp of Brian Boro, monarch of Ireland, of brass, carved and gilt; the larger sounding, who used to solace his proud and lofty spirit with holes have been ornamented, probably with silver. The harp has twenty-eight keys, and as many * An exemplification of this exists in the various string-holes, consequently there were as many Singing Academies on the Continent, particularly in strings. The foot-piece or rest is broken off, and Germany. There, voices to the amount sometimes the parts, round which it was joined, are very rot- of 300, without any instrumental accompaniment, ten. The whole bears evidence of expert work- are employed in the performance of sacred music, manship. Dublin Penny Journal. with wonderful accuracy and effect. This shows what may be any where accomplished, not certainly to the same extent, but in a measure proportioned to the advantages that are enjoyed. And we know of no THE RIVAL SYRENS. congregation, that is tolerably numerous, in which the A curious musical contest took place during the attempt to do what we have recommended above, if made with real earnestness and in a judicious manner, summer of 1789, in Ireland, between Mrs. Billing- would not be attended with more or less success. ton and Miss George, the latter of whom had a voice f That men should sins; the counter part is, in our of such extent, that she sung up to B in alto per- " opinion, a violation of the rules and principles of fectly clear, and in tune ; this being three notes harmony."— Ed. "P.M." higher than any singer I ever heard. Mrs. Billing- ! — MUSICAL AND LITERARY MISCELLANY. J13 ton, who was engaged on very high terms for a limi- noWj Madame Flirt," came on, Mrs. Billington gave ted number of nights, made her first appearance on her verse with great sweetness and characteristic ex the Dublin stage in the character of Polly, in the pression, and was much applauded. Miss George " Beggar's Opera,'' surrounded by her halo of popu- in reply, availing herself of her extraordinary com- larity. She was received with acclamation, and sang pass of voice, and setting propriety at detiance, her songs delightfully, particularly " Cease your sang the whole of her verse an octave higher, her funning," which was tumultuously encored. Miss tones having the effect of the high notes of a sweet G«orge, who performed the part of Lucy, (an uphill and brilliant flute ; the audience, taken by surprise, singing part,) perceiving she had little chance of di- bestowed on her such loud applause as almost Tiding the applause with the great magnet of the shook the walls of the theatre, and an unanimous night, bad recourse to the following stratagem ; when encore was the result. Parke's Musical Memoirs. the dialogue duet in the second act, " Why, how TURN AMARILLIS TO THY SWAIN. CATCH FOR THREE VOICES. Hilton. nl: -i-w- in^if: :iE=p: zi-t: - • mon calls thee back a - gain. NTurn Ama ril lis to thy swain. Thy Da Siis: :^=PE=^ iffze: i^zt: =^ :fc±: :t==t^- :^tr->-jdzj:j^-Jbjr^ Here is a pretty, pretty, pretty arbour by, Where Apol - lo,where Apollo cannot spy. aip: :^=l»: -1^. -jfuzitm. ^^mm^ z\^=iiz I There let's sit, and whilst I play, Bing to my pipe a roundelay. THE SKY LARK. Unlike the lark be thou, my friend ! (addressed to a fbiend,) No downward cares thy thoughts engage. But in thine house of pilgrimage, hearing during On one singing at day-break, a Though from the ground thy songs ascend. sharpfrost on the Mth February, 1832, while of Still be their burden, joy and love, the author was on travel. —Heaven is thy home, thy heart above. O warn away the gloomy night, J. Montgomery, With music make the welkin ring, Bird of the dawn ! — On joyful wing Soar throupfh thine element of light ON THE CULTIVATION OF OUR INTEL- I'iU nought in heaven mine eye can see. LECTUAL FACULTIES. Except the morning star and thee. Whatever tends to refine, to civilize, to exalt the welcome in the cheerful day O intellectual faculties of man, is not only ornamen- Through rosy clouds the shades retire, tal but useful. This is the character and purpose The Sun liath touched thy plumes with fire. of all the arts, whether painting, sculpture, poetry And girt thee with a golden ray ; or music ; rising above beyond the limits Now shape and voice are vanish'd quite. and of the sensible Nor eye nor ear can track thy flight. and material, they delight in the con- templation of the infinite and spiritual, and know Could I translate thy strains, and give no bound or limit for the sphere of their exertions ; Words to thy notes in human tongue. every power and every faculty with which man was The sweetest lay that e'er I sung. endowed, was given to he improved and enjoyed. lay would the longest live, The that There is the same mutual adaptation between 1 might record upon this page. knowledge and the human mind, as between light And sing thy song from age to age. and the eye, sound and the ear, seed and the earth. the But speech of mine can ne'er reveal When Almighty endowed the human voice Secrets so freely told above. with sweetness, compass, flexibility, and power, Yet is their burden joy and love, and made it capable of giving expression to every And all the bliss a bird can feel. emotion of the heart— when he bestowed on the Whose wing in heaven to earth is bound. ear the power of the nicest discrimination, and ren. Whose home and heart are on the ground. dered it one of the channels through which pica- — ; — 214 THE BRITISH MINSTREL; AND sure is conveyed to the mind—can we doubt that picked up at the theatres and other places a few these gifts were dispensed with a view to their en- songs of a little more genteel cast, which they were joyment, or that, by cultivating the powers thus very proud of; and I shall never forget hearing an bestowed, we are not only best consulting our own old salt, who bad broken his voice by hard drinking happiness, but rendering to their Giver the accep- on shore and bellowing from the mast-head in a table tribute of obedience. Professor Taylor. hundred north-westers, with all manner of ungo- vernable trills and quavers—in the high notes breaking into a rough falsetto, and in the low ones FORECASTLE SONGS. growling along like the dying away of the boat- swain's "all hands ahoy!" down the hatchway, the crew of the vessel were two English Among singing " Oh, no, we never mention her." man-of-war's men; so that, of course, w« ijoon had music. They sang in the true sailor's style ; and Perhaps, like me, she struggles with the rest of the crew, which f*Us a remarkably musi- Each feeling of regret cal one, joined in the choruses. They had many But if she lov'd as I have lov'd, of the latest sailor songs, which had not yet got She never can forget. about among our merchant-men, and which they were very choice of. They began soon after we The last line, being the conclusion, be roared out at came on board, and kept it up until after two bells, the top of his voice, breaking each word up into when the second mate came forward and called, half-a-dozen syllables. This was very popular; " The Alert's away !" Battle-songs, drinking-songs, and Jack was called upon every night to give them boat-songs, love-songs, and every thing else, they his " sentimental song." No one called for it more seemed to have a complete assortment of; and I loudly than I did ; lor the complete absurdity of was glad to find " All in the Downs," " Poor Tom the execution, and the sailors' perfect satisfaction Bowling," " The Bay of Biscay," " List, ye lands- with it, were ludicrous beyond measure. Dana's men," and all those classical songs of the sea, still Trvo Years be/ore the Mast. held their places. In addition to these, they had THE SILVER SWAN. MADRIGAL FOB FIVE VOICES. Tempo giusto. Orlando Gibbons, 1625. :=Pi 'J: SOPRANO. •-r- fr. --f:i=fr 1^ :tr=t: i^l The sil . ver who liv • ing had no ^- ALTO, ir-i: :Sr :*SJ: N The sil - ver swan, who liv • ing hod no note - :P=fi: TENOR. l^^E -r=fr- -sq. :P=f^ The sil - ver swan, who liv - ing had no -^-i e; --^fz :fs=q!s-i: EEE 1st BASS. :i=*: rziic: ^mi The sil - ver swan, who Uv - ing, who liv • ing bad no St 2d BASS. 31: -^-r-^-g: E^^iE^t~ Tbe nl - ver who Uv • iog bad no ; MUSICAL AND LITERARY MISCELLANY. 21$ :it:=:P: :K~ P :tc=t: note. When death spproach'd un • lock'dher si 'lent throat; -^—^- 3f=qi qs^rrjs: qs^rrt :*rci:=3: :S=|£ 3-i= =-J=:at: litrsl: :3r^ -nr -4.-' - when death approach'd un lock'd her si - lent throat ; Leaning her -C)- :iz=*:3:=ii 3±: note. when death approach'd un lock'd her si • lent throat, Lean- 35==: ^ 3=: note when death sp - proach'd un - lock'd her si - lent throat A- T=S: 3^3: :S=i= ifrrzfzzwz ^^m li^zi: :i=Mz it^Jc note when death approach'd, when death approach'd un - lock'd her si • lent throat. Leaning her zpczp^qc :it m -.^ P :t: M Lean • ing; her breast a • gainst the ree - dy shore. Thus I"* q-l===|: n*r— • is: b r P :i=i: liz*: P i=* ;i=* breast a - gainst the ree dy shore, Thus sang her first and !E=f^^ :trp: :^=ic:zit :|E:=ft:rp~ -J^ZTMzzM: P=--Pr=|i=- P ^=^. ip^t^t: ing her breast a gainst the ree dy shore. Thus sang her first JCl :]: :rf-*^= :t: It: :l2izUa:: e^eII gainst the ree - dy shore, Thus sang her first and last, and is;=s: rn: :^-i- :Mzz I breast a • gainst the ree - dy shore. Thus sang her ; ! 216 THE BRITISH MINSTREL; AND prnr=rqr=rj==:zzn=p=»=|E" ,=r^: :i-=fr: :3=* i i::r:fc: I sung her first and last, and sang no more. Fare • well all joys d!^: :q=:|: iilzzp^zi^dzjrSl=::l: ^q^qsr f±:i; 35^ee3eSe^!E?SBeJ9E3-:^e?eIe3eSji^ last, and sang, and sang • no more, Farewell all joys! O death come close :ftiiE=^zi=;=r: :i!^3qr •3:!- zz^zz^njEi :r:p=t :|^fc* :t: :rp: and last, and sang no more, Fare - well, all joys I O death - • come :er:p:r:F r^ :^ SE£S3 q==^rt :l^=t£ :t^=:!^ i: sang no more,and sang, and sang no more; O death, come close my eyes; 3J*: =s:q5: ^£=f: --*- first and last, and sang no more. Farewell all joys I Now death come close m; . ra«°- rirrq! :^^g—gzip: £: !!=(: :3r3nr;s: =ii=L=!^=:i\z :t: i ^^E^ death come close my eyes More geese than swans now live, more fools than wise. :iis=q=rj: igxiirbi i- t :S~M: Srtizrd: 1X3; eyes : More geese than swans now live, more fools.more fools than wise. :^tpc :$=f^ mc :w==t=zw: 3^: 33: -t- close my eyes ; More geese than swans - now live, more fools than -t!*- -(t-J^-. q»:r:)crr:)E: it: W ^-- :t: More geese than swans now live, more fools than wise, more • • fools than wise. Si: ::e3: -e- it^ ¥- jd- zMzz :dzzzp 1 :t: ::i= eyes. More geese than swans now live, more fools than wisa. ' — I — — ilUSICAL AND LITBBAKY MISCELLANY 217 SALLY IN OUE ALLEY. Henry Carey, (died 1748). Andante. ite i^ns:*: n^rt ^^Mtazz^ :i=^=^rqs:;i= :^|" —a- 'M. — ••• :i=:*i:i): :|=:^=:=zl r- -*-ijr~* f" r smart. none like pret-ty I She is tha e Of all the eirla that are bo There's J , , ^ - ly, Sal3al- I 1 a±=E:S:n —I—P—a —a —^ 1—— ' ^—I*—P SEE :4=ti: E3b ES—ts^- -^- m "" dar • ling of" my heart, And she lives in our There's ne'er a ^l^ft=^E=E SEE P ^ _^ - ixzz :!S=is: *=3f;£: ^-4^ =1^: ;=^=! i3:i? -N-^-A- rtifcrit I la - dy in the land, That's half so eweet as Sal . ly, She is the ^Eife, l=t=F:£3: ^g con 8va E53Ei IEEE ;^ :fs=i: -.ziz^ -fcdzzxs tt ^: r" ^dar - ling of my heart. And she lives in our al - ley. g±EEeE±EEEt; :=!-i -- -S=e: ^-^ -Jz—cz — -rt I 1-* i —fi-y— Her fa - ther he makes cab-ba?ecab-bage nets. And /r\ I X :^ -" ^^'- :f=P: ?m *-- ~=5a: r- .4-_^ -IS.. -N- P=f: E^E^Eq^a: :jt :S=5=fe:^t zS~Mzz^zfz :j^-=i: aizzij r thro' the streets does cry them : Her mo - ther she sells la - ces =Ftte: -zzzwz:^- m ^rziL .-1 p.«c_. ^—z^zzwzf.:z ^E^^^^Ei^E — m No. 108. 11 — ; ; ; ; ; — 213 THE BRITISH MINSTREL; AND ^^ ^. i=J=^==it :K. '=^-- :a=^: 3rS :itz3t Se^. -.^z long, To such as need to buy them. But can such folks fe :==f: ^?^^^^ 5^E£ J k= tha pa ' rents be • of such a girl Sal'l;? She is the ^_. if-r-r-y tff- -n-Si* S^EgE ^^==t FFF^1^ J^^ftfi^: hrf=hi=S=^:* :^ a i^^Saf-^- dar - ling ef my heart, And she lives in our al - ley. /Ti ^dzEp: ^ :il=4sa 1 ^ r »: Of all the days that's in the week, When Christmas comes about again, I dearly love but one day, O I then 1 shall have money And that's the day that comes between I'll hoard it up, and, box and all, The Saturday and Monday. I'll give it to my honey For then I'm dreat in all my best, And wou'd it were ten thousand pounds, To walk abroad with Sally I'd give it all to Sally ; She is t.he darling of my heart. She is the darling of my heart, And she lives in our alley. And she lives in our alley. When she is by, I leave my work, My master, and the neighbours all, of I love her so sincerely ; Make game me and Sally 5Iy master comes like any Turk, And (but for her) I'd better be Anil rates me most severely : A slave and row a galley But let him scold till he is tired, But when my seven long years are out, ni bear it all for Sally; O I then I'll marry Sally, She iH the darling of my heart. And when we're wed we'll happy be. And she lives in our alley. But not in our alley. Carey ii the third Edition of his Poems published in 1729, before "the Ballad of Sally in our Alley" hai Kuced this note: THE ABOUMENT. " In this little poem the Author had in view to set forth the beauty of a chaste and disinterested passion, even in the lowest class of human life. The occasion of his writing it was this: a Shoemaker's 'Prentice •naking holiday with his Sweetheart, treated her with a sight of Bedlam, the puppet-shows, the flying- liairs, and all the elegancies of Moor-fields: from whence proceeding to the Farthing-pye-house, he gave i ' ler a collation of buns, cheese cakes, gammon of bacon, stufp'd beef^ and bottled ale; through all which -cenes the Author dodg'd them (charm'd with the simplicity of their courtship,) from whence he drew this little sketch of nature; but being then young and obscure; he was very much ridiculed by some of his ac- quaintance for this performance; which nevertheless made its way into the polite world, and amply recom- (leiined him by the applause of the divine Addison, who was pleased (more than once) to mention it with ap- ln'obdtion.'' MUSICAL AND LITERARY MISCELLANY. 219 IN THE LONELY VALE OF STREAMS. Wordsfrom Ostian. GLEE FOR FOUR VOICES. Dr. Callcott. 3rp=P=PE: IrtTBGBLE. zi=ii i; :t^=^ -tr- In the lene - 1; vale of Btresms, fs={5 *-'=- 2d TREBLE. EE ^-rK- --^t- =1: i —*—t" 2tW: In the lonely vale of streams, A- 3qZi_^ TENOR. :^rrzis:=?5 -^—tiJt. ^= r In the lonely vale of streams, In the vale of streams, A- BASS. w^e i -JtqzezrpE: :fs::sa=^zq=:q: -t— -t- :P~t :iT3i; ztzitzziiii£?SEi I A - bides the narrow soul, the narrow soul. In the lone-Iy vale of ::r=is:=Sp:p :=l: :P= ^g :i=jt: E5EZ^ liiiidzil: m bides the narrow soul, the narrow soul, the narrow soul. In the lone - ly vale of q=d: E5- :r^ t=3t: :i=:* ^^ :t bides the narrow soul, the nar • row soul, the narrow soul bides the Isr?? :-=[: -—P^-^^- —A—1^ ^E zi=iz :xi^ In the lonely vale of streams, in the ' :P=pr jC2: T=fz -e-i- iE!^:^- JCZJE 3i-p: -t § i- — streams - in the lone • ly vale, in the lone vale of streams a- -f- :i3: P 3t:l»; #*=:^ streams in the lone - ly vale, in - - the lonely vale of streams a- -^==^- ^- tz^ I- —J I ^i^3^^ —C: nar • row soul bides in the lone - ly vale of streams a- g=^ :i=^. :2^zt=~i==i: i=*r:rpz*:i=i=3 :[: iiii nrzrjt ^ Mizt: lonely vale of streams, a - bides the nar - row soul, in the vale of streams a- 2:o THE BRITISH MINSTBEL; AND 4=5- ,=!qq:qc=jS:zr— p:P: 1 1— -.pzft:r.w: Szf: i -»r- li-fcf^*: B^l =^: XSi- V ±^ X :^ bides the narrow soul, In the lone - Ij vale of streams, in the lone - ly Yale of -^ :il=qrS=:1z=!=|==z=:rr:ts=f5 5z2r:^.i=izJz|:^ar^5|5^fg|=S=|r^- :j(xi: =(*rf>S3 ijzzi:: 1!-©— -k*"- J ^ bides the narrow soul, In the lone - ly Tale of streams, in the lone - 1; Tale of ^^-- :P=I :?i=f:::p: itfc :=]: -I- bides the narrow soul. in the vale of 1!==:: spg S J^-J^^\ - Pl- "9=^- -zxk. :zzfcrfc i: :r^:ixi± bides the narrow soul, In the lone - ly Tale of streams, in the Adagio. Itfs^z'^P^ i]r!5ti=i^rl soul, the narrow soul. BOUI. Years roll on. seasons re- 5?:^ ^ :i~i -X :=P 'zaz 3Zj: iii -o ^^-^iC soul, the narrow soul. soul. Tears roll seasons re- :i:==!: :S=H= IehI? 2d: r2d=:i~szdI soul, the narrow soul. soul. Tears roll on, seasons re- .—»« ^ :P=:P=5t: z:a=:i t=±=.X -I— lii^lteE^i^E^ soul, the narrow soul, soul. Teais roll seasons re • turn. MUSICAL AND LITERARY MISCELLANY. 221 -e—Q- tm :W-P-^ i turn, but he is stiU un - known. ;g^23dni±-- 2d: turn. but be is still • still un • known. :p=ftrp: -5^- itrtrt turn, but he is still un • known, _ rrsLargo. :i3: :pr?E=rp=:P: Sj =1= ^tp= 2t fei^ but he is still known > . - but he is still un known, In a /7>^ Moderato. sqzz^ii: -J^-fv !^i: :q: His ghost is fold - ed in the /T\m m^ -^5-^ r^£ii^=!^^Siil zzt^t-.^-:=S: Ei^Sigi^^ vapour of the fen n; field, in the vapour of the fen - ny field of the ^- :l=:1=qt qs^ :^:q5^ 5^5? .TZi :X:^-. :zi—^:TzMz jca.1 i- -*-:ir His ghost is fold - ed in the vapour of the fen - ny field, is ^ His ghost is S5 - 222 THE BRITISH MINSTREL; AND Q -I :P±:f: 3:5: rfezjz: -^- ^^ fen ny field, His ghost is fold - ed ia the :^=:p: ^i^lH; t!^=:fc :fc: folded in the fen - ny field. His ghost is fold - ed in the fci!=^=:gzjEEJi|Ej-gi folded in the fen - ny field, -:P-_JP-- W: jE^^nt mZ—iZM?^ t: :w-zztzfcggrniz:?: g^-^^U._U_.U— :t^ :1c: His ghost is fold - ed in the vapour of the fen ny field, his -I. «4 ny ^^Ei^g^^ zFg5FrfflEE3^pgr:S ghost is fold - ed in the vapour of the fen ny field, in the 35= its^ :a=J^^z .«_!=_ =3=*=if= jzizz: =1: zizzizMzt: 5fel :—rpzzit^: field. in the fen - ny field its course is never on =1]-==: zi'I^z: ESE5^3 -lizzzi ran3iZ3i=iz_i field, in the fen - ny field Its coursese isib never on zz. zwr.ZJi.zwzM.z!^z .fizzfzz^-.r-±nz\zzzz3zz W-fiz V-Z '-^- -&- '^z^ va • pour of the fen - ny field, its course is never on hills. ^- §5ggps^gigB;asp^=Eg=E^-^_-tzf.zt^- va • pour of the fen - ny field, its course is never on hills, — MUSICAL AND LITERARY MLSCELLANY. 223 ±= ^^E^^^g hiUs, nor mos - By vales of wind i^^: 3d: hills. nor mos - s; vales of wind =?=:P: :P=l=:{t=e=P=P=rq $Zm=^^ z^:=^zzft-p: ::3z±:tdr£=t:— I t 133: P :jz-|z— fe:: its course is ne > ver on hills, nor mos - s; vales of wind :t ^ t:=tr=ten:^: :1=p: X3: j- :M—7t. its course is ne • ver on hills, nor mos • sy vales of wind -=>r •-• •---fi-^- SSig :i:i)z:=: fe^^ of wind nor mos - sy vales of >=t '^^^±± :^: ^ of wind 3Z5: 3q: 1 -P: =B: I W=i=: -»J -. I I r s .EH 3tf I iMiz xt :xL nor mos sy vales of wind - • vales of :|Sifs F^^ :=): ^^. ztgr l±i: aririza:i wind, nor mos sy vales of wind Its course is never on |_»_^^__gft^^^-^. :|=qrtd: 3^d^: ;^zl:22; ijizizazt P -hrh^ -tj— nor mos sy vales of wind, its course is never on t=nw^^e=W=w: X5____. :±= l!t=s!:^ :t^t£: nor mos - sy vales of wind, its course is never on hills, 3i =p:P :fcjc: ^ Eg zfcd=^=^ eE wind, nor mos ly Tales of wind, its course is never on hills. 224 THE BRITISH MINSTREL; AND :rt. iirn^isg hills. nor moss; rales, nor mos - sy vales, nor ^=^=i]-iz=b=-=z=r-~z: ^^3ri:=*.-i=1 £EajE?-^•5f=q?q. i^ hills, nor moa - ej Tales, nor mos - sy vales, nor :^«_i==ji: -Jt~t~t--Zl»L-'^- :p=r?E=:r^=:r?E=- 9fe :p- ±izlz:- 3==?E=li^El=E iprrprizp its course is ne - ver on hills, nor mos • sy vales of -_-,—-p--^-—:f__:Pi. :t: dz— EIE iH its course is ne-ver on hilla nor mos - sy vales of —="T—-»• ^^iggE|§^: gg^S—_—__(-. mos - sy vales of wind, nor mos - sy vales of ^^^^^^ ^ mos . sy vales of wind. nor vales of Pz:3:25z-h:z t:=dzdz:=d wind. of wind. nor vales of -fr. 3i &t???^ ?:zzzzbzzzzz£^E^ -—J^-n wind. of wind, nor mos - sy vales of wind, - nor vales of '^- Adagio. :g=:^=P=^ :tzzzlzz' 1X2:: wind, nor vales of wind. E3; ^fKeES :=]= -h^fa 2i X3: wind, nor sy vales of wind. ^z^zrqzrz^zz 3£zt: zziz ill wind, nor sy vales of wiad. -^.zjzzqzzq:^=n=q= ~±$z:asE;'^Z^l itzzz i wind, nor py vales of wind. — — j MUSICAL AND LiTKRARY MISCELLANY. 22.5 WHEN FIRST I SAW THEE GRACEFUL MOVE. DUET. Nicolo Pasquali, 1757. Andante. I , yi^-, !--•« -= 1 |««>i=q 1 ^^^ , T-— —— — —^««t-| When first I saw tbee grace - ful move, Ah me what meant mj rf: :zi^j=lSz=p:ii=r^_-qS=|=l:::-^-=K=| :iAzz.it. AVhen first I saw thee, Ah me what meant my — :==j==5;: Z^ =]: E3E3EB^3EE jzE^EE^Ezk: :S=i H throb - bing- breast, when first I saw thee grace - ful move, -4 1——18^- l-r«- :j=qs;=^: -P—=) :=1=4 1 ^M~^^ lEsE^r^rzl i: :=::5El=5—13-- S— throb - bing breast, When first I saw thee, cres. P ^^ J __f'_ ff^ .^i=iz Ah me, what meant my throb - bing breast, Say soft con fu - sion p -1^! X -1^ ^^ :=^-i=q; E9^~ !i3= z^^zziiz— -izsiEifz^zz=!zzr-^=^: zzz:3s;|zqzqq5=|,-,-J^- -t—I- j^—«»•- ^^z— zqzz^z^z Ejg3EpEffi^ElEfeEE:fe!EEEfeElE^3 Art thou love? If love thou art - Then fare - well rest! Say soft con- -i"^- zzjz^ 1*(^' — ,_ . :?zs:^|[Z3'^z n: 1^* :^.p:pzz^z:^!^z(s:^z Zl— ——i-S— —*-= — ESlEE^S^Ei^E :tSz£zlz^z-J!z«-?*?^- —1-—a~;^* z5:z^"5zqz:z:s:?.:ezi"^zlzq"5:q=|z5zz2:z^-zz^,f:P=iz^:zJ^z=j5sEizqzaE ==±'azaz:lz:f=:^zz:fztl!s:5zbfri:gz3f;zzi^iZzbs:z?Ef:z*:^-s^;E Ro. 109. — I 226 THE BRITISH MINSTREL; AND SINCE FIRST I SAW YOUR FACE. MADRIGAL FOR FOUR VOICES. Ford, IG20. Andante. 1st 5—#-£ SOPRANO, J. I. r- Since first I saw your face I resolv'd to ho - nour and re- 2d SOPRA- NO.orALTO 5E#^^|ES=EEi|^E^E:5E^E^Ep-JEiE^EiE| Since first I saw your face I resolv'd to ho - nour and re- iq=q=rqq TENOR. 1 H^-J » P P W- W--»- * P I I-- s -i-—•— — 1 b— fe- —— :f=te=r^=trUit: :t: Since first I saw your face, I resolv'd to ho - nour and re- -m~s- BASS. t—itz =iESEiP^^E^Ii^E-Si^tE/-^^ -I— r- Since first I saw your face, I resolv'd to ho - nour and re- —1 ztzrulsrqi i^.E^EE5Ep5E^=JEEg|ESE^i^E:^^— nown ye; If now 1 be dis - dain'd, I wish iny heart had ne - ver :q~:q:z= zrU; jlsz: liTi: :szz:; *—ir-«- nowu ye; If I be dis - dain'd, I wish my heart had ne - ver -zHzzzlizd: *ffE3=3E^E=gE3=i^=zpz:is;==l: z_=z:izrizzb:i-i 1==:p: tzp;zE~i=izzi= nown ye ; If now I be dis - dain'd, I wish my heart had ne - ver 3Ii~E:q==E=z :Pzz:f:zz rpjzfzzfzz; -t z-pzzSzzfzzizzlEr^zz:"^: rtzzxz :z*zzz^ I ztzitczzt:: I— nown ye ; If now I be dis - dain'd, I wish my heart had ne - ver i=:zz=lz| -SLzqz ^-. Jtli :Pz=pz.fez^z zjsr^z : zr^z zsz:s:z; I i —-^- r^~?i3^ziz t: -I i—— I \r- known ye. What I that lov'd,and you that lik'd, Shall we bo gin to w ran ffle ? |zz?zdzqz:zz|zgz|z=lz:z^5z^fe-zq:zdz.=sz :Pzi=f: Zp=3t •| \r- known ye. What I that lov'd, and you that lik'd,Shall we be gin to wrangle? ) zfizzzl=:qzRZ::zzgzqz|zzz=z:zzp-z:d:zqz:zz|zp=:f=33jziz=z=zi:z:qzp-z:d:z^qz zf=^=^=z:?e:z :x5= ::aEf?EfeS:i?EgE=J?E?E.4E^^=t :t:: zzrzzqzi known ye. What I thatlov'd, and you that lik'd, Shall we be gin to wrangle? ZZ1\Z ^EfcEzdE^^HE^I ifzif: qs;::3;:q!sz:[s:t:x5=::l: :d: :t±t-\-^ E?zEz3zz:t ill =^: ziz:p:z^zlz«-zi:gi-^i:ziz:azlz:q=z3;i I known ye. What I that lov'd, and you that lik'd, Shall we be - gin to wrangle? — ; — — MUSICAL AND LITERARY MISCELLANY, 227 ^-\" :=1=:=S: qz: -tf=- :qt :=is; :i.— :e±i= i; -i izrJ^z-M- ==1= I l-^-til -i=:t:* — I No, no, no, my heart is fast, And can - not dis - ea - tan gle. i-W t- R: ::=]: ::3:: 5^1! :S-a= £fa=:rp:iz:: :q= "Q- -J:-* No, no, no, no, no, my heart is fast. And can - not dis - en - tan - gle. 1— -fr 1 --"!:--1 zt-f---^-- q=^: :n~ 33^^,t..n:-g z\zz:c: r 7- ZZZTizrtt No, no, no, no, no, niy heart is fast, And can - not dis - en - tan - gle. -!^zzr^- S±l=?Z^pE:&- =^ :^: :p- r:p~-=:;^:t:p. :S=^: .-ter:: ::c. p-*=:l T- .t:=^=3S;= Ipi No, no, no, no, no, my heart is fast, And can - not dis - en - tan - gle. The sun, whose beams most glorious are, Where beauty moves, and wit delights, Rejecteth no beholder And signs of kindness bind me. And your sweet beauty past compare. There, O there, where'er, where'er 1 go, Makes my poor eyes the bolder. I leave my heart behind me. DEVOTION TO MUSIC. " Record of the Musical Union," a society recently organised in London, by Mr. J. Ella, One of the best educated musicians of our ac- for the prac- tice of chamber music] quaintance owes his distinguished position in life to the accident of being invited to hear a quartet. The story is agreeably enough told, in a letter once IN ! addressed to us by the hero, the brother-in-law of AN ERA MUSIC the late Baillot. "The vicissitudes of my family " We have waited until the very last moment, and forced me to seek employment in a commercial yet we scarcely know in what way to speak of this establishment in the vicinity of Paris, where I was musical prodigy—this wonder of the century— the treated with much kindness by my employer, and beautiful, bewitching, thrilling Signora Anaide allowed to prosecute my practice on the violin as Castellan Giampietro. She is the very embodi- an amateur. After receiving a lesson, as usual, ment—the personification —of that exquisite har- master, the from my celebrated Baillot, the latter, mony which glows and thrills in the deep heart 228- THE BRITISH MINSTREL; AND is opinion of throat—that rises and falls and trembles like a dove's admirably united. This the universal in cooing—and sheds itself, like the perfume of musicians, so far as we have heard." " flowers, upon the soliciting air." Published in the Illustrated London Life," as The critic got soberer after this burst, and with the very words of a New York critic. his feet on earth, added, " We have had the pleasure of listening to nearly MUSICAL OSTRICH. all tlKj great female singers of the present day, for many years past—Malibran, Sotag, Grisi, Persiani, The 77th Regiment received some time since, Mrs. Wood, and the rest, and we say frankly, from Colonel Warnington, British Cimsul at Tri- without any sort of hesitation, that Anaide Castel- poli, a remarkably iine young ostrich. This bird lan is the superior, by many degrees, of either of walks at the head of the regiment, and keeps good them. We are not certain, but we think it pos- time with the music, and should the band be play- sible, that Malibran may have a little exceeded ing in the squares or gardens he walks round the Castellan in her contralto tones, and Grisi may musicians, keeping all the little boys away. He have been a trifle more perfect in the highest range was obliged at first to be muzzled, as his fondness soprano yet in no one person who ever sang for music was so great, that he manifested a curious of her ; were the beauties of the soprano and contralto so fancy to eat the music books. OLD TOWLER. FROM THE OPERA OF "THE CZAK PETER.' JoTin O'KeefTe. Wm. Shield. A . ^ilipls^_^ii Bright Chan - ti - cleer proclaims the dawn, And span - glcs deck the thorn, . . The i£3E5E *-=!- ip=fE:e-+-i»-F-i-— .4V H -W- W: :p=t.z^=i u low - ing herds uow quit the lawn. The lark sprinp;8 from the corn, I^ogs, huntsmen, round the '^" -^ --^^ _-(»- ^_ _ 3±fce-:^:^=^a»^fe^i?:^_^^c_ _t.e!—ff.yrq_t-:_-s::::5r*.a-_rir^-iS_u.cjtq —tfii«»t iii^_: ,-«-•»- ^ttEf=?-E3=3^n-EiE^E~J— :=f: .±:t=^iz=i^=:|:=|xi-^_:rzfc iiiliiPM^ii^ window throng, Fleet Tow - ler leads the cry, - - A rise, the burthen of their song. This day a stag must die. tmnW hmdmJ-~^\ —'^"4~ F— "l~^'t~'^ J-1--I 1 1_, fc — —I — — MUSICAL AND LITERARY MISCELLANY. 229 :fs:i^ 3s: ^^- :^Et=t=*- :i-^±^^g±i=: :=!rE=t===*-=H~^: :tc=: forward, harkfornard tan - tivy, with a hej ho chevy. hark ri— iriEirp.— ff— ^^zq==f=^=r^=:^"^=:|-e::p=:rp: :^=P= Se^IeBI^^ y?^ft forward, hark forward tan tivj, hark forward, hark forward, hark -^~: s?iS=^§F:^^i^eL=gi?El T' :fce: t^zzz:?z=i :p=i^=tE: :p=e: *zfe:=fz:^te:zf^i- :--fc:=te:: fe:=fc= zitzt. zfc Ittzz=t~=b2z=' forward, hark forward, tan - ti - vy, tan - ti - vy. Hark, hark forward, hark — • aiii ZK~^— :pru:p^ -I t qs^qzizJv :j=&z:? -<3)_ =^==::==f^i»;i= -^--H- forward tan - tivv A - riEC, the burthen of their song, this day a stag must —-3 IB- s±i. »- z=^.pft£-i==--F:=|=:f:=friz^z=-z==:zz|=i^?2z:^3=| :p= "t-.^^- tfLT:^=::rrpzz:=|zpzrE^z^-zzEzpp=rrp==zz|z^=:P:!-jL-iZ5zzz:rrtz:iz:iz|* zr|*r« !»