Page images
PDF
EPUB

obtained complete success and nothing remains to struggle for. They are likely, we understand, to be renewed this year. But such performances to the east of Temple Bar are rare things, and their support or cessation hardly falls within the laws which govern the other end of the metropolis. We may therefore look to the Vocal and the British Concerts, and to the Subscription begun by Messrs. Bellamy, Braham, Harris, Mori, and Welsh, and which did not even with all their combined interest reach 150 names, in illustration of this principle. The necessity for a large expenditure made the sum for admission high. The public were pampered, and the enormous number of benefit concerts, to which access is more easy, and to which every musical person feels it unavoidable to extend some share of patronage, made subscription concerts of less value If to these reasons be added the fact, that all others are thought inferior to the Philharmonic and the Ancient, there is adequate cause to account for their failure. Satiety on the one hand, and expense on the other, have rendered the public at large far more indifferent than heretofore to public exhibitions of music.

The private cultivation of the science has also its effects. For while we admit that nothing so much disposes the mind to grand exhibitions of the art, as the knowledge and practice of its powers, yet the amateur enjoys it often and enjoys it most in private. The frequency of concerts by professors in the houses of persons of rank and fashion tends to blunt the desire for public music; and hence it may be observed that such persons rarely attend concerts, of which the middle classes are the chief patrons, and to them expence becomes an object of consideration. Solicited as they find themselves by the nightly benefits, it is not wonderful that Subscription Concerts find inadequate support.

The King's Theatre, it would appear, is in no less a state of embarrassment, even though the subscription and attendance have been beyond any former precedent, and the receipts, in short, as large as hope or expectation could warrant. Yet at the end of the season we find some of the principal salaries unpaid, the

managers before the Court of Chancery to avoid possession of the theatre, and the concern once again all but at a stand! This is certainly marvellous; but still to be reconciled only by the enormous, extent of the expences. Here then again the excess is the cause of destruction. The necessary deduction from these premises seems to be, that the public exhibitions of the art have too far preceded the general march of the public in the cultivation and desire of its enjoyment; in simple terms, that the supply has exceeded the demand, or (for we must put the proposition: disjunctively) that the call upon the public purse is too great. For nothing can be more clear, than thati f these enjoyments are to be so frequent, they must either constitute the capital pursuit of the individuals attending them, or they must be resorted to by fresh and successive audiences; which latter supposition implies that they must be cheap in order to embrace the whole circle of educated society. But, universal and comprehensive as the study of music has become, it has not yet permeated the English as it has the Italian and the German population, while the habit of seeking our principal gratifications in private rather than from public amusements (as is the case abroad) militates against the latter. There would appear then to be no alternative, but to render such entertainments cheap, and this presumes upon a total change in the present mode of conducting concerts. With such examples of loss as the Oratorios, the cheapest concerts in London, have afforded, it is hardly to be conjectured how the void is to be filled-for who will be hardy enough to face the danger?

The opera, too, presents a host of difficulties, but these will probably be overcome, for the world of fashion must have an opera.

So much for the profit and lossfor the pecuniary part of the transaction. We shall now come to the indications of the progress of the art itself. No season has, perhaps, ever added less to instrumental excellence than the present. It is remarkable rather for precocious talent than any thing else. Centrocie and Labarre have carried execution upon the hautboy and harp a little

[ocr errors]

farther than it has been heretofore carried; and here we stop. Nothing in the way of composition has attracted attention, except the masterly symphonies of Mr. Clementi. Rossini's promise failed; and from our own writers we have had, nothing to distinguish the last from former years. At the Oratorios there was a laudable endeavour to bring back the taste of the public to standard works, and not to shock the better feelings and the better judgment by so vile a mixture of sacred and prophane, of English and Italian, as had heretofore been the practice. In the Concerts, however, the predominance of Italian is more than ever conspicuous, while the conducting of Rossini at private parties added to the weight of his name and the diffusion of his compositions in a manner unprecedented. It is avowed that he has netted not less than six thousand pounds by his engagements; and in many instances he has received ten and twenty times the amount paid to our native conductors, though it is admitted that he is distinguished by no peculiar excellence. He makes, indeed, more use of the pianoforte and of the pedals especially, than we have been accustomed to hear; but as an accompanist of judgment, he does not rank above, or even with, our best English artists. Yet such is the power of a name! "What's in a name, asks Juliet? "A thousand English guineas a month," responds Rossini.

