« ΠροηγούμενηΣυνέχεια »
mittee; and an oligarchical, not to change will take place in the vocal say aristocratical principle is seen arrangements at Covent Garden. to subsist in provisions, first, to per: Miss Stephens, in consequence, first, petuate the power of the committee, of a proposed reduction of salary ; by the patronage it enjoys, and by and secondly, of an endeavour to stimaking its members re-eligible; and pulate for secresy as to its amount, secondly, in constituting the sub-com- both of which the young lady conmittee the final arbiters of every sidered as derogatory to her cele. question connected with the manage brity, is said to have entered into ment.
These circumstances will an engagement with Drury-lane. serve to disgust both the public and Miss Stephens is at present at Paris, the profession; while the scope and but with no view to the exhibition of numbers which the plan embraces, her talents in the French capital, the expences it will entail, and the whither also Mr. Bishop and Mr. dangers it threatens, will all tend to Duruset are gone. Sir George Smart stop the advancement of an institu- has been called to Edinburgh, to tion, which, cautiously pursued un- conduct the musical performances der able laws, could not fail to bene- that will take place there during the fit science, diffuse the love of the art, King's stay. and ultimately raise the character of Miss Paton, from Bath, who has its professors.
for the last two or three seasons been The arrangements for the opera singing at a few concerts in London, are already in train. Madame Cam- has made her debût at the little porese has been prevailed upon to theatre at the Haymarket, where she postpone her resolution of quitting has met with the most brilliant sucthe stage, and is again engaged as cess. She has appeared as Susanna in prima donna. Nor is Camporese Figaro, and as Rosina in the Barsingular in her desire to gratify the ber of Seville. The first is an adapexpectations of the public, and pro- tation of Mozart's music, with albably her own. It is more than terations and additions by Mr. Bi. suspected, that Catalani is anxious shop; and the music of Rossini to to pay another professional visit to the last has been fitted for the EngEngland, in spite of her announced lish stage by the same able hand. retirement, and of the contempt, we
The Italian music does not, howare sorry to understand, she pro- ever, appear to the same advantage fesses to entertain for the reception by any means. The rough syllables she met during her late sojourn in of the English cannot be made to England. There is every reason to slide over the tongue so smoothly as believe that she exchanged her notes the mellifluous vowels of the original for those of John Bull to the tune of language, and as the melodies of ten thousand pounds, with which, Rossini, particularly those of the we humbly opine, even her noble songs, duets, and concerted pieces ambition ought to be satisfied; par- in Il Barbiere di Seviglia, consist ticularly as those about her are accus- chiefly of passages of rapid articulatomed to consider that the honour tion, they present more than ordiof performing in the same orchestra nary difficulties to the singer. Miss with Madame Catalani is an honour Paton possesses a voice of tolerably sufficient to subdue all desire of emo- extensive volume, and of fair but lument in the chosen professor. We not superior quality; and though not hope, therefore, to hear this enchant- deficient in compass, yet the upper ing singer again. But to return to tones, particularly the very highest the opera. Madame Ronzi de Beg- notes, are attained by the use of that nis, her husband, and Signor Zuchelli, very dangerous expedient-force. are also engaged.