±aL-r:ff=|zi: P f=zzEzz=|zP-fe:z^^z|zE. |zb-^z~;&z^ ^FF^- die, this day a stag must die, this day a stag must die. ,Q1J- ^zftzp|:^i^zatiEF ^iiiii^^^;^ISiS|i The cordial takes its merry round, The upland glades they sweep along*. The laup^h and joke prevail. O'er fields, through brakes, they fly, The huntsman blows a jovial sound, The game is roused, too true the song- The snuff \ip gale dogs the ; This day a stag must die! With a hey ho, chevy, &c. — 230 THE BRITISH MINSTREL; ANl. MUSICAL COWS. I received both protection and encouragement: "It really was not bad for my age." The day I played Blailame de Genlis says, " I paid a visit to the it under the name of Czerny, I was not listened to: Cbateau of tlie Count de Voss, where I heard, for but when I played it as being the composition of the first time, a ravishing concert. If the scheme Beethoven, I made dead certain of the "bravos" of universally it give the country were adopted, would the whole assembly. The name of Beethoven brings inexpressible charms. plan was to form cows The to my recollection another incident, which confirms into flocks, and to hang about their necks harmonic my notions of the artistical capacity of the dilettanti. in the most beautiful manuer, bells. These formed, You know that for several years, the band of the in several octaves, both perfect major concords, Conservatorio have undertaken to present the public low. one can form an idea of this high and No with his symphonies. Now his glory is consecrated, it is at small distance delicious harmony. When a the most ignorant among the ignorant, shelter them- celestial music, of which the irregularity it forms a selves behind his colossal name; and even envy the sweetness act so powerfully on the imagi- and herself, in her impotence, avails herself of it, as with that it is impossible to listen to it without nation a club, to crush all contemporary writers who ap- lively emotion." the most pear to elevate themselves above their fellows. Wishing to carry out tlie idea of the Conservatorio MUSICAL DESERTERS. (very imperfectly, for sufficient time was not allowed me), I this winter devoted several musical perform- It is remarkable that music, with all her bewitch- ances almost exclusively to the bringing forward of ing attractions, has, in so many instances failed to duets, trios, and quintets of Beethoven. I made retain lier professional votaries. Ashmole was a sure of being wearisome; but I was also sure that chorister, and afterwards became an antiquary, a no one dare say so. There were really brilliant virtuoso, a herald, a naturalist, and a hermetico- displays of enthusiasm: one might have easily been philosopher. Dr. Hooke was also originally a cho- deceived, and thought that the crowd were subju- rister, which he gave up and took to the study of gated by the power of genius; but at one of the last natural philosophy, mechanics, and architecture. performances, an inversion in the order of the pro- Sir William Petty was at one time professor of gramme completely put an end to this error. With- music at Gresham College; and laid the foundation out any explanation, a trio of Pixis' was played in of an imiuense estate, by various exertions of his the place of one by Beethoven. The "bravos" great talents, he was successively a physician, a were more numerous, more brilliant than ever; and mathematician, a mechanic, a projector, a contrac- when the trio of Beethoven took the place assigned tor with government, and an improver of land. To to that of Pixis, it was found to be cold, mediocre, these we must add the scientific Herschell, who, and even tiresome; so much so indeed, that many brought up an organist, abandoned music for natu- made their escape, pronouncing that it was a piece ral philosophy, became the first astronomer of his of impertinence in Monsieur Pixis to presume to be time, and, by the discovery of a new planet, in- listened to by an audience that had assembled to scribed his name in the heavens. admire the master-pieces of the great man. I am far from inferring by what I have just related, that DISCERNBIENT OF AMATEURS. they were wrong in applauding Pixis' trio; but even he himself could not but have received with a When I was very young, I often amused myself smile of pity the applause of a public capable of with playing school-boy tricks, of which my audi- confounding two compositions and two styles so tors never failed to become the dupes. I would totally difl'erent; for, most assuredly, the persons play the same piece, at one time as of Beethoven; who could fall into such a mistake, are wholly un- at another of Czerny; and lastly as my own. The fit to appreciate the real beauties in his works. occasion on which I passed myself oft' for the author, Liszt. THE FAIREST FLOWERS THE VALE PREFER. GLEE FOR THREE VOICES. iMryhetto. The fair flow'rs the pre fer, and -=^^-^ q^:q: i^^^s^^^^mfe=^i:i- The fairest flow'rs the fair - est flow'rs the vale pre fer, and shed am- zW-~ g±i: :^rf=:gip£^ isrisns;; —d=ri ^E!#Ee^ -j^-z^. ~z^ =^-_-3±3:=i: 3d=:z: The fairest flow'rs, the fair - est flow'rs the vale pre - fer, MUSICAL AND LITERARY MISCELLANY. 231 shed am - bro - sial sweetness there, and shed am bro sial sweet - ness there. "5 ''"£2 ! -tf-j.i^--g-^3s:-qs; -I-— 1 1 —tr-Htj—tv :P:=g: zz^iazzs: -az— m: ritrjc: ^=t2; zn^ bro - sial sweetness there, and shed am - bro - sial sweetness, ambrosial sweetness there, a :=i--zn:q^=:1==:|=i1 a±i= 3;:d=:=fs: :r3=;3E:i: and shed am bro - sial sweet - ness there, am - brosial sweetness there, .jp-_tt^^.ft^ei:p-_-pi-t-- #^_._^_:fi.^._^j:^- l-g—»—»-»—|ff— '^&^e:&z *±:p=|ii==c:=ttztt=e=fcfcit :p: ii while the tall pine and mountain oak oft feel the tempest's ruder stroke, the tempest's ruder :p=|tffzffrP:r?zprP=!tf^ziz:*=:e~f:=-p=| i=i£pEfc«tz^t^rS?--; :|z=ferfc:=tfe:zfe:=|=t:=t«:=:l2==!t: while the tall pine and mountain oak oft feel the tempest's ruder stroke, the tempest's ruder -p: ^.^ :z!z4^^iz:3^: :P: ^±zii:z.-±z=2z:^t= ziziiSzEzczBzzhzzizzi— :*z3iz :i: ^tz' -fe: whilethetall pine and moua - tain oak,oft feel the tempest's, the tempest's ruder #^-fi %5^±fzE^z:!z*£^- :tzfzn —f_s_5t_ft:£;e_»z| ztz^z^z^ztzzzrzzt^ :pzfc^z[crLtiz^z :tzfc :z=tzp stroke, while the tall pine and mountain oak oft feel the tempest's ruder stroke.oft feel the tem —«—«—«— : _zz~iz qs^=j: —KZftr*:: ^ t I :fzEzPz*z |izzz:zzszzi.Tii: —z^-^.—I*—— -S^»-«^ai_ l^-ztzzlzz^z r-^-r' stroke, while (he tall pine and mountain oak oft feel the tempest's ruder stroke, oft feel the t-tt^zcL-n^zt. *Ei;§£SE zfzizjzi: ?Hzz£e^: f=itzpzt: ^"iiriil stroke, while the tall pine and mountain oak oft feel the tempest's ruder stroke, oft feel the Dolce. Ji5i^;^^Sl|liggggfeggE|^g3 | - pest's ru der stroke. So in the low-ly moss-grown seat, dear peace, dear I-T -i5-^._|i.._]JL._|>Ljs:^^ lf=SZ 5zz#rfz:izf^z^|3E -.121 iza!:zi*z:iz :i:zi; r- :Szz -^=P: znzzfc Ea^iE tempest's ru - der stroke. So in the low-ly moss grown scat, dear peace, dear -• •- gi:§zttjE:z?:zz=: ip: — -Wr- :3zizS:ze z-zf: :lzz zt 8-i-V-l/- lizP: zt: —I h j^- tempest's ru - der strok°. So in the low-ly moss-grown seat, dear pf'aoe, dear E : — — 232 THE BRITISH MINSTREL; AND rfzzpri ytr?=f: p-r^l^: peace, dear peace and quiet dwell. The storms that wreck the rich and great, Fly -W^ %z9~=^j-' ;=53e: ^i=:p: :fz dtz^l :c: :^E?^EggEE5EiEe :=:tzr peace, dear peace and quiet dwell. The storms that wreck the rich and great, Fly / a -»- -ft P HglEEgEZEgB^g^gEpI peace, dear peace, and quiet dwell. The storms that wreck the rich and great, Fly ^-^-ft TSft^^-*- _(t_-e-,-^.l^dt. ^zpice-S^ri s3z! E^E :u:=fc -l-ra,: ::^z--^ o'er the shepherd's cell - the storms that wreck the rich and great, the storms that f-fj-— : N:— 1 r.9s»- :ff==^-i=z|^j!s:qs; :-_-^zi?.-*z:3z B^^^^^t^ o'er the shepherd's cell - the storms that . wreck the rich and great, the storms that —W- »~T' r^^s:^ ZS.ZZB.Z — 'e^eIe:^^, _^- :q=fc :HE£ :^=^==^=F o'er the shepherd's cell, the storms that wreck the rich and great .-r-.--P:ft. ff:p-P= ztSEBq |5EE*E^S^.^E^EE :E£^ES:E£itE|EE wreck - - the rich and great, fly o'er - the 5 k-.i.-».w--q-!?«»: 1--! it e-i ^—^-- °—^~ — —z:Uit:— ^g ^—S—;^; wreck the rich and great. fly ;i^=3==—P=i=3SZ|^^=1 fly o'er the )-f: ,^.».fa_,ze: »-* --zsz&zz^z-sr \z^—t~JSLzAzt:-Wr^- tz^z^: =£iitzjs=Eiz:S=^ =?EEEEEEE^:iE^E3IE shep - herd's cell fly o'er the shepherd's cell. ;^z :£:p:f:^-^z=Zi izizs^d: ::a:p: z:f.±± ;^z::i:iz::i:zl: :s±:t«z:tz :E?EE zzfzz±-^-\^. shop • herd's cell fly o'er the shepherd's cell. :s'jz;szzPzr: —=is:z:^i;i =?^=|zgz E^E'ili =^S=gEEg^—^^— 1 Eliejjherd's cell fly o'er the shepherd's cell. MUSICAL AND LITERARY MISCELLANY. 233 HE TRUSTED IN GOD THAT HE WOULD DELIVER HIM. SACRED CHORUS FROM " THE MESSIAH." Mlegro. Handel, SOPRANO. ^ ALTO. P£S izmt TENOR. 1=^ i Jv-\ BASS. He trusted in God that he would de - U • ver him ; let him de- I3t:;=t i: P i N ^- ifsnfs: V ^ ji—1=- ^Jziptz*: P^: -t^ He trust - ed in God that he 4»: --V - -y--— -.f=w: K : :ft==e: ^3: sqc ^ dent; ±=tc: X P li • ver him, if he de • light in him, he de > light, -^!^=ZZ I -te-jv- pz:itg;3=zqEizP=:3= ipzrftL-p: 3c:r^=C=:ft:M erfc Si - - " ' :^* :i?^-^:^7=r-.lgitr; |/ l/ !/ ifc=t£: i would de - li - rer him, let him de - li - ver him, if he de - light in :Pi:t. 3± EH*^3E^ 5e rjEzriS: lEE^fc^L^EE^ P :=tEZ.-*=p g| him, let him de • li - ver him, if he de light in him, if he delight in No. 110. —^ r : 2'>4 TUB BRITISH MINSTREL; AND ^1 i^-H^.-J^-t^ ^ it,- |t -, =*I ^- KltlZZ^I^ZT. -r- 3 - ^that he would de - ii - ver himj let him de- He trust ed in God :P:rp: zzzpe: :p[-5:ze: ¥=^—p—^=^<-a^J ijza i?--6^-p: =l=: ;:t^=jz:ib^jc him, if he de - light in him, let him de • li - ver him, if he de- ^^E.mEiz •~^- :i-^: 11= ^EE^ iizitc: ::t:: him, if he delight in him. li - ver hira ; if he de - light in him, if he de - light P==P=: ;:r-i::P=*=5:ii *=t=*:"=3i=:ir.§:p: li^ap: ^-»: :^-zfc ;^p—i^wt-.ijirl light in him, if he de - light in him, if he de - light j==zqt t-^^ ^EE ^Jtfc: •1^—fc=t^to—h:— EE i:: He trust ed in God, in God, in God, he .~i=n- ii^p: :5::ez:P:Ef:z^E::!cf|=^=|=:p: :p--i J^--/- " -b br— -l — -^ liEiK: 11 :fc:fc itrnr: :tc: ^ would de - li - ver him. let him de - li - ver him, if he delight In I "...i- rft--^— _i—^ ^^ I 1,^ ««< — —— ——— —iitr:— eee; .^^,—I — I ^—I—-^—1 #=: I ^ fc^-B., :(t:=^=i:zp:~p[: -—I ^i*- -^^—^ -Jit^-ztzz^: -f—1/ -Ut him i^i^ft: a :lr: iterfc ::f==P: eKtczpisriE: fefe g ifczfc trust • ed, let bim de • li • rer him, if be delight in bim, if he de- r — — — : — MUSICAL AND LITERAEY MISCELLANY 235 S=^-: lezr^ni: :^irz=p.zrji— --=i-^: fc::^: ^ t=tr :fer=tL- faim, let him de - li - ver him he de - light .ft .». •I—*-»—s t—w-r-^— :^3tc: :ir I z:fe:3S::=^ him, let him de - li - ver him, if he de- - "^ ^^^^MMa^ I let him de - li - ver him. if he de • light I i^-- -r-i——H-^'B-* w ^--zrd: '^ fc rte:^^: I light in him, let him de - li • ver him^ >— zEE^5*:r:e—::! Ilii in him. --N--^- i qr:=i=zi=*:= -rr :^^^ light in him, de trust - ed in God that he wouldpoul de- tzztr 1^:^^ ^ -K iEg^§i§^g:-5ESEi3E?E^ ilt 1 in him, if he de - light him. let him de- =1- -rr-N-|3= "^ :j=3i:=*: ri-t- -tzlz: -I. ^^1 :)c-z-z\ He trust - ed in God, he trust • ed God let him de - li - ver him if he de - light in him, if he de light him. 236 THE BRITISH MINSTK£L; AND =tc l=q=-{s=tc ^E EB 7s=i:=Mz liiti: He trust - ed in God that he - - would de - li - ver him, ~!^-N3tqj: &^=:J: zfzi^ :S=fc •i-^-\r~^ i^^g^ :iczw: -*^gr 3=^ ^'^ light in him, let him de • li - ver him, if KF=n5=JS: jt f ^ iiszus: isrs itziit r-t^-tr 131=*: :ini. tnut • ed in God, he trust - ed in God let him de - li • Tcr him. if g^EE 4V-iV4V- EEEE^E^"?E m :^=*=:3: ^1 let him de - li - ver him. if he delight in him, |_,_J^__I- -JV- -^-js. 3r=:i J^=^J=d=xJ, ^ s iE;^^^=fe?:^:^S^Eig^EESi;33 he de - light in him, if ha delight in him, let him da- j^-N-TTlV -N-JS. Si ztr.*=:i=:^~i=:i= :3--i= :e=iE: ijz^rjfc he de - light him, if he delight in him, let him de - li • ver him. S- :5z3: E3^ let him de li - ver him, szEE5r&:t=e:fc»=S: :iC5rz=t±t fer±iz';^^E ^ S iii=izrtd let him de • li • ver him, if he de • Ught :r-j J ^^-^ t=r- :^=g~-K-^'t*rzi E^iiEE: ^ s? li - ver him. let him de • li • Ter him. if hee d»- 3v:=f5r--:fs: S ^ :i=i=jt He trust -ed in God that he' d^ .IT—II -pnrp: EE ri?:^:^ let him de • li - Ter him, MUSICAL AND LITERARY MISCELLANY. 237 let him de • li - ver him, ^E^ EfeI=:P: :^zzw=ri ^ :tc=2: :ti=fc if he dalight in him, let him de - li - Ter him. 17 Pff i&tilz^liAA-ta^ fc=qs;:tt: =i: fc±F*'-^zri—=tc=^*:drpn^i=i: m* ^ li - ver him, if he de - light in him, He trusted^^in God let him de- :S=!!s: :i^.W- :Jsr:]5 lEE Hens: i=|crft :pc:pc=r-r~ir ijtat: tM^ ^^ -|r-|r"i^ > i ~=.ic:±: i^ if he delight in him, let him de - li - ver him, He trusted in God let him de- :=|: ^m -J ifsrusP—P~-j P^—J - He trust • ed in God that he -"—=1 ^-p—?=:*:#_ —Its: s :fcrfc let him da- -Jv-^-ifc^fL::^ -^ iirrij tc_l L^ 1^ -en*. #*'-!—e-J :!=rt :=|: s :ti:,^: «*; >-- gEgEl^^^^Fg^g^i^ I —*—-tr— fej ^ L^ -i^- li • ver him if he de - light in ._jSv_K-^- tdi;rr=!!5::=& t-f:=^.:Sr- i^d E^: -Wtr. icfcip: jrtji~i: i^t^ :£^=^=btSS:=i;3:d:^t^S-t3=^Iff:' t=:iz li - ver him if he de - light --IV-N N N —p—1-^ i- :ts-|s:q!v=ts: S — .ri±3r.-: :^i=:i=iz:i: :iz.-ii: :i~a:=i:3ir=pi=»= would de • li - Ter bim • - let him de - li • ver tiim if he delight in K 238 THE BRITISH MINSTREL; AND $?: :t:=f2 -fs-*: iPrtE z!d!Esrm t2=K ^S^iiS I feE^^a^ z-fcztfc li - Ter him, let him de - U • vet him) let him de - li - ver him, -—ti- bial, let him de - li • ver him. if he de- ^S=i'^=£=3;e^!E|;;^SS: him. let him de • li - ver him, .^t-ft. a^ ifcztE gE^^^ :g: him. let him de li - ver him, :e=p=p: :t: He trust - ed in God that he would de- q:=zE=t=t=r!^=iz:=3riE=:te:3E^=£— light him. He trust • ed in God let him de • li - ver ^ =*-:f=:^~pr: ^—r- -^ M_l- Mr. je.-It——-1-^ :!z:==t^ if he de • li^ht in him, in him, de- light :£=?: —ft?*. .-^i^-ftt^^. ^HIE ifr:^: ^q=5q 3^ .ipqz^: S3 S=t 3==]i: t^^EE^ ifezfc if he de - light in him, if he de - light -P-- .^__^_PU :?=?: F- :^=tc=i^=lE jy—t?— :t2=i- ik:=:t :t== li - Ter him, let him de li - Ter him, if he de - light in N N ^ > JT^ rfe:=^—1= SEs!ES§£3=ElE»=f=5=^=|i^i:^|^ him if he de - light in him, let him de - li - ver him. —0—x ^1uPripE^^p- fe=|^=£^EEgE^E dczzfc M-- -r- if he de light in :?: -^ :|tLt^-.ft^ -Nl2^t- iizztc :*-p:-jc: :^-^^CZ tzf: 42=l^:fc=£:= • if he, if be de Ught in bim, let him de- — « MUSICAL AND LITERARY MISCELLANY. 339 IfL—wS^^^'- :^a:-T^fc I !ui% if he de - light - - in -•5^-J- "zt: :s: :fS ^£ rt ver him if he de light ^ ::^=^- :=K: m—:=Cs: i ~1— let him de - li • ver him, he de Ught a^^5:|S li - ver him, -IV -ps-i) W^i fe^EE,t=:3: :lr=i^ ggii ii^cz -y-—: — -^- him, if he de - light .... . in him,hi let him t: —1^ W- -—^^E^^^^E^ —F-« r- e3=^^Eee::^3 L.a t— in Iiim, let f —» ^— nrz qs; 1^==f^= EES=^E^:^:^: :t=t SESE ijciziz: I him, if he delight in him, let him, let -IV-N- .:P=p-p=:p[~e: BEE ztz—*.z :3==5t :&*EE5Icz rJr:fe:=:t^r-lE--^- He trust - ed in God that he would de . li - ver him, let him, let Aaagw.Adagio. —>. Jy . J ^^ de li • ver him, if he de - light in him. 5E!j: ..|t_^,p._fl__ ^—p.- ft Q-.-* X3. .p:_i_ff. f--t -1—r- him de - li . ver him if he de light in him. W—Wr- -&-•—» 1 ±rt=t :P± -!=-P 1 ^r±=±=i:: ^-t- -I- him de • li • ver him if he de light in him. ^tzEt-rfc-b:—E=zt=:b=t-|r:z!!: :x3: m him, de ' li • ver him if he de - light in him. — '; 240 THE BRITISH MINSTREL; AND GERMAN LOVE OF MUSIC. British gutscrapers exist here, if they were to de- pend solely on the Cremona for their daily bread There is no city in Germany, except perhaps I suspect their fare would be black bread and sour Vienna, where music is more a passion with the krout, at the best; and yet the conceited block- people, than in Dresden. From the king to the heads toss their heads and imagine themselves pro- in it; and, boor, every individual takes delight of one of fessors ! Could the every day orchestra what is more, seems able, not merely to appreciate the Dresden Lust gardens, be only transported to the pleasure which it yields, but to comprehend its Scotland, it might, in time, give the people there a highest mysteries. Their devotion to it, as you relish for scientific music. But in respect to musi- easily conceive, is therefore intense. Sweet may cal matters, we can yet be considered as little better mingle with all the affairs and business of sounds than barbarians. A few importations of that kind it is the invariable accompaniment to their lives— from the Continent, would have a wonderful effect dinner it proves the loadstone to the numerous — in improving our taste, as well as in creating a gardens within and without the town—its magic more general relish for what in every age has been opera-house with crowds, and congregates fills the thought the most lieavenizing of pursuits, and the thousands at the Linkische Sad—and on Sundays, it highest of all artificial enjoyments. attracts even Protestants within the magnificent to the pile of the Hoch Kirche, although dedicated " Music exalts each joy, allays each grief, mummery of book and bell. Expels diseases, softens every pain. plague Being somewhat of a devotee myself, so far as Subdues the rage of poison and the the wise of ancient days adored regards nones and vespers, and ^'^ries and iWisereres, And hence One power of physic—Melody and Song.' I took care not to miss either the vespers of Satur- Sunday. On both occa- day, or the grand mass of When Weber superintended the German opera, sions, the king of Saxony was present, and the choir I am told he took a fatherly charge of the band at consequently in full strength. and orchestra were the Linkische Bad; accordingly, nowhere do you absent. The grand Not a single performer was hear greater lamentations for his loss, or more every at eleven o'clock; mass takes place Sunday touching expressions of regret at his fate, than in that hour every corner of the church, which and by this city. It was here, in Dresden, that Weber is of immense size, was crowded with worshippers. composed his opera of Der Freyschutz ; although, music on this occasion was superb, and The by permission of his sovereign, it was first per- equalled any that I have heard at some of the fully formed in Berlin. As the production of this piece best of musical festivals in England. The our forms the most striking incident in his life, as well of the are all eminent as performers, members band as an era in the dramatic music of Germany, it and having long practised together, there was con- is not to be wondered at, that the inhabitants of sequently ensemble effect, which can never be an Dresden should feel proud that its composition is obtained even the best musicians, when from associated with their city. But indeed all over from all quarters of the eaith. drawn accidentally Germany the admiration of Der Freyschutz is in- were in the choir; the presence There no women tense; and the enthusiasm displayed by every Ger- gallery, being contrary to the of the sex in an organ man, when any part of the opera is talked of, but Catholicism. The parts usually as- strict rules of more particularly the overture, tells a tale of esteem signed to them, were sung by two Castrati, whose and affection, on the part of the nation, not less tones, so far as regards power, are certainly worth honourable to their own taste than to the memory an hundred female voices, in music of this descrip- of the great composer; while it loudly proclaims, tion. splendid duet between the Alto and The that Weber, of all other modern musicians, had Soprano, in the Miserere in the day's mass, I shall touched the true chord of the German soul. The not soon forget. It would have melted the heart overture to Der Freyschutz, when executed in the of the most rigid Calviuist, and perhaps convinced manner I have heard it in Germany, is at once felt him, that when sacred music is really well execut. to be a composition of deep and characteristic ex- ed, there are no surer wings than such seraphic cellence. The arrangement of its inarticulate notes, sounds, to lift the soul to heaven. Music is the re- in fact, seems to indicate the breathings of that vealed employment of the saints in light, says a abstract and metaphysical feeling which so univer- celebrated writer on religion; and why should it sally distinguishes the mind, poetical as well as of the worship of the saints in this not form part philosophical, of this country. The spirit-hushing sphere of darkness and of death? solemnity, too, of its first movements, is in admir- If anything were wanting to convince a stranger able unison with the expected theme, and in spite "f the prevailing taste of the people of Saxony for of the wildness of the romance, nothing can be uusic, and of the general acquaintance which they conceived better calculated to bear the spirit, not oossess with all that is tasteful in this delightful into Elysium, but into that sombre region of spirit- art let him go on a Sunday summer evening to the ual awe, in which the muse of Germany so much lAnkische Bad, a beautiful garden on the banks of delights. Strang's Letters from Germany in 1831. the Elbe, about a mile from Dresden. There he will find thousands congregated under the shade of the Linden trees, whiling away the hours, and en. THE SNOWDROP. joying themselves at the trifling expense of a cup The snowdrop is the herald of the flowers. of coffee or a flask of Cdttbusser bier, qualified with Sent with its small white flag of truce to plead lemon and sugar, and listening to the chefs d^ceuvres For its beleaguer'd brethren : —suppliantly Weber, and Rossini. At of Mozart, Beethoven, It prays stern winter to withdraw his troop this I heard music for a few groschen, which won garden Of winds and blustering storms ; and having 1 could not have had in England for a crown, and A smile of promise from its pitying foe, from a band of performers, too, not one of whom Keturns to tell the issue of its errand received more than a couple of shillings a night. To the expectant host. How miserably, indeed, would some of your best From Poems by T. Westwood. ; MUSICAL AND LITERARY MISCELLANY. 341 BLACK F, Y F D « TT R A N :z=!=i=i|:dr=^^=iz: ^^=i: t:-. f=^-iiz±=^^-^-.m !!r4: ¥i- All in the Downs the fleet waa moor'd, The streamers g±i=iS: —p- 5^^ -f-rf^i-'-'StE£EtS r-f- __j_^__4 J_J- r=i:=:zr: ;3(i:=i=dd wav • ing in the wind, When black-eyedblac iiu - san :S= .j,_j,. \=i^^ J Sr-m.-^ -..jJ-J—^ , r—I-.--)— 3i: ^- Tell me, ye jo . Tial eai - lors.1, tell me true, Does my sweet -^-^: :it=ii 33; :f=r(t #=?: :p==t ii I -Q- i^Hiiii^m^^ :^22p: i ^.. f; ^ Wil - liam, does my sweet Wil • liam sail a - moog your crew. ^1= =^E£=|=t=EEg ~:3: igii William, who high upon the yard, So the sweet lark, high poised in air. Rock'd by the billows to and fro. Shuts close his pinions to his breast. Soon as her well-known voice he heard. If chance his mate's shrill call he hears. He sigh'd and cast his eyes below And drops at once into her nest; The cord slides swiftly through his glowing hands, The noblest captain in the British fleet, And quick as lightning on the deck he stands. Slight envy William's lips those kisses sweet. No. 111.— Id. ; :;;; :; 242 THE BRITISH MINSTREL; AND " O Susan, Susan, lovely dear I by his mother, went to Paris in quest of fame and My TOWS shall ever true remain fortune. There he was fated to undergo one of the Let me kiss off that falling tear. most painful of calamities — to see his mother die We only part to meet again : in a foreign land, far removed from any of those as list, Change ye ye winds, my heart shall be domestic attentions which would have been so The faithful compass that still points to thee. soothing and consolatory to the sufferer, in the bo- " Believe not what the landsmen say. som of her family and of her home. Desolate and Who tempt with doubts thy constant mind unsupported as was his own condition, he watched They'll tell thee, sailors when away, over his parent to the very crisis of her fate ; and In every port a mistress find his letters on this occasion to his friends show a Yes, yes, believe them when they tell thee so. delicate tenderness and consideration, which could For thou present whereso'er I go. art hardly be expected from so abstracted a being. " If to far India's coast we sail. Madame Mozart appears to have been subject to Thy eyes are seen in diamonds bright. sudden and severe attacks of illness, which, how- Thy breath is Afric's spicy gale, ever, when she was at Salzburg, generally yielded Thy skin is ivory so white; to household remedies. When thus seized, sh« Thus every beauteous object that I view. was usually bled, and took a powder called pulvis Wakes in my soul some charm of lovely Sue. epilepticus, which was believed among her own " Though battle calls me from thy arms. circle to possess marvellous virtues; but, alas! such Let not my pretty Susan mourn an article was unknown in the pharmacopoeia ot Though cannons roar, yet safe from harms, Paris, and, wanting the accustomed aid, there was William shall to his dear return no help for the poor lady. Under these distressing Love turns aside the balls that round me fly, circumstances, therefore, Mozart was obliged to Lest precious tears should drop from Susan's eye." undergo his bereavement On the night of his The boatswain gave the dreadful word. mother's death, when all was over, Mozart wrote The sails their swelling bosoms spread, to the Abh6 BuUinger, at Salzburg, requesting him No longer must she stay on board to prepare his father for the melancholy tidings, They kiss'd — she sigh'd—he hung his head and by the same post he wrote home, concealing Her less'ning boat unwilling rows to land, the truth, but describing his mother's illness as " Adieu," she cried, and waved her lily hand. very alarming. The former letter is so interesting [The ballad of Black-eyed Susan was written by and graphic, that we extract it John Gay, and the music composed by Richard " Paris, July 3, 1778. Leveridge.] " Sympathise with me, my dear friend. This has been the most melancholy day in my life. I PASSAGES IN THE LIFE OF MOZART. write at two o'clock in the morning, to tell you that my mother, my dearest mother, is no more. God The light thrown upon celebrated compositions has called her to himself. I saw clearly that she by the personal history of their author conveys must go, and I resigned myself to the will of God. sometimes a satisfaction to the spirit, which it He gave, and he can take away. would be difficult to parallel in any other sort of " Picture to yourself all the distress and anxiety reading. When we observe the earnest affec- that I have undergone for the last fortnight. She tionate sweetness that predominates in the works of died without consciousness of her illness; her life Mozart, we feel a natural interest in the inquiry, was extinguished like the flame of a taper. She whether all this feeling had an echo in his own had confessed and received the sacrament and holy breast—whether it was accompanied by a corre- unction, but for the last three days she was con. sponding moral beauty—or whether it could, by stantly delirious and rambling, and to-day, at any chance, be a thing assumed, for the mere su- twenty-one minutes after five o'clock in the even- perficial delectation of our ears and nerves. To ing, she was seized with a stupor, and soon lost all find that Mozart himself was the being that his sense and feeling. I pressed her hand and spoke music paints—that goodness and beauty had one to her, but she neither saw me, heard me, nor gave common sanctuary in his soul, solves a psychologi- the least sign of perception, and in this state she cal problem, in which all admirers of genius are lay for five hours ; that is to say, till twenty minutes deeply interested. after ten at night; when she died; no one being Mozart's nature was early developed in that se- by but myself, Mr. Haine, a good friend of ours, vere school of the affections and sympathies, ad- whom my father knows, and the nurse. I cannot versity. The idea of his father, mother, and sisters at this time write to you the whole particulars of seemed intertwined with his being; in the midst the illness: but I really believe nothing could have of all his early dreams of glory, and in those trium- saved her. I am now most desirous that you will phant moments when he would say he lived for prepare my poor father for this melancholy intelli- Germany, the thought of the household hearth and gence. I must beg this of your friendship. I wrote the circle so dear to him was never absent. He to him by this post, but merely said that she was was the creature of sociality and sympathy. very ill, and shall wait for his answer before I tell We propose in the present article to lead the him the whole. God give him strength and forti- reader into some of the less known passages of the tude. My dear friend, I have not merely now, but life of Mozart; and, as the early adventures of that have been long since, supported,—through the pe- prodigy (when precocity was rarer than it now is) culiar grace of God, I have borne the whole with are well known, we will take the composer in his confidence and firmness. When she became so twenty.second year, at a time when his genius had very bad, I prayed for two things,—that God would ripened into excellence, and had home many of the give my mother a happy dying hour, and to me fruits which we enjoy at the present day. At this strength to support it; and in both instances my period of his life, being unappointed and without petition was more than answered. Let me beg of certain means of income, young Mozart, attended you, therefore, my dear friend, to comfort and aup- ; ; MUSICAL AND LITERARY MISCELLANY. 