Madame Catalani has certainly "fallen from her high estate,” while the favor of Pasta, a comparatively plain and expressive singer, has to a certain and limited extent, acted as a check upon the florid manner lately so entirely predominant. If, indeed, any thing could stop the accession of new parts (which constitutes the philosophical account of the introduction of this manner), it must be the total destruction of expression, wrought by the custom of singing airs with variations-almost as severe a satire upon execution as the practical exposition of Mr. Braham, or rather of Mr. Sinclair-the pis aller of injudicious and extravagant embellishment. The fact is, that vocal art is now becoming altogether dramatic. The hearer desires to be powerfully affected; and we have SEPT. 1824.

learned of our Italian instructors to be affected only by the more forceful demonstrations of passion, or by the most touching voluptuousness, or by surprise. Through this principle we at once obtain a light which leads us to apprehend all the changes by which singing is becoming rapidly "vocal instrumentation." Our English vocalists of the first class are not less rapidly departing from English manner, and sinking into mere imitators; a change deeply to be lamented, because, though we can only judge of our deficiencies by comparing ourselves with foreigners when they attempt our style, yet it must be sufficiently obvious that, by discarding our intrinsic qualities, we lose the strength with the originality, and consent to take a secondary rank instead of pursuing the natural road to our proper greatness. To these general remarks we can only add that, in spite of the almost universal cultivation of the art, there are few or no candidates of pre-eminent talent to succeed the old and fast-fading favourites. The English theatres have not produced a single individual; and the two little Cawses and Mr. Phillips (a base) are the only concert novelties of much promise. The costly pupils of the Royal Academy have amongst them some rising instrumentalists, but the singers put forth no extraordinary claims.

The publications of this month are but few in number, and those few are but of little importance. The only original piece is No. 14 of the second series of Caledonian Airs, by Mr. Burrowes, and this has all the recommendations of smoothness, simplicity, and melody.

Mr. Crouch has published a third number of selections for the flute and violincello, containing an adagio and air with variations, by Gaensbacher, a composer but little known in this country. This specimen of his style is florid and not ungraceful. The principal part is allotted to the violincello, and this is difficult, being full of high and rapid passages. The other arrangements are a collection of airs for the guitar, by Derwort; the second book of airs, from Semiramide, by Bruguier, and Bochsa's fourth introduction and march, arranged for the pianoforte by Latour.

Y

SKETCH OF FOREIGN LITERATURE.

FRANCE.

The Drama.-Eudore and Cymodocée, a tragedy, the subject of which is taken from the Martyrs of M. de Chateaubriand, has been performed with entire success at the Theatre Français. The subject is briefly as follows:-The Emperor Diocletian has given to Eudore, a Greek warrior and a hostage to the Romans, the command of the legions ordered to repel the Gauls. He returns to Rome victorious, to enjoy the honours of a triumph. Hierocles, the Emperor's favourite, who governs during his absence, is the secret enemy and rival of Eudore, and has caused his mistress Cymodocée, a virgin devoted to the worship of Homer, to be secretly carried off from the isle of Samos. Eudore being informed by Cymodocée herself of this act of perfidy, takes her under his own protection, and Diocletian arriving, decrees that she shall remain under his care. The young virgin sighs for the moment when she shall be united to her lover at the altars of her Gods, when Eudore confesses to her that he has abandoned that false worship and embraced the Christian religion. Using with his mistress the powers of reason and affection, he persuades her also to renounce her false divinities, to receive the nuptial benediction at the altars of the Christians, who had hitherto been tolerated at Rome. Meantime Hierocles is the most inveterate enemy of the Christians, and so far succeeds in prejudicing the Emperor against,them that he is ready to order their destruction: he deliberates, however, and permits Eudore to defend them. Without owning that he is one of their brethren, he pleads their cause with ardour and success, and Diocletian commands that the oracle shall be consulted; but the oracle pronounces against them, and the Christians are condemned. Eudore then declares himself a Christian; his soldiers desire to save him, and even offer to place him on the throne. He rejects their offers, persuades them to return to their duty, and prepares to die with his brethren. Yet the Emperor is still inclined to show mercy, and to revoke the barbarous order,

when he is informed that the temple of Vesta is burnt. Hierocles has set it on fire, but the Christians are accused of the crime, and their fate is irrevocably sealed. Cymodocée comes to die with them; every effort to dissuade her is in vain; she receives the nuptial benediction, and, with her husband and her new brethren, hastens to gather the palm of martyrdom. The beauties of this remarkable production completely cover the defects; among which may be reckoned the nullity of the character of Diocletian, the insufficiency of that of Cymodocée, whose conversion is too sudden, and some want of perspicuity in the details. Though dramatic poets are allowed to take great liberties with the truth of history, the author has surely carried this licence too far in the following lines, addressed by Eudore to Diocletian.