Passages, therefore, which should be The De Begnis, with Graziani, slightly touched, are given with a Begrez, and others of the corps de degree of violence which detracts l'opera, are gone to Edinburgh, with entirely from their use and beauty in a view, it is said, to give either en- execution. She has considerable fatire operas, or selections, in that cility, and even brilliancy, in running city: they may also possibly extend divisions ; but frequent changes in their tour to Glasgow. A great the quality of the tone, and an occasional transmutation in the posi- eve of taking place under great pation of the organs employed in its tronage, and upon an extensive scale. formation, approaching sometimes to Mrs. Salmon, Signora Caradori, and a whistling in its production (a fault, Miss Goodall, Mr. Vaughan, Mr. W. by the way, which attended Mrs. Knyvett, Mr. Bellamy, and Signor Dickons's performance) proves that Ambrogetti (this also is another reher vocal education has been in this surrection among those who have grand respect imperfectly conducted announced their own departure), are as to principles. Her power of articu- engaged. The selections embrace lation is not as complete as it should great variety, and even in sacred be, and her shake is too hard, too close, music poor old Handel is elbowed and too rapid. In many passages out of his long usurpation by the she imitates very nearly the man- moderns. Beethoven's Mount of nerism of Catalani. In spite, how- Olives, Haydn's Creation, Rossini's ever, of these defects, she is a singer Mose in Egitto, and Bochsa's Dec of great promise for the stage, and we luge, have all a place, so that variety mention them because she appears and excellence are to be found. Se to be in some danger of being ruined veral other festivals will succeed. by ill-judged flattery; for if she be The publications are extremely taught to believe half we have heard few this month. said of her, it may probably check
Grand variations on The Fall of Paris, her desire for improvement which at present she most certainly needs. for the piano-forte, by Ignace Moscheles, She has been represented as equal the concerto played by Mr. Moscheles on
-This piece was performed as a rondo to ling Miss Stephens and Miss M. his first appearance in England, at the Tree, and we have even heard her Philharmonic, in 1821. He has since extolled as excelling those vocal- given it at his last benefit concert, with in. ists. But her natural organ not only creased success. It had before acquired places her below them both, but, at great celebrity on the Continent, where it present, as might be expected in so had been frequently performed by Mr. young a person, her execution is by no Moscheles; but its immense difficulty is, means so perfect, nor is her memory
we fear, likely to preclude its general adso enriched with ornament, nor her mission into private society. Its construcimagination so excursive.
tion is evidently intended to show the high
eminence Mr. Moscheles has attained in however, we repeat, a singer of great his art. Here, therefore, we find triplets, promise, and worth correction, --acom- double triplets, complicated crossings of the pliment which, if this article meets hands, and skips of great distance and haher eye, we hope she will have judg- zard. Whatever astonishment the mere ment enough to understand, and to view of this composition may excite, it is value above all the nonsensical flattery impossible to estimate either its difficulty with which she has been loaded : we or its effect, except it be heard from the would stimulate and encourage,
composer himself. Such a piece ought, not spoil her.
however, to find a place in every musical At the Haymarket Mr. Leoni Lee library, as a specimen of the prodigious peris the tenor, and he sings very agree the art of piano-forte playing
fection to which Mr. Moscheles has carried ably. His voice is not powerful, bat, when he does not force it, it is very and most admired pieces from Handel's
Mr. Moscheles has arranged the overture sweet in its tone, and somewhat Alexander's Feast, for two performers on plaintive in its effects. He uses the pianoforte, with accompaniments for some ornament with tolerable skill, Aute, violin, and violoncello (ad lib.y. We and is wise enough not to attempt have seldom seen a better or more judicimore than he can execute ; and as ous arrangement. the orchestra indulges him with his
Ah Perdona! with variations for the own time, he contrives to give more piano-forte, by J, C. Perry.—This piece effect than his original powers would is simple in its construction, and calculated seem to promise. Such are the arts Variations 2 and 5 cannot fail to strengthen
to afford good practice to young students. of stage singing; and by their aid and confirm the powers of the left hand, Mr. Leoni Lee, in a small theatre, while the beauty and popularity of the will succeed in pleasing the many, subject give interest to the piece. without disgusting the scientific. Stiebelt's favourite rondo, from le Re
A meeting at Reading is on the tour du Zephyr, is arranged as a very pretty easy duet for the piano-forte, by T. tally at variance with the other parts of the Costellow.
air, and consequently in bad taste. Hughlan's three sets of Trios for three Forget thee, no, though years roll on, by flutes concertante, are considered to be Mr. G. Kiallmark.-The melody is pretty, among the finest ever composed. No. 2 but rather inclining, in some instances, to has a remarkably beautiful fugue. They vulgarity, particularly the last line, the are by no means easy.
