THE MUSIC OF PART II.

RONDOLETTO, ROSSINI AND SIEBER-(Page 17).

THIS is Figaro's very original and animated air in Il Barbiere di Siviglia, Largo al factotum,' converted into a Rondo,-in which the character of the instrument is duly consulted,-by a German composer whose name is new to us. His merit is, having preserved as much of the original composition, without scarcely any alteration, as was consistent with his design. He has taken away nothing, and added little,-just as much as the change from a vocal to a piano-forte piece rendered necessary.

ANDANTE, PARADIES (Page 21).

The present short but most melodious movement, of a composer once very popular in London, is from twelve sonatas, published here about the middle of the last century, which were the admiration, as well as the study of all the good harpsichord players of that period. We must, however, confess that, with the exception of this Andante, and one other movement, we have in vain sought, in the whole of the work, for the beauties which formerly were apparent in it. But beauty is a term sometimes employed comparatively, and, compared with most of Domenico Scarlatti's lessons, all of Alberti, some by Handel, and others in use about the same time, those of Paradies may have appeared to possess charms which are not so discernible in this age.

DOMENICO PARADIES,

SO

A Neapolitan, arrived here, Dr. Burney tells us, in 1742, and set an Italian opera, which possessed no merit. During his residence in England, he acquired more reputation by the lessons he published for the harpsichord, and the scholars he made on that instrument, for which he was an admirable master, than by his Vocal compositions. His little scholar, Frederica, afterwards Mrs. Wynne, gained him so much reputation as a harpsichord master, that he was appointed to instruct the young princesses, at Leicester House.'-Rees's Cyclopædia, Art. PARADIES. Dr. Burney, in about the year 1808, writes as if he were addressing himself to the contemporaries of George II.

AIR, CHANTONS L'HYMEN,' WITH VARIATIONS BY Dussek— (Page 22).

There is an elegant vivacity in this air which accounts for its having so long been admired, and will always save it from becoming obsolete. Thus treated, and exhibiting nothing in the shape of difficulty,-no harmony or modulation of a recherchée kind, it may be deemed a bagatelle, but it is a trifle that always does, and always will please persons of unsophisticated taste.

JOHANN LUDWIG DUSSEK,

born at Czaslau, in Bohemia, in 1760, received a literary education in the University of Prague, where he at the same time studied music under a Benedictine friar, and adopted this art as his profession. At the age of nineteen he travelled into the north of Europe, and became acquainted with Emanuel Bach, at Ham

burg, by whose advice he profited much as a performer. After staying two years in Lithuania, with Prince C. Radzivill, he went to Berlin, and thence to Paris, where he long remained; but at the beginning of the revolution, prudently quitted that city, and came to London, which metropolis he did not quit till 1800, when a not very fortunate marriage, and a still less fortunate speculation in trade with the father of his wife, obliged him to quit England. He then repaired to Berlin, and became the intimate distinguished amateur, who died so bravely in an engagement and confidential friend of Prince Louis Ferdinand of Prussia, a with the French army, in 1806. After the death of this gallant and accomplished prince, Dussek entered into the service of the Prince Talleyrand, in which he continued till the end of his life, in 1812. He composed much, and produced some of the best works for the piano-forte that the art can boast; though he published many things rather with a view to profit than to fame. Both in this country and in France he was considered the greatest piano-forte player of his day. It is no ordinary praise of him to say,' observes his biographer in the Harmonicon, that many able judges have ascribed in part the great refinement of Cramer to the opportunities he had of hearing his friend's exquisite performances on an instrument that afforded them both so many triumphs, but has never yet produced them an equal.'

A SELECTION FROM BEETHOVEN'S SEPTET, ARRANGED FOR THE PIANO-FORTE AND FLUTE-(Page 25).

The admirable Septetto of Beethoven, his op. 20, is written for violin, viola, clarinet, horn, bassoon, violoncello, and double-base, and consists of no less than ten movements, one of which, however, a long adagio, is always omitted in public performances. We have selected rather less than one-third of the work for our present purpose, and in fact have thus taken nearly the whole that is adaptable to the two instruments, and to performers in general. The time of each movement, indicated by Maelzel's Metronome, is copied from the composer's own marks. To that of the Scherzo, page 31, we have put a note of interrogation, doubting whether it is not a mistake. At all events, we advise the piano-forte player not to attempt a greater degree of quickness than is denoted by the metronomic number 100.