243 pott my father; talk to him m such a way, that, ceeded only by accident ; and that, while the when he knows the norst, he may not take it too "pomp and circumstance" of the representation" much to heart. My sister, too—go to her, and pre- attracted attention, the more subtle movements yet of the death. Say escaped. Certain it is, that, during the whole of pare her J she must not know what you will to her—use your own discretion in Gluck's supremacy in Paris, the taste of the city at the matter, but do not leave me in expectation of large was as low as it well could be. any further misfortune. Comfort them both, and Mozart, in the full consciousness of his powers, write to me soon, I pray you.—Adieu." forgot that he, a young unknown man, was compet- It is impossible to conceive a more desolate and ing with one who had the voice of Europe on his afflicting situation than that of a youth left alone side, and who had established himself by a succes- in a strange land to perform the last offices towards sion of dramatic masterpieces. The public, seventy the remains of a mother. This was not all; Mozart years ago, were as reluctant to commit themselves was not making money at Paris, and his father by the hasty recognition of genius, as they are, at felt great concern for his means of meeting the the present day, prone to over-estimate it, to con- funeral expenses, and the exposure to imposition jecture its presence, and anticipate its influence on which his inexperience ran the risk of. Knowing the slightest grounds. Had Blozart stayed longer how little his son had been used to act for himself, at Paris, and written more, we believe that he might the father underwent a series of distracting appre- have established himself in the position he desired hensions. In a letter, shortly before this event, he instead of repeating the strokes of his genius, how- shows his son how much the family rely upon his ever, he expected to be judged on the ex pcde Hcr- prudence and good conduct; he then paints what culem principle; and this the Parisians were not straggles he has gone through, what sacrifices he willing, or not competent, to do. has made to educate his children; and hopes the As soon as Mozart was left alone in Paris, his reward will be some honourable appointment for father recalled him, prudently dreading the fascina- Lis son, and that his own grey hairs may be re- tions of that pleasure-loving capital to a young man leased from the painful drudgery of lesson-giving. of his age and temperament. Experience of these narrow circumstances of his It is very affecting to find the father of such a family clouded Mozart's entrance into life with genius as Mozart reckoning what means of living melancholy. together in Salzburg they might confidently rely When we know that the noble symphony in D on. The father writes, "We might certainly get (the one commencing with an allegro movement 120 florins a month, without reckoning the sale of and a fiery unison, that no one who has heard can my violin school ; which is at the least 50 florins a ever forget) may be traced to this Paris journey, year; or the 10 florins a month, which your sister and that it was first performed at the Concert earns and pays for her clothing out of, as she has Spirituel, we have a clue to the quality of Mozart's now the two little countesses to teach daily." Such genius in his twenty-third year. That it had all were the humble circumstances in which this esti- the maturity of the practised master, is evident mable and gifted family found themselves after and, from this early specimen alone, we may judge having made the tour of Europe, visited all the of the transcendant superiority of such instrumental principal courts, and received the most distinguished music over any other known in that day. In the notice. But their money was exhausted in the ex- present state of our knowledge of art, it appears penses attendant on such expeditions;—travelling wonderful that a person, capable of producing such charges, and dress, such as was thought necessary novelties, should have failed in establishing the to appear in at the houses of the great, left them opinion of his genius; but such was the fact. scarcely any thing to bring home but their trinkets. After many irritating failures at rehearsal, the The archbishop of Salzburg who had at first per- symphony went pretty well, and was applauded mitted these journeys, on one occasion refused, and but no particular attention was paid to the com- afterwards said that he did not like his people to poser—no desire shown to engage him; and the go about on such begying expeditions. This was immortal spirit which dwelt within the youthful the humiliating, and, we may say, brutal designa- musician was wholly unrecognised. tion given to the most honourable musical tours Mozart conceived a powerful and unconquerable ever undertaken. dislike to the French, and their tastes in music, Mozart was now established as concert-vieister (a during his stay in Paris. He afterwards ridiculed degree under Kapellmeister) at Salzburg, with li- their style in a work little known, called Muska- berty, if he composed an opera, to bring it out at lische Spass (musical merriment), a little symphony, either Vienna or Munich. Nothing was to hinder which brings together all the ludicrous features his studies or any speculations that he might choose which distinguished the French school at that to engage in. He was not to play the violin at period. But his disappointment was deep; for, court, but to sit at the piano-forte, with absolute knowing how well Gluck had succeeded with his power over all the music of the archbishops' operas, which are all written in the loftiest vein of establishment, his chapel included. On the journey lyric tragedy, he had imagined that, by writing his from Paris to Salzburg Mozart encountered several best, merit would also be discovered in him. This adventures, in the relation of which his personal was, however, a miscalculation. Gluck's success and artistical character is pourtrayed in lively co. was founded on the national partiality for the lours. At Strasburg he gave a little model concert classical stateliness and solemn declamation of the by subscription, at which he played nearly every ancient drama. The same tastes which fostered thing himself, and gained 3 louis d'ors. Upon the the school of Racine and Corneille found much to strength of this brilliant receipt, he was advised to admire in the plan of musical tragedies constructed venture upon a grand concert at the theatre, which, on the Greek model; but, from the predilections of in point of audience, was a complete failure; yet the French in other respects, we are constrained to those who were present were so en uusiastic in believe, that the finest things, aud the truest to their applause, that Mozart said his head ached as nature and passion in these works of Gluck suc- much with it as if the theatre had been full. " I — 244 THE BRITISH MINSTREL; AND would rather," he rtrites, " if 1 could have foreseen formed that a similiar idea had otdu^red tO Ao^i- how few persons would have attended, have given seau, who had carried it into execution, though but the concert gratis for the pleasure of seeing the feebly, in his Pygmalion. Benda was nevertheless theatre filled; for, upon my honour, nothing is encouraged to attempt such a wort. Brandes, the more melancholy than to see a grand entertainment actor, composed the text of the melodrama, ' Ariadiie of eighty covers and only three people to sit down in Naxos,' from hints by the composer and his to it. And then it was so cold! I soon warmed friend. The words have no extraordinary merit, myself, however, and to show Messieurs the Stras- but the story is well adapted for effect. Benda burgers that I did not take the thing to heart, I undertook the composition, which he treated in played a great deal for my own entertainment— such a manner, that there is no proper air through- mitch more than I promised, and, by way of finale, out the whole ; but the music occasionally relieves for a long time out of my head. I have also twice the declamation, and endeavours to extend the performed publicly on the two best organs of Sil- expression of the sentiments conveyed by the words. bermann in the Neukirche, and the Thomaskirche. It is, indeed, an enchanting performance, and I have at least gained fame and honour.' Reichardt, a critic of no mean eminence, said of it, We shall now see with what enthusiasm he en- that such genuine music had never before been tered upon the task of composition. heard within the walls of a German theatre." " Manheim, Nov. 12,1778. Mozart was never fuller of that spirit of hope " • * • Seller's company, which you know by and enjoyment which rendered him so truly him- reputation, is here. M. von Dalberg is the director self, than in the month of November, 1780, when of it, and he will not let me go until I have com- he was at Munich actively preparing his opera of ' posed a duodrama for him ; and his proposal has Idomeneo ' for performance at the ensuing Car- not cost me much consideration, for indeed this is nival. He had an admirable band to write for; a task that I have always longed for. I forget but the singers were indifferent, with the exception whether, when I was here before, I wrote you any of Dorothea and Lisetta Wendling, the first and account of this kind of pieces; but I saw such a second Soprani. Raff, the tenor, was an old man, one twice with the greatest delight. In fact, no- and had lost all power of sustaining notes ; but he thing ever surprised me so much in my life, for I was dearly loved by Mozart for the simplicity and had always imagined it impossible that such things honesty of his character. The goodness and bene- could produce any effect. You are aware that no- volence of the young composer's disposition are thing is sung: the music is like an obligato (accom- illustrated in a great many passages of his corres- panied) recitative, with declamation between, and pondence that refer to this singer. We cannot, stopping every now and then for the speaking however, dwell upon these at present The follow- produces a magnificent impression. The piece I ing extracts, referring to Idomeneo, are irresistible saw was the ' Medea' of Benda, who has written —they abound in suggestion : another also, ' Ariadne in Naxos,' both truly admir- " I want for the march in the second act, which able. Benda was always my favourite of the is first heard in the distance, some mutes for truiti- Lutheran Kapell-meisters, and I am so fond of pets and horns, which are not to be had here. these works that I always carry them about with Send me one of each by the next coach, that others me. Conceive my joy at having to do what I have may be made from them." There is something so long wished. Let me tell you an opinion of quite unusual in this early and intimate knowledge mine. Operatic recitative should be treated in this of the mechanism of brass instruments ; the efiTect manner generally, that is to say, spoken, and only at rehearsal was probably not quite what Mozart sung when the words tend naturally to musical intended; but the remedy was prompt. expression." "The rehearsal went admirably. Six violins From this letter we may refer to an important only, but all the wind instruments, and nobody fact in the history of the lyric stage, viz. that the present but the sister of M. Seau, and young Count Mozartean opera, as exhibited in one of its most Seinsheim. This day week we shall have the impassioned and beautiful specimens," Idomeneo," second rehearsal, and then the first act will have arnse out of the combination of two models in the twelve violins, and the second will be rehearsed as mind of Mozart : —Gluck and Benda. In the divine the first was to-day. I cannot tell you what delight instrumental symphonies to the recitative, in their and astonishment prevails. I, however, expected impassioned modulation and surprising cadences, nothing less ; and I assure you I went to this re- Benda was as much surpassed by Mozart, as Gluck, hearsal as pleased and contented as if I had been though not in force and simplicity, was also by him going to a feast. • * « My cough has become in richness and elegance of melody. Yet these rather worse by these attendances; one easily gels were the men who undoubtedly opened the route overheated in playing for honour and fame. Rafl" for Mozart in serious opera. sings his airs the last thing before he goes to bed George Beuda, who has now dwindled to a name, at night, and the first when he wakes in the morn- was nevertheless one of the men of genius from ing. • • * In the last scene of the second act, whom his native opera derived a powerful impulse. Idomeneo has an air, or a sort of cavatina, between The following account of the origin of the mono- the choruses; in this place it will be better to make drama, which became so influential on the lyric a mere recitative, during the intervals of which the theatre of Germany, is given by the biographer of instruments may be used with efl'ect; for in this this musician : —" Beuda was a great admirer of scene, which, from the action and grouping that I the declamation and action of an actress at Gotha, have planned with Legrand, will be the most of the name of Brandes, who had no talent for sing- beautiful in the opera, there will be such noise and ing, and he considered how he could combine her confusion on the stage, that an air in such a situa- powers, as an actress, with the effect of music. tion would make a bad figure. Besides, it thunders; The thought of a melodrama struck him, and this and that will never be heard if Raff sings. The he communicated to his friend Engel, of Berlin, efl'ect of a recitative between the choruses will be who was then at Gotha with Gotler. He was in- incomparably better." I — ; — MUSICAL AND LITERARY MISCELLANY. 245 Mozart had an intelligent and sympathising Wesley. His passions were exceedingly strong, friend in his father; but we may perceive that he and from a habit of always speaking bis mind, and did not act always by paternal advice when it sa- his having no idea of managenient or the finesse of voured of worldliness, and involved the sacrifice of human life, he too often, by the brilliancy of his the higher interests of art. The following sugges- wit or the bitterness of his sarcasm, unthinkingly tions, forwarded from Salzburg on the 11th of De- caused estrangements, if not raised up an enemy. cember, were wholly disregarded:—" I recommend His conversation was rich, copious, and fascinat- you not to think of the musical public only, when ing; no subject could be started which be could you are at your work, but also of the unmusical not adorn by shrewd remarks, or illustrate by some public. You know that for ten instructed connois- appropriate and original anecdote. For many seurs there are a hundred ignoramuses; do'nt, years it bad been his constant habit to study the Bible night and morning, and as no meal was taken therefore, forget the popular, as it is called ; you must do something to tickle the long ears." Mozart's before he had ottered up his orisons to heaven, so answer is characteristic. • • • « Don't fret he never lay down without thanksgiving. He dis- yourself about my being popular; the opera con- claimed ever having been a convert to the Roman tains music for all sorts of people, but nothing for Catholic Church, observing, "That although the long ears," Gregorian music had seduced him to their chapels, (To be Continued at page 250.) the tenets of the Romanists never obtained any influence over bis mind." He was regarded with solicitude by his uncle, John Wesley, who, SONNET. peculiar writing in reference to his supposed conversion M It is thy wife I sweet Husband, open quick, Popery, observes, " He may, indeed, roll a few years I a weary wanderer footsore am ; in purging fire, but he will surely go to heaven at My very soul within me turneth sick last." Mr. Wesley was accustomed to relate that To find thy granite gates are shut so sure, his father (the Rev. Charles Wesley), when dying And 1 without ! —I am thy weary wife, to his bedside, and addressed in the Travelling hitherward with painful feet called him him " Thro' light and dark a woful half of Ufa words, Omnia vanitas et vexatio spiritus ptatet ;" To seek thee HERE.—Thousaid'st we here should amare Deum et illi sermre and, blessing him, he meet, added, " Sam, we shall meet in heaven." Describing all this place, even as thou past Mr. Wesley died on the 11th of October, 1837, in From my cold arms into the colder night his seventy-second year, leaving a large family, And now outweary and outworn at last. nearly ail of whom are distinguished for their Fainting, with feeble cry and failing sight, talents and acquirements. Downfall'n my Husband's marble house before; He hears me not, he sleeps,—then Death undo the door I M. R,—Athenceum, ALEXANDER BATTA. This charming violoncellist, when a mere child, SAMUEL WESLEY. was a pupil of Platel, a man of considerable ability. Samuel Wesley, one of the greatest of English His health was so delicate that he was often unable musicians, was the son of Charles Wesley, brother to attend the parties to which he was invited as a of John Wesley, the celebrated founder of tlie performer. One evening, when he had to go to a Methodists. He was horn at Bristol on the 24th party at the Prussian Minister's, he was so unwell of February 1766; and used to remark, with a very as to be obliged to go to bed. He called his pupil, natural feeling of pleasure, that his birth-day was and said to him, " Go, my boy, and play for me,— the same with that of Handel, who was born on the say that I have sent yon." The child set out, and 24th of February, 1684. arrived at the splendid mansion soaked with rain, As a musician, his celebrity is greater on the covered with mud, and out of breath with haste. continent than in his own country. His composi- The servants in the antechamber stopped him, and tions are grand and masterly; bis melodies sweet, wanted to turn him out, in spite of his resistance. varied and novel; his harmonies bold, imposing, His voice reached the master of the house, who unexpected, and sublime; his resources were bound- came out to inquire what was the matter. *' What less, and if called upon to extemporise for half a do you want, boy ?" said the Minister. " 1 am little dozen times during an evening, each fantasia was Batta, and I am come to play in place of M. Platel, new, fresh, and perfectly unlike the others. His who has sent me." The bystanders laughed; and execution was very great, close and neat, and free the poor child, confused and frightened, could only from labour or efl'ort; and his touch on the piano- repeat innocently—" I am little Batta!"—" Well," forte delicate and chantante in the highest degree. said some one, " after all, if Platel has sent him he His favourite contemporaries were Clementi and must be capable of doing something." He was Woelfl ; his models in early life were Battishill and brought into the Music-room, and desired to take Worgan on the organ, and subsequently Sebastian his bass. His task was no trifle —to take a part in Bach. Of young Pinto, who was taken away in Beethoven's famous quintet in C, known by the the prime of life, he always spoke in terms of rap- name of The Storm. He had not played a dozen ture, and thought him the Mozart of this country. bars, when bravos were heard from all sides, and The amateur, the late Mr. Goodbehere (son of De Beriot, astonished at the energy with which he Alderman Goodbehere), he also remembered in played his part, took him in his arms, and said, " high terms of admiration. Mr. Wesley was remark- Charming, my dear boy ! You will one day be a able for great energy, firmness, nobleness of mind, great artist." And the whole musical world knows freedom from envy, penetration, docility, approach- how well the prediction has been fulfilled. Batta ing to almost an infantine simplicity, and unvary- was in London in 1839, and delighted all who heard ing adherence to truth. These cliai acteristics were him by the richness and beauty of his tone, and the united with a credulity which exceeded, if possible, inimitable grace and expression with which he sang that which marked his uncle, the celebrated John dpon his instrument. — — — — 246 THE BRITISH MINSTREL; AND THE SPRING AND THE BROOK. Of those affections he the best can sing. Put Thou, O lively Brook I whose fruitful way It may be that the Poet is as a Spring, Brings with it mirror'd smiles, and green, and That, of being, forth, from the deep pulsing flowers, Proffers the hot and thirsty sons of earth Child of all scenes, companion of all hours, Refreshment unbestowed or king. by sage Taking the sioiple cheer of ev'ry day, Still is he but an utterance, a lone thing, — How little is to thee, thou happy Mind, Sad-hearted in his very voice of mirth, That solitary parent Spring behind I Tuo oftea shir'ring in the thankless dearth Richard Monchton Milnes. AS FAIR AS MORN, AND FRESH AS MAY. MADRIGAL FOR THREE VOICES. John Wilbye (1598.) 1st ::^:n:ezzpc:: SOPRANO. ^=e=E« —— ,—^. As fair as morn, and fresh as May. 2d :q--riS :=]— SOPRANO. iEE =l=::3: rir:*: ^3:^ As fair as ^morn, and fresh as May, Appear'd my TENOR. ee; i As fair as morn, and fresh as ::3=q5 :5=P :t=r rtEr:^=:;S:rir:=i: :*-i=: =ir:i:r5xar n3*=p:rfc:3= _^z^i^ 1 Appear'd my Flo - ra, bright and gay, appear'd my Flo - ra, bright and gay. Warbling iifnc: rqr qzqsj-dz :*z*zil: :i<-:*~-^- rgx^ztzi-anizlEl Flo-ra, bright and gay, appear'd my Flo- ra, bright and gay, Warbling :P:=f=pc -JCIJlSl :f=W. liirrtc —I—1~ Z2d=rz: May,Appear'd my Flo • ra,bright and gay, appear'd my Flo - ra bright and gay. warbling forth, warbling forth a roun • de • lay. a rounde • Uy, ; — MUSICAL AND LITERARY MISCELLANY. 24T 1st. :?==5 ri- lay. aa. roun - de • lav.lay, a roun - de • lav.lay, a round, ai roun-de • lay. As fair as ' I- .-H =n=f~-r-^-^—— \ ! > I— - IT ^ — w - - lay, a roun -de - lay, a round, a roun -de - lay, a roun - de • lay. :^=F=r IPEZTK :^.i--i :^=|i3:f= :=3t::jt itET^ y- ^ im a roun - de - lay, a roun - de - lay, a roun - de - lay, a round, a roun- de • lay, 2d. :4=: ijcip: :p^-3q: ^=ft- ± :az:4: :t: 'ttSEb^=«^-r lay.When love, when love. when love, enchanting in her eye, Inspir'd me thus my n^rqrirrt :t :5=4:: 3--IL-; q=l= riz\zrtfi:i±i*z±z.4-^- S-* rzL-q: m rj:::: T -^-*- bst^za^^i: lay, When love, when love enchanting in her eye, Inspir'd me thus my doom to try, .w=t: -•—»- :=t TTjj: z^=t=W=.W. ::1=p:p: t: It: :p=a=i=:p: :i=:i: 2-Z=2£ 1= I -r-r- i 1— lay, When love, when love enchanting in her eye, Inspir'd me thus my doom to try, in- :e=nt :i)=t: zizi doom to try, in - spir'd me thus my doom to try Accept my dear a faith fuL q=rlS ':^9=W=-Jf: ji:r.^-. XT. inspir'd me thus my doom , my doom to try, Ac - cept, my dear, a faith - ful, faithful -^=--?=l :5:rpz:*-p=:fr :P±P=S5: , _—p- -jrn^. :t: iirlzzi:]: spir'd me thus, in - spir'd me thus, my doom to try. Accept, my dear, a zjjzwz:f.-fq^ :i3: -.-.Tzr. :X3: His :^- :t=±--j:t heart That from you ne - ver will de part ts:|=q= ~p- :*:=p: 5E :i=i: lir ifcfci: heart, accept, my dear, a faithful heart. That from you ne - ver :?f33E: t=:xiSr. 3:: .i=f=t in=c: :gZ3t •73- :p:zt: ta==:t:=fc faithful heart, ao - cept a faithful heart, that from you ne • ver will de - part, no . — 248 THE BRITISH MINSTREL; AND rPitqc -J^±f: &^ii^ 33: :csrp: :P=ff ir=t; £: ft! -r-"- t^p^pztt ao - cept,my dear, ^ - cept a faithful heart, ac • cept ipj' dear,ac- q=:l=i:: :=i: - -I 1 3!^:^-i— i L^=:*z:W: :t±:fL- ipnfzie^ -\—t-- -U- ne - ver will de - part, ac - cept, m; dear a faithful heart, ac - cept, vaj dear -^.-r-^: -M- -JESl 23e: :q=lS :fe=p; tez^ixt ZC- T :££ :t :p 4=::- ne - Ter will de - p^rt, ag - cept, m; dear, ac - cept a faithful heart, ac - cept, my dear, ac- /CN i^rzieziprzpni^dig^^xpz z^:^ drrt !:trjix:f: cept a faithful heart,That ne • ver, ne - Ter, will from you de • part. She smil'd /7^ i^s:^ ~^^.iitritrr]: =|-=lr:j:=l: -^±i: rjtrMzud: 3lz=ir:i:zi; 3d: lli^ a faithful heart, Tliat ne-ver will from you de • part. She smil'd :i±e|:^ It :£=*=?: ~i- zi: cept a faithful heart,Tbat ne • ver, ne - ver will from you de • part, She roun • de - lay, Then frown'd, then frQWQ'd,theafrowi>'d|and bade me haste a - way. — MUSICAL AND LITERARY MISCELLANY. 249 MY AIN FIRESIDE. Words by Mrs. EUsuhetk Hamilton, Authoress of" The Cottagers of Glenhurnie," ^c. Andante. \— « Scottish air. O I ha'e seen great anes, and sat in great ha's, 'Mang lords and 'niang- la -dies a' —*^ StzuzBi -J^. ::==^iT=: ±-. 11^. nrr-: I covered wi' brawB ; But a sight sae de- light -fu' I trow I ne'er spied, As the '71. Bi -=\—p~ r- :t: I N- H-*1 1 --«dl-«d —\—— - nie bly - - bon the blink o" my ain fire side ; My ain fire side, my -d-i. -^_. Z3Z~I mZ , =z^p~zi=p: -Jzz "^ P5 — !-•* n- itzir -^d- -^-qs;nl!5-^ ^ I--— 1 — zILli-m- "i—J: :i-3 — m. —p—5E_ 7 ain tire - side, As the bon - nie blythe blink o' my fire - side. =C:: ¥- ^i= :4s: — ,1: :p= Ance mair with delight round my ain ingle cheek, "When I draw in my stool on my cosey hearthstane, Wi' the friends o' youth pleasures 1 seek my hamely ; My heart loups sae light I scarce ken't for my ain ; Nae force now upon me to seem wae or glad, Care's down on the wind, it is clean out o' sight, I may laugh when I'm merry and sigh when I'm sad. Past troubles they seem but as dreams of the night. My ain fireside, my ain fireside, My ain fireside, my ain fireside, O sweet is the blink o' my ain fireside. O sweet is the blink o* my ain fireside. Nae falsehood to dread, and nae malice to fear, I hear but kend voices, kend faces I see, But truth to delight me, and kindness to cheer ; And mark saft affection glent fond frae ilk e'e, O* a* roads to pleasure that ever were tried. Nae fleetchings o' flattery, nae boastings of pride, There's nane half sae sure as ane's ain fireside. 