great vocal powers. She particularly pleased in the character of || have recourse to the works of other masters? The experiment has Amenaide in Tancred, in that of Agatha in the Freychutz, and in the Queen of Night in the Flauto Magico.

REVEREDO in the TYROL. A society of amateurs has been established here; the first opera they gave in their private theatre was the Ombra di Samuele, written nearly twenty years since in Florence, by GIUSEPPE ALOYSI, a Neapolitan composer, who at present is a resident at Roveredo, and directs the above theatre. The opera was received with great applause.

VENICE. A volume has lately appeared here, entitled: Dissertazione sopra il grave disordine ed abuso della moderna musica vocale ed instrumentale, che si è introdotta a nostri di nelle chiese e nei divini uffize. (148 pages, 8vo. Altisopoli.)

been successfully tried with some operas of note, why not extend the list, and add to it the Don Giovanni, the Maometto, the Rivale di se stesso, &c.? Doubtless these would be found to possess qua lities to charm the Milanese. But it is probable that the singers || here are allowed to have a casting vote in these matters, which they give in such a way as to shift from themselves the burthen of studying new operas, or at least such as are in a different style from that with which they have been so long familiar.

A repetition of Rossini's Semiramis has afforded us an opportunity of passing a more decisive judgment upon its merits. The second act, although it seemed to please the most here, we consider as by far the weakest part of the opera. One of its best pieces is, undoubtedly, the movement, with a chorus, that forms the finale of the first act. But how infinitely short does it fall of the eulogiums lavished upon it in the Osservatore Veneziano. We understand they were written by the ex-poet Luigi, the same who uttered the memorable sentence that Rossini would soon eclipse the fame of Mozart, at the moment of writing which he must have had in his eye the hyperboles contained in a critique that ap

The author is very severe upon the abuses that have crept into modern church music, which he justly observes should be calculated to serve the purposes of devotion, and not to produce operatic effects. He reprobates the practice of deafening the ears with overpowering accompaniments of horns, trumpets, and kettledrums, now so common in the churches, and censures the use of profane music as preludes on the organ. He mentions an or-peared in the French Moniteur. The present maestrini of Italy ganist who attempted to awaken the devotion of a numerous audience by the overture to Lodoiska, and, on another occasion, by that of Mozart's Entführung den Serail, which were played during some of the most solemn parts of the service.

MILAN. The Abbate GIRONI, director of the public library of Milan, is said to have nearly completed his long expected work on the Instrumental music of the Greeks, and it is expected shortly

to appear.

The theatre here imitates the example of those of Paris, London, and Vienna. By way of variety, five operas of Rossini followed each other in succession. Even the most fanatic admirers of Rossini begin to find this too much of a good thing. Indeed, how can it be otherwise? The very ballad-singers, the barral-organs, the military bands on the public promenades, the organists in the churches, the fair dilettante in their closets, all tire us the whole day long with pieces from La Gazza Ladra, || Ceneratola, Barbiere di Siviglia, &c. &c. In the evening we hear || the same operas, and even in the ballets it is all the same thing over again. The entertainment over, we leave the theatre and repair to the Caffe to take some refreshment, and read the gazette; here stand again in rubric letters,-The new classical work (La Rossinana opera,) &e. When we have also swallowed this pill, we fall comfortably asleep? no; a serenade by..... but enough; so things go. On the other hand, noisy music makes rapid strides here. Besides three trombones, we had also four trumpets during the ballet; and a clarionet in F, in addition to a superabundance || of those of the common kind. In the same proportion as instruments increase, the human voice keeps pace, and, like a true instrument, seems contending with them for supremacy in the art of making a noise. The number of good singers and good'opera composers decrease daily; nay, with respect to the latter, Italy, if I may use the expression, stands at present in the situation of an orphan. What a contrast to times almost within our recollection! If Italy can produce so little now of genius, novelty, and taste, why not

seem determined no more to attempt the task of composing new operas; they appear to have a mutual understanding, and agree to borrow largely from each other, the public being the only losers. Prominent in this list stands Mercadanti, who is closely followed by Paccini; the latter gave an opera lately which was recognised as made up of one or two former failures, but the artifice was discovered, and the patchwork piece called La Vestale was condemned to repose with its kindred. But musical misdemeaners are become so common now, that they excite no surprise, and the public endeavours in its good nature or apathy, to tolerate them all. The prohibition issued by the bishops against the levity of the taste that at present prevails in church music, founded as it is on the airs of Rossini, has been of no avail: indeed, it is said, they have produced the very opposite effect, and that people have crowded thither in the mere spirit of contradiction.

PARIS. The Royal Academy of Fine Arts held its annuak sitting on the 4th of October, and the Musical Prizes were adjudged in the following order. The grand prize of the first class was obtained by M. Edward Boilly of Paris, aged 24, a pupil of M. Boieldieu in composition, and of M. Fètis in counter-point The second grand prize of the first class was obtained by M. LewisConstant Ermel, a native of Ghent, in his 24th year, and a pupil of M. Le Sueur.