Vous ne souillerez pas du sang de vos sujets,

Votre gloire échappée aux embûches du trône,

Et ce manteau du sage illustré dans Salone.

If this last line means any thing, it directly alludes to the abdication and retreat of Diocletian; yet he is here on the throne, and must have quitted Salone, to resume the imperial dignity, which it is notorious he never did. It is not a little singular that this tragedy should be the production of a man hitherto unknown in the literary world, and considerably past the meridian of life. His name is Garry, lately at the head of the college of Carassone, of which office he has been deprived after having filled it with honour for thirty years.

The Oxford Student, a comedy in three acts, performed at the Odeon, has been very well received. It is by M. Wafflard, the author of several agreeable and successful petites pièces, who died in the flower of his age.-Arthur de Bretagne, a tragedy in five acts, by a M. Chauvet, has been brought out with success at the Odeon. The subject is from the history of John, King of England, and his nephew Arthur. The French critics say, that though it is impossible to deny that the piece

succeeded, it would not be easy to assign the reason of this success. -A new comedy in five acts, and in verse, called Le Mari à bonnes Fortunes, is in rehearsal at the first French theatre.-The Alcade de la Vega, a comic opera in three acts, is borrowed from a celebrated piece of Calderon's, The Alcade de Zalamea.

Poetry. The only publication deserving of particular notice is a new Messenienne on Lord Byron, by M. Casimir Delavigne.

History, Memoirs, and Biography. -The study of history, as we lately observed, has become quite the order of the day in France; and, besides the extensive works of which we have spoken at length, numerous miniature histories, in one or two volumes, are published; among the latest that we have noticed are those of Germany, of the United States of North America, and of Poland.-A history of the Campaign in Spain, 1823, by Messrs. Hugo and Couché, is intended as a continuation of the Trophies of the French Armies, in six volumes. This work will make two volumes 8vo. to be published in eight numbers; only two have yet appeared. The first livraison of Political Memoirs, towards the History of France under the Empire, contains vols. 1 and 2 of Memoirs relative to the Campaign of 1809, by General Pelet.-M. C. Lacretelle has just given to the public two more volumes of his History of France, including the Legislative Assembly, and the first two years of the Convention. This division of M. Lacretelle's labours will extend to the establishment of the Empire; and it is connected with the history of the eighteenth century, before published,

[ocr errors]

as to complete the picture of this memorable period, commencing with the regency, and terminating with the most terrible convulsion that has shaken the foundations of society in modern times. Two volumes have just issued from the press, under the title of Memoirs of Louis Jerome Gohier, president of the Directory on the 18 of Brumaire. This work is said to contain new facts, though in no great number, and to be well written. These memoirs continually refute the Memorial of Las Casas, and other late

publications on Buonaparte, whence it is inferred that the author, an old man of 77, has had some assistance in the composition of his work. The book is quite republican, says a royalist critic, yet the effect is not bad; because, if the author defends the directorial government of the French republic, one and indivisible; on the other hand, he victoriously combats the usurpation of Buonaparte, his pretended election to the imperial throne, his violent and tyrannical government, his council of state, and his servile tribunals. He does not declaim, but he proves; and his proofs are the more persuasive, as he at the same time does justice to the genius and military talents of him whom he assails: and notwithstanding the expression of his repub lican sentiments, he not only refrains from any seditious insinuation, but shows himself moderate, and even favourable to the government of the king.-What we said last month of the Memoirs announced as those of Condorcet on the Revolution, is confirmed by a letter published in the French Journals, written by the famous Arthur O'Connor, son-in-law of Condorcet, who declares that he has examined the letters and manuscripts from which these pretended Memoirs are stated to be taken. They consist, he says, of 29 notes and letters to Mr. and Mrs. Suard, which all together would not make above 34 pages of the printed book. The editor ascribes to Condorcet 167 pages: of these, 45 pages are taken from the journals or printed works, so that, adding the 34 pages taken from the notes, there remain 88 pages, for which no authority, either printed or manuscript, is given. The verses ascribed to Condorcet are not in the manuscript. Thus, on the foundation of 29 notes, forming scarcely 34 pages, two volumes of 729 pages have been constructed. Even were these two volumes extracted from the letters, the title of Memoirs would still be deception.