'Tis heart speaks to heart at ane's ain fireside. My ain fireside, my ain fireside. My ain fireside, my ain fireside, O sweet is the blink o' my ain fireside. O sweet is the blink o* my ain fireside. — 250 THE BRITISH MINrflXEL; AND PASSAGES IN THE LIFE .OF MOZART. here was something very ditt'erent to the manner of the rattling figurantes who usually engaged atten- {Concludedfrom page 245.) tion for the hour and were forgotten. Mozavt laboured hard to get an appoiniiuent at Vienna, even sixty years ago, was described by Munich, the cordiality of the intercourse he enjojed Mozart as the true land of piano-forte playing, and with many musical families in that city was much to the present hour it maintains its character. The to his taste. But though he produced the oft'erto- brilliant and expressive style of the new virtuoso rium, Misrecnrdias Domini, a litany, and other procured him distinguished attention from many pieces in the highest style of church music, which ladies of high rank. The Countess Thun, whom proved how well fitted he was for the office of Mozart characterises as the most charming lady he Kapell-meister, more particularly when there were had ever met with in his life, not only made him a no hetter existing composers in that part of Ger- present of a beautiful piano, but continued, on all many than Holzbauer and the Abbg Vogler, he occasions, the warm friend and admirer of bis was still unsuccessful. There is a predestination genius. His way of life was diligent enough. In to good fortune, or the contrary, in these matters the gloomiest time of the year—December, his the appointments were all filled, and no prince Frisi-ur was with him at six in the morning: he thought it necessary to create a new one on bis then composed till ten, and afterwards commenced establishment for the purpose of retaining Mozart. lesson-giving at the rate of twelve lessons for six It is tolerably certain that the young composer had ducats. During this part of his existence, before active enemies, and the shresvd and cautious old his expenses became great, his father and sister Mozart did not conceal the opinion among his in- at Salzburg received frequent remittances from timate connections, that the Abbg Vogler had been him : he never forgot them nor their wants. one of the most industrious of those enemies. The sources of Mozart's income during the ten RnchlitZjthe celebrated German critic, entertains eventful years of his life at Vienna were teaching,, the opinion that Mozart's genius profited by his composing, concert giving, &.C. He never enjoyed transplantation to Vienna, and the suggestion is any appointment with a settled income; every not without some colour of truth. An elegance of louis d'or was gained by hard labimr, and yet, in taste prevails in the cultivated circles of that capital the midst of a harassing life, to which the cares of which must have been most influential on such a wife and children were soon added, how amazingly composer as Mozart. There is not a more charac- his immortal compositions accumulated ! It is this teristic touch of German life, as exhibited in the part of Mozart's history that distinguishes him from relations of princes and their musical establish- any other musician. Leisure and easy circum- ment, than may be found in the letter of the com- stances have produced from men of genius many poser describing his arrival at Vienna in the suite delightful fruits, as the lives of Bach, Handel, of the Archbishop of Salzburg, in March, 1781. Gluck, and other composers evince. But to create It will be recollected that Mi>zart was the first so noble a fame as did Mozart by hours stolen from piano-forte player in Europe— that he had written sleep, from business, and even from occasional dis- a grand opera, and a vast deal of admirable church sipation, is a wonder that the history of future music—and yet we find him complaining, that generations will hardly parallel. Whole movements while two Italian singers belonging to the chapel and even entire compositiims were sketched in a were indulged with a separate table, he is placed night; and the technical details being often filled to dine with the valets, cooks, confectioner, and up by pupils who were acquainted with the master's other principal servants of the household! The system of composition, his inventive faculty was friends that Mozart found in Vienna soon put it allowed a free and uninterrupted course. So un- out of the Archbishop's power to repeat this gross exhausted by rapid production did that remain, insult. He had long addressed the young musician that the catalogue of his works preserved by him in the third person (formerly the custom in Ger- for the last few years of his life even displays im- many when speaking to menial servants), with provement in the fire and originality of his concep- occasional additions the most gratuitously affront- tions. Had Mozart lived to be as old as Gluck or ing that a surly nature and high-born ignorance Haydn, no one can say what he would have done, could suggest. In a few months there was an ex- but every one who knows the character of his plosion; they parted for ever; and Mozart had the genius will believe that he would have gone on still satisfaction, if revenge had any place in his nature, planning and still accomplishing higher efforts. of seeing his haughty lord disgraced and neglected The peculiar mission of Mozart was undoubt- by the emperor and his court. edly to put the finishing grace to melody ; and in The energy of the composer's nature is well doing this his harmony became more polished, and painted in the foUowingsentencesof a letter, written his music altogether more penetrating and exquisite soon after the journey to Vienna: —"O if I had than that of his predecessors. His influence upon but known that I should be here in Lent, I would Haydn, whom he outstripped in the symphony Have written a little oratorio, and given it for my style, by first completing the modern form and benefit at the theatre, as is sometimes done. It model of that species of writing, will be acknow- would have been easy to write, as I well know the ledged by all who take the trouble to make them- voices. I would gladly give a public concert, but selves accurately acquainted with the dates of their I know that would not be permitted." several compositions. Mozart's operas, compared Mozart made his first public appearance as a to those of Gluck, are as Shakspeare to Sophocles; piano-forte player at Vienna on the third of April, if neither so simple nor so uniformly elevated, they 1781, at the concert annually given for the benefit are more various, and quite as passionate. But of the widows and orphans of musicians. The we must not suffer ourselves to be betrayed by our applause was so vehement and so continued, that regard for this subject into speculations that would he was obliged to sit down to the instrument again. better suit a regular biography than an article de- What most pleased him, however, was the amaz- signed merely to throw some new light on the life ing siU'nce and attention of the auditory. Doubtless and character of a great musician. — — ; MUSICAL AND LITERARY MISCELLANY. 251 The following particulars relating the end of the The little rills, and waters numberless, composer's career are new in England. It is re- Bend their notes with the loud streams." ported, on the authority of Neukonim, that Mozart, There is the pattering of water-drops, gurglings, when taking leave of Haydn, previously to the twitterings, and little gushes of simg. " journey of the latter to England, said, I fear, my ** The leaves in myriads jump and spring. father, that this is the last time we shall see one As if with pipes and music rare another." In the year 1791 a rheumatic inliaiu- Some Robin Gcodfelloiv were there. matory fever was epidemical at Vienna; it carried And all the leaves in festive glee off many, and Mozart among the number, after Were dancing .to the minstrelsy." some months' gradual decline; but his health had The sublime waterfall is ever present, with its been previously weakened by occasional excesses in echoes; but present in a calm contemplative soul. drinking, frequent night- watching, and unremitting One of the most poetic minds I know, after listen- labour. Just before his death bis wcn'ldly prospects ing to this music, said to me, " The first time I saw had assumed a more favourable aspect; his appoint- Niagara, I came upon it through the woods, in the ment as Kapell meister to St. Stephen's, and regular clear sunlight of a summer's morning; and these commissions from Hungary and Holland, promised tones are a perfect transcript of my emotions." In to secure himself and family from a repetition of truth, it seems to me a most wonderful production; the embarrassments to which, through bad manage- a perfect disembodied poem; a most beautiful ment, they had been frequently exposed. But too mingling of natural sounds with the reflex of their late! It added bitterness to his end, that he found impressions on a refined and poetic mind. This himself about to die when he had in his own mind serene grandeur, this pervading beauty, which just learned to compose, and was beginning to live softens all the greatness, is probably the principal for his art. Monthly Chronicle. reason why it does not captivate the ears of the public as much as they had anticipated. OLE BUL'S NIAGARA. It is a great disadvantage to any work of art to be much talked of before it appears. People had The following article, written by Mrs. Child, de- formed all sorts of expectations, and were disap- scriptive of a new violin composition by Ole Bull, pointed not to hear their own conceptions uttered appears in the " Broadway Journal," a New York in sound. Some expected to hear all " Niagara," literary paper: with its powerful bass notes, on the violin abne; of Bui's You ask me for my impressions Ole and apparently forgot that they owed to Ole Bui's " Niagara." It is like asking an iEolian harp to genius the grandly expressive orchestral accompani- tell what the great organ of Freyburg does. But ment. since are pleased to say that value im- you you my I suppose that " Niagara" was not received with pressions, because they are always my own, and not loud applause, because the souls of the audience another persons because they are spontaneous, — were, like my own, t for the iirst time ; and never did music so ** The cataracts blow their trumpets from the steep." move the " The whispering air inmost depths of my soul. Its spiritual expression Sends inspiration from the rocky heights, bieathes through heavenly melodies. With a voice And dark recesses of the cavern roco earnest and plaintive as the nightingale, it spoke to — 252 THE BRITISH MINSTREL; AND me of iuward conflict; of the soul goinp; forth into like the best." " But how can your way be the best, solitude, alone and sad. The infinite stretches itself since it is contrary to the rules?" urged the noble- out, in darkness and storm. Through the tierce man. " Because it is the most agreeable," replied tempestuous struggle, it passes alone, alone, as the Haydn; and the critic went away unconvinced. soul must ever go through all its sternest conflicts. Beethoven was constantly accused of violating Then comes self renunciation, humility, and peace. the rules. In one of his compositions, various And thus does the exquisitely beautiful music of this things were pointed out to him as deviations from Prairie Solitude lay the soul lovingly into its rest. the laws, expressly forbidden by masters of the art. Many, who have hitherto been moderate in their " They forbid them, do they?' said Beethoven. enthusiasm about Ole Bui, recognise in these new " Very well. / allow them." compositions more genius than they supposed him Do not understand me as speaking scornfully of to possess. Tastefully intertwined fantasias, or knowledge and critical skill. Only presumptuous, those graceful musical garlands, rondos, might be self-conceited ignorance does this. On the contrary, supposed to indicate merely a pleasing degree of I labour with earnest industry to acquire more and talent and skill. But those individuals must be more knowledge of rules in all the forms of art hard to convince, who do not recognise the presence But, in all the higher and more spiritual manifesta- of genuine inspiration, in the deep tenderness of tions, I recognise laws only as temporary and the mother's prayer, that sounds as if it were com- fluxional records of the progressive advancement posed at midnight, alone with the moon; in the of the soul. I do not deny the usefulness of criti- " liery, spirit-stirring eloquence of the Polacca cism ; but genius for ever remains the master, and Guerriera," composed at Naples, in view of flaming criticism the servant. Vesuvius,— in the deep, spiritual raeiody of the Whether critics will consider "Niagara" as " Prairie Solitude," and in the bold yet serene abounding with faults, when they examine into its grandeur of " Niagara." The individuality of Ole construction, I cannot conjecture. It is their busi- Bui's compositions, their unrepeating variety, and ness to analyse genius, and the mischief is, they certain passages which occur in them all, have are generally prone to dissect in the shadow of their frequently suggested to my mind the existence of a own hands. To speak playfully, it is my own be- latent slumbering power, which has not room to lief that cataract thunderings, sea-moanings, tree- exert its full strength in music composed for the breathings, wind-whistlings, and bird-warblings, violin. are none of them composed according to the rules. I speak as a novice, but my speech has the merit They ought all to be sent to Paris or Rome, to finish of being unafl'ected. In the presence of mere skill, their education, and go silent meanwhile, unless I know not what to say. It may please me some- they can stop their wild everlasting variations. what; but whether it is more or less excellent than I have not yet learned to become reconciled to some other thing, I cannot tell. But bring me into the sudden crash of the orchestra, which, in almost the presence of genius, and I know it, by rapid in- all complicated music, comes in to snap beautiful tuition, as quickly as I know a sunbeam. I cannot melodies, tell I how know it. I simply say, This is genius; " As if a lark should suddenly drop dead, as I say, This is a sunbeam. While the blue air yet trembled with its son;;." It is an old dispute that between genius and I suppose it is right, because all composers will criticism, and probably will never be settled; for have it so. Moreover, 1 know it is so in nature, it is one of the manifold forms of conservatism and and it is so in the experience of the soul. But, innovati(m. In all departments of life, genius is after all, those clashing instruments always seem on the side of progress, and learning on the side of like the devil in the universe, of whom it never established order. Genius comes a prophet from becomes quite clear to me what need there is of the future, to guide the age onward. Learning, the his being there. lawgiver, strives to hold it back upon the past. I have less affinity for fun than for earnest im- But the prophet always revolutionises the laws; for passioned utterance; but really there is no with- thereunto was he sent. his powerful Under hand, standing the admirable comic power of tone and the hmitations gradually yield and flow, as metals gesture in Signer Queerico (Sanquirico.) In this melt into new forms at the touch of tire. dull heavy atmosphere, which has for weeks hung This is as true of music as of every thing else. over us like a pall, he is positively a benefactor, as Its rules have been constantly changing. is What agreeable as a glimpse of sunshine. L. Maria Child. established law now, was unknown or shocking a hundred years ago. Every great genius that has appeared in the an has been accused of violating BIUSIC AND POETRY. the rules. The biographer of Haydn says, "The BY LEIGH UDNT. charming little thoughts of the young musician, It may be said with confidence, that there never the warmth of his style, the liberties which he was a thoroughly great poet who was not a pas- sometimes allowed himself, called forth against sionate lover of music; and if some of the least of him all the invective of the musical monastery. true poets have had more love for it than some who They reproached him with errors of counterpoint, were greater, so far they were greater themselves, heretical modulations, and movements too daring. and so far, or to an equal extent, were those greater His introduction of prestissimo made all the critics ones deficient in one of the constituent qualities of of Vienna shudder." An English nobleman once a perfect poet, and in the perception even of mora! begged liim to explain the reason of certain modu- as well as physical harmony ; — for all the liarmonies lations and arrangements in one of his quartetts. hold together by subtle analogies. But have there " I did so because it has a good eft'eut," replied the been any such phenomena as great poets, of what- composer. " But 1 can prove to you that it is al- soever degree of greatness, who have not been together contrary to the rules," said the nobleman. lovers of music? We have henvd of some such "Very well," replied Haydn, "arrange it in your amazing wildfowl,— of such contradictory "sweet own wav, hear both played, and tell me wliiih'vun sHans,"—but we never met with any; — certainly ! —— ! : ; —; ;; MUSICAL AND LITERARY MISCELLANY. 253 not in books. Among the ancients (of whose music, " It gives a very echo to the seat it is t:ue, little is known, and much strange asser- Where Love is throned." tion hazarded, but of the effects of which we read Remember how music sounds to music—one the most enthusiastic accounts) the poet must have string to another—and then observe here how Love found it very difficult,— had he made never so ex- himself is made a being so musical, that the very traordinary an attempt that way,— not to sympa- throne on which he sits has a natural corresponding thize with the musician; for he and the musician echo to sweet music. Was ever the harmonious- were identical, and all his verses sung to the harp. ness of a loving sympathy imaged in a more lovely The divider of the lovers of music and poetry, will, or music-loving manner? And, "to pass from therefore, not look for examples of so shocking a grave to gay," who but one of the very heartiest divorce among the ancient poets, — in Homer, who lovers of music—an untired enjoyer of concords of travelled about with his harp, like a god turned all kinds at three o'clock in the morning—could minstrel;— nor in Sophocles, who danced round an have put that proposition into the mouth of Sir altar singing his own hymn to his own music, and Toby :— who must have looked like a real Apollo (for he " Shall we make the welkin dance indeed ? Shall was then young and beautiful, and the sacred dance we rouse the nightowl in a catch, that will draw was performed naked); nor in Anacreon, who is three souls out of one weaver "f" always touching his lute under a tree, to " twinkling These remarks have been suggested to us by a feet," or eyes; — nor in Pindar, who wrote that passage we propose to select from Spenser, who glorious passage on the effect of music upon Jove's was the most luxurious, and therefore one of the eagle, which has sounded ever since as from a most music-loving, of all poets. The first stanza throne over the head and ears of mankind, and in is to be looked upon as a recitative, or introduction, which nevertheless, like a truly great poet, he has to the second; which latter would put a composer not hesitated to mix the homeliest natural truth to all his resources of instrumentation and accom- " with the loftiest idealism (for Nature, who made paniment. It is the music to Spenser's Bower every thing, disrespects nothing.) Let us take it of Bliss," and would make a most various, novel, in Mr. Carey's translation, who is a right poetical and glorious crescendo, sinking into "calls" of the and reverential interpreter of poets, and does not sound of water— (what a lovely word ?) —and finally, adapt them to the fashion of a "school," or a day, into those low answers of the wind to the calls, which : as even Gray did. Pindar is addressing the lyre, the poet had best describe iu his own words or music itself: A MAGIO CONCEBT. From Spenser. *' Jove's eagle on the sceptre slumbers, " Eftsoones they heard a most melodious sound Possest by thy enchanting numbers Of all that mote delight a dainty ear. On either side, his rapid wing Such as, at once, mi^'ht not, on living ground. Drops, entranc'd, the feather'd king; Save in this paradise, be heard elsewhere Plack vapour o'er his curved head. Riffht hard it was, for wight which did it hear, Sealing liis eyelids, sweetly shed ; To read what manner musick that mote be Upheaving his moist back ke lies. For all that pleasing is to living ear. Held down with thrilling harmonies." Was there consorted in one harmony ; Birds, voices, instruments, wind, waters, all agree. What music would not Gluck have written to that? " The joyous birds, shrouded in cheerful shade. Their unto the voice attemperM sweet Poets are the greatest and most universal lovers notes Th' angelical, soft, trembling voices made of beauty, in tlie world. Not to admire music, To th' instruments divine respondence meet therefore, would be as strange in them, as if they The silver-sounding instruments did meet were not to admire the voice beauty! It would of With the base murmur of the waters' fall be just as if the greatest possible lover of a charm The waters' fall, with dii^'erence discreet. ing woman, were to be insensible to the beauty of Now soft, now loud, unto the wind did call; her speech The gentle, warbling wind low answered to all.'* All the world knows what a lover of music Milton Sweet, is it not? Superabundantly beautiful; was. So was Dante: so was Ariosto— (there is a and (with the exception of a woman's voice, which portrait of him with a lute): so was Titian also a afterwards comes into play) fills up every softest cor- iuteist (we involuntarily bring the yoets — ofyainting ner of the ear of imagination?— And yet one little in among the other poets): so Leonardo Vinci, da appeal to the affections touches a chord in tlie hu- who understood music theoretically: so Annibal man heart, which beats even all this, for something Caracci, who fondly painted his piano-forte with to linger in the memory. The following are the beautiful designs (there are two of in — them the two stanzas we alluded to in our last number. National Gallery): so Raphael—at least we should Perhaps they had better he written as one ; for the gness so, if only from that portrait he painted of a thought is continuous, and indeed not completed violin player, into whose hand, while holding the till the close. how, he has put also a little bunch of flowers, out SWKET TFIOUGHTS REMAINING. of which the bow most charmingly issues, and B;/ Shelley. which not only improve the composition, but may " Music, when soft voices die, be supposed "to imply the dehcacy and brilliant Vibrates in the memory ; colimring of the musician's style of playing. There Odours, when sweet violets sicken. is a fine engraving of it now selling in the shops. Live within the sense they quicken ; Then look at Shakspeare. You may know how Koses, when the rose is dead. fond he was of music, by the frequency and inten- Are heap'd for the beloved's bed ; sity of his mention of it, and on all occasions, And so thy thoughts, when thou art gone. serious, comic, and mixed. We will not quote Love itself, shall slumber on." passages which are quoted every day ; but think of Ah, divine poeta! amice (si potest) divinior! sic the foUowimr: otiam tni mcminisKv '* —Musical )Yorld. — ?-54 THE BRITISH MINSTREL; AND HEALTH TO MY DEAR. GLEE FOR FOUR VOICES. fivace Spqffbrtk. ^/^f _ - P__ :g=:J~&a::q-i=Ezp=^iP=£^^i=|i: :4=:t=f: ALTO. ,-___i.,jiz|,q— |-. or ifc r_^„^r|i-,— :r:rc:r Health to my dear, and long un - bro - ken years, and long un - bro - ken TENOR. :pE=:f: -^-t- is^-iTf: [^^EJffE^E 1=tc=l£=l=::l-t=: :p-t: 1— i=t :zl=:t:trp Health to my dear, and long uq - bro - ken vears,and long un- bro -ken / p 3±^ 35=^ i^Pnipn :siJLW: :fi:zt--K=^-\ l8t BASS. 'SEB£t~^z -ur:t::=u~t:==il=zp= :t~C::=t=: qzztEz:^: =:!-t== Health to my dear, and long un - bro - ken years, and long un - bro • ken / p 3i itits: zifLzp: :prf: 2d BASS. 'Eizzi^zziz j±i ±f:±t=l~-t::ri=:=±-t:=l / -e- :p--,-t-^- dim. l—:^:IZf.: :P=:?e=^=Pe: :t:=d: ^P= 3=r±:=p=t=itt :t= years, by storms un - ruf - fled, and un stain'd by tears. by storms un- / dim. :=:zjtzzp:^-:^z w= :si-z:fZizzfLZZf.—ff.—wz fel? :q=;tD~t=P—t=tr =:z:d=r:zrt-z:t:=ii; [fe?^ years, by storms un - ruf - fled, and un stain'd by tears, by storms, un- ,_^_ -r_-e-_-r_-p: 4r- :P-3?: SiE3 z\-. = =:pr^:pj :c=:t=zt:=:c:d :p: It ai; :f=. years, by storms un - ruf - fled, by storms - un - ruf - fled and unstain'd by gjiigiMiiiiH^i^^^^ ruf - fled and un stainM by tears. Wing'd by new jojs may each white / P —I—-«ei_j-_ =ipz 3:;-: e • =1: t—lt- ZfL—W — e- :t= zt=d- -I— ztzzzizzrp-\z. ruf - fled and un stain'd by tears, Wingd bj new JOJS may -» 7r: =&P: =P= :p: :t. tears and un stuin'd by tears. WingM by joys may / p g± 1=:d==: -.zznzznz-zzitz^zzzzi :r3: ?=^=|3=EE^r loiiB bro ken years, Wing'd by new JO>'S'» ni;iy —r — h — MUSICAL AND LITERAUY MISCELLANY. 235 / .^-^- -e- mi - nute fly, Spring spring on her cheek and sunshine in her eye. / ''^ i^ • > a 1 o m m P W" W cS '1 , (?k -^ ^ ^ J -O Q— I® _f_P p_p__p_p= 1 _^_4 1 1 1 ^_ =x_ic_q=_p_ 1 *— (ffl— h— _q_l— tI "I "1 each white mi - nute fly, Spring, spring on her cheek and sunshine in her eye. m==q: 33: SB Jf: :p=p: n: It: :t ^-X =]: I each white mi - nute fly, Spring, spring on her cheek and sunshine in her eye. / ,_q. :r:qs: -I h- -r each white mi - nute fly. Spring, spring- on her cheek and sunshine in her eye. J.—^_, . 1~' ^^::3c=zt:-|—rrdiz i-1~1— eye. O'er that dear breast where love and pi - ty spring, may peace e - ter - nal P :^=»=:p-p: ^z-^-^z :P-P: P=S" -1—1—t-- tn: tz=t:zt=r:t q=4==i: eye. O'er that dear breast where love and pi - ty spring, may peare e - ter - nal 2i=:ft=fqzi^ r==err=pze: :s3: :^-fz:w ^ii^'ii^ tzcztirt :zl=r: eye. O'er, o'er that dear breast where love and pi-ty spring, may peace e- P ^-'it ^ -^ ^ ^ ^ ^ eye O'er that Jear breast / -A 1- :fzz?zzS=i:f: :3zj: 3:^=i:=f: :iz=j=z3=i= :tz=t=~i=~L: :p=t=: spread her dow - ny wing, o'er that dear breast where love and pi - ty ores. f =1: di :33; :t:=f: -e- :t=Pd=£i. :izri~i=zi: -1 I I I ——— —i~i— spread her dow - uy wing, o'er that dear breast where love and pi - ty cres. / T^ -.'^-X e »•- l=i=*r=i=*= --X- ^=a=_^ :t: ter - nal spread her dow - ny wing, o'er that dear breast where /_ aa :i3: i; :3:3: :x2: where lore — — — 256 THE BRITISH MINSTREL; AND f _ _ TP es ::X3: X. :X3; -I h- spring may peace e ter nal spread her dow - ny P pp q: ^zzP=:t3d-z=Jd: :3==i: -,_!_. [i spring. may peace e ter - nal spread her dow - ny wing. P PP 3"—jir=p:rrjE~, :P==P: -JfLZZfZOfLZZfZ -k- itd :t: love and pi - ty spring may peace e nal spread her dow - ny P PP 3i :-=rx3: X3: 1X3: irn: :r3; and P» ty spring Slow, dolce. / .X2 " 3:5=3:5: ;lpne=E3:p=: rcfcii3q: 5~q-z;:: :L:—[:—tz=i:: cs= -^-x r2:i==^—jzEq; ^e:^e may peace e - ter - nal spread her dow - ny wing. Sweet beam - ing hope her ores. J fZ\ ~q= :^=:l --©--©- :3(~a~iz=* m: 5==^==i: 1^ :±I=^5=^: i -^- may peace e - ter - nal spread her dow - ny wing. Sweet beam - ing hope her ..o. ;3q- :a:i=3:5:==3:s: nzs: ~r§=±=rt= ^iss:: :q= ::4-- -1 :2:i=l; wing, her dow ny wing. Sweet beam - ing hope her / /Oi gxzqzr.q=q: :,:=d=d: :=1= isi=ii^E3=^E=I^L^: :z2r:rc3:zi2d= may peace e - ter - nal spread her down - y wing. Sweet beam - ing hope her HS- ^ dim. =ri- '^Zt±t-fLZW .p-iT—:p=3? rcxr :cr:fe:i:t4:: :fe:=:q=qrt=:: path il - lu mine still, And fair deas, all her fan cy fill. cres. ;^.. dim. u. :^rs5==Fir::=S:q-_q_ 13:31X511=25 -"*-.:» zzSr^ --t±t. ^—\ 1- zzlitzt: _u ®Zr — I? path il - lu mine still, And fair - - i - deas all her fan cy fill. cres. .^- dim. ar:rff-:»==3:5=3: q==q==qq; ::j-q=z==p_=:i=- -S.il I :3Zirs :=»==^— 1- 1 VZZltZZ^ZY. mi rt.-lz:: path il - lu - mine still. And fair i deas all her fan • cy fill. dim. gT:=if:=:ffr=:qr :p=qzz=q==zqr:q^z=q==zq==pqz:=): -q: =rzP: :x3r: :zi=xl: n -.e—€1-e-l path il - lu - min« still, And fair deas all her fan fill. I O ;' MUSICAL AND LITERARY MISCELLANY. 257 MOZART'S MANNER OF COMPOSING. of organist were requested to appear. Herschel came forward with other six, amongst whom was The following interesting account of Mozart's a locally eminent musician, Mr. Wainwright from process of composition, is from a letter written by Manchester. The organ was one of an unusually himself to a noble Viennese amateur, who had powerful kind, and when Mr. Wainwright played solicited from him some information on the subject. upon it in the style he had been accustomed to, " You say you should like to know my way of com- Snetzler exclaimed frantically, " He run over de posing, and what method I follow in writing works key like one cat; he will not allow my pipes time of some extent. I can really say no more on the to speak." During the performance, a friend of subject than tlie following; for I myself know no Herschel asked him what chance he thought he more about it, and cannot account for it When I , had of obtaining the situation. " I don't know am, as it were, completely myself, entirely alone, said Herschel, "but I am sure fingers will not do." and of good cheer; say travelling in a carriage, or When it came to his turn, Herschel ascended the walking after a good meal, or during the night when organ-loft, and produced so uncommon a richnes^, I cannot sleep; it is on such occasions that my ideas such a volume of slow harmony, as astonished all flow best and most abundantly. Whence and how present; and after this extemporaneous effusion, they come I know not, nor can I force them. Those he finished with the Old Hundredth Psalm, which ideas that please me I retain in memory, and am he played better than his opponent. " Ay, ay," accustomed, as I hare been told, to hum them to cried Snetzler, " tish is very goot, very goot, intett myself. If I continue in this way, it soon occurs I will luf tis man, he gives my pipes room for to to me how I may turn this or that morsel to account, speak." Herschel being asked ijy what means he so as to make a good dish of it, that is to say, produced so astonishing an effect, replied, " I told agreeably to the rules of counterpoint, to the pecu- you fingers would not do;" and producing two pieces liarities of the farious instruments, &c. All tliis of lead from his waistcoat pocket, said, " one of fires my soul, and provided I am not disturbed, my these I laid on the lowest key of the organ, and the subject enlarges itself, becomes methodised and other upon the octave above ; and thus, by accom- defined; and the whole, though it be long, stands modating the harmony, I produced the effect <.f almost tinished and complete in my mind, so that four hands instead of two." This superiority of I can survey it, like a tine statue, or a beautiful skill, united to the friendly ell'urts of Mr. Joab picture, at a glance. When I proceed to write Bates, a resident musical composer of some cele. down my ideas, I take out of the bag of my memory, brity, obtained Herschel the situation. if I may use that phrase, what has previously been collected in the way I have mentioned. For this reason, the committing to paper is done quickly A LENGTHY APPRENTICESHIP. enough, for every thing is, as I said before, already When Jardine, the famous violin player, was tinished; and it rarely differs on paper from what asked what lime it would require to attain perfec- imagination." it was before in my tion on that instrument, he answered, "Twelve hours a-day for twenty years." Paganini remarked to De Beriot, that were they to study the violin for ANECDOTE OF SIR WILLIAM HERSCHEL. a whole life, its capabilities might be understood, An organ, by Snetzler, had been built for the but then another lifetime would be requisite to cliurch of Halifax, and candidates for the situation achieve its mastership. HOLY, HOLY, LORD. SACKED CHORUS. Adagio. f ,C\ Haydn, -e- ^s;:=s: :i= '-^^- d=-^: SOPRANO. inS: ;:§^ :3:=S=:i: 1- :i=:iz - ly 1 - ly, . Ho Ho Ho Ho ly I Ho - ly Lord God of / ALTO. =i: 3?