LUDWIG VAN BEETHOVEN

was born on the 17th of December, 1770, at Bonn, where his father and grandfather were both principal singers in the Elector's chapel. His father, who was too much devoted to the rites of Bacchus, neglected his education, and the first instructions he received in music were from Neefe, organist to the court. He afterwards went to Vienna, and studied composition for a short time under Haydn; but this great master was born to compose, not teach, and he discreetly made over his pupil to Albrechtsberger, who was born to teach, not to compose. He then returned to Bonn, though he soon obtained the Elector's permission again to visit Vienna, where he finally settled, and we believe never quitted that city and its environs during the remainder of his life. He was once strongly solicited by Jerome Bonaparte to become Maestro di Capella to the new court of Westphalia, but the arch

C

duke Rudolph, influenced more by shame than any better feeling, settled on him an annuity, on condition of his not quitting the Austrian dominions without permission. The Philharmonic Society of London offered him an invitation to this capital, and he was on the point of accepting it, but his increased deafness, which had rendered it impossible to converse with him, except in writing, prevented his undertaking so distant a journey. His works are exceedingly numerous, but no record is left to tell us when and for what purpose composed. His temper deterred his friends from much intercourse with him, and his infirmity no doubt contributed much to his apparently unsocial disposition. His greatest works-and in these who has excelled him?-are his symphonies and overtures. When it seemed that his two great predecessors, Haydn and Mozart, had exhausted all the materials that fancy and art were able to supply, his imagination created new,' and in devoting his powers to the same kind of composition in which his illustrious countrymen had shone with so much brilliancy, he never made himself their debtor for a single thought. He immediately followed them too in quartets, quintets, and sonatas, songs, cantatas, &c., but without ever borrowing from them, intentionally or by accident, an idea. Beethoven died of dropsy at Vienna, on the 26th of March, 1827, and received more honours at his funeral than ever were bestowed on him while living!

OVERTURE, JOSEPH-MEHUL-(Page 34).

The sacred opera, or oratorio, of Joseph, ou Jacob et ses Fils en Egipte, which has earned so great a reputation on the continent, was translated and prepared for representation at Covent Garden theatre, during the last Lent, when the Lord Chamberlain, on the showing of the Bishop of London, forbade any dramatic performances, and thus drove many hundreds to seek much less innocent amusement than a well-regulated stage affords. This overture is scarcely, if at all known in England, but abroad is one of the favourite works of a composer with whose productions we shall become better acquainted in this country when our prejudices, now on the wane, against all French music have entirely

subsided.

ETIENNE HENRI MEHUL.

This very distinguished composer was born at Givet, in Belgium, in 1763, and studied counterpoint under Henser, a learned German. He went to Paris at the age of sixteen, and placed himself under the direction of the celebrated Edelmann, who communicated to him much of his knowledge, and no little of his enthusiasm. But he was more indebted to his acquaintance with Gluck for that skill in composition which he soon displayed, than to any other school or master. His first work, Euphrosine et Coradin, proved most successful; and not less so his Stranonice, which critics consider as his masterpiece. The period of the French revolution compelled him to waste much of his time in writing pieces of temporary interest; but he redeemed himself in his Jeune Henri, his Deux Aveugles de Tolede, his music in La Dansomanie, and more especially by his Joseph, produced in 1816. He died the year after, leaving his Valentine de Milan to be finished by his nephew, M. Daussoigne, who brought it out most successfully in 1822.*

PASTORALE-CORELLI-(Page 38).