The grand prize of the second class was given to M. Maximilian C. Simon a native of Metz, aged 26, and a pupil of M. Le Sueur. -The second grand prize of the second class was obtained by M. Theodore Labarre of Paris, aged 18, a pupil of M. Boieldieu, in tion, and of M. Fètis in counter-point.

A new opera entitled La Neige, or le Nouvel Eginard, written by MM. Scribe and Germain Delavigne, and set to music by M. Auber, was produced at the Comic Opera, on the 8th of October. The music displayed considerable talent particularly in the first act; but the best specimens were a trio in the second act, and its finale. It bears, however, too strong

a resemblance to former compositions, and is evidently an imitation of Rossini's style.

also gives musical evening parties, which are much frequented by the inhabitants of the town, and the strangers who frequent Odessa, during the bathing season.

PETERSBURG. The celebrated Hummel paid a visit to this capital last spring. His first performances were in private parties, NORDHAUSEN. June, 1823. It must be a subject of great where he gained the greatest applause by his Fantasias, in which satisfaction to the friends of the excellent and the beautiful, in this great master knows how to mingle with such admirable art the the arts, and particularly in music, to see how widely the latter gay and the serious, the playful and the severe; at one moment he extends its dominion, and finds patrons not only in every melets us hear what he is capable of effecting in the church style; tropolis and city, but also in towns of less celebrity, and where then in that of the chamber and theatre. He appears equally great the means of supporting it must be very limited. This is the both in the grand and the simple. So varied are his powers that case in the little town mentioned above. The Creation of even those who had the least pretensions as connoisseurs, were Hadyn was lately given there with considerable effect, by an orcharmed they knew not why, while the cognoscenti applauded with || chestra composed of two hundred performers, as well as the Reunfeigned admiration. He was everywhere called the celebrated || quiem of Mozart, to which equal justice was done, and in which Improvisatore. The first time he played in public, he gave his the chorus parts were given with great spirit and correctness. concerto in B minor, his Sentinelle, and a Fantasia. Critics || This was followed by Schiller's Glocke (Bell) by Romberg; the found fault with the first, as too long, and too meagre in some of Seven words of Jesus by Haydn; the Four Seasons of the same its parts; and did not think the two other pieces equal to some of author; the grand Hallelujah from the Creation of Kunzen, and the productions with which he had before charmed amateurs in a several other works of the same kind. The concert was honoured few private circles. The more fastidious also found fault with his with the assistance of three amateurs of eminence, the state manner of playing the piano-forte. It was observed that he counsellor Seiffart, a gentleman of considerable taste and judg treated this instrument too much as a representative of the or- ment, together with his two sons, the elder of whom, a finished chestra and organ. On his second public appearance he gave his piano-forte player, delighted the assembled dilettanti with the delightful concerto in A minor, Op. 85, together with the Rondo spirit and brilliancy with which he gave Hummel's concerto in A Brilliant, which produced general satisfaction; though it was re- minor, while the younger exerted, in several airs, powers of voice marked that the effect which he gave to some of the rapid move- of the higher order. ments by excessive emphasis, was unpleasing, and savoured too much of affectation. In his third and last concert, he performed his beautiful Septetto, which called forth a spontaneous burst of applause. His aria, Matilde de Genise, was thought stiff and in an obsolete taste.

We have been informed that a singular prejudice prevails, both here and at Moscow, against the music of Beethoven, and which has been encouraged by the example of a celebrated professor —r—, who is accustomed to speak of the works of Beethoven as the productions of a madman, and carried his animosity so far as to refuse to accompany one of his popular pieces. Some artists of eminence have, however, succeeded in softening down this prejudice, among whom M. Böhm has led the way, by bringing forward his six Quartetts.

Moscow. A journal of music has lately appeared here, conducted by a society of the artists of the place. Whether it will long maintain itself in opposition to the many difficulties that undertakings of this kind have to experience, time only will show.

ODESSA. A taste for music is rapidly increasing in this town. An Italian company which has been here several years, has been lately increased, and now includes several actors, who would do honour to any theatre in Europe. This company is under the management of M. Bonaviglio, the author of the words to Agnèse. || The stock of pieces is well varied, and Rossini, at Odessa, as well as in other parts of Europe, is the public favourite. His Barbiere di Siviglia, La Gazza Ladra, Cenerentola, &c., always draw a good company; and Clotilda, Il Matrimonio Segreto, Griselda, and Agnèse, likewise have been performed with success.

A Philharmonic Society, recently formed by several amateurs,

THE DRAMA.

DRURY-LANE THEATRE.

THIS theatre has not yet began its musical season, strictly 'so called; though the manager has been very well,-or, at least profitably, - engaged in producing and performing a magnificent spectacle, called The Cataract of the Ganges, in which music is a partner assuredly, but holding a share so insignificant in point of value that its name might as well have been left out of the firm. A month, therefore, we shall, doubtless, have plenty of materials for new opera is in preparation, and Mr. Braham is re-engaged: next remark furnished by this house.

COVENT-GARDEN THEATRE.