^^r=q: j~ds:i5^:q= -d-i-i--=!—^• -c(-'-#^-*-*-'-«— =*:=*=:i:=i: M - - ly, - ly 1 - ^ Ho ly. Ho Ho Ho- ly, Holy, Ho ly ! Ho - ly Lor '^od of TENOK. 13:5: ;s=P=p-35. :pz.-e=:p:pE!^z= _il SU. 1 L_— r— :P- i^ tzt :ts=t _^_it. 1-'-h- :=i: - ly, - ly. - ly - ly. - - Ho Ho Ho t Ho Holy, Ho ly 1 Ho ly Lord God of zzqr~q: :=!: :3^= g±a :=!= tri^i-^l-i^=:fc:z2:-E-|i- BASS gES -e- :m r- - ly. - lyl ly. Ho Ho Ho Ho . ly I Ho - ly Lord God ot No. 113, — ' ! 258 THE BEITISH MINSTBEL; AND I— i - - Sa ba oth 1 Ho Ij, Lord God of Sa - baoth ! L-tr:rrirrzri: qt=|S-4=q: --dr. ^-^: ::1: I Sa - ba - oth I Ho - Ij', Lord God of Sabaoth ! Sym. (T^ J I q! :f=p: j:iz :K-^ ?^& ^ffP=;r^ U I— tcr-r - - - of I. Sa ba oth I Ho \y. Lord God Sabaoth p Sa - ba . oth ! Ho - ly, Lord God of Sabaoth I Alte(/ro. ^^^^pE^l=^^=^=P^^=^-^ Mc fc^: ligigp •rt=fct=t:=lri PJi Heaven and earth are full, are full of thy glory, full of thy majes - ty and / :T-q=pq: ::^a T:q: T=s: :i|zd5ci]S^ "^ — ^—-ti-ij-*—iiEt —:3ri-^-t:3^i=i4ti—m—|- :^Bl«3rHiS3; -g-l :iTir]izi!d Heaven and earth are full, are full of thy glory, full of thy majes - ty and / ^^|E?:rjJE3|zj-Jjr|rjzg:»r|ae±g=::g=|-.ftp=^±: ZWZif.ZfZZfZf.^, -zzr- :p=^: Heaven and earth are full, are full of thy glory, full of thy majes - ty and / :tzpi»_. -ft-*-, :(E5cp: -P±P: :^^= SEEEBSE^E^EIir:*=i==i23iz:id: :Pd=p±-^=:P: 3Eiz -i-r-'-r-p^-t- :t=P-t: i :tz-t; ^=i=^=l=^=^?E^giiEl glo -ry. Ho • san - na -J- ^q Id- -=is= Elrdziz j!=:*: iei glo -ry. Ho in the f* Sym. ^ i!::=::ir:toftf:pt=P: =P: |-:^P:=P: :Ptf:^:f: teiqrzriq I- ^-p- -p-p~ I— h.)— ^^ — i :?-*= :t=" —E^El^ i zt=p: glo - ry. Si/m, Ho - san - na in the high - est "^-- ,-1. -CZ^-ft.. ^, aaEp:rf=±=b!i=P: --f±!t -Q- dzzLz :^: :=|: itzzt:H; glo - ry. Uo - ean - na in the high - est, ia tha i ' MUSICAL AND LITERARY MISCELLANY. 259 ;fcftFfiqc ^ i^rrpzdzi^zpi -•-i=- :t=Ii:=t: ::ti=J=:C:-C:i r- *=:=: t— I— —t— in the high - est, in the hi^'-h - est, Ho in the 1- SSe; 7^W-~Z=\ iz\~i-: -J^~^ hifjh - est, in the hiirh est, Ho - snn - na in the high - est ipi:^ r.^±f:zw=::^. =f=P:=P :P::P: :ti ^^m :;ti:: i::=t 1 "I"' in the hio;h - est, in the hitrh - est, Ho - san na in the il^-ti -M- ~e-i ^m —^- i^r:*: -e-7- t-r- highest, Ho - san - na in the high - est, Ho - -^-.—4- :p=f: pP=pc:^: :^q :?:zp=t=p=:^^: -Q--*-- EEEE3E a:=t=t: Iztrr-t: ±r =p: I his;h - est, ITo san - na in the high - est, in the high. ;^- ^z Ef^: se^; :23.1 in the high - est. Ho in the high- i»_|i__p_|_:^_^_^_ j^z-J :=|: -X ifrjCzi: :q: :t=|--t: -I r-f high est, Ho in the high - est, in the high. , rq: 1 1 I :P"P: SiEE3: —I- -Q-i- -e- r^rtizt -•- r- r- r- r- :T.z na, Ho - san - na in the high - est, in the high- -wz-^'- :^P:=P: :p=^=:p: :3= :S- -e- It: zzzizz :± est. Ho - san - na in the high est! ±rz^=:^rpdzq: Ei=l3iirirsn|-ir^j ==1=: ll^~ 3d: I =j— '-©- H ^t, Ho - san - na in the hi^h est. Sym. d»:zf.:zf.zn.jfzx. —zr.z 4=rt: z =k. ieHliai -B - est, Ho - san na in the high est I Sym. —,—i*-- --q —|ft_ -q — ^. gEEE3: :^=P= est, Ho - sail in the hi^li eiiti — —— ! — 260 THE BRITISH MINSTREL; AND DOWN BY THE RIVER. SONG FROM THE "IRON CHEST." W'ords hy George Colmau the Younger. Larghelto. Siorace. #::fi-:rfE:?~|£:|Ep=:~p=~2E=l:ii^: :pz: tr--^ -—-*- Down by the ri - ver tlicre grows a green willow. Sing O ! for my true love, my '"* -—^ -.-'ll -i'*»1 I f-^^ gr|—gz:ar:^z=z:i :a: =p.=: :?!!:; :t=: r- —r- —44* ^ ' ^ I —) —fV—«—-1' H^—Nr :q^: true love, OI I'll weep out the night there. The bank for my pil - low. And - - - J «r -i -el — -r -^— =:i: :i: ~5: 5±rffzp- r- -r- -t— -t~ S^^'s:: :-i:p: =z#z:S=d^: if^: »-ij- ±=i±ri: :S£E^£E i all for my true love, my true )ve, O When ri -^- r'^j -^- 3t|=* :d=Jz^^::rJ-^- :P±; :p- t'K -p- -r-- 1' r- 'llll'J I I t chill blowsows thele winwind, - and tera - pests are beat - ing I'll I — 1 1 -lf-fa«^W».' 1 ^1— F-\—F~\ F- W ^li^ F —I ^^ I i |^?^:^El^^EEEE?E^Elk^_^E?iE^E^p^gE^ count all the clouds as I mark them re - treat - ing , For » * B-l--i-i—»— »— — * * — ^ --ti'^»-^-»-'— — s:|^-r-»-^— ttS' 1 1 ft-k»w.aw:3i ! -t—yn.'—^ — » -'—gj •-—s-^B-g- — —:: —p .1 — 1 : MUSICAL AND LITERARY MISCELLANY. 261 H^ri^fil hi-HL-iz-^n-^^ z:5==|t:a:azjzjg|=iis z^^:M:zi-^zf- true lover's jo}'s, well - a - day I are as fleeting, Sing all for my true love, my r-l'^- ::£ *qz3=:- :izr![^r= t=tJ c=E#zp=:z^=:t==:tc: :^=tt :P:± ,^^5r^-^:zl true love, ! For true lo - ver's joys, we m^: -t-^_i: fc=^=rt=^=^:i=*=:iPzz^l :^=P: EU= irszT— =P=:=t=:t: O! for my love, Sing^ OI for my trne love, my true love O! ag^E^EgE^I: 5H|^ ii=;:z: :tt=? :t£=P= f Maids come, in pity , when I am departed Close to the stream where my tears once were flowing, I Sing O ! for my true love, my true love 1 And over my corse keep the green willow growing, AVhen dead on the bank I am found broken-hearted. 'Tis all for my love, my true love O I And all for my true love, my true love O I And over my corse keep the green willow growing, Make, make me a grave, all while the winds blowing, 'Tisallformy loTe,'tisallfor my love,my true love,0. PECULIARITIES AND ECCENTRICITIES It is said that the reading of a passage in some OF COMPOSERS. holy Latin classic was necessary to inspire Zinga- relli to the composition in less than four hours of Gluck, to rouse his imagination, used to place an entire act of " Pyrrhus," or of " Romeo and himself in the middle of a meadow, under the heat Juliet." of a burning sun, with his piano before him, and Anfossi, a Neapolitan composcrof great promise, two bottles of champagne by his side. In this way who died young, could not virite a note until sur- he wrote his two " Iphigenias," his " Orpheus," and rounded by roast capons, hams, sausages, &c. &c. " Paris." (Heaven help us, our English composers are puzzled Sarti, on the contrary, chose a large empty room where to get the hams and capons for the held of his labours, dimly lighted by a single !) that, for the of in- lamp hung from the ceiling. His musical spirit It is related of Haydn, sake was summoned to his aid only in the middle of the spiration, he used to dress himself with as much night, and in the midst of the most profound silence. care and elegance as if he were about to be pre- Thus he produced the " Medonte," and the well- sented at Court; and that then, after putting on the of in known beautiful air, " La dolee campagna." ring given him by the King Prussia, he was a Ciraarosa loved noise, and preferred, when he state to write. He often used to declare that if he composed, to be surrounded by his friends. After sat down without this ring not a single musical this manner did he write " Les Horaces," and the idea w ould come into his head. "Matrimonio Segreto." Grfitry states, in his Memoirs, that his own me- Pa^siello could not tear himself from his bed. dium of inspiration was the sipping of tea or From between the sheets were produced " Nina," lemonade. the " Barber of Seville," the " Moli nara," and others. Rossini cannot hear to hear his onn music. His F — — — 262 THE BRITISH MINSTREL; AND facility of composition is surprising, the greater The celebrated chorus In the "Muette de Portici" part of his masterpieces having been written in the was written after noting the bizarre combination midst of all the pleasures of society, and while sur- of conflicting harmonies produced by the poissardes, rounded and apparently engrossed by every gaiety. marchands de legumes, and others in the Marcht His " Gazza Ladra" was written in twelve days. des Innocents. "Guillaume Tell" took him but three months, and A strange freak is told of Adolphe Adam, the was written in the midst of the noise of constant author of the " Chalet," the " Postilion de Lunju- visitors thronging his room, and in whose conver- meau," " Giselle," &c. It is said that after having sation he from time to time bore his part; his at- dined, he will lie down on his bed, and, summer or tention, the meanwhile, never distracted from his winter, smother himself with the clothes, then have labour, until some one hummed one of his own one of his two enormous cats placed at his head, airs, or an organ stopped under his window. the other at his feet, and in that half stifled position Now, let us turn to Meyerbeer, the man of mourn- court the goddess of harmony, and woo her to in- ful melody,—of sombre, plaintive notes. Behold spire him with those pretty airs which the public iiim, alone, shut up in that granary, hidden from of Paris have so applauded, and which have gained all eyes. He hears the wind moan, the rain falling for him a very respectable rank in the list of modern in torrents, the storm bursting over the devoted composers. heads of those who may be exposed to it — to him Of our English composers, little in the way of it is a source of inspiration. He is imitating on his eccentricity can be said of them. They are, and piano the disorder of the elements, the wailing of have been for the most part, quiet, gentlemanly the blast, the crash and roar of the thunder. men, living, eating, drinking, and sleeping, like Auber is supposed to have gained the initiative those around them, and neither seeking nor assum- ideas of some of his best compositions while gallop- ing any peculiar medium of inspiration. Culburn's ing on horseback; his destrier may thus be said to New Monthly Maaazine, be, without mythological fable, the true Pegasus. COULD A MAN BE SECURE. DUET. Moderato. Compos-er unknown. Could a man be se - cure that his life would en - dure, gl^Eligggf;^^j^:^pg^^gJg Could a man be se - cure that his life would en - dure, as of old - - as of old for a thousand, a thou - aaud long years, could a man be A- :S: gr:ir=t:.i LUzrzt: izS— 1 :fe:==te: old, for a thousand, a thou - sand long years, That his rf ^rz^! =1- :si~ft: itrp =r==i= :q=r^=^= -f~ Y^- -i cure, that his life would en - dure, as of old, for a thou - sand lonj^ rf =^==S^- z::^^-- I ^ ;S£=~*===«==f=r P— —Er^*— \-^ =^: life would en - dure, would en - dure, as of old, for a thou - sand loiiij ; I MUSICAL AND LITERARY MISCELLANY. 263 i±ZZZiZ —fiZ -^—I- E^^ :p: ^«_i3=g"pii:^§ years, that his life would en - dure, as of old, for thou - sand long :p=: Si :ff=:^=rpL=f:: :t:=:t=^t:^ -.t— -\r. r-ii— d=: jears, that his life would en - dure, as of old, for thou - 8and long :=l=:r :T:^-5=^=q :liS ziz^i: ^=i: acts do, what arts might he Jears ; What arts alight he know, what might he :fip: Its g±iE -l=-4 ?-"-E55 *=*: i5t: :i5 -h- I years What acts might he do, might he do, what m^^^^^^^^^m/ know, what acts might he do, and all with - out hur - ry, all all / zwzzw: BIEE^fEEp^ Z^-fZ — ^^- :i- 4- -e -)--l— ~\^-\r-!^-^-7i' t- :t=f: z^zztz: acts might he do, might he do, and all with - out hur - ry, all h- P ' -^ ^ ^r3 ]_ 3SZ i: zzj^zz^zzz m- \~,— -P-i— -e- tzf-z^^i - with - out hur - ry or care ; and all with - oat hur - ry, all P dfcr^: SiEiE^^ :z|[3:=e=:fi: .c-_Fi. zizzUzz izz^zzz^ -j^-v.- i-i: :t=rr all with - out hur - ry or care, And all with - out hur - ry. Con spirito. -5-d--f^- :^=s: =i=33=ii zi.-;^:i=|=*^^^= all without hur - ry or care. But we that have but grgrzjizzzrz z=!zzq^rziz=]t=S=zqzzziu—::zz|zzz^z::^zzzz=rlt=s:zfe zzzzz-.5zzzzz z?±iz:tzb!izl:zqz;zl:^ziB:E:zzl^zE:zfcz^:^=-ir*z?d all all without hur - ry or care. But we that have but span long -tzzw -tzz^P^?Eii?p=S Se^e^Ee^e^^ :fcz[EZ span long, span long lives.that have but span long lives. the thicker must lay on the g±iE :^-=(C I *zp~i^Pz:^H— 1 m :t: i span long lives. but span long lives the thicker must lay on thr. — I I — — — I 264 THE BRITISH MINSTREL; AND A> —3^ ^ =1: ^zlrfi^=>r::B:i=p=|~S .^.ZW. ^=^n ::?:rt:-=tf: ... OH,! »J_ rziztc-- r- plea -sure; And since time will not. time will not stay, we'll add the =:^-i:f:=rf=e:^qqiz-J=:=f:=:z:^2^r~ is=zq: •I 1--| (- — • • 1» 'rz ~—\-W- —I 1 .1- fcy I- — 1 "X.! 1— P— ^— —^-|/—1-|- ir-r- plea-sure; And since time will not, time will not stay, we'll add the night, the /r V- .(«« i=i=j: .^^ 1 night, we'll add the niiiht un to the day, z^—f.:1» -+v— 1 :q=:=is: SElr^^EfEiE -Mzi: iz iE^EEE^E^EiElE^El night un - to the day, the nijht un to the day, we'll add the ]^:hS;: 5 ^~i%-^-.- la: g=ElE^gJEjg^^E^JE!EfeE^g;E^E^E we'll add the night. we'll add the ni^ht un the day, we'll -iV ^-f: *=|-?^t:f=:*:r:-1— r-i—1--»—J-— F-— 3±Ei3, -.BZ^^Zt- ^—:5:=t£=:trrrt: t^=!z-. ;ll*~ =5= :—z=i^: night, we'll add tlie night, the night un to the day, we'll add the nitrlit un the day. and thus we'll fill, thus -O- SBEEEPE^E^=fe|E^EPE^E^E=^E3Ebr~z^-^p=^_^_ add the night nn - to the day, and thus we'll fill, thus ±Z J A- wzziriz=zj;zzf.zz:iz [^EiE \^zzzi^z=^z:^zz^ '"^eSs-e;:^^e£Ee£^e :^fe§E^ii; thus we'll fill the mea - sure, we'll add the nij^ht un - to the day, p^ 1^ —^' • •- -- /-^•- P-*-»-«- 1—- t '-— giifr^ W-zr.z^zzz:=.fi~t—t-»zfr.f.zz -= -W- — — — — ^_»-i_^i :t-i=^Et;-FEtr ztl / '-3-' 1-- ^— — 1 -Y i- -I— thus we'll fill the mea . sure, we'll add the night un - to the day, and bS=zz=zzr=s: zi5r=p=|^=|=zl^rr|iz|=Ei=^ 7 itzzf-lz; and thus we'll fill, thus, thus we'll fill the mea - sure. • + f ~'^~\ ^"^E^t^ -^-tZZE. ===!EEi=b==^zzq=rffl==rl =zpr±z=fe:: f tz=3TzM==- thus well fill, thus, thus we'll fill tha aiea. • sure. — MUSICAL AND LITERARY MISCELLANY. 265 SOME LOVE TO EOAM O'ER THE DARK SEA FOAIM. Words by C. Machay, Esq, Allegro con spirito, Henry Russell. dolce. --fv- r^d: :i=:Mrj=iqzi: #:P-=P :jSz3; =:±iz:rtb: :P==W: Some love to roam o'er the dark sea foam, Where the shrill winds whistle 2d rer. The deer we mark io the fo - rest dark, And the prowl ing wolf we S31E L_a l:3 5=5= :lS::i: :^ ifcrzfc;-- -^ i ^ free But a cho - sen band, in a mountain land, And a ; track, And for right goud cheer in the wild-woods here, Oh I - :prp=prr -J^ dim. ^rU: :s:=fs: ::*: ±r=p-. :i=ii life in the woods for me, But a cho - sen band in a why should a hun - ter lack I And for right good cheer in the ^ =iV- :^: Sdc s==dSz3: ^SEf —*- 3eI mountain land, And a life in the woods for me. When wild woods here, Oh ! - why should a hun ter lack 1 For with =E^gEE^«EE^EE^S Jr. blzns i5;=iS A- zzrdtrrfs: -^^^ :=i: :i=: morning beams o*er the mountain streams, Oh I mer ri - ly forth we sLoadv aim at ttie bounding game, And hearts that fear no -„^J-mi^:mrfr.^:^:*:g::^:^i^- ^ ^ fi. 0. .^ .^^ - ... ^tm/mm^-am^,^^ bi-L.i [ No. 114. ! — — —— —— 266 THE BEITISH MINSTREL; AND rail. /T^ A tempo. • »~^ \ — — • -m-m- • w--\ :P=:pzi=i== ^z=^=^==^=^=:l=^=^=^p=^=^:.t—t go. - - To fol - low the sta^ to his slip - pe - ry crasTj And to - 1 - foe, - - To the dark - some glade the fo rest sIiuiIk, Oh .ft^P—pL....P - 9 ^- —9- —•- -p—!»-!»—-- bold. ores. I E=§EiE^ —r- :f=S^ii^ :f=P: —q- ¥=-P V r~ - To fol - low the stag to his chase I the bound ing ler - ri - \y forth we To the dark - some glade in the f-lzIzM: '-" 33 -•—»- »—tr ::p: I -f-^v -N- ^=iti:i±:i=:3r=?E= ?==§^^fe 3S=i: slip - pe - ry eras. And to chase the bound - ing roej Hoi ho! ho! fo - rest shade. Oh - nier ri - ly forth we go, Ho! hoi ho! r. — Eiliiifi rail, ad lib. -.-—-.zsr-- 1 •'-•-•i-W Ho! ho ! ho ! ho I ho ho ! ho ! ho ! ho Some fi-p- p ! i = I |— ! r— I — —>', _ — —tmCzj——— —— L-p: a tempo. d±=Jh=:jS: ^ *=^:- --qs=:3 — W=^p—\r-i- :=*; -t- :^=F love to roam o'er the dark sea foam, When the shrill winds whistle I I I I I I I I I I 1 p. I 1 1— p_p— — 1———— ,p_i ——— I — — ' I— I , I ( I I » ' I I 1 I 1 — — — M » h^i^ W— —— -W- -=P: zzfc:: —4 ~=^=^z:l But cho - sen b.ind land, And a :jE=|=|=^^=f=tz| -l-t!-*_| 1»._|»._|»—!,_»__»._. p—|»—|»—!»-«>; » I 'P— -» l>nit ! ' Liil |l-- — MUSICAL AND LITERARY MISCELLANY. 267 —|i*^ diz=\: nz^ :5- z^rssg^iril: s *^ii: life in the woods for mo ! And life in tbe woods for _-tzez?=e-_-£-_p-_,-, rL- *//. ^^^—- felEg^^sS SEz^ ^E=zz-l :^S9E ;^_|^ ^ il And life in the woods for :E: g3EfE|Et!Efc= EfefcfclElE =t=l ==: :=£:: rp: -ta-' :Li=P=!;;J=: BEETHOVEN AND KUHLAU. him, and begged to have the honour of an mter. The late Professor Kuhlau, of Copenhagen, was view; the only answer was a negative gesture, and a Musician of uncommon genius, who gained great a wave of tlie hand, which said very plainly, " Go distinction in his art, and, but for his untimely about your business !" The young Musician, how- death, would have attained the highest celebrity. ever, persisted. Falling on his knees, he clasped He has produced many works of magnitude which his hands and raised them to Beethoven with a are much esteemed on the Continent, but is chiefly mute eloquence which fairly overcame him. " Well, " known in England by his Compositions for the then!" he cried, Come in, since you will have it." Flute, which are greatly valued by the lovers of Kuhlau lost no time in profiting by the invitation, that instrument. Mr. Moscheles, in some very in- such as it was; and Beethoven, having once made teresting letters, published in the Harmonicon in up his mind to admit him, received him civilly. 1830, alter his visit to Copenhagen, speaks of The ice was soon broken; Beethoven liked his Kuhlau as "a Musician of profound erudition, and stranger guest, and soon became all frankness and a celebrated Composer." He mentions his extra- good humour. He did the honours of his house ordinary ability in the composition of Canons, and like a true German; asked his visitor to dinner, gives, as a specimen, an enigmatic Canon in four and treated him with the most cordial hospitality. parts, a composition equally curious and beautiful. The entertainer and his guest were soon delighted An interesting anecdote, of a visit paid by him to with each other. Beethoven found that the Danish Beethoven, may be related as connected with his Musician was a man of sense and talent, and was skill in this branch of his art. gratified by his warm but manly expressions of Kuhlau's veneration for Beethoven was unbound- admiration. They discussed all sorts of Musical ed. In his youthful enthusiasm he took a journey topics; and Kuhlau illustrated something he said to Vienna, in order to have the pleasure of paying about Canons, by writing down, extempore, an in- personal homage to his divinity. But his time for genious one, for two voices, to which he added this visit was ill chosen. Beethoven, sufl'ering fi'om words complimentary to Beethoven. He, inspired deafness, and soured by disappointment, had retired by animated conversation, and by the good wine he to a village in the neighbourhood of the city for the gave his guest, and of which he himself took his purpose of secluding himself from society. Kuhlau full share, also extemporised a Canon; and the two endeavoured, but in vain, to obtain access to him. newly made friends exchanged their productions in He got friends to write—he wrote himself—but no token of mutual regard. notice whatever was taken of his applications. At After a joyous evening, the friends separated. length, one fine morning, Kuhlau set oft' on foot to Kuhlau took his way to Vienna, more troubled by the village where Beethoven lived. He found the the breadth of the way than by its length; and house, knocked at the door, and asked to be admit- Beethoven betook himself to bed, where he fell into ted. A peremptory refusal irom the servant was a sweeter sleep than he had enjoyed for many a day. his answer. Deeply disappointed, our young en- When he awoke in the morning, the evening he th\isiast wandered for some time about the neigh- had spent appeared like a pleasant dream. At last bourhood, trying to devise some way of accomplish- he remembered the Canons, and became alarmed ing his object, and, in the midst of his reverie, at the thoughts of the one he himself had perpe- passed again by Beethoven's door. The great man trated. What sort of a thing could it be? Some was taking the air at his window. Kuhlau sahilcd miserable trash, inspired by the fumes of wine, and ! 268 THE BRITISH MINSTREL; AND quite unworthy of bis character as an artist. Un- because I am certain that they are both worthy of easy at this idea, he sat down to his piano-forte, you." and, after writing for an hour or two, put what he " Well— but let me see the other.—Ah, very good had written in his pocket, took his liat, set off, post- This is quite correct, and has more tire and spirit haste, for Vienna, and arrived at Kuhlau's lodgings. than the other. Well, I see I have nothing for it " My dear friend," he said, "you opened a tire on but to get half-seas over when I want to write good me with all your artillery, and I answered your fire Music! But your Canon is charming, and worth with a Cannon, which must be a miserable affair; both mine put together. Come and see me often, for I believe I was half tipsy at the time. I have and let us talk about Music —you know what it is. made another this morning, which I bring you in Farewell." exchange for the one which you are going, I trust, This little anecdote may be added to the many to give me back." traits of kindliness of heart, and gaiety of temper, " No, in faith !" cried Kuhlau, laying hold of the which belonged to Beethoven's character, notwith- second Canon ; " I mean to keep them both ; in the standing the harsh and forbidding exterior which first place, because 1 have them from you, and also was the result of his unhappy circumstances. CANST THOU LOVE AND LIVE ALONE? Andante qffetluoso. CANZONET FOR FOUR VOICES. Ravenscroft. / 1st t=t. tp: j^ztr-JE^ SOPRANO EESE5 - ip-iziii -^t i=^ 1- -tr—Ir r :^=t Canst thou love, canst thou love and live a lone? Canst thou love and p J -1- 2d =?--«-, SOPRANO. i^iizi: ppiEE -t- Canst thou love, canst thou love and live a - lone? Canst thou,canst thou ALTO. lE ZT- Z=\z=^ =P=4s: ^i=:±z __j_^.,.^ 131 -n-*- 'Sr-*- -d- Canst thou love and live -^-Canst thou love and a - lone? J BASS. as ee: Canst thou love, canst thou P ed, Pleasure is best when P f—^—1»—^—p- dis - grac - ed, Pleasure is best when P SillpE|C-E=S=== le^HtEpE^I^E:^- 1 love and live a - lone f Love is so dis - grac - ed. Pleasure is best wheu — r — MUSICAL AND LITERARY MISCELLANY. 269 /^Allegretto, i^' :Is==K :p=!?zze: M-t- ^E5 l:^CI_°rJ^r±^-pj itrztrztz :i=i=g :jd: | you can rest in a heart, in a heart em - brac - ed. Rise ! rise I Day-light ::1: :3d; 22: -ei- I t- O i:: -^— — yf2i: #*: you can rest a heart em - brac - ed. Rise I rise I Day-light :it^ d- ^E :t=l: -^— -ci—ci- •d-^- you can rest in a heart em - brac - ed. Rise ! rise I Day-light ^-^- jm: 3EE5: 5:=*: teff r- 1 i \. :trjs: ±::-l--^ t±!tzdrz:tr. zMzz^zz^ .e-^i.-i; :pf:p:=*ng::d=i=;i:z ±=t ttzi: m -f- r-tr- do not burn out ; Bells now ring, and birds do sing, 'Tis on - ly I that mourn out,'Ti3 P. :=t=!S iP^Prre: Fn: ^^tT-^:::^=q:; :p±f=p:::pdrfc:S rdrzpz:?: L-JbtfjnJz-r-i?— ..,_. -( I— :^-i: •^ii -t- — do not burn out; Bells novr ring, and birds do BiDg/Tis on - Ij I that mourn out, 'Tis P :^=:^: T-: iCiq: :^r=l: i\t:.:i--a~^z\zi~:^z i^iizt: It- ji-.-^- ^ ji—g—' Bells now ring,and birds do sing,'Tis on - ly I that mourn out,'Ti3 do not burn P :^^^=^: =P= ^iS=s i~.iz~iz:^ :rt=:f=:P: :t=:tc I t~/- Tempo prima. Fine./rs V Morniu" — — — ; 270 THE BRITISH MINSTREL; AND / p f t==r-. pcrf^zK --±-t-. (i=ze±:ff:zszzff-p: ES^E^i^Ei -/--trz morning star doth now appear. AVind is hush'd,is hush'd,and sky is clear; Cornea- / P / iif~^Je: -e— ::3=:^=q: ::rzzi=t=p=:p: lixp: zinnizizzp-pz :tr:^ :±: qi: -r r- .^-.,-. :p=Pt— -Ir--^ morning star doth now appear ; wind is hush'd, wind is hush'd,and sky is clear ; Come a- P 5=^=:]: :i-=:]-i :4i-;q=:1: tli=±l*r:^z^J--;i--*jqi::* ^ziz -ii—*- doth now appear ; wind is hush'd, is hush'd, and sky is clear P Sif£3: lEE 1^ ±.- n^r:^ =r:j. :p=:p=t:=:£:= r- i '-[~r- star doth now appear wind is hush'd and slij is clear, /7\ rfo/. /7\ ff f:\al segno. 'Sr ipr^nzt r=tz :pzqr -1 :p±i: J: \f-v- rfci:: :i=:tzi: -^- way ! come away I come, come a - way ! Canst thou love and burn out day. r7\ c(o'. AA Jf rT^al segno. % zrrpmilSiqsr :f~pf: :P---^: -^ -r:P=.-*rf: :p^i:=i-i: i :£:i=nt:i= way I come away ! come,corae,come a - way I Canst thou love and burn out day. d.ol. /r:\al segno. t, J rr\ r^ ff ::^::^:^:=^: qSrqs^rp: :iz=g:=ir:iz=i:= :::l^: :^: :^=i3ii=: =i- :i=.:?: -»!—*- "CT" come away I come,come,come a - way ! Canst thou love and burn out day. ±fir--±=t^: r- r r->- ::f -f— come away ! come, come a - way I Canst thou loTe and burn out day. FAIR AND UGLY. GLEE FOR THREE VOICES. Jvhn Travers. ALTO. -!^-=l- :lz:=:rl Fair and ug ly. false and true, fair and ug - ly, r;ji: i^f: TENOK. ;Eife^S=i:£l?E:|^Ep =fct-|-^; Fair and ug - ly, false and true, fair and ug - lyf •- I Zf— qs: :^-=f BASS. 3±E£EpE3: :^=t rrzSz—td: :i= — — — MUSICAL AND LITERARY MISCELLANY. 271 l_pi__pi__, — — ift- ~^-ft- ^: — • w~ I =; ZZZZ^^Zs- re=p= :t^r=^==t -[tit^r^:—— ug - ly and fair, fair and ug • ly, false and true. all -•-*-=- -=1-St- ::t=i=a: -•-=1- jz:: m^^ :U=: -r- ug; - ly and fair, fair and ug; - ly, false and true. all :(K=:::^ :S==fs: :^=.|e; :i- :p::iPEi-^: :p=ar ~i=i: =:ts: z:fc:=t^: -•~^- :f--^- :t-^--t-"-,-f-»-^- i^fcrpxr^p: -f:"ipr-^^ :e:f:e:t ±:=^ It :i=fz:fc: &E^; :t= i::t=:ar =r^: all to great Venus all to great Ve - nus' joke must bow. Such pleasure in our g—m- l^EEE^ EEFI —^—^5 fe :^=E»==1=-^ :fcq :P=:ib^=r= S t~' '-\r all to g;reat Venus, all to j^reat Ve - nus' yoke must bow. Such pleasure in our -»--•- :^; :=It ^S^ -^-i^-^- :?=ri: zizzftz :fp!^ I .^^ E^EfEE —-^^--Ir—III' :t="h— :a±Lt i pains she takes, she laughs —^-4 i :ep?^>=E :t: fee::rri=i=i==: 3Sa J br 1 ins she takes, she laughs j: S±H^EE«lf- _=]_-)., Efttfe-i- EEffE2 :^=iL=:pc :zi- :-—:t: P=P=f: •iSt: ;t=iii pains she takes. she laughs :P:zP:-_^f^ .PL_P._^. -^»iP:^. —.ift_^_^-F-— 1-- —P^T :£f:f:f: -' '' I f' :t=lz:=tlk«U — f=»!— ' ' ' -tt —^ t^— to see what sport she makes, she laughs •^—P- z^tw-^z s—^i—5««- S3 :te:z to see what sport she makes, she makes, she laughs :^^f^tt.z\z^±z to see what sport she makes, she laughs — 272 THE BRITISH MINSTREL; AND »ll*. b^fe ^S^^^z!t^^~w-,r^z:B\z^^t^:^&.cr:^fi»^ f^E^^^^^^Z^^'^^^^M to see what sport she niakes,she laughs t=^-e=pq=. =1:=^ Pft*i«p £E(E^E^"fflES^=Er ^gjgg ±-J!:=^ to see what sport she niake3,she laughs ^E^=Sz»f^»f: --*=P: le-p: g^B^E! iiizfc W=*: EpE^^Eggifegl ttta- ££^£ - =—r^zijEq ESEiES; \z^^^ [ftzt:f::\±^ ' .!— f^ such pleasure in our pains she takes, she laughs r-r-: .^-dt-- lis :s=f :F=s: g±gg^E^E: fcztz:; 4=:^. :f=P: I =P=p:|:i ! ! ! I I I Se!^^ ^fBffzcHrP ^-^^t: E^SEpm^ "-H-^- =:'^E-S^^t:r ±=tc: -XT 1— m to see what sport slie makes, she laughs 3tf^E|E^S3E^faEEjEf 3t=p ^—&B **±:: It sifgi to see what sport she makes, she laughs ::ff~K ElEe^ iW?t:P: £:£:tdrt 5iiSr^:^z ^iZ:^ '- ^=1zlz±;— A- fi:—If-J—:P-- itrs: ::^=t2:: EIEEE :tz to see what sport she makes. / i—w^-. Z=Jf-^-—W=^- E^gE EIEEE x-- zUit: -1- to see what sport she makes. /r / tes :t±: 5-^~f— —f_» :ix:t ,=lc~t=!ii:z=' — ' — MUSICAL AND LITERABT MISCELLANY. 273 THE WELCOME OF THE LILY FLOWER. Moderate. Jacobite tong. Af - tor sigh - ing hope to siag, And af - ter win • ter 1*5 -J *--d f-r -;-faiz:J-£r=:i :?Ef — 3:5 g^^JE^^ -rr— CS m , -A~ic—^ r- f^ P then comes the spring, And af - ter the spring cornea the mer - ry month of a=t :t== ±=t. /TS <'""• V Ik. IV ?^F^ El? ;j-:j2^,.^: qzp; ^E^& lE^ -*—«- jCi: I -h -^r y. To welcome in the li-lj^flow'r that's been sae lang a- way _H». ^ ,—^ ^ -- fa -I Mr I — —r r- hill hill, And a' the little birdies that sing sae sweet in May, And there will be lilting &ae to [ And there will be music baith loud and shrill, Will welcome in the lily flower that's been sae lang away. I THE LATE DUKE OF ORLEANS. "Yes, Sir." "Don't you like your place?" The late illustrious Cherublni, the Director of "Oh, yes. Sir; I should like it very well, but the Coitservatoire, after having had an interview unluckily I have no taste for Music." with the Duke ou some matter of importance rela.