The most famous of this celebrated composer's works is the Pastorale from his Concerto VIII., written for Christmas-Eve; or, as the author expresses himself, Fatto per la Notte di Natale.' The time adopted in this-twelve-eight-has not a little kept it out of general use; and to remove what to most is a difficulty, but without altering one iota of the composition, we have divided each bar into two parts, thus converting twelve-quaver into

'Mehul was offered this appointment of maitre de chapelle to Napoleon, on the death of Paisiello. The Emperor, who had already settled on him a pension, sent Duroc, Grand Mareschal of the palace, to inform him that it was his (Napoleon's) intention to place him at the head of his music. Ever alive to the interests of his friend Cherubini, Mehul requested that he might be permitted to share this office with his brother composer. Napoleon, instead of noticing this wish in the way that right feeling would have dictated, was indignant at what he haughtily considered to be a liberty taken with him, and said in his usual hasty manner, "What I want is a maître de chapelle who will make music, and not noise," and instantly nominated M. Sucux, the well-known author of Les Pardes.'-'Cherubini had rather sharply replied to an observation made to him by Napoleon, at Vienna, which the military tyrant never forgave. (Harmonicon.)

six-quaver time, a change literally without a difference, except in appearance, and in the facility it offers to the performer.

ARCANGELO CORELLI,

whom the Italians call il divino, was born in the Bolognese territory, in February, 1653. His instructor in harmony was Matteo Simonelli; on the violin, Giambattista Bassani. In 1680 he travelled into Germany, where he was received in the most honourable manner by all, especially the Elector of Bavaria. In 1683 he published his first Twelve Sonatas; in 1685, his second set; in 1690, the third; and the fourth in 1694. His solos are a work which all the greatest masters have placed before their pupils for the purpose of forming the hand. Tartini grounded his scholars in these; and Giardini considered them. absolutely essential to those who would successfully cultivate the violin. They still retain their reputation with those teachers who know how to discriminate, and are not beguiled by novelty or fashion.

His greatest work is his Twelve Concertos, composed many years before they were printed. In 1712 they were engraved at Amsterdam, but the author survived their publication only a few weeks. He died at Rome on the 18th of January, 1713. His property, which at that time, and in Italy, was considerable amounting to six thousand pounds sterling, together with some fine pictures, he bequeathed to his patron and friend, Cardinal Ottoboni, who, however, retained only the paintings, and distributed the money where it ought at first to have been left-to the testator's poor relations. Corelli was remarkably gentle in temper and sensitive in his feelings. His nervousness in performing led many to believe, and some unfairly to report, that he was not very skilful as a practitioner. A story is told to his disadvantage, of his once mistaking the minor for the major key, while performing a piece by Alesandro Scarlatti, but which only proves his want of presence of mind. Another is related which strongly marks the mildness of his disposition, and the roughness of Handel's. While the latter was visiting the Cardinal Ottoboni, at Rome, a Serenata, Il Trionfo del Tempo, was performed, in compliment to its composer, Handel. The style of the overture was new, and Corelli perhaps tried to modify it according to his Italian taste: something, however, displeased the composer, and he snatched the violin from Corelli's hand, who observed, with great gentleness, My dear Saxon, this music is in the French style, which I do not understand.' (Mio caro Sassone, questa musica è nello stilo Francese, di chi io non m' intendo.)

SERENADE (Page 21).

Pack clouds away, and welcome day,
With night we banish sorrow;
Sweet air blow soft, mount larks aloft,
To give my love good-morrow;
Wings from the wind to please her mind,
Notes from the lark I'll borrow;
Bird prune thy wing, nightingale sing,
To give my love good-morrow!

To give my love good-morrow,
Notes from them both I'll borrow.
Wake from thy nest, robin-red-breast,
Sing birds in every furrow;
And from each hill let music shrill
Give my fair love good-morrow!
Blackbird and thrush, in every bush,
Stare, linnet, and cock-sparrow!
You pretty elves, amongst yourselves,
Sing my fair love good-morrow!

To give my love good-morrow,
Sing birds in every furrow!

These verses are from The Rape of Lucrece, a tragedy by Thomas Heywood, printed in 1638. The author was a most voluminous writer of plays, and an actor, during the reigns of James I., Elizabeth, and Charles I. He was a contemporary of Shakspeare, and performed in his plays. Charles Lamb calls him a prose Shakspeare,' and seems to think as highly of his talents as did Langbaine.

The music, by Mozart, is the 27th of his xxx Gesaenge, or German songs, to which the above words seem peculiarly adapted.