performance of which Mr. Kiallmark has Good night song by Augustus Me- wisely left to the option of the singer. vers.-Mr. Mevers has long been known Tarry and woo, by Mr. T. Cooke, is a as an elegant and very imaginative com
ballad in a theatrical style, and may proposer for the piano-forte, and throughout bably be effective on the stage, but the all his music delicacy and warmth of feel- words will prohibit it from performance in ing are particularly visible; melody also is private. one of his grand characteristics. This is Mary of Castle Cary is a Scotch air with the first, or at least the first that we have symphonies and accompaniments, by Miss seen, of his compositions for the voice, and Paton, who has sung it with great apit possesses all the attributes we have plause. This ballad is plaintive in its chaascribed to his piano-forte lessons ; it is racter, and sweet as to its melody. Miss elegant, melodious, and full of sensibility ; Paton, in imitation of the grand appropri. at the same time its construction is simple. ator of Scotch airs, adds a protecting note
Mr. Barnett's Canzonetta, When Clara at the bottom of the plate, announcing touched the fairy string, is superior in that, “ this ballad is property." We are fancy and expression. The accompani. afraid the fair proprietor is not, however, ment, which is well adapted to heighten likely to obtain the advantages which Mra the general effect of the words, adds con- Hawes, of all the suitors that ever applied siderably to the beauty both of the melody to a court, has alone enjoyed, namely, a and song. The few bars at the conclusion, profit derived from legal litigations. in the style of an Italian bravura, are to.
ATRABILIOUS REFLECTIONS UPON MELANCHOLY. « PERFECT melancholy," says ho- hope or to despondence, to pity or nest Ben, “ is the complexion of the to scorn, to reverence for the better, ass." I have heard it asserted that or to contempt for the worse elethe observation is no longer applica- ment, depends much upon the heart, ble. This is certainly a broad grine and much on the mind. But tears ning age. A grave face is no longer and laughter are but different modes the frontispiece to the apocryphal of melancholy. Hope and fear, debook of wisdom. Gravity is laughed spair and scorn, and love and pityout of countenance. But melancholy (when they are any thing more than is not the fashion of an age, nor the mere animal emotions) are but vawhim of an individual—it is the uni- rious manifestations of the same great versal humour of mankind-so far power. Melancholy is the only Muse. indeed I differ from Ben Jonson She is Thalia and Melpomene. She (whose memory may Heaven pre- inspired Milton and Michael Angelo, serve from editorial spite, and edim and Swift and Hogarth. All men of torial adulation), inasmuch as I think genius are melancholy-and none that melancholy is a passion properly more so than those whose genius is and exclusively human. The ass and comic. the owl are solemn, the cat is de- Men, (those I mean who are not mure, the savage is serious, but only mere animals) may be divided, acthe cultivated man is melancholy. cording to the kind of their melanPerhaps the fallen spirits may par. choly, into three great classes. Those take of this disposition. So Ben who seek for the infinite, in contrawould imply by the title of his co- distinction to the finite-those who medy, called, “ The Devil is an seek for the infinite in the finiteAss," and if, as hath been more plau- and those who seek to degrade the sibly affirmed, the devil be a great finite by a comparison with the inhumourist, then he must needs be finite. The first class comprehends melancholy-for whatever tends to philosophers and religionists; the selaughter (unless it be mere fun) pro- cond, poets, lovers, conquerors, miceeds from that complexion.
sers, stock-jobbers, &c.; and the Melancholy can scarce exist in an third comprises satirists, comedians, undegraded spirit-it cannot exist in jokers of all kinds, man-haters, and a mere animal. It is the offspring of woman-haters, Epicures, and boncontradiction-a hybrid begotten by vivants in general. the finite upon infinity.