- " What, you are a musician, then?" tive to its affairs, had to give bis opinion on the " No, but / make notes." subject, after taking it into consideration. "Make notes! "My dear Master," said the Prince, "I shall be " Yes, A's and B's. I am condemned to be eter- at the opera to-night, and you will then tell me nally making notes. I wish I had something else what you think on this matter." to do." In the evening Cherubini felt unwell and unable The curtain rose, and the box filled with com- to go out. He, therefore, wrote a letter, and de- pany. The old domestic took his leave ; but the sired one of his servants to deliver it to the Prince's Duke, much amused, and somewhat curious, did aide-de-camp. not forget the conversation. The messenger repaired to the opera-house, was "M. Cherubini," he said, some days afterwards shown to the Prince's box, in which he found a to the composer, "why do you employ your servant gentleman sitting by himself. in making notes?" " Are you his Koyal Highness's aide-de-camp 1" " What, your Royal Highness— has he been talk- " Yes," said the Duke, smiling. ing to you?" After having read Cherubini's letter, the Duke "Yes— but what is the meaning of so odd an looked at the messenger, in whose physiognomy he employment?" was struck with a whimsical expression of discon- " Why, my Lord, this old servant of mine is very tent. useful to me. I don't compose at the piano-fortej " You are in M. Cherubini's service?" I write at my table, and have somtuody at the No. 115.—lid. i 274 THE BRri[SH MfNSIllKl,; AND piano to touch for me any note that I call for. It that tellest," had been assigned, anticipating a fa- is the old Italian method." vourable appreciation of his talents, wrote at the "Vastly well," said the Prince, laughing; "but end of the song (the chorus following immediately) why choose this old man for a duty which he by no the words "wait for the applause." This he in- means seems to relish?" dorsed not only in the leader's copy, but in every " Why, your Royal Highness, 'tis the lex talionia. one in the orchestra. At the conclusion of the When this old fellow and I first met, it was in the song the leader stopped, and there was a dead stirring times of the ninety-three. We musicians pause. " Why do you not go on?" said the singer, were forced to teach the people patriotic songs. in an agony of disappointed vanity. " I am wait- My worthy friend, who bad a voice like a bear, ing for the applause," was the calm reply of the made me play the Marseillaise to him for eight days. sarcastic conductor. This story reminds us of an So I swore to be revenged if I could ever find an anecdote which Robert Hall, of Bristol, was accus- opportunity." tomed to relate. " I remember," said his biographer, "And you have found it?" said the Prince. "at the distance of many years, wi'h what a vivid "Yes; it so happened that, fifteen years after- feeling of the ludicrous he related an anecdote ol a wards, he applied to me to take him into my ser. preacher of some account in his day and connecliim. vice. Aha, said I, comrade, you forced me to ac- He would sometimes weep, or seem to weep, when company you when you had the upper hand; so sit the people wondered why, not perceiving in what down there, and make notes for me when I want he was saying any cause for such emotion, in the them." exact places when it occurred. After his death, The Prince was amused with the story; but, like one of his hearers, happening to inspect some of a generous confidant, he got Cherubini to give his his manuscript sermons, exclaimed ' I have found old domestic some employment more to his taste the explanation; we used to wonder at the good than his everlasting task of making notes. doctor's weeping with so little reason sometimes, as it seemed. In his sermons there is written here APPLAUSE. and there in the margins, 'cry here;' now I verily WAIT FOR THE believe the doctor sometimes mistook the place, At a country festival, where the Messiah was per- and that was the cause of what appeared so unac- formed, the gentleman to whom the aria, " O thou countable." IN VAIN WOULD FORTUNE. Andante. ROUND FOB THREE VOICES. S. Wehhe. ^i^iiii^iig In would for - tune with tempes • tuous blast, The :s=1S sifilli=i£=^ -??: ±=il: -Tj-r- :^- r-i|-# Lock'd in the cred tfea'easurea of the post, What 1^=3: S^ ic: !!!—^^ — a=S :^=g=^^ Iiock'd in the sa • cred treasures of the pastiWhat 3d=:n pre sent pile of iiap - pi - neas de - stroy. ^!^=^=-T- "^^ irlz hare poa gesa'd I still en - joy. :!t:rJ5^=q: irElrzrrz^iziid riiziKn*—i: :z!: have pos I'd I still en joy- < ^r MUSICAL AND LITERARY MISCELLANY. W5 COME, BOUNTEOUS MAY. Words bff W. Thomson. GLEE FOR FIVE VOICES. Htginala Spqff'orth. With spirit, f 1st ALTO. p5g^ m Come, bonnteou3 Ma;, come boimteona May, bounteous May in fulness of thy / xt: 2d ALTO. l^'AlIl -pia- ^1— Come, bounteous May, come bounteous May TBNOB. -r^^ -.^=1^ 1— yr- ^Come, bounteous May, come, bounteous May ip: X3Z :r^r—r— Ist BASS. ^ge3 - — 1/ 'I I- Come, bounteous May, come, bounteous May / JE^^^s: ::N-PVn X3: 33: 2d BASS. ^ ^^3i? Come, bounteous May, come, bounteous May -q^MiL :P=:ft lEXE b I, II- 5 1z-t- =t^: t=^-^ P a^P ± tc4£=^ might,in fiiUness of thy might. Lead brisk -ly on the mirth in - fus-ing hours, lead pq=:r"r~r q-=- J^-^-V s-5- lr=!z3: =? I^T^ i: frrti^-f-r -J- i=5: -Ir-ir r • in fullness of thy might. Lead briskly on the mirth in - fusing hours, lead P ores. 11=25:1=1=1=1]: EE5 o Us^l^i}: ?H^qs;=^ 1— -4-t-^ l-W-^Wl^-J: i=P: ^ t—— J - in fullness of thy might. Lead briskly on the mirth in - fusing hours, lead p cres.^— -Q ' P - » • <) gf ife I ^=icrp: &: r- ^ -I- in fullness of thy might, Lead briskly on the mirth in • fusing hours p cres.^— 3s;:i|!s: m. 1 gE is^iqc —m—^ i—H ts=35:hs—»«— 1 3=pH- ^ * jOiirjE r ^ *^^g-#T^ : *-^: in fullness of thy might Lead briskly on the mirth in • fusing hours • 276 THE BRITISH MINSTREL; AND / -t-pi X3Z =^m=^ i=t: :r-r brisk - Ij, brisk - 1; on tlie mirth in - fus • ing hours, the mirth / ._ft- -t-Li,Jir=^^ir=pr=ft:F- ^ F- H- :?crp: IP==P =przp=p t- :trS SR^ •/—I— brisk - ly, brisk - ly on the mirth in - fus - ing hours, lead brisldy, lead brisk - ly / =&: 5s;=pn:c3 Si =1: ^^^- :p:!=i; ^ k-|?,-kii.fe^ SS^ brisk - ly, brisk - ly on the mirth in • fus - ing hours,Iead briskly, lead brisk - ly / -fllPlfSf^ a :x3; :SS=3^ m lead, lead, lead, briskly, lead brisk - ly / a±5E :3:3: tdfE^i^^^ a :?=:=* :!^t I lead, lead, lead, briskly, lead brisk • ly 1st., f£» 2d./| ff^itiF ^-f :fbzic fz:if=pi=^r^ nr—1== ^^ :tc^ I • in • fus • ing hours. Come hours. All re - cent from the bosom ^S fcQS rPftsa: I wmlull I t=er=^l on the mirth in • fiis-ing hours, come hours ?r=p:!=e r- EEE ±!*=i=P: -—g-I f-r—1-—I 1- 1-- zt g :zj=^-^- — — on the mirth in - fus- ing hours, come hours. All re • cent from the bosom /. ' ^"^ ^*^ #_(l_^_4l.-i-ft_^. a^^^^ -P=Pe: -e-M=- :^k-k-^:£^ te=t: --^f^ J.it3rt se i on the mirth in - fus • ing hours, come hours. All recent from the bosom s t=zw: :3= H—P- &^t f^^-- -© &- G-!- on the mirth in - fus - ing hours, come hours m MUSICAL AND UTERARY MISCELT.ANY. 277 32rzpr=p PEE^Et^^ 1 of de - light, :^ :^=~s}. - ^=^ ^^=is: I? I, 0^ i^ i r :5±3t ^^^ All re • cent &om the bo • eom of delight, vith nee - tar nurtur'd / . P T=\- :t: T. ^ 3t=i3=i^s=i=tg :i=Mz±:^ zirS: TJ- of delight. All re - cent from the bo-som of delight, with nee -tar nurtur'd w Utrq: 33; -s? ^ :|c of de- light, / p a-A-^-^pjt=pi:^^ -3:5—1-©' I =p ^EE _J_.J T \^i^=^=^=^\^ -jtz=^ All recent &om the bosom of delight, with nee • tar nurtur'd cres. :P-i-^-J-^--i=qE :t=t=t :ti3=i=3=t i: ,Ciit3: t^:^ with nee - tar nurtur'd and in - Tolv'd in flow'rs. S^S *=»: 1 1-- and inTolv'd in flow'rs with ^^^E^t~*-^-^ and involv'd in flow'rs |E_i._ftjH»_T: ^=:q= ai :P=1^P: -JH jE^=b±-^ \*=i- with nee - tar nurtur'd and in - voly'd in flow'rs, y : ^f^r- :Pz3t -«• ^ tctri: -o andinToWd in flow'ri with r — I r — ' — 278 THE BRITISH MINSTRFL: AND %' / ^- -q. -Q- -I Iiqzic :f^ irzrfct 1^ ^ffi i i in - Tolv'd in fiow'rs, with nectar, with nectar iCi_0-#^-i»^i^-,-nC?: rpzte S5=35- ± :p=qE EES53S^^ i:= — ±-l=fe: nec - tar nurtur'd aai in - volv'd in flow'ra, in • Tolv'd in flow'rs, with nectar, with nee • tar / ^-^ pq=p=pc^Mt— -€l- 3:^ r? HF rtczCrlE :t: in - TolT'd in flow'rs, with nectar, with nec-tar / .X3. ::._q. -q—0- r ,-r-r 5FF x ;l=ifc± tit=U3m^ How'rs in - Tolv'd in flow'rs, with nectar, with nectar / ^ nee- tar nurtur'd and in - volv'd in Sow'rs, inTolv'd in flow'rs, with nectar, with nectar _ Expressively dolce. -jg^V:. « -»-Mm-m-ff. .-P- m . P ^ ^ pp rall 9 ^ jrTN ^ 1 '- ^ ff _ p pprall? r\ P I I P- -=1—p- r r i— b—— --l_l=_ ri'^rrt-f— ifcit: hS p r- -I nur - tur'd and involv'd in flow'rs. in fiow'rs, in fiow'rs. B; ff P PP rail? /T\ P - I- — —rfcrziu 1 1—S=CT=&:hv-i—I—I — —fv-j— s t -.SEE: P r -*->- nur - tur'd and involT'd in flow'rs, ioTolv'd in flow'rs, invoWd in flow'rs. By jf „ PP rail? P. ~/T\ P *d2=ze!rto3 irrl: 33: X3: 33: ^^£K=5 ea-'-¥ nur • tur'd and invoWd in flow'ra By PP rail? iJi'ui', r.fr. » lEE 33: —g-lr- i; ^ H ; g i^ nur - tur'd andinTolv'd in flow'rs By MUSICAL AND LITERARY MISCELLANY 279. cres. •^ it-^ y-r^F » ft=f: zp-prsir^^ Earls'' rTTI^ S: jz-^ > i? r 5 se tfjz: J I ! i spring's sweet blush, by nature's teeming womb, b; Hebe's dimply smile, by Flo • ra's bloom, by cres. r r r r-T'-r. ir t? ^ r itrrltizpzp: SF=r=i -1— 1-/-" ^ ' / /-y-t'-r ^ -t spring's sweet blush, by nature's teeming womb, by Hebe's dimply smile, by Flo -ra's bloom, by -^r- ?5- :5 :M:qj: f!r*±i: :3ti3til:;:5z spring's sweet blush, by nature's teeming womb,^by Hebe's dimply smile, by Flo -ra's bloom, by cres. spring's sweet blush, by nature's teeming womb, by Hebe's dimply smile, by Flo - ra's bloom < spring's sweet blush, by nature's teeming womb, by Hebe's dimply smite, by Flo • ra's bloom, by ^=^- a; r- g^^^^Fffr^^g^^^^ -1— Ve - nus' self, for Ve - nus' self demands thee come, by Ve - nus' self, for Ve - nus' P :fc=?$ -P^-frrg 3E33E M:r:i-4-fzjiz fe=t£=:fe ^±z m Ve . nus' self, for Ve - nus' self demands thee come, by Ve - nus' self, for Ve - nus' !! i N— > N M N N > N ^ li-J^J 4 4 i_-J_ =fc3^ 3t=C: Ve-nus' self, for Ve - nus' self demands thee come do > mands iit^xc^ :S3; -sf- 5EEE ^^^^ by Ve - nus' sel^ for Ve - nus' m ff:=i*--»-.-i='ii: :g--|r~^ s Ve-nus' self, for Ve«nui* self denumda thee come, by Ve-nus' self, for Ve-nua' — — I 280 THE BRITISH MINSTREL; AND J=B=ejdlr:(t;=i t=t Eg=^^^^^=^^EgE itr Miiiiiili self de • mands thee come, by Yenus' self, for Venus* selil^ Venus' self de - mands thee cres. f ^i=SLz:f.-ti ifzsrrpE: :f-4»=Pqr^ rs5r; S= :P=P: fci:=[gzztz:: dz 4^=:^:^ tztt:^: :3= J: I self demands thee come, by Venus' self, for Venus' self, Venus' self, de - mands thee cres. f PV f -jfL-jX^ <=-2^-e- thee come, by Venus' self, Venus' self, de - mands thee cres. aS33Hfelf =^zq: e:3 self demands thee, come Venus' self de - mands thee / PP f ::!S=T ntqi Wr 3z^: HE^ :icp: H :^ :p=zi-i±:i: i=tc:!«z f=:P: 1— self demands thee, come, by Venus' self, for Venus' self, Venus' self demands thee Ist. 2d. I pp\ \ PP — ^ , ^ 33^=1^=:?: g W .'-HLdr, -f |-=p::rqip=^rni=pL:==r:x=: 33: itits: t=^:=t£ I come, come, come, come, come, come, come, come, come, come, come, come, come, come. PP PP K^W. zw=:zir=W=^ iEE^^ -=1-Fi- ^ rp±zp:f-fi -/ I P / 1- I PS^I come, come, come, come, come, come, come, come, come, come, come, come, come. come. P PP PP \-^ _»-=|_Fi_»_=Hi_L.^Zl :g—:e=r—r-=e:=e=errj?: :P±=P: -/ 1 /—/~tr /-—/--ir fcr ?^ -/ 1~'"-/ come, come, come, come, come, come, come, come, come, come, come, come, come. come. P VP VP z:zr-~f:=ir= :x3; 3i :e=?Er=e f—f—e: f:^=gE^:^=P=f:^ zt^:- HEE^ jtzrtfcrztc iltzzfc :=fc: come, come, come, come, come, come, come, come, come, come, come, come, come. come. P PP PP :^ :iizr:r^pE=iFj::ft:=z=5r|i: :p:=x3z •jz: =E;E[t~i^— [tr:^=;tt; i-S==i:: z:fe:—f!r:=t=iB come, come come, come come come come, come, come, come, coUe, come, come. MUSICAL AND LITERARY MISCELLANY. 281 THE GIRL THAT I LOVE IS A MORTAL LIKE ME. Moderato. —1^- z-:^-^ -^z&zf.: S~*: lS=qt ;ff= Z9.=-— ^^^tqfcq^ ?i :&:!^d=tt:£E:zkr :=^-«~i=:g S±i= ±z: Let po - ets their mistress - es praises rehearse, And a - dorn each proud fair with the i j-j- :f: a -^T-*. -P- a=fci :p: :P= lEfi: i -t<-r- =3--; g"a-»-|-f^-^»-^- £rbi:T^:zi~t:=rrfc=gzEt:^=^ztt^=^ fiction of verse; A goddess and Ishouldl'm sure ne'er a • gree, For the girl that I fTiB^iu»«jmsa| iiiiiiiiiiMi^ loannvM^ I I I I I I _ -l»- I I I ~iV O I —»._ ^ _». ^>s: :^z^-z^ :N- --W r- ^^ -fL--*.. frrw: r^: :fe:=^: 1S^=5^ ^-t- :P=:^=^ jsnt:—fe: ^^\m S-^i- na-ture has blest her with charms I must owji.B'it for love is a mortal like me. Kind nA. ^I^± Jz^bzr_ t: -4V- liS-zsrq^:T^- )k: =3-~:e=f=q;;W :i=: f=:=:^=^=' =~a.i -••I—•-\*- :l^-: ~te: theso she's in-debt-ed to na-ture a - lone, No art. no de - sign in my r n' rn. -^-n— =3-LW-^_J-i -» -W- -| r- r- zzt: It: /TN ^7\ 'iE=P=^- -^z—rzzKz-i^z^^^- S±z^-\^zz}f:-^-\^,^=f=r=t=t-^=(s :iS :t£=:^z±z' ±.~iz± El - len I see. For the girl that I love is mor - tal like me. -» n— e^J- ::^=:rr==j=:£= -•—H— :t=B= ±:iz-. -I— Health blooms on her cheek, virtue smiles in her eye, I apply not to Venus nor Cupid for aid, I love her, I love her, I'll tell you for why, But apply where I love to beautiful my maid ; She laughs, sings and dances, is lively and free, This alone the fond wish of my bosom shall be, And in truth she's no more than a mortal like me. Love a mortal dear Ellen, and let him be me. No. 116= — 282 THE BRITISH MINSTREL; AND : PAISIELLO. sounds to gather in the hounds ' There he is again : —to the lake !-7-to the lake! — he's olf to the Gap of It is not generally known, says a foreign musical Dunloe! — he's lost! —he is earthed!' Then comes periodical, that this great composer remained in the song of lamentation for the loss of the fox; the lie com- Russia nine years, in the course of %Yhich hounds are drawn oft'; the huntsmen dance down " " posed La Serva Padrona," II Matrimonio Inas- the hill to the Fox-huuter's Jig. The effect he " " pettate," II Barbiere di Siviglia," I Filosofi Im- produced by his enthusiastic shouting to the hounds aginari," and" La Finta Amante"—this opera was —by the imitation of the yelping of the dogs—the composed on the occasion of the journey of Cath- shouts—the general confusion of a fox-hunt—and erine to IMohilon, in Poland, where she had an by the song of lamentation—was really extraordi- interview with Joseph "IlMondo della Luna," II— nary ; no one, without hearing it, would believe that " " in one act, La Nitteti," Lucinda ed Armidoro," such an effect could be produced by so small and " Alcide al Bivio," " Achille in' Sciro," a cantata so sweet-toned an instrument. for Prince Potemkin, and an interlude for Prince Orloff. During his residence in Russia he com- posedfor his pupil, the Grand Duchess Federowna, ORIGIN OF THE OPERA IN ITALY. consort of the Grand Duke Paul Petrowitz, several sonatas, voluntaries, and pieces for the pianoforte, The Italian Opera, now viewed with so much in two volumes. He likewise published a collection interest throughout Europe, owes its origin to the of rules for accompanying from a score. This following incident:— It was about the year 1494 small performance was printed in Russia and on that three young Florentine Noblemen, associated its publication the Empress conferred upon the together from a similarity of taste and habits, and author a pension of 900 roubles per annum. At from a congenial love of poetry and music, con- Warsaw he produced the oratorio of " LaPassione," ceived the idea of reviving the recitative of Grecian the words by Metastasio, for King Poniatowski. Tragedy. They engaged the poet Rinuecini to Paisiello was not only a great musician; be pos- write a drama on the fable of Daphine (Dafne); sessed a large fund of information, he was well and this drama was set to music by Peri, the most versed in the dead languages, and conversant in celebrated composer of that period, assisted by all the branches of literature, and on terms of Count Giacomo Covsi, who, although only a dilet- friendship with the most distinguished persons of tante, was, for that time, an excellent musician. the age. He composed 78 operas—27 serious and This dramatic composition was privately repre- 51 comic^eight intermezzos, and an infinite number sented at the Corsi Palace. The singers were the of cantatas, oratorios, masses and motettos, Te authors and their friends, and the orchestra of this Deums, &c., seven symphonies for the Emperor opera consisted only of four solitary instruments, viz, Joseph II., several pianoforte pieces for the Queen apiauoforte, aharp, a violin,and a flute. Airs were of Spain, and many theatrical scenes for the court not thought of, and the recitative, if so it could be of Russia. Dr. Burney, in speaking of him, says, called, was merely a species of measured intonation, " In 1770, he was the only composer in Naples who which to us now would appear insufferably languid could make head against the high favour in which and monotonous. It is amusing to observe this Piccini then stood, after his " Buona Figlinola." simple opera in embryo, and compare it with the We were so happy as to hear him improvisaire in sublime compositions of Mozart, of Cimarosa, of music at Sir William Hamilton's, when, having Rossini, and the vocalists and the powerful orches- dined, he was begged to sing a scene of an opera, tras we have in the present day. But, notwith- but there being none at hand, which he liked to standing the simplicity and feebleness of this first perform, he said 'Date mi un libretto,' and the attempt at dramatic harmony, it is stated to have words of the first opera that could be Ibund having produced at that period an extraordinary sensation. been put on the harpsichord desk, he composed and Four years afterwards there was represented at the sung extempore three or four scenes in so exquisite theatre at Florence the first musical opera, entitled a manner, to his own ingenious accompaniment, Euridice, on the occasion of the celebration of the that no studied music or singing we ever heard of marriage of Maria de Medici. In this instance the the greatest composers or performers ever pleased introduction of Anacreonic songs, and a chorus at us so much. It was not written music—it was the end of every aci, was the first outline of ap- inspiration." Tliis great musician died at Naples, proach to the arias and choruses of the modern the 5th June, 1816, aged 76. opera. Monteveride, a Milanese musician, greatly improved the recitative; he brought out the work entitled Arianna, the music by Rinuecini, for the Court of Mantua ; and in the opera of Giasone by GANDSEY THE IRISH PIPER. Cavalli and Cicoguini, brought out at Venice in 1649, we find the first arias corresponding in sense Mr. Wilson, the Vocalist, in a letter to a friend and spirit with the dialogue. The first regularly in Edinburgh, thus describes Mr. Gandsey and his serious opera was produced at Naples in 1646, and performances on the Irish Pipe: —" He is a reverend was entitled "Amornonha legge;" the name of looking old gentleman, with lint-white locks, and the composer is lost. During a moiety of the past seems to revel in his own exquisite music. After century the opera did not improve, but rather de- playing mauy of the slow airs, he played what is generated. It became in Italy, as in France, more called the Killarney Fox-hunt, with prodigious of a pantomimical spectacle, everything being efl'ect. It was an extraordinary performance : first, sacrificed to the eye, and in which the poem and the horn sounds to unkeonel the hounds; then the music were the last things considered; and it there is the beating about for the fox; at last the was those eircumstances which led Goldini to suy huntsman joyfully "cries out, 'The fox! the fox!' of the grand opera at Paris, " C'etait le paracUs des then the hounds break loose with a tremendous yeu.v ct I'enfer des oreilles."— Correspondent of the halloo. After a hard run they lose him ! The horn Moralntj Herald. — MUSICAL AND LITERARY MISCELLANY. 283 SONGS OF TRADES. antiquarian in these sort of things, says that few are older than James 1st; the more ancient songs Men of genius liare devoted some of their hours of the people perished by having been printed on to render the people happier by song and dance. single sheets, and by their humble purcliasers hav- The Grecians had songs appropriated to tlie various ing no other library to preserve them than the walls trades; songs of this nature would shorten the on which they jiasted them. Those we have con- manufacturer's tedious task-work, and solace tlie sist of a succeeding race of songs, chiefly revived or artisan in his solitary occupation; a beam of gay written by Richard Johnson, and others. One fancy kindling his mind, a playful change of mea- Martin Parker was a most notorious ballad scrib- sures delighting his ear. The character of a people oler in the reign of Charles 1st, and the Protector. is preserved in their national songs— for instance, The feeling our present researches would excite " God save the King," and "Rule Britannia." At would naturally be more strongly felt in small com- Thebes, in those masses which remain belonging munities, where the interest of the governors is to to the ancient walls, we saw enough to convince us contribute to the individual happiness of the labo- that the story of Amphion having built them with rious classes; these ingeniously adapted to each his lyre, was no iable; for it was a very ancient profession, and some to the display of patriotic custom, and still exists both in Egypt and Greece, characters, and national events, would contribute to carry on immense labour by an accompaniment something to public happiness. of music. The same custom appears to exist in Africa. Lander notices, that at Yaorie, the labour- ers in their plantations were attended by a drummer, VOCAL MUSIC IN SOCIETY. that they might be excited by the sound of the in- As to the performance of vocal chamber Music strument to work well and briskly. Among the in this country, what is it? I will endeavour to Greeks there was a song for different trades ; one describe it as it exists in the Metropolis, where we for the corn grinders, another for the workers in may fairly suppose it ought to be the best. I do wool, another for the weavers. The reapers bad not speak of large set parties, where Opera singers their carol; the herdsmen had a song which an are paid to sing over and over again the very same ox-driver of Sicily bad composed ; the kneaders, the songs that every one has heard a thousand times on bathers, the galley rowers, were not without their the stag£, but of small parties in private society. several chants. We have ourselves a song of the Some young lady, we will suppose, is asked to fa- weavers; and the songs of the anglers— of old Isaac vour the company with a song; I will bet ten to Walton and Charles Cottou—still preserve their one that her book opens mechanically at " Di freshness. Dr. Johnson has noticed something of piacer," " Una voce poco fa," or some such piece, this liature which he observed in the Highlands; which none but a prima donna of the first rank can "the strokes of the sickle were timed by the modu- hope to execute; but here an unexpected ditiiculty lations of the harvest-song in which all their voices arises; the lady cannot accompany herself ! some were united." " There is also an oar song used by kind-hearted soul, although totally unaccustomed the Hebrideans;" but if these chants have not much to accompany a singer, is prevailed on to undertake meaning they fail to produce the desired effect of the task; and between the two the song is perpe- touching the heart, as well as giving vigour to the trated, amidst the loud outward plaudits and in- arm of the labourer. The gondoliers of Venice ward ridicule of the company, while the pleased while away the midnight hours by stanzas from mothers congratulate each other on the talents of Tasso. Fragments of Homer are sung by the their respective daughters. This is no overcharged sailors of the Archipelago. The severe labour of picture; full many a time and oil have I witnessed the trackers in China is accompanied by a song it; full many a time have I been selected as one of which encourages their exertions. Mr. Ellis men- the victims, to warble to the best of my ability, tions that the sight of the lofty Pagoda of Tong treble, tenor, and bass by turns, in all kinds of Chou served as a great topic of excitement in the Italian duets, trios, &,c., from " E ben per mia me- song of the trackers, toiling against the stream to moria," down to " O pescator del' onda," until I their place of rest. The canoe-men on the Gold have wished powro Pipjio, young ladies, myself, Coast, in a very dangerous passage, "on the back fishermen and all, at the bottom of the Adriatic. of a curling wave, paddling with all their might, A glee may possibly be wished for as a change singing or rather shouting (heir wild song, follow in the entertainment. To accomplish this is nearly it up," says Mr. M'Leod, who was a lively witness as difficult a task as one of the labours of Hercules. of this happy combination of song, of labour, and One can only sing the iirst line of this; another the of peril, which he acknowledged was a terrific pro- second line of that; a third does not understand cess. Our sailors at Newcastle have their "Heave the C clef: at length two young ladies and their ho! rum below!" but the Sicilian mariners must brother, or perhaps some good-natured uncle, who be more deeply afi'ec'ted by their beautiful Hymn may chance to possess a cracked voice, half-tenor, to the Virgin. A society instituted in Holland for half-bass, start off with the Red Crvss Knight, the general good, do not consider among their least bass solo being most stoutly accompanied by tlie useful projects that of having printed, at a low singer with one finger on tbe piano-forte. price, a collection of songs for sailors. We our- Now all this sort of thing may be very amusing selves have been a great ballad nation, not exactly as a matter of child's play ; but to suppose that of this description, but rather of narrative poems. anything approaching towards intellectual enjoy- They are described by Puttenham, a critic in the ment can be obtained from such a mode of pro- time of Elizabeth, as "small and popular songs, ceeding is altogether absurd. sung by the Cantabanqui, upon benches and bar- O tliat young ladies and gentlemen would learn rels' heads, where they have no other audience than to read Music upon the same plan that they learn boys, orcouutry fellows that pass them in the streets; to read a book! that is, by first making themselves or else by blinil harpers, or tavern minstrels, who acquainted with the alphabet. How little study, give a fit of mirth fur a groat." Rilson, our great comparatively speaking, would it cost them to attain — ; — ; 284 THE BRITISH MINSTREL; AND sufficient knowledge to take a part in concerted Fodor was the delight of all the musical dilettanti Music of the highest order, instead of wasting their of Europe, and her success in certain characters time in endeavouring to execute unmeaning ca- was altogether without precedent. During one dences fit only for an instrument, or att'ecting to sigh season at Vienna, she played " Semiramide" sixty and simper over the mawkish nonsense to which times successively, and to an equally numerous and so many songs are adapted, but which to call poetry delighted audience the sixtieth time as the first is a profanation of the term. and at Venice she played the " Elisabetta" of Oh! ye prim and precise mothers! did ye but Caraft'a thirty-eight times successively. understand one half of what is sung in a foreign Perhaps the most extraordinary and afi'ecting tongue, how would you be horrified ! What would scene that was ever witnessed on a public stage you think were you aware that your daughter was was the one which closed the public career of this singing a duet in which the gentleman (a great remarkable woman, at the Italiens in Paris, in the libertine) was trying to persuade the lady to break season of 1823. She was at that time at the height her plighted troth, and run oB' with him? But that of her fame and popularity, and had, at the earnest is not the worst, for after a great deal of ehiquent solicitation of M. Sostheue de la Rochefoucault, persuasion on his part, and wavering on hers, the refused a very lucrative engagement at Naples, and expression of which is aided by the most impas- accepted one at Paris on much less advantageous sioned 3Iusic of the most impassioned of composers, terms in a pecuniary point of view. she overcomes all her scruples, the libertine pre- The evening arrived for her to make her entree vails, and oil' they dance, congratulating each other in " Semiramide." The theatre was crowded from that theirs is un innoccnte amor.