THE managers here have made great efforts in the operatic department, and proportionate success has attended their enterprise. On the 5th of last month, a new historical drama, entitled CORTEZ, or the Conquest of Mexico, was brought out at this theatre, the music by Mr. Bishop. This piece has fallen a good deal under the displeasure of some of our daily and weekly critics: the chief cause of offence seems to be the horses employed in it. But really upon this point we cannot help agreeing in what the manager says, in a deprecatory advertisement prefixed to the book :-" With regard to the horses, the hope only is expressed, that as they have been often applauded when introduced merely for stage effect, they will not be less favourably received when their appearance is sanctioned by history, and is highly importan to the interest and probability of the drama." The use of these noble animals upon the stage, though generally absurd in the

of

songs:

she cannot exceed the din which Mr. Bishop creates by means of his trumpets, trombones, side drums, double drums, clash-pans, gongs, and gunpowder!

Miss Paton is very prominent in this opera, she not only sings, but acts her part, admirably. We should be doubly grateful to her if she would omit the bravura in the last act. Miss Love is a most interesting performer, and is a very good substitute for the charming Miss Tree; she has a voice remarkable for its depth and beauty; but she should never sing above C, (the third space in the treble,) the moment she ascends beyond the compass of a contr alto, her vocal sweetness deserts her, and her notes are harsh and untuneable. Mr. Duruset affords us more pleasure than any male singer at this theatre; were his voice equal to his taste, he need not shrink from rivalry.

highest degree, is not so ridiculous in the present play as has been represented. But even granting as true all that has been said about it, the public have acted wisely and consistently in not being too scrupulous upon the subject: a public that can tolerate and patronise such mischievous trash—such ultra-vulgarity—as Tom and Jerry; that can tamely suffer a notorious swindling foreigner, who has escaped from punishment as a condemned felon, to appear before them periodically, in a principal national theatre, and in a very conspicuous character,-ought not to be shocked by the introduction of a few beautiful, sagacious horses to their notice.However, we are perhaps travelling a little out of our immediate province; we will, therefore, merely add, that this drama is constructed for effect, in which it is completely and incontestably successful, and forms a most imposing spectacle. The music is of a superior kind, and announces in every part the scientific composer, On the 23d, Mr. Sinclair, who six years since was a popular -his knowledge of the human voice,--his skill in employing the singer on these boards, returned to the theatre, having passed all various instruments of the orchestra, and his thorough acquaint- the intermediate period in studying and performing in Italy. We ance with the greatest works of the best schools: but it is not music recollect having been much pleased by the sweetness and flexibility of a popular kind; not a single piece is encored; not one air is of his voice formerly, and were not amongst those who expected carried out of the theatre to haunt the imagination for the next fort-any great change to ensue, either in his natural or acquired means, night the opera has more of knowledge and study in it than fancy, by a residence beyond the Alps. Some critics have compared his and is addressed rather to the judgment of those who are learned vocal strength with that of Mr. Braham: the comparison on this in the art, than to the ear of the multitude, which can only receive point was not necessary, as he has power enough for any good purimpressions from striking melody. Yet, we cannot help wondering pose, his voice appearing to us to have acquired additional force that the Round, “Yes, 'tis the Indian drum ;" Miss Paton's song, from time. His falsetto remains the same; it possesses vast ex“Alas! for Tlascala;" and one for Mr. Duruset, the first words of tent, and has been justly said to resemble the artificial tones of which we do not recollect, produce not more effect. The overture Mr. Incledon. These sounds are not very powerful, and we canbegins with a charming slow movement; but an allegro, à la didly avow, that we should not be displeased were they completely Rossini, follows, that is not in the same good manner as its inaudible; they lead to nothing but a succession of unmeaning precursor. The instrumental music throughout, may, in point roulades, and remind us only of those tones which a disobedience of physical sound, challenge competition with any stunning noises of nature's " prime decree" produces. The Cabinet was injuthat the combined efforts of all the mechanical machinery in Shef- diciously chosen for his re-appearance, and we shall withhold our field can produce. opinion of his general merits till we have heard more of him, in some other opera. The song that he introduces, by Rossini, might, we think, be very prudently withdrawn.

when Bellona storms,

With all her battering engines bent to rase
Some capital city,

INDEX

PART I. OF THE FIRST VOLUME.

Caraffa, The Jasmine Wreath,' 130; Abufar,' a new opera, by, 176.

Carnaby, Dr., the Fairy Queen, 83.

Carpani, Sig., versus, the Author of the Letters on Haydn, 124.
Castelli, Valentino, Duetto Notturno, by, 196.

Foreign Musical Notices, 42, 60, 74, 87, 104, 116, 125, 132, 175, || Mayer, a young Russian Piano-forte player, 123.

Gregorian Chant, an essay on, with specimens of the ancient Morlacchi, Chev., some account of, and of his Works, 121; Roecclesiastical music, 33.

Hummel, J. N., arrangement of Mozart's six Grand Symphonies, Musical War, 109. 98; Rondo Favori, 145.

Knight, Edward, Canadian Airs, with symphonies and accompani- || Perotti, Signor, on the present state of Music in Italy, 137, 164, ments, 193.

Macdonald's (Col.) Treatise on the Harmonic System, reviewed,|| Psalmo-doxologia, a collection of psalm and hymnn tunes, 99.