The philosopher, conscious that when the actual was divided from the his spiritual part requires spiritual possible. To the higher natures, all food, and finding none such among possible things are true; the lower the realities of sense, acknowledges natures can have no conception of an no permanence but that of ideal truth unreal possibility. Neither, there. -truth is his God. He is in love fore, can properly be supposed ca- with invisible beauty. He finds harpable of melancholy. They may be mony in dumb quantities, grace in a sad indeed; but sadness is not me- diagram, and sublimity in the multilancholy, nor is melancholy always plication-table. He is a denizen of sadness. It is a seeking for that the mundus intelligibilis, and holds which can never be found-a remi- the possible to be more real than reaniscence or an anticipation of immor. lity. tality-a recognition of an eternal The religionist, like the philosoprinciple, hidden within us, crying pher, craves for eternity, but his from amidst the deep waters of the appetite is not to be satisfied with soul. Melancholy, I say, proceeds such ethereal diet. He cannot live from the juxta-position of contraries upon matterless forms, and truths -of time and eternity-of flesh and that have no life, no heart, no will. spirit-it considers human life to be a He finds that his spirit is vital as well Still waking sleep, that is not what it is.
as eternal, and therefore needs a God
that is living as well as true. He Whether this consideration shall longs and hopes for an actual immorgive rise to laughter or tears, to tality, a permanent existence, a blesVOL. VI.
sedness that shall be felt and known. alike are poets, for they are alike enaThe heaven of philosophers is indif- moured of the creature of their own ference, that of the religious is love. imagination.
In attributing to melancholy the This world is a contradiction-a origin of philosophy and of religion, shade, a symbol-and, spite of ourlet me not be supposed to attribute selves, we know that it is so. From: the love of truth and holiness to any this knowledge does all melancholy mere humour or complexion. All proceed. We crave for that which that mean is, that both pre-suppose the earth does not contain; and a consciousness of a contradiction in whether this craving display itself by human nature, and a searching for hope, by despair, by religion, by the things that are not seen. No idolatry, or by atheism,-it must man was ever religious or philoso- ever be accompanied with a sense of phic who was thoroughly contented defect and weakness--a consciousness, with the world as it appears.
more or less distinct, of disproportion The second class—those, namely, between the ideas which are the real who imagine a spiritual power in objects of desire and admiration, and things temporal or material, who the existences which excite and retruly seek for what they cannot find, present them. may be said to comprise, at some The poet does that for his subject period of life or other, the whole hu- which all men do for the things they
All men are lovers or long for, and the persons they love. poets—if not in their waking mo- He makes it the visible symbol of a ments, in their dreams. Now, it is spiritual power. In proportion to the the essence of love, of poetry, of adequacy of these symbols, men are ambition, of avarice,-in fact, of every happy or unhappy. But few, indeed, species of passion,—to confer reality are wholly free from an aching suson imagination, eternity on the off- picion of their inadequacy. The spring of a moment, spirituality and satirist is the poet's contrary. The permanence on the fleeting objects of poet's office is to invest the world with
No man who is in love con- light. The satirist points out the siders his mistress as a mere woman. light, to convince the world of darkHe
may be conscious, perhaps, that ness. When Melancholy assumes this, she is neither better nor fairer than its worst and most hopeless, form, it thousands of her sex; but if he loves generally leads into one or both of truly, he must know that she is some- two evils:-a delight in personal thing to him which she is not in her- power, derived solely from the exself that love in fact is a creative posure of others weakness; or a power, that realizes its own dreams. gross and wilful sensuality, arising The miser knows that money is more not so much from an eagerness for to him than metal-it is more than the things of sense, as from a conmeat, drink, or pleasure -- more than lempt and unbelief, say rather an all which its earthly omnipotence can uneasy and passionate hatred, of the command. The lover and the miser things of the nobler being. E.
Thy wants so ill supplied, -to see thee strain
And stretch thy tether for the grass, in vain,
Add to thy hunger ;-colt and heifer pass,
And roll, as though they mock’d thee, on the grass
Where thou’rt imprison’d, humble, patient ass,
A ranger “ of the mountains ;” and what crimes
The slave and mockery of latter times ?