* the floor to the ceiling; the whole musical world I must confess that, admirer as I am of the of Paris was present, and many of the musical cele- Italian language, more particularly with regard to brities of the rest of Europe, including Rossini, its admirable fitness for singing, I would rather Cherubini, Choron, &c. ; and every one looked for see the young singers of this country give a little a degree of success never exceeded in the annals more attention to Music composed to the equally of song. exquisite poetry oftheir native land. Good Heavens! The curtain drew up ; the great actress—the is it to be said that the pure stream of verse which Queen of Song la prima dcUc prime ilonne, as the has flowed from the pens of our poets since the Italians called her—presented herself on the scene; time of Edmund Spencer is not equally capable of and her majestic voice was as rich, radiant, and being the vehicle of musical sounds with the sonnets powerful as usual. She went through the first of Petrarca and Sannazario? or have we not those scene of the Opera in a way which caused her exit among us who can outdo the manufacturers of to be greeted by ecstasies of delighted enthusiasm, wretched Italian Libretti? It is true there are not amounting almost to delirium. words in the English language like pietd, fdicitd, At length she re. appeared, and proceeded with amort;, onore, &c., wherewithal to round oft' our her part till the fifth or sixth bar of the first air, stanzas, and the harsher consonants do certainly when suddenly the divine sounds of her voice en- occur more frequently; yet our versification is not tirely ceased— cold drops of perspiration started to on tliat account the less flowing, and soft words her brow—her lips quivered, and her chest was may be found if due care be taken by the author in violently agitated. But not a sound was heard ! his selection. For example, can the Italian or any The orchestra ceased playing—the curtain was other language surpass in smoothness of numbers dropped —the house was in consternation, both or correctness of accentuation Moore's well-known bel'ore and behind the curtain. In the former, the song, " Oft in the stilly night," or the trio in Han- agitation was in some measure calmed, by the acting del's .4m a?!rf Gaiafta, "The flocks shall leave the manager stating that the sudden indisposition of mountains !" These are but two instances out of Mdme. Mainvielle Fodor must cause the perform- hundreds that I could name. From " A Short Ac- ances to be suspended for a few minutes—an an- count of Madriyals" by Thomas Oliphant, nouncement which in a great degree re-assured the audience, who judged from it that the indisposition ANECDOTE OF A CELEBRATED PRIMA was one of no moment. DONNA. In the meantime, the dressing-room of the prima donna was a scene of indescribable confusion and readers Few of our who have reached middle dismay ; for all jiresent were convinced that her life will not recollect the name of Mainvielle Fodor voice was utterly gone; and she herself exhibited many of them will remember her as, perhaps, the her despairing belief that such was the case, by most extraordinarily gifted female singer that ever flinging her arms about in the wildest manner, graced the boards of our Italian Opera. The range striking her face, tearing her hair, and exhibiting of her voice included two octaves and a half, its every sign of distress but those audible cries which exquisite quality was still more rare than the extent usually indicate mental suB'ering, but of which it its register of ; and her style, method, and expres- was evident that she was now physically incapa- sion, have probably never been equalled, either ble.—And the friends who were present were before her time or since. Perhaps no better proof scarcely less incapacitated by their grief from ex- of this latter proposition can be oft'ered than the pressing the amount of it. Rossini fairly wept; fact that she gave equal felicity of expression, and and Choron (who had a strong sense of religion) an equally characteristic effect, to the profound had fallen upon his knees, and was begging her to sentiment and passion of Mozart, and the captiva- calm her agitation, and trust in God, who could ting brilliance of Rossini : which certainly cannot never, he said, have given her so wonderful an organ said be of any other prima donna of the last five- only to destroy it in an instant, without apparent and-twenty years. cause, and without warning. During a period of ten years, Mdme. Mainvielle Meantime she uttered not a sound, and only re- plied to tlieir tears and remonstrances by pressing " * See Dou Giovanni" at the duo "La ci darem." the hand of each. — — " a — MUSICAL AND LITERAR-* MISCELLANY. 285 By this time more than a quarter of an hour had lected, the poor Highlanders were routed by the elapsed, and the house was growing impatient, and Royal forces in April 1690. All around, the dark in the breeze, even violent, in its demand to be informed of the heath is waving and a clear stream singer's actual condition. At this moment the comes gushing down the hill-side, chiming its lively " acting manager entered the dressing-room of Fodor music around the ashes of the brave who sank to and stated the impossibility of any longer delaying rest" on its solitary banks. From the proximity of is circumscribed, to reply to the public impatience, and he added the hills, the view rather and the that he was about to announce to the audience that eye not being allowed to wander over much space the performance could not proceed. of country, the mind is, as it were insensibly, led to The eliect which this declaration produced on ruminate on the troubled times of our ancestors, the suB'erer was prodigious, and in some sort terrilic. when the brave Highlanders fought and fell on the Tlie colour came to her face, her eyes flashed tire, Haughs of Cromdale. Much of the romantic en. she rose from where she had been sitting, her lips Ihusiasm which filled the breast of the mountain- moved convulsively, and at length she cried out, in eer has died away ; and mankind seem now-a-days a loud, full and resounding voice to delight more in speculating upon the present " Draw up the curtain — I will sing ! and the future than in contempalating scenes as- " !" embracing her. sociated with the past. We accordingly find the Saved ! saved cried Rossini, " Heaven has had pity on our grief!" exclaimed battle-field visited by comparatively few—the grave the pious Choron. of the warrior often passed unnoticed—and the The curtain was again raised — the theatre trem. echoes of the ruin, where the martial sjiirits were bled with the shouts of applause that greeted the wont to convene, but rarely awakened, unless by cantatrice—then a profound silence of expectant the bleating sheep, or the noisy jackdaw. Yet interest and curiosity succeeded, and she went who will not say with Byron through the remainder of the Opera with an eflect " There is a power equal, if not superior, to anything that had ever And magic in the ruin'd battlement before been heard from her. For which the palace of the present hour As the curtain fell on the last scene, the excited Must yield its pomp, and wait till ages are its dower. and exhausted singer fainted and fell to the ground. Jiivenwss Courier. She was speedily recovered, but again her voice was gone—never to return ! Court Journal. LIFE AND ETERNITY. Life is the veil that hides eternity.— THE HAUGHS OF CROMDALE. Youth strives in vain to pierce it, but the eye Of age may catch, thro' chinks which Time has worn, Many are familiar with the tune bearing the Faint glimpses of that awful world beyond above title ; but comparatively few, we opine, have Which Death at last reveals. Thus, life may be seen the place where the action was fought which Compared to a tree's foliage ; in its prime, gave rise to this celebrated strathspey. As the spot A mass of dark, impenetrable shade, is rather secluded, and little known or visited, a It veils the distant view ; but, day by day, short description of a ramble to it may not be un- As Autumn's breath is felt, the falling leaves, Opening a passage for the doubtful light, interesting. It lies at the foot of Cromdale Hill, Exhibit to the gazer more and more and is reached by a pleasing walk of four miles Of that which lies beyond.—till Winter comes, from Grantown. Soon after leaving the village the And, thro' the skeleton branches, we behold broad waters of the Spey burst suddenly up mile. stone, and turning in the direction of the old ers ; for incom])arably better judges than myself Castle of Lethendrie, some time may be spent in tell me that many of the native airs are expressive viewing the ruined pile. Tradition has not pre- and pleasing. Madame de Verger says so, and served any interesting records of this dilapidated such is the ojjinion also of my inspired and valued structure, and judging from its appearance, it could friend, the Chevalier Neukomm, whom I have met never have been a place of strength. Although not at Algiers. Of all happy incidents, that which I large, it appears to be of some antiquity, and is yet least expected in Africa was to meet this great man so far entire that an honest farmer has converted —the nephew of Haydn, worthy of his uncle—the one of the vaults into a byre; and the gudewife composer whose touches on the organ are poetry finds ample accommodation for her dairy produce and religion put into sound. He has crossed the in another. Proceeding from the castle, the road Mediterranean merely to visit his friends the De leads directly to the .scene of the engagement— Vergers. Colonel De Verger called on me the level moor, interspersed here and there with patches other day, bringing the Chevalier Neukomm with of green, said to be the graves of those who fell in him; I need not tell you how I greeted him —we this sanguinary cuiiliict^in which, it will be recol- talked about Algerine music, and he told me that — 286 THE BRITISH MINSTREL; AND he found something in it which he liked for being- ablest discoverers of merit, be it ever so rude and natural and characteristic. I said, " You surprise faint, in works of art. Our poets, Scott and Gray, me, Chevalier; then I suppose you can admire could discover genius in barbarous ballads that even our Highland bagpipes?" "Nay," said had eluded the obtuseness of common critics. Our Neukomm, " don't despise sculptor your native pibrochs ; Flaxman walked among the uncouth sta- they have in them the stirrings of rude but strong tuary of old Knglish cathedrals, where defects of nature. When you traverse a Highland glen you drawing and proportion are obvious to the eyes must not expect the breath of roses, but must be of a child. A surface critic would have derided contented with the smell of heath : in like manner, those monuments ; but Flaxman's eye penetrated even Highland music has its rude, wild charms." beyond their shape into their spirit—he divined Well, upon rellection, his words seemed to confirm what the sculptor had meant, and discoveied tender me. in the opinion that the greatest artists are the and sublime expression." FILL THE BOWL. Vivace, GLEE FOR THREE VOICES. /. Dyne (1 768). * • J f IS -^-t—- -V~-V* —•-T-|»- ALTO. S^ESEEzE H 1 1 |-*d 1 :c=:p: :t= :tr--tz:= Ig Fill the bowl with ro wine, arouad our temples ro - ses Iz^zh Us: fc-p-—^1 TENOR. Ezzi^^rriz =£=:*d-Jt=^3= -p-±»z zfzfzbizpdr:^= |=:zl Fill the bowl with ro - sy wine, around our temples ro - ses zz:=z|zr|zzqz:fz zpzzz|zpzffZ|z:;t=:P:q BASS. -ff: i^±^E^pf^#feEE:^SE?E^=E^lfeE^fE twine a - round our tem - pies ro - ses twine, twine. And let us l-$Z^: ;zztfzlz:izz?: T=w-- 'A E^ElEgE^EElEgilEi=^- .-i twine a - round our tem - pies ro - ses twine. twine, :f- .-n- — 3±i=liE:^: :i=-ff= zti^-y. l=P^i^^i^^ And :^£#fi :t^in. ' |±z^^=£^zj:z^_^=±3Z=5^U5z|^^f=|gE: :iz:z cheer-ful - ly. cheerful - ly a • while, like the wine and ro - ses -f^#: f- ^s:=K .zrrzzzr. .zz—zz&zri ^#: ::s~S= :iz5zzp: :=)-= tir. :3zz EE^EE^BEl cheerful - ly a - while, like the wine and ro - ses _pi_ 5E%teESE! :zi^:fz:p:l»ziz:' riztzczc: ztz^rp^p: :#=t -t--- :^=fc£z^l-=^= |^£g^| let us C — — MUSICAL AND LITERARY MISCELLANY. 287 *:»: #=!: *=P=p::pr smile, like the wine and ro - ses smile, And smile. To day l^ifeigEglligE ^ ;J:zt ^^Hiilil smile, like the wine and ro - ses smile. smile. To day is /0> =s: 9±ii*^ -^=^2 .35- :ft=i=:§: }iiH:^rtr: -_.^. -©—I *^^ Siegigl^^^tai!: P=f: ::i-^ —I -H-l- t?zi=I=: -1 r— "^ p^i — '-i-^-— ours, what do we fear. To - day is ours, we have it here, let's treat it rf -=:rz:5Z|=j=n=jq==:= :=!= z=i=^^^=:fcl =:^=tf*: f:=ud==:^~pri $ 1-r- -I- ours, what do we fear. To - day is ours, we have it here, let's treat it -e-S»- e±ii« —g» 3E:q- $zS=:zid^. 11^ 5^E3: Sii:-^E^=r=rfgeE^^^ET~^^E:-EEgE^^?^^^^ zUiitrt ]rt:t=: m 4- ESS I kind - ly, that it may wish at least with us to ~ tr /f -ffz#. feg^gj ^^^ »IS53EfEter^'=± —1- kind - ly, tliat it may wish at least -with us to — :=]-=q=?r :i: pe: 3_L ^.—Pqz:^ m-Td— 3as=g=g= li^ElSE^EE^JE^EtESEPE* :t£E; anri -fj; t=T-q!^=-=g=^;f=|:(^x35=:?q-_^-:PrpBr^-- t^E^^^^i^^^^im. =t r- !^=E^El;z3: mm slay, let's treat it kind - ly that it may wish at least with us to hf^». =rS=l=s^r:^: ==:3: qrqzz :-jd: -*- tsL --] '--i-t-- eI^ stay, let's treat it kind - ly that may -wish at least p'ith us to ^I=-S5=::f: -e 1- zzzl— zt=z]=z:u= ^=i^Er :i—ziz — 288 THE BRITISH MINSTREL; AJND Allegro. J :i^»^-^'^ ^iip^g=gpg Let's banish care, let's ban-ish sor-row, not to us be - longs to - morrow. not to us be longs to - morrow, banish care ::=!- -Jf^rw: -M-p.- '^^1 #=S=t:=:t==:t:=t=: t—^,— -J-z I let's ban '- ish sor - row, let's :3Z5: :x3: ^Eggiggjp^^ I ban . ish sorrow, banish care -^^. t:±-- :iZ£z:f- £S=^Ep^E^|=^±E?iEi=S :tc=lzp^ -L^ ir- let's ban - ish sor - row, let's ban - ish sorrow. .fi qr.pL~s^r=^^ ==:t: -ji-^: g±i^ -l^-i:f=pcf^: f#^ -y^ :l^:=fc - " nu.'- k* 1 1 1 ban - ish sorrow, «j:Pi^_, jnzizfizjfzzfr- :f:=fEi fcfclEsaEEg: itrzt -!=!-»-? -^^ :i::==p: :fc=^ not to us be - longs to - morrow, not to us be - longs to-morrow, let's A> /7\ -f=ff= m-. — «-i-. -f- not to ug be - longs to - morrow, not to us be - longs to-morrow, let's ^r^ -PZT- S3il'& r^xt x—n --^=r- ::p:r:pz^i: :t: :t=i: Jz=|=j--^ ijii^fc .1- :ie=*=:Mi 1 — ; — ; f ; ; MUSICAL AND LITERARY iMISCELLANY. 289 ANNIE LAURIE. Moderato. Scottish air. dolr.e. Maxwelton braes are bon - nie, Where ear - ly fa.'8 the dew, Audits p=|:ff—jE=tjL—.ipqL— zw—^:, :p!:ct:t It —-3 ^--1 1 P=f: z^iz 5E^t^--^- there that An - nie Lau - rie Gied me lier promise true Gied p with express. -J^. KT-T-J^ ^~^- 1^ =«: "5—^-7 \-^ — -«- -m- -«2 me lier pro - niise true, AVhich ne'er for - got shall be, And for a;~^-^x=i±.f.t -I— ^-1 ^-r~^-l— -atT—r-l H-r~r-l- :~=fftzc: '^^m ::c3=S=|=Ix TP 1«^ =3E=^S=-i1^= bon - nie An Lau - rie I'd lay nie doun and dee. y-AZt-.f,-t-,~^lt-'tZ,-, :^:pqrp[.T:p:|=q=ft:-^=—^.-r:p ^T-E4sn-= a±r=i£^»:Er*Ei^-tztN= :t crtirb^rtrttr^ip f- zz=:fi=t=:t:t:S=f=uzb—tail =«)=t:fc*= ih Maxwelton braes are bonnie, Tliat e'er the aun shone on, Where early fa'a the dew, And she has a dark blue e'e And it's there that Annie Laurie And for bonnie Annie Lauria Gied me her promise true I'd lay me down and dee. Gied me her promise true, Like gentle dew-drops falling shall AVhich ne'er forgot be ; Alight her fairy feet And for bonnie Annie Laurie And like winds in summer calling I'd lay me down and dee. Her voice is low and sweet. Uer brow is like the snaw-drift, Her voice is low and sweet, Her neck is like the swan, And she is a' the world to me; Eer form it is the fairest And for bonnie Annie Laurie I'd lay dee. That e'er the sun shone on ; me down and No. 117. —— I —:I — — 290 THE BRITISH MINSTREL; AND LABLACHE'S ABSENCE OF MIND. royal summons he forgot the hat he had on his bead, and, snatching up another, thus entered the King's The following is in the Courrier Francaise — cabinet. Being received with a most hearty laugh, " Few are there in the world who are not acquainted Lablaehe was confounded, but at length recovered with the talent of Labiacbe, but his oocasional ab- himself, and respectfully asked his Majesty what sence of mind is not so universally known. When had excited his hilarity. "My dear Lablaehe," re- last at Naples he was sent for to the palace, entered plied the King, " pray tell me which of the two hats the waiting-room, and till called in to his Majesty, you have got with you is your own, that on your conversed with the courtiers in attendance. Having bead, or that in your hand? Or perhaps you have a cold in his head, he requested permission to keep brought both as a measure of precaution, in case on his hat. Getting into full discourse, he was you should leave one behind you?" "Ah! male- suddenly startled by the gentleman in waiting cry- detta," replied Lablaehe, with an air of ludicrous ing out— his Majesty demands the presence of distress, on discovering his etourderie, " two hats c:_„— T .'.(ache. In his eagerness to obey the are indeed too many for a man who has no head." UP CLANSMEN, UP. GLEE FOR FODR VOICES. C. F. Bird. =^ Ut TREBLE. ¥i i^ji Up clansmen up, thro' the shadow - y, shadow - y • ^ ' » 8d TREBLE. E3E3Er5 -(•—=-•^zsz\-r.—— — — — —-j H^ Iz^^ =3:=c3=i:^^: Up clansmen up, thro' the shadow - y, shadow - j mora ins;: ::s 3=:^: TENOR. -i.-a=i= ::i=:i=;?z:i: z±v i=p:*:p3 Up clansmen up, thro' the shadow - y, shadow - y morn -WZ BASS. :3:=S:=i:=3=:3i :t=: :_f_:f_:»._§:_«._.^. ^^1 ^^' 1 1 — L. Zl!=zt-\zz\ 1 thro* the shadow - y, shadow - y morn See ye /TN P i_tt . I —^— pw— 1— '— I '—' —--|-l-j \—\ 1^^ l-tH-—«~»—'— . - »— ^^.zs^$:rs: zzlzziz zr-t-^tzss: r- /-' thro' the shadow - y, shadow - y morn See ye -^- r^ji^Pfp: z-.zzr.T- :5SJ ^S=^, _ Ul-i— I :c:=:t= i-:«: :rLLt= _.«.!.«; *_ -iizjt- ZZiEZ tliro* the shadow - y, shadow - y morn Seo ye rsLznsz ZWZIZ^ZZfZ] ^- g—j—:g—»—«- :er±: Z—-X :t--F -!-- I MUSICAL AxND LTTERARY MISCELLANY. 291 ._^- -.WZ—WZ -f^-M :fz=p~p: =l=: :: fe3z| :trze: :t=: ±=b- not the spear heads gleam, see ye not the spear heads gleam, see ye /T\ cres. ^ f bi===i==|=i| _c_iz ::i~W: -I—br / not the spear heads gleam, see ye not the spear heads gleam, see ye O^ cres. ^ / =::^^^-—jEzrlrr:^:—jE=:p:zz=^= 5=S=3: --.If:: not the spear heads gleam, see ye not the spear heads gleam, see ye t=| ::fZLZ\z-±z ;!: .:t V:-- p=^: T .-(l^P: 4^ r-»~_=1- :&=z=-:n= :p=P==: P==i=p: r not the spear heads gleam. Hark, hark hark, hark up - on the wind is z-tz?Lz±± \±zf:z±:t±i=t::^zftz :=p=W=i=ir not the spear heads gleam. Hark, hark, hark, hark up - on the wind is —firfz^r"^ pz5: ::pz^=i=:p= :=p=:S=ipz=»z iii ztzz'zz :=t=fe:=li=fc not the spear heads gleam. Hark, hark, hark, hark up - on the wind is T I zw^i -£2-^t_i»- 0- — m-- iprfjici :t=tE=z=tr=t^ :t==C:r :ff=*±:E; zzmz-~zKz :3s: :=1^ -H 1^-«- !->•- 5=EEE^=^E: :=^Ea=^=a=- :»±:f^:=ii -F-h-^-F-^-rt-i icziti: borne, up - on the wind is borne, The mu - sic of the bu gle 1-9- zz's:. rd: z^zzitz :=1S: :jiz: ^-^ia=f=iz: :i~.iz*E^=3E^E?EiE?E -rf^^=g borne, up - on the wind is borne. The mu - sic of the bu glo :zdz:3s;z^z— ZItJZf—fZ z:ff=p:=i:p:: -p-:p=p:: :d=— z-J^-\^-^z :t=t3t:ti=zb=:f=:t^- z~^ borne, up - on the wind is borne, The mu sic of the bu z^sztz :fc=l=:t:ii.fe:=:_~l2::: :P-:p: ^=='- 1— /=" ^ — — — 229 THE BRITISH MINSTREL ; AND }~$- .___ (^«*. ^ -^-1—r-«-|^-*--l-^^l»—»-5--T-l--l—-<—- :i=a=P; ifiHF —pr:S£ horn Hark up - on the PP horn Hark up on the PP "1^- I I -; 1 tt. rir^ii: -^:r- JEEf^EcEiz —— iSzr-P: :S=iz :r: :i^=t;;bz! ifczi: t- "»«i ^ • -I— — horn, mu - sic of the bii - gle horn, the bu - gle horn, Hark up - on the -^ ,, ^—^ PP jigrg^rrrpE— 3:= -W—W:^ :t=t^: 5:=lc~i: r^bpzzt- ==5: -ft^- :s=ff: :^==r- ia: wind is borne, Mu - sic of the bu - gle horn -g^- :=]^: — » * I f- _^ -*-* r^^ni: — :P± :f:=:t^: zzzzuziz-hzlz: '—r~ vind is borne. Ma - sic of the bu - gle horn, Hark up - on the wind is borne, P cres- --•*(- .-»-*. i:q: -^-« f »— =:r:=t=:t=^ -^==»=: — — erzi:, z:=zt:: ;:t: wind is borne, Mu - sic of the bu - gle horn, Hark up - on the wind is borne rres. #—.a. -|ft. 1^: --^z^: P^if- ::tz: g^E2=^5Ef :t=f: iS krzizzrfzzt: :zi: :f:=!t:iz=t£: iP .pZJ. .^^_^.i- £z:tz=zz=r- :fzszi zlzzp: :p=c:=;H: :t= :zizzt:: I # Mu - sic of the bu - gle horn. itzzfzzf: :=l: =^: lizij: r- :3-'-il-=-^ Mu - sic of the bu - gle horn, Mu - sic of the bu - rIc horn. .^__ft. ^zzztzzf-HzzlzzEpzz^^zz z:ft: :?s:zf: ifcze z^l-»: ^=:t=zzfc=::=zzlz:t=zz^zzS-=- -f^t- ;;c:z^z:iz:t:rzlzz[^: r- -|— Mu - sic of the bu - gle horn, Mu - sic of tlie bu - gle horn. ggzEzz*zzzzztz|Z5:: ZJISZ z\z:f.jzfzi: It: :fe:zz:r=tzzt:zzz: ftzirz:z=tz: —I ^ 1_. ; — — —: 1 MUSICAL AND LITERARY MISCELLANY. 293 WOODMAN, SPAKE THAT TREE. Words by G. P. Morris, Esq. Andante con espressione. Henry Russell. 3;=s: :j±^==i^=jzJrj^ E^=i^^ .n^ ^ \ Wood - man spare that tree Touch not a gle legato, 1 |~l I I I I I 1 I f-lT-l^-l r-t7-^ m-Pl-nM M 1 M P^ Mill 1^^^^~1— ~1l ^'—^ -^ :=i=^sr:=]: ~j: p zz-iz E^i bough In youth it shel - ter'd And rU pro- I-* l-l-l-f-H ' UniBbab q=r=s=s:qT5:ri=;;r: ^=^:iHgUi 'Twas nij fore - fa - thers hand - That :i]=i!5=:q :^i: 3^:1: :q^=tii -.Hi—. il? plac'd his cot, There wood - man let - it g^ i]=:C5i] :a=ir q^ =r-i::=:tt=U.tz.^lri=:*ziz:^z* zi: stand Thy axe shall harm not. W: :t ZM^jsr—1=»^«: ::^^?^^ -o- — I I I "LLLSJJ" ; M familiar tree, That old When but an idle boy, My heart-strings round thee cling ; Whose glory and renown 1 sought its grateful shade ; Close as thy bark, old friend I Are spread o'er land and sea, In all their gusiiing joy, Here shall the wild bird sing. And wotildst thou hew it down ? Here, too, my sistera played And still thy branches bend. "Woodman, forbear thy stroke! My mother kiss'd me here Old tree I the storm still brave! its earth-bound ties Cut not ; My father press'd my hand And, woodman, leave the spot; Oh ! spare that aged oak Forgive this foolish tear. While I've a hand to save. Now towering to the skies. But let that old oak stand. Thy axe shall harm it •..'ot. No. 118. —— — 294 THE BRTTISH MINSTREL; AND H A K K! DING, DING. Srisi. CATCH FOR THREE VOICES. Dr. Harrington, iVP- :f~^: -jtr^t: :P=?I=P: :=):: rtz: ir-t :c=:t—f- I Harkjhark, ding. ditig,iiiiis,ding,!nj lord's come in, run, run, they call, 'tis tlie la - dies want :^- :^:r:=ff=:ff= ^~:it~iSLzziz =g~Pz^£|zf:g.^P:=^: :d=::l=d: 4- -(-- Chair! chair I -^f=SLz:^d=^z::\- ^=f^ iSEEEP irtrtztzt:: 1 — -r- chairs for the ball, John Boots, Kobin Tap, where a plague are ye all. /r\ :p=p=:jEr:r:n :f-f: 5=f=:*:=t=|: —I- i:r:t=?=B^ :=l=i:t^=:t::: -1- :t:4=: It: haste you'll lose the fare,coming, sir, coming sir, score a pint in the bar, ding, ding,ding. :=): I- :33: _ 1 1 — \-t^— :*r:*: :::i=i=:qn*: -«—*- liZLi: there, hold, liold, put out you dog, put out you dog for I am first chiiir. THE OPERA AT VIENNA. It is to such a man that the property of this great establishment is entrusted ; an establishment which In the last number of the Gazette Musicale there has an excellent orchestra and chorus, and gives is an article, from a Frankfort journal, on the employment to emineiit artists, among whom is Theatres and Music at Vienna, from which we Nicolai.* The performers in the orchestra are subjoin an extract. It may tend to correct the ex- overworked and ill paid. " Still," said one of them travagant notions entertained among us of the state to me, " we would go through our drudgery with of music in the capital, teach us to Austrian and good will if we were not obliged, all the year round, look with little complacency on its a more state to play the whipt cream that comes from Italy. among ourselves. The author is M. Guhr, director We have hardly the opportunity, once or twice a of the Opera at Frankfort, and one of the most year, to refresh our ears with the harmonies of distinguished musicians in Germany : Mozart, or some other German master." Celebrated In a capital like Vienna there must always be a composers have begged me to get their symphonies great number of artists. There are good composers performed at Frankfort, music of this kind not being —able critics —everything necessary to exalt the in use at Vienna ! musical art to the highest pitch : and yet it has On the 2.5th of May I went to the Karnthnerthor fallen to the lowest. Theatre. I paid my six francs for a place in the The Karnthnerthor Theatre (the principal musical pit, and heard what is called a grand opera, " Maria theatre in Vienna) is managed by an Italian, called di Rohan." I could hardly believe my ears. I shall Balochino ; a man who was once a dress-maker in give you a few particulars of my evening, that you an Italian theatre, and who does not know a word may have some idea of a grand opera at the of German. This man receives from the Govern- Karnthnerthor Theatre. ment an annual subsidy of 72, 000 florins (about 7,0001. sterling), ' besides the 10,000 florins of sub- *The composer of II Templario," an opera which scription for the Royal box, for a season of three has had great success both in Italy and Germany, and mouths, from the 1st of April to the end of June. the music of which has been published in London. - — — ; MUSICAL AND LITERARY MISCELLANY. 295 On taking mj place I found a handl)ill with an consider hiu) worth the ilOO florins which he apology for Madame Tadolini. Tlie Signora was receives, besides his benefit. There is no scene in indisposed, but would do her best, and begged the which the Duke goes off with eclat, but from time indulgence of the public. The piece was to begin to time Ronconi disappeared behind the scenes, to at seven, but eighto'clock came, and still the curtain furnish a pretext for calling him on, and the did not move. stratagem always succeeded. There was a hubbub At length they began the overture. An overture of cries and shouts till he came forward again. by Donizetti is never a very lively affair ; but when, Then came the voiceless prima donna, and the as In this case, it is immeasurably long, it is into- famous duet began, sung by one voice, the Signora lerable. Imagine the martyrdom of a German singing with her lips only, poor child! The curtain music director condemned to listen to such a Cell, Tadolini and Ronconi were called for three morceati. Ivanofl' was the first who appeared. times; and, each time, were received with clamorous He is a good tenor, and sang h\scavatina very well. approbation. I had some amusement, certainly, I began to have hopes of the performance, but I l)Ht the whole affair was insufferably tiresome, and did not know what was coming. I sliall go no more to the Karnthnerthor Theatre, Signora Tadolini appeared, in the midst of so long as the Italians sing in it. thundering plaudits which interrupted the per- formance. The Signora acknowledged them, first by moving her head great clapping of hands — j ANCIENT MUSIC. then by bending her body—loud cries; then by a profound curtsey—an astounding roar. At length The Egyptian flute was only a cow's horn with the tempest subsided, and there was silence. " Ah," three or four holes in it, and their harp or lyre had cried a neighbour, "see how divinely she opens only three strings; the Grecian lyre had only seven her mouth—her teeth are like pearls." I was all strings, and was very small, being held in one hand eyes and ears. The mouth was open, but no the Jewish trumpets that made the walls of Jericho melodious sound issued from it. " Ah, she is very fall down, were only rams' horns; their flute was unwell, poor child !'" The poor child had seen at the same as the Egyptian ; they had no other in- least six and-thirty summers. strumental music but by percussion, of which the By this time I had made up my mind. I had greatest boast made was the psaltery, a small c<)me for amusement, and I was determined to be triangular harp or lyre with wire strings, and struck amused. So I applauded, with the rest, through with an iron needle or stick; their sacbut was thick and thin ; clapped my hands at every false something like a bagpipe; the timbrel was a tam- intonatiou, every break-down in attempting a note, bourine, and the dulcimer was a horizontal harp, every roulade stuck in the middle. Tadolini did with wire strings, and struck with a stick like the nut sing any of her airs. Imagine an opera with- psaltery. They had no written music; had scarcely out any of the principal scenes of the prima donna. a vowel in their language ; and yet (according to Ronconi appeared as the Duke, and there was a Josephus) had two hundred thousand musicians repetition of the same farce as on the entrance of playing at the dedication of the temple of Solomon. Tadolini. If Ronconi had a purer style, there would Mozart would have died in such a concert in the be no fault to find with him. An amateur may greatest agonies I Dr. Barney's History of Music. GO IDLE BOY. Viva a. GLEE FOR FODR VOICES. Dr. Callcott. :(»=jE=:i^=z ALTO. ±-^z ?^-wz --\zz Go i - die boy, I quit thy bow'r, I quit, I quit thy i_f_tf iV ft_P- ::f:=w:=e:^-izrW—^-F—m—g =1=11 1st TENOR. EfefEEEiE^=^EfEE^EtE ifcntt -f- Go i - die boy, I quit thy bow'r, I quit, I quit thy -f^ rff: :»==: 2d TENOR. if-f: iEiEEEfEf=E :t£~fc Go i - die boy, I quit thy bow'r. :s;:=lS: BASS. :t=^z S= g-^i^^l— ii— ij-|-|— Go i - die boy, I quit thy 296 THE BRITISH MINSTREL; AND :f^l *--=p:^E: i bow'r, ~A- ^^A=i.