Fine Arts. The celebrated Voyage Pittoresque in Greece, by M. de Choiseul-Gouffier, is at length completed in 3 vols. folio, by the publication of the 4th part. The price of the whole is now 480 francs. Of the second edition of the Description of Egypt, Numbers 139 to 146 are pub

lished together in one portfolio; another volume of the text is published at the same time. This second edition will undoubtedly be finished in the time fixed, the Minister of the Interior having given the most positive orders to complete the first or splendid edition, which is to be entirely published by the 1st of January, 1825. A translation of the whole of Lanzi's History of Painting in Italy is announced; it will be in 5 vols. Svo. of which two are published.

Novels. The Orphan Girl, or Beneficence and Gratitude, 4 vols. 12mo. by the Countess of Flesselle. The 4th volume contains, Christian, a Vendean Tale. These two productions are spoken of in high terms. The Hermits at Liberty, by Messrs. Jouy and Jay, 2 vols. in 8vo. ; only one is published, the second is promised for the 1st of September.

Natural History. The 95th livraison of the Encyclopedie Methodique, consists of vol. xi. part 1. of Medicine, vol. ix. part 2. of Natural History (Insects), vol. ii. part 1. of Vermes, containing the Zoophytes. The 5th volume of the Classical Dictionary of Natural History, by Messrs. Bory de St. Vincent, de Candolle, St. Hilaire, and other eminent naturalists, is published. The editors have promised many facts, and few words, and they have kept their promise; with at least a third part consisting of articles not contained in preceding works of the kind, these 5 volumes include vol. x. to vol. xv. of the preceding dictionary.

Politics. Under this head we mention, in a few words, the Independence of the Colonies, considered relatively to the Interest and the Policy of Europe, by Lieut.-Colonel de G***; the author is convinced that the subjection of St. Domingo would be attended with little difficulty.-A pamphlet under the title of Reflections on the Reduction of Interest, and the state of Credit, by Jacques Lafitte, excites great interest at this moment, both from the importance of the subject and the name of the author.-Mr. Haller, whose name has become celebrated by his abandoning the Protestant religion to embrace the Catholic faith, has now published in French his work called the Restoration of Political Science, vol. i. This work is directed against the

modern French philosophy, and is most highly extolled by the French journals which advocate the same cause, such as the Etoile, and the Quotidienne. We have seen the German edition, and have admired many eloquent passages; and we here notice its appearance in French, without giving any opinion of the correctness of the author's system, but recommending the perusal to those who are competent judges in such matters. A History of the Conspiracy of General Mallet was announced for publication about the middle of August; but we have not heard of its actual appearance. Some suspicions, we understand, were entertained that a deception on the public was intended.

at

Theology.-M. Bonstetten has published an interesting work on the Nature of the Proofs of the Existence of God. M. Bonstetten, by birth a patrician of Berne, and formerly a magistrate, is at present an adopted citizen of Geneva; he was the pupil and friend of Bonnet, the confidant and early companion of the illustrious Müller, connected with all the celebrated men of the last half century, and every way worthy to have his own name inscribed in that honourable list.--The Holy Bible, translated from the original texts, with the Vulgate, by Eugene de Genoude, is now completed in 23 volumes, 8vo.-The first volume of M. B. Constant's work, On Religion, considered in its Source, its Forms, and its Developements, has length appeared; the remainder of the work, it is stated, will be published without delay. It would not be candid to judge of such a work by this first volume, which is, in truth, but a long preamble, in which each chapter is a distinct preface, the object of which is to remove the difficulties of an arduous subject, to smooth the way, to prepare the minds of the readers, to gain over different opinions by giving some satisfaction to the most opposite. Hence the author often modifies his own idea, and has always some qualifying phrase which may serve before hand as an answer to future objections. A writer who is of the same party with the author, and is fully disposed to do him justice, complains that he is cold, and logical, instead of being eloquent;

« PreviousContinue »