#^ir3z: =]: :=t^ ri)r5z:*==ii:xzzr* iiSi^iig: bow'r, thy couch of many a thorn and fiow'r - of many a bf=?. 5s;: :=S=1!^ IIS :ff=i: .p_a- :1: ::^:t: ;:is:^=q^±:izz^^i~3: JSzis; :*=;bS-S:!S=--*"3: :a=3i thy couch of many a thorn and flow'r,thy couch of many a thorn and ^3:^: bow'r,thy couch of many a thorn and many a flow'r, .^ rsz^ri^ierzP: .|=._a_ fe=^=^=^=^= zjc thy coach df many a thorn and flowV, thy couch of -f::# —^^ —tfzSrpz^pzhe: lit—P^ ~ rrjs: :Pr^=t^ —*—fr-H-al-al- .-Jcizlt: j^t ^—^ ^—/.-J flow'r, thy conch of many a thorn and flowV, thy couch of many a thorn and !._!__ _j^_^ a—I '-/— / ^ flow'r, thy couch of many a thorn - and many a flow'r S±l=#iEE^ nz :-: rrzdza—jEz=fz=pi=r:gt=x:=£=::[ thy couch, thy couch of 3 -&-*=- f many a thorn and flow'r, I wish thte well for plea ^^^^r::^i^-^^^t^^0^^^^^^\ flow'r, of many a thorn and flow'r, I wish thea well for plea - Bures 5EzE^=3i=§-E9FJ^^i^ ==d: :sti ifi^zi-i:=i: :zi: m I of many a thorn and flow'r. -^- many a thorn and flow'r - I wish thee well for plea-urea — ——I ^ MUSICAL AND LITERARY MISCELLANY. 297 0^ jy/tuurttc. O-^ «. Izli^sz' past, and bless the hour I'm free at last. Yet still me- :3-ft: it^^=i iJIr^r:t: ^^ past, and bless the hour I'm fr'ie at last. Tet still me- }-^^s. \-^Ss-^V fz±:zmzz^zziz:i~^: A~T- t:^==]: * *- -|— — and bless the hour Vm free at last. Y'et still me- f>- — :=]: !- 1 -W-t- ^fcl^lSEg^ —e— z\zz\z—±z=.\ prist. and b^ss the hour I'm free at last. Yet still me- thinksiiiiiitts thetne alai - ter'dler u day,uay, scatsciiL - terslers a - roundroiiiiu a mournfuliiiumniui ray,iiij,;iMtiand P^EE^t=^EE:^EE^E§^E^lE»EtElE3Eg53EE£lEEfEEl thinks the al - ter'd day scatters a - round a mournful ray, and 1» -fttS* 1 -n"^ -^P 3===3=;: I thinks the al - ter'd day scatters a - round a, mournful ray, and E3E3-^E=| i^iiii^iiig^iirrizo*: 3=? thinks the al - ter'd day scatters a - round a mournful ray, and fciiftl^ -t^(iL_-^-•-1- -^ft. :f=r«=t—r-f^-t^^--^: I^EStE^ :lr. ^zrte: :lcr=l?:=lzz fcz: :c~l: —il chill - ing ry ze - phyr blows, and ev' - ry stream untune - ful ._, ^ iiiii — -i chill - ing ze - pbyi blows, and i:i,==*: :qi -•-= I- 'f-Q-- ^ii-B^- — iH-rp: •-©- i Tf -I chill - ing ry ze - phyr blows, and ~a=z«;: iiiiisEii^i^EEii :g;i-:i=: i=i=i chill - ing ry ze - phyr blows, and ry ^J 298 THE BRITISH MINSTREL; AND *=ff5-^?— ^- ,.._^_,lq_c,_-§iif.%:e: — I i :#iSrrp: ———'~'~i~—fc ^ ,d2:z^ m £ow8, un fill flows, evVy stream un-tune-ful )ziz*^r, -poiieq :t:=tE .-=t;=t^:-fc ev'- ry stream untune-ful flows, tune ful, ev'ry stream un-tune ful l-^z.^.. tf=fc :P=P:Mr - stream, and ev'- ry stream untuneful flows, ev'ry . stream un tune-ful :is;35; a±iEl -a-e- ^S-e: ^i=B: :i=i: Jrili H: :t= 1 :-jiz: :=1= i i- stream fill flows. evVy stream un - tuneful A t'.'mpo prima. — :f=|=C:pr=e:ffrpz:Pz:E--rr| '-^=:=i- ;sEEa: :tz=Ji^=fci:B::=^: flows. Haste, haate thecback, haste thee back then i - die boy, haste thee back then i - die js:^-N-N -.ftzzf—fzx: :t-tzity '^zB^ztiizMzziiz-Mzz-M: :^:tE=.1^ri£: _^_.^- -I tr- flows. Haste, haste thee back, haste thee back then i - die boy, haste thee back then i - die lz±z^sz:±znzrzzizz=rzz^ i^^i|e|:=pli3=!=i!igig^-^=^^s*5| flows. Haste, Imste thee back, tlien i die boy, then i - die =f=P=:^ =q^3^j:a!s]^— zzuzz^z r — g-^-i— \, flows. Haste, haste thee back, then i - die boy. thea i - dlu boy, and with thine anguish bring thy joy, and with thine anguish bring thy joy, and J-Sr*;s-n** -*—^-.--e; :fc:"' boy, and with thine anguish brin,' thy joy, and with thine anguiah bring- thy joy, and -fr#. Jfzizzl: :f==z=t== 2^: 2==i: -^-- —1- boy, and with thine an guish bring g±i=lt=i=^=z:az==^==| F==I==:|—zi: boy, and with thino guiiih bring : — I MUSICAL AND LITERARY MISCELLANY, 299 -p. 5-- :f=»: ,j*:-:K-fL. r-tz SES^E33:EttE§=£: JA=^. rz±:tE=tz= :fc:i:: Willi thine anguish bring, oh bring, thy joy, oh bring thy joy, oh rend my heart —x^.- :p=:p: :f=P: :p£S^E^=P^='^=^=^^ti^trzc :pr±: :^-=^: with thine anguish brintj, oh bring, thy joy, oh bring thy joy, oh rend my heart -f::# *=S= -!=—•——• •- :S:»--p=:f- :f=:p: f=:f-J=p==' @E I I ;lz:r:lz:z;lz;: -I—— -h-h-h-r oh bring thy joy, oh bring thy joy, oh rend iny :*=:p^rqi: 1===!:=r=t= r±r=t:-p-r=: :tf: t: =:i: ztzr^ritd: :t^=:^-t^ bring, bring oh bring thy joy, oh bring thy joy, oh rend my -Q- ^:--p m :P:-|i- .# :s=t: iprit :f=p: J2.-=l«r:: zt: -ff: jc: - with ev'- ry pain oh rend my heart with eT'- ry pain rend my heart, witli ::!r.=fc =E^E^ESS:t=aEt=^ - with ev'-ry pain oh rend my heart - - - with e?*ry pain rend my heart. -f^#3 ft=ir^:^E:3cx:pE=bf:=Ezi5=f=:^z:|E: €J M. :^=f=i: :p=:?=:P=:P: ii: :M=t:: :^r:^=:fc'-'- 1— I— I—t—I' — heart with e?'- ry pain, oh rend my heart witli ev'- ry pain. oil rend my ,^=:t?r:l£zl: heart with ev*- ry pain. oh rend my heart with ev'ry pain, rend my heart with fctf^^^^E: --q- ^-•o- ^_:f:_ -^_-__. j=::^z: :^=e= ?tt=S=t t=:P=:d= = :=t===fc=fc=t=t^=i-~_~l2:: m lai— =±-fcr!fj=±zt2:zfe:= ry pain, with ev ry pain, but let me, let mo love again, but iSii^ir^i^sgiiiii^ oh rend my heart with ev'ry pain, bat let me, let me, love a - gain. -frS tf=i=iE^P=:^zfe-- E3E^ -1= S- =Pr I ~i-^EtE|*^~^- :te::i 9 heart, with ev'-ry pain, with ev'-ry pain, but l^i ry pain, with ov' - ry pain, — 300 THE BRTT[SH MINSTREL; AND S»--^ -^ -^ -»-, ===S=:t£ t=fcfc=fc: ii -p. =;. ^11 let me, let me love a - gain, but let me love - #_.^_»- ==¥ .^_.^j:=5r-|=:ds:q2r:s:^:c-»=^z:»-| gztg=:^=:gzJ£=j-]-i<=:g=:j:zg::gz:=sizz£r| but let me, let Qie love a-gaii),Dut let me love ;^ :#*=P: p- ^±^, 3i: let me, let me love a - gain but let me :*=:ffrT::c gUi^E^iE H^zzfc: :b^: S:-:^fcz:lr.b^z-^:rzzlcZ=i=--ii: but let me, let me love a - gain, but let -»-»-p T' P :^=:P: -^E^gEfeSEgE*: =t^=i:=t^ :ti=:t r^zjc :tEr:tE=e=c: P -|- oh let me love a - gain, oh let me love a - gain, oh let me love a -f^ irpniffrp #-»-: t£=fc=:C jr-^r:fe::^-|=^=^p=,,»._p::J==!: on let me love a - gain, oh let me love a - gain oh let me love _ a -iE* f±: =^=li:r!= -,-^- :£=*; ;P=e=t=:*=ft=p= -*z=A-=.-iz.-^-^=:^ -\- f t?-- -/-/ fcJZ -I—— tr love, oh let me love gain, oh let me luve a - gain, oh let me love a - -^1-^. :=]=qi -p-f- F^ i 1- g3ite^3Ei =1^ lirJi.-'L-^-k: I- i^i: :^-fcb—ll— &i=:i: :fe-*3 zlzrt: ir^" love, oh let me love a gain, oh let me love a - gain, oh let me love a - -=.%-. itcrzt^: *=EiESs: -V— r- gain, let me love a gain, let me love a gam. 1 P — :iE=:f:!=ff=f=ri hftt=irq=t^=^=E:--(t-^—— hr f- — :er :i^=::^=C gain, let mo love a - gain, let me love a gain. :Se#: i^^E^5E-E? -e- :3=:?:iri ==!: -f-- r- gain, let me love a - gain, let me love a gain :=!Szj5=—:q- :ii=C:—izzt :*Tz*; zt :35Z E3=EE=: i±SlE'a^=£^'zr^ie: rp: :=i: gain, let me lovo a p^a'n, let me love a - I ; ; ; I ^ I MUSICAL AND LITERARY MISCELLANY. 301 CAM* YE BY ATHOL Words by James Hogg. Gaelic air. -f ,E«SEa5^ES3EiE ni ^ \ \ \— ±=3t:i=i. 3tz.-3£^ M=.-i,—^-=iz=^z i Cam' ye by A - thol, lad wi' the phi . la - beg, Down by the Tummel or -X-t -|5=t= :P=i: :t:^:-^-K [^lii •#=Sr^^=#3=s SJV^^^r^ ^ -M. ^ *- '. bankB of the Gar - ry, Saw ye my lad, wi' his bon - net an' white cockade. P-» f^^-^ (t-fj rr— —Iq .-^^rt l-v. bp |2 p tzdbp „ ^ p,. ,..-^ J!^-N. :g,gzrjszrsrdsz^—^^ :S=3i±:|: 3E£; —«—.0_u— Leav - ing his mountaina to fol - low Prince Charlie. Fol - low thee, fol • low thes. :r :^=P f=Nfig§^i^=ig J_gl.^-r^ ^.-fi^^-i^: -ri^-=z^-=:i-.J=r* qsid: 5?E? f -*-*- wha wadna follow thee, Lang hast thou loT'd and trusted us fairly, Charlie, Cbarlia iEj: :f=:p: jy i^ -«: IE0S t=:5: ^1 iiMni^:rSrinrKTrJ^rq^n^: :i*=:i: ElElElE?E •,;-.- EiH?: §^ wha wad - na fol - low thee, Ring o' the Highland hearts, bon - nie Prince Charlie ritard.-lt I|_* .^ i —^ :S2: —:tcr=:P: ^41 -te:: g| I ha'e bnt as son, my brave yonng Donald, Brave Mackintosh he shall fly to the field with them. But if I had ten they should follow Glengarry They are the lads I can trust wi' my Charlie. Health to M'Donald, and gallant Clan Ronald, Down thro' the lowlands, down wi* the Whis^amore, For these are the men that will die for their Charlie. Loyal true Highlanders, down with them rarely ; I'll to Lochiel and Appin, and kneel to them Ronald and Donald drive on wi' the braid claymore. Down by Lord Murray and Roy o' Eildarlie Over the necks o' the foes o' Prince Charlie. No. 119.—11 d. — 302 TI19 PRITISH^U IK STEEL; AND HARK! HOW THE BELLS ARE RINGING, RODND FOR THREE VOICES, Words by James Manson. Giovanni Baltista Bononemi. Slow. ^5*rirrt==irr:i^ izz^zi^-^-t'^: =i:=M 1ZZ\^ -H^- l:zi=z1 Hark ! bow the bells are ring • ing, Young lads and lass - es sing - ing, 'Tis r*i«.—]-I- -P—i^a- :3=li: — — S=r55: =K=?s ;i=i: :Z^ :tfi; Hush, now the bells toll slow • \y. And grief is whisper'd low • 1;, Near the ~ rnz^^ffqc: :f—w: yr~y^ ^^r3: -]^ --t=z Life with Death is mat • ed. And mirth with tears 'tis fat > ed For ifiqc :s^rpz —f-ai sweet May- day, All the fields are gay, Come join the merry, merry throng. =q: :q=i: :=1^ =^=:^ C5=q=r(^: :i=ri==5l=i: 4- fctli~iz:g-- 2^=3: new made grave of the young and brave Who died when hope was young. ^=^S: r-r 35r Its: :fe-^ i —r- I aye shall be bar - mo • nie Like words and music in a song. CHERUBINI. Tulipano," an opera by Paisiello. After a passing visit to Paris, he returned to Milan, where he was Marie-Louis- Charles- Zenobi-Salvador Cherubini commissioned to compose grand operas, and to was born at Florence on the 8th of September, 1760. strengthen feebler works by additions. These His masters were Bartolomeo and Alessandro must have been of a slighter style than that which Felici, and, subsequently, Pietro Bizzari,and Joseph he afterwards adopted, as they excited the particular Castrucci, under whom he made such rapid pro- praise of Dr. Burney, who was by no means dis- gress, that when he was only thirteen years of age, posed to tolerate anything stronger on the stage a solemn mass, of his composition, was executed than the singers' music of the classical Italian in public, and, shortly afterwards, many works for composers. In the year 1788, our artist returned the church and the theatre. These were so far to Paris, and there entered upon his long and successful, as to bring bim under the notice of honourable career in that metropolis, the fruits Leopold the Second, Grand Duke of Tuscany, who of which have been of greater consequence to in the year 1778, settled a pension on Cherubini, French—we may even say, to German—music, to enable the latter to continue his studies under than contemporary historians have seemed pre- Sarti, at Bologna. The youth spent four years pared to admit. 'I'hough Cherubini was placed at tinder Sarti most profitably, acquiring that know- the head of the Italian corps which Leonard, ledge of the deep and severe principles of music, hair-dresser to Marie Antoinette, was privileged which he afterwards employed so nobly. During to assemble, his genius ere long urged him to this probationary period he wrote an opera disengage himself from the opera of his coun- " Quinto Fabio"—and seven other dramatic works. try, and to assert its own individuality in the In the year 1784 we find him in London. He " Lodoiska," a French opera, which was first re. must, even then, have been recognised as a musician presented in 1791, and was succeeded at intervals of promise, since we find that he was permitted to by " Eljsa," " Medea,"" Anacreon," and " LesDeux interpolato several pieces in the "Marchese di Journfies." —— MUSICAL AND LITERARY MISCELLANY. 803 TbB fftte of these works has been somewhat the last of his masses, being performed on the singular. Though, in proportion and qualily they occasion. Athenamn. are grand operas (" Medea" being always referred The following extract from a letter written by to as a masterpiece of musical tragedy) many, if not all, were represented at the Opira Cnmique, in the celebrated French violinist, Baillot, author of consequence of their not containing the ballet music, the well-known Methode de Violon, &c., to his then an essential to the production of a work at brother-in-law, Mr. Guynemer, we take from the the Grand Opera. The complete neglect into " Musical Times." which all save " Les Deux Journfies" have since " Paris, April fallen in France, may be ascribed to the feebleness 9th, 1842. " I was well assured that you would share in our or absurdity of their libretti. Certain it is, that, sorrow on the occasion of the loss which have having taken some pains to procure a full piano- we sustained in the venerable forte score of the " Medea" in Paris, we were only Cherubini. I can say nothing in addition to what already able to find an old copy of a few of the selected you think and feel on this subject: the loss to the songs. The work may now possibly be disinterred, Musical world is immense ; but it falls yet heavier upon those who should some operatic Rachel arise: it is well worth hsd the opportunity of knowing, under the some- disinterring. And yet no less certain it is, that what rough exterior, the intrinsic these operas of Cherubini's, by the magniiicence of genuine, worth of him, who was also perhaps the " their vocal and orchestral combinations, and the last and noblest Roman" in the purely classic style of art. vigorous truth of sound to sense, became, at once, " the popular among a people, then musically enjoying All principal artists of Paris attended his funeral, and it was not without considerable emo- its age of gold,—with whom Mozart was still new, tion that I beheld amongst and Beethoven in the youth of his genius. When, them M. Ingres, to whom are indebted for the faithful portrait ot in consequence of the studied neglect and aversion we our lost friend, a work which is the d' ceuvre of the First Consul, Cherubini resolved to quit chef of his pencil, because inspired by his heart Paris, he was welcomed with open arms by the "We followed him to his last abode but no! masters of art at Vienna—not particularly Catholic — his abode is no longer on this earth; Heaven has in their sympathies. It is in Germany—-at Munich ere this received him whose sacred compositions especially—if anywhere, that the operas of Cheru- seemed to forestall the harmonies of a better world, biui are still to be heard. Indeed, it is not haz- and to incite us to render ourselves of being arding much to say, that, as regards grandeur of worthy admitted into it. dramatic effects, they have exercised an influence " Two days ago, April 7th," Les Deux Journf es" little short of that of dementi upon pianoforte was performed theatre. writers. The genius of the two men had something at the It was only an- nounced by bills in the morning, analogous. The school, which has been adorned the yet the bouse ^\ as crowded. I could not withhold assistance. by the richly-wrought productions of Spontini, my The success (a strange expression, after forty years Meyerbeer, and, last of all, Hal^vy, may naturally of success) was perfect. It was very well acted, be referred to Cherubini as its founder. and the music was executed with that ensemble To return from this digression : it was during which cannot be equalled it Cherubini's residence at Vienna that he wrote his wh»n proceeds from the unanimity " Faniska." The changes and troubles of the war of sentiment and respect, of which we 6nd so few instances in social life. Nothing drove him from that city of pleasure back to tlie languished ; the actors and the musicians excelled French metropolis. From this point it is impossible themselves, and three acts were to trace the fruits of his contiuued residence there the finished in two hours and twenty minutes. The curtain was after- minutely,—suffice it to say, that he was systemati- wards raised to exhibit the bust Cherubini cally denied the favour of Napoleon, in consequence, of upon an elevated pedestal, with the actors the prin- the anecdote-mongers tell us, of a more independent from cipal theatres it, self-assertion than that despot-liberal could endure ranged around in costume. The ; two principal that he was protected by the Prince de Chimay; performers of the evening recited some that he wrote other operas, among which " Les appropriate and very touching verses, from the pen of the octogenarian author of libretto Abencerrages" was the most famous, and " Ali the of " Les Deux Journfies," Bouilly. Baba," produced when he was seventy- three years M. The whole passed off in a style worthy of the occasion, old, the last, besides numerous sacred and orchestral and must have interested even the most compositions. The latter, happily for Art, are indifferent to the beauties of the art or the triumph something more familiar to English students than of genius. And what ! longed for beside the theatrical music mentioned. On the restoration Music I you me, even of the Bourbons, he was nominated chapel-master while the pleasure, regret, and a tumult of deep emotions taken such total lo the King; in 1816, also, he received the ap- had possession ot my poor heart, that I tried in vain to stifle pointment of Professor of Composition in the them; and you, I know, would have felt acutely. Conservatoire. He was called to the direction of as " the same establishment in 1822, which he resigned On the same day, April 7th, a funeral service for the illustrious only a few weeks since, (March, 1842). Other dead was to be performed at Pisa.* honours have been bestowed on him by several of " Now all is said ; the potentates of Europe, in the form of distinction, and what remains of this wonderful genius ? the admiration of the many, however, rather than of gain— for the French — and the aflFecionate the journals explicitly declare, that the emoluments remembrance of few who loved the fur reaped by Cherubini were only moderate, and that man himself as much as for his great works." Baillot. he has left his surviving relatives in narrow circum- stances. His obsequies were celebrated at the church of St. Roch and the cemetery of Pere la *WTiere Cherubini's daughter resides. This lady is Chaise, with all due splendour, and in the midst of married to the Professor of Oriental Languages at tb» a throng of artists; the composer's own "Rcquieiu," University of Pisa. — S04 THE BRITISH MINSTREL j AND HARK! THE HERALD ANGELS SING. Dr, Arnold. TREBLE. ^EEEp±fa»: -^- ^ mzr -r -r- Eiirkt theher-ald an • gels sing:, Hark! the herald an • gels sing, ALTO. E^6EE Second Treble ob Tenob. ^=rfe TENOR. ^EEE Ht-^ r- r- Hark I the herald Bing, BASS. miEE / fcprrprpr^-.-P- :w=:r=m z3=P=^^:z£; zf-W-rr. :p=p: zcz-izzi: :tz:t=r:q: np Glo - ry to the new-born Eiog, Glo • ry to the new-born King, and / P -^z jdrjznj-l-: :^'^=lz::^:35.-; -^—iHW isa=q: radrizJi :i—Bizid-^-irri: r- -^-: Glo - ry to the new-born King, Glo - ry to the new-born King, peace on earth y Tenok. _ 2nd Treble. i I itzic1———*•' Glo - ry to the new-born King, Glo - ry to the new-born King,peace on earth and -:pip -pt_^- p :=^=ziz:^=zzmz --^- Bi -E :t=t: :p--(!t i :^z=sz ff i^rrpzrpz:^: iff: :snt rgnii-^i:: x=± :t:' g^ God and sinners re • con • cll'd, God and sin - ners ff :q: T=ll q=X -lisrd: iz:*: :S=3: SliI3:EiESE^ God and sinners re -con - cil'd, God and sin-nera ff Tenob. zp-pizp^e: :e=1t=Cn:p: t—t—r~t—'-r-r-":BEi2i ZfelZTtZlt God and einuers re - con - cil'd, God and sin -ners 1 —^r~i= :*=:*: -e- :an:i:=i-i-. mer . ey mild, God and ein • ners re • con • cil'd, God and ein - nen ' r h V MUSICAL AND UTERARY MISCELLANY. 305 reconcU'd. Joy - ful all ;e nations rise, Join the triumphs of the skieB,With th'aage-lic / 3=4: -'^-^-*^ :M^i=rt. zizz.M—^1 ZjCi3t i—M—M-^-^-*-fiT-M recoDcU'd. Joy - fill all je nations rise, Join the triumphs of the skieSjWith th'ange-lic / 1 1_| L.| 1 1 M 1 1 1 reconcil'd. Joy - fill all ye nations rise, Join the triumphs of the skies. With th'ange - lie 3E -jfL=r=»=!z r-*-i=t i: ^^^^^^ pa r—€1 — -wr.w=:m 5±^f: =:l=p: ^ :ir: -,—I <— -I r- liost pro - claim, Christ is born in Bethle - hem. Hark, the herald angels sing. :^^^=^ ^- -n-nz m EEH^S3 host pro - claim, Christ is born in Bethle - hem. i— SE*i :ii=f=:i=^ ^E^E -f~' host pro - cUum, Christ is born in Bethle - hem. r^^=!^ 5^^S^Si=t :E=:pz:^i 1^11 / --e- zfBEpz 3E e_r r rrgq^^rp: t:-1— ;td=t:: ^-Ee^eI — ^— Hark, the herald angels sing, Glo • ry to the new-born King, glo - ry to the / IEBESm 22 Glo - ry to the new-born King. 2nd Teeble on Tenob. J Tenob. :3i i=:rfz:^:=pE5EIrP=:|=rr£Et::ilnzt;£^Efc^ Hark t the her -aid angels sing, Glo-ry to the new-born King, Glo - ry to the / ,—:f^^ :pr=i: :x Q 1 — 306 THE BRITISH MINSTREL; AND .- — , dLp^ ——^-e— q=ts: ^3:5- :iit ^m :3d: ix*zii :3=*: :3: i new bom King, Glo - ry to the new - bom King. Christ by highest beaT'n ador'd. o o ,r=rj=nt: i izt. jd8 Glory to the new • born King. 35-0- •-i^;^ i^—«- !3cK -e- 3=3: P 1- :Pl5i:l=:H new born King, Glory to the new - born King. rcv 3:«: o t. -e — 9- — — I—- iit» U^ - -o- :pr:t 3iE=p: :25: :i=fz s?^ :P=:3: S^ :pr* -\~ i-Tt— :=1= t t Christ by highest hear'n a • dor'd,Christ the e - ver - last-ing Lord, Christ the e-yer- ^^ ^ :3=:t--i^- =3: :i^3=it^azi i #1*:^=i Christ the e - ver • last - ing Lord, Christ -the e - Ter> 2nd Treble. Tenob. dS=F q=t ::t=l: =P=P=t :ix*=a: :S=:i=r^: :?=:?: :*=a: *=jz=t=t Christ by highest heav'n ador'd, Christ the ^e - ver lasting Lord, Christ the e • ver. 3] -•—I—I-*5 ^ 5= -^— J—jTj — I^^ :p:=P= J— ri ^ =|: i§ last-ing Lord, Late in time be- hold him come, Offspring of a virgin's -X m—=: :#*Z3t=d=:ltfzi: ±pd: last-ing Lord, Late in time be - hold him come. -»-- o—e- :!^^-. :*:^^=^rrp: I :q=:=:dd=zffK: i last - log Lord, Late in time be -hold him come, Offspring of a virgin's 35- 3:5 e- S -e- :=]: ; ; MUSICAL AND LITERAEY MISCBt.LANT 307 TTomb, Offspring of a virgin's womb Veil'd flesh the n-Jzit «:es:;*r*ti: :t- 3d: :nziz!± :W=i: Offspring of a virgin's womb. Veil'd flesh the God - head zpi-fz :?=:*: -(--^ I I— gg:^Ep| I- —t— SE^ '—I— womb, Offspring of a virgin's womb Veil'd in flesh the God - head _C1_ S .^. :xizzzzi:. -er- :p 3 =s:5- :f=:icrp-|c: ifzqciv: :^P=:k :i=^^c=^ ft(L i^-. -I- he. Hail, hail th'incarnate De - i - ty, Hail, th'incarnate De - i - t;, Fleas'd as ^- :H=:T n=q!v: :=lr=t TT^v: r=)= :p -©—e- t2iz:i: jr d2i:eiz:gz: 3ii=:*r:i:=i)r rims: _ci he, Hail, hail th'incarnate De • i • ty. Hail, th'incarnate De • i - ty, Fleas'd as " :^i.p_ci: =^To^ tit CPC3?: d=tz4: ipKttprs: tt :t; -h- :»=t I he, Hail, hail th'incarnate De - i - ty, Hail, th'incarnate De • i • ty, Fleas'd as 31^ :P=:^=^y- :tL--(ft_ci- ^zzfz a 308 THE BRITrSH MINSTREL; AND tzdz=:==—_-B=:ir(=^ feziq: -t 3--q: zizzizzr. a^-=t^zi~^=^ 4=^ *—iJ- our E-man • nu - el, Je - bus our E- man - u - el, Je - bus our E-man nu - el. rjd: -f-r- our E-mail' il, Je-Bus our £-man u - el, Je-BU3 our E-man- u - el. tr^=Pz :p=f: -©- S \r=^-. iPrata: 4- £:=t i :p=t=Bd!=f: : ip: 3: r-y-7)- ^ S :P=:p ±rc=l;;j: 1-1 3=?^E —rl: Hark ! the herald angels sing:, Hark ! the herald angels sing, Glory to the new-born King, i—b- =r :P=Pqtz:p: 1—t~r-r- E^«li Glorj to the new-born King, 2nd Treble or Tenor. Tenor. ±z- :p:prrq-: I I -I———*>J^ r -1— :H:= Hark .' the herald angels sing, Glory to the new-born King, Hi -pi liili iPni: :fer:, ^^= sf=:pE=ip 35= tizzt: 1 GIo - ry to the new-born King, Glo - ry to the new-born King. e O i fj e^ ^d— I 1 - P I— Glo • ry to the new-born King. 3:5=:^ ^ *^ifeE|EEfE±i 3^ ^H ^r^-i' :ti p Glo - ry to the new-born King, Glo-ry to the new-born King. ^ggg3pre MUSICAL AND LITERARY MISCELLANY. 309 THE VINE DRESSERS. DUET. Words by David Thomson. Mozart. Andante. When burnings noon begins to fade, And when our train shall homeward bie^ When dressers leave the vine, With pipe and tambourine. And court the myrtle's fragrant shade. As Luna mounts the eastern sky, Or dance beneath the pine. The tow'ring Alps between. With thee I'll lead the merry ring, To thee I'll sigh a soft farewell, With thee the canzonet I'll sing, 'Till flocks shall ring their matin bell 'Till dewy eve decline. Along the spangled green. No. 120— IJd. — 310 THE BRITISH MINSTREL; AND THE BUD OF THE ROSE. Moderato. Wiliiam Shield. Her mouth which a smile de void of all guile half "o - pens to view iTthe J?L«_- * g -1r- Efe-:r=^E?EFIEr~fEE^^E£^| :e? ' —I *«j I ^t. — —I—— I hV 1*^- J5: ^5==!^: ^ ^EE^j:-!i^S ::*:i=:*: ^3:53^ r^ i zi^ziizriz.^ bud of the rose, is the bud of the rose, in the morn - ing that blows im- X .^ ^ -©t- keee ^: ^q;=t s I ._ir!3__\. rz^iqr^qs; iSTfcgl FEE ^=13: :iiz:ixg]35^3!E3^ i^E 3t:3: 13=5=__3=^=ir|=^z?z=lS pearl'd with the dew, impearl'd with the dew, the bud of the rose, im - pearl'd with the d- m— :P=f: -f- a±^=R^! *=3^: ::sx—^=:z^-- :p=t: ^. itzp: i Vi/ r- Fine. jsrd^: Hsms: dew. More fra - grant her breath than the low'r scent - ed heath, than the ai -jtzz^z ~S5_ :t; ;ee ' '--!—r- hV-N-I- z^i^q^zrzjs;:— —^—^—^K ,—^ ji^ zr- :*:=:J — ;3r i=:a=:i: fz=:ztziTt:Wz::-, » — -qsnsr m\ iiow'r scented heath at the dawn - in^ of day. The haw-thorn in bloom. :?: ?^: "ze: :^=F^ :=~j: MUSICAL AND LITERARY Ml&CELLANY. 311 8va ...... loco. k I The li - 1;'b perfume.me. The —e- 33 — =1- ._(=_. —EE: itz:^-1^ ^ al segno '/y li - Iv'b Derfume. or the blos-soms of Her * The voice takes the upper B of the bass stave to the word " May.' WILL CHLORIS CAST HER SUNBRIGHT EYE. GLEE FOR THREE VOICES. Goodgrome, 1673, PP i—:t=t: t-t^tl Will Chloris cast her sun - bright eye, Upon so mean a swain as I, Can she af- — :jE=p53 -I *-P-is-j- S'l t: :^l=q: SEgiS -t- Will Chloris cast her sun - bright e;e. Upon so mean a swain as I, Can she af- :=|==i=q-q=: ^- ^gzprp=pr|ff3:5=f= :«p=^zd: :q=j= irztztr: zii za-jzzMrj rU: ^TN 3*3; li z=^~~tr=rp=:^i=z «-©-- ^ zrz^xz feet my oa - ten reed, Or stoop to my shep - herd's weed. q^ :q: :«!===] .3^--!: =3=1 iz.^: :az*: EE3i?Ei^EE' feet my oa - ten reed. Or stoop to my shep - herd's weed. z-^=z==:=|zzq=|=:z!z=zzz=:z|z.-=:; g±3: zzn zz^=z^z=:zr- ZZ22ZZIi — « I 312 THE BRITISH MINSTREL; AND AWAKE. SWEET LOVE! MADRIGAL FOR FOUR VOICES. John Dowland (1697.) Andante. 3qi .xsz 'X2-m -^— SOPRANO. -^^ X3Z €!- :2d=zd 2z ±z=l: ^— wake sweet love I thou art re - turn'd. My heart which :q: ALTO. ^=3= 1:^2 -©- Id: i=^r=i~3iil Awake sweet love I thou an re - turn'd,Mj heart which - -^--J- o - o :^a=3= d: TENOR. Hz :r3: :4: A - wake sweet love 1 thou art re-turn'd. My heart —^—e-^l^— -^^-=- 1=q= BASS. S^ Iz2rt -ILJzzJ-Tj—rtrzr wake sweet love 1 thou art return'd, My heart which S^JZ 3i; 113: ^mm :=|: long in ab - sence mourn'd, Lives in per - feet joy, long in ab - sence mourn'd,Lives now per feet joy- :^:rx5: :x3; :rpciz ncsz- :i=3Ei -^ ~1 3d: which long in ab - sence mourn'd, Lives in per - feet joy. -J-l. Wi :iri; :X2: n: T3=:3d: ixs: igiz-i long in ab - sence mourn'd, Lives now in per - feet joy, e - ver in her Let love which ab - sent dies, Now live for e - ver in her I- 3±: -^— -e- — I-I ^-j-q-qz :=n 3dz;23z:23z: :X3=:33: :r3=35: Let love which ne - ver ab - sent dies. Now live for ver in her MUSICAL AND LITERARY MISCELLANY 313 X3=ns-| -&-^ 5?: ~l=3d=3=(»d=32: :=|: EEE^E^i :q~ii; I - - - hath eyes, Wlienoe came my first an noy. On ly her self :^ q=:t q=it —^—J—I- H—e- 3dr r*=ir:g~az3i :x3: - self eyes, Whence came, whence came my first noy. On ly her :33: i5- :4^^lEEJE^EL^^ :^ eyes, Whence my first an - noy. On - ly her - self hath ::jrr^ -^r w. :35-_e::ie~ :33: r>,.f— w ^- :3d.-r:i: :x3: "CT" -I" eyeSjWhence came my first an - noy. On - ly her - self hath seem - ed fair, She on . ly ly drave e- :o:: ::^335=:3qr|^ -e—-i^ ,—- ^ ^—^I --^ r:d: me to de - spair, When she un - kind did prove, De-spair did make q=:j= :^|=:=t==|==p d= isni: .!_i_zdz: :iiz±-. J^32 -^--j^- -e me to de spair. When she un • kind did prove, De-spair did make, did make e -r--:sx iQz: :3:5_:35@^. S^fa i=C :b:=t: ±tEE3EE5E zzzfzzbzt: •-1- me to de - spair, When she un - kind did prove, De - spair did make me • 3] e3E3E?=i=^^ 2fc.^±:t=3=ffriJzzE: :d= :35: -e—e- :o--=l= me to de - spair, When she un - kind did prove, De - spair did make me : 314 THE BRITISH MINSTREL; AND wish to die, That I my griefs might end. She on . ly who slow. rrs =^--^— ::^= ^-B-e- ^- :33: :=!= m: did malie me fly, My state may now a mend. :n=~ rzo:: :r]3==l=ili E =(: 3d=xt: :c2:: did malie me fly. My state may now mend. :±pr^: :-=^- -e- iCEZp: H- i^zp =JE :d: -t did make me fly, My state may now a mend. \ -e- :4- —3=1|I==C :^zzzii flz^rrd:s -e-— did make me fly, My state may now mend. If she esteem thee now aught worth. And all thy harms repair. She will not grieve thy love henceforth, Thy happiness will sweeter prove Which such despair hath prov'd Bais'd up from deep despair. Despair hath proved now in me And if that now thou welcome be That love will not inconstant be. When thou with her dost meet. Though long in vain I lov'd. She all this while but play'd with thee^ If she at last reward thy love. To make thy joys more sweet. END OF VOL. III. W. Hamilton, Printer, 139, Kenfield Street, Glasgow.