SONG JEPHTHA'S DAUGHTER.-(Page 22).

my

sire !

Since our country, our God-Oh!
Demand that thy daughter expire!
Since thy triumph was bought by thy vow-
Strike the bosom that's bared for thee now!
And the voice of my mourning is o'er,
And the mountains behold me no more :
If the hand that I love lay me low,
There cannot be pain in the blow!
And of this, oh, my Father! be sure-
That the blood of thy child is as pure
As the blessing I beg ere it flow,

And the last thought that soothes me below.
Though the virgins of Salem lament,

Be the judge and the hero unbent!
I have won the great battle for thee,

And my father and country are free!
When this blood of thy giving hath gush'd,
When the voice that thou lovest is hush'd,
Let my memory still be thy pride,

And forget not I smiled as I died!

The words, which we have adapted to the air, are from Lord Byron's Hebrew Melodies,' six of which have been translated into German, and so set to music by Löwe, this being one of the

set.

CARL LÖWE

has only lately appeared in Germany as a composer, and judging from the work just named, as well as some other compositions by him which have reached us, he possesses a rich imagination, great energy, and is a most skilful harmonist. He is, we are informed, of the order of the priesthood, but having withdrawn from the duties of that profession, has been appointed musicdirector at Stettin, and devotes himself almost exclusively to music, of which, should he proceed as he has begun, he promises to become one of the best supports and greatest orna

These words, as well as the others of the first six canzonets of Haydn, were written for him by Mrs. John Hunter, the wife of the most celebrated of English surgeons, and sister to a very distinguished one, the late Sir Everard Home.

The music is Haydn's, the second of his first set of six canzonets, composed during his visit to this country, in 1791. In the course of this work we shall give all the canzonets, from both sets, that universal opinion has marked as the best. Of the composer we shall make full mention most probably in our next number.

MADRIGAL (Page 28).

When flow'ry meadows deck the year,
And sporting lambkins play,
When spangled fields renew'd appear,
And music wakes the day,--
Then did my Chloe leave her bower
To hear my am'rous lay;

Warm'd by my love, she vow'd no power
Should lead her heart astray.

Who the author of these lines is, we know not, and the information would be worthless if possessed. They are the Rev. Richard Webb, A.M., tells us, in his Collection of Madrigals' -extracted from the original books, as preserved in the Madrigal Society;' and were-we learn from Mr. Richard Clark's volume, containing the words of glees, &c.-adapted to the music by the late Mr. Robert Cooke. Such a confusion of tenses we never before encountered; and that a gentleman who must have received an academical education-an A.M.-could have printed them without a remark, is to us quite inexplicable. Music, however, covers a multitude of poetical frailties and grammatical errors, and that of the present madrigal would make us bear with even worse lines than the foregoing; it is the most melodious, the smoothest in its harmony, of all the compositions of Palestrina with which we are acquainted. The original words begin, I vaghi fior', e l'amorose fronde.'

GIOVANNI PIER LUIGI DA PALESTRINA,

A native of the ancient Præneste, now corrupted into Palestrina, was born, Andrea Adami calculates, about the year 1529. In 1562, he became Maestro di Capella of Santa Maria Maggiore, in Rome, and nine years after was appointed to the same high office in St. Peter's, and enjoyed the favour and protection of many popes, particularly Sixtus V. He died in the year 1594, and his remains were honoured by interment in St. Peter's church. Upon his coffin was inscribed, Joannes Petrus Aloysius Prænestinus Musica Princeps. Palestrina left a vast number of compositions as proofs of his musical learning and industry, of which Dr. Burney procured a very accurate list from the librarian of the Vatican: they consist chiefly of masses, motets hymns, and madrigals.

a sweet composer, of whom nothing whatever is recorded, except the years when he obtained prizes for his glees. In 1779, he gained a medal for "How sweet, how fresh, this vernal day!" in 1781, for "Round the hapless André's urn;" and in 1783, 4, and 5, for a catch, a glee, "Blest power!" and an ode. He also composed "Go, Damon, go!" the answer to "Turn Amaryllis;" and " Upon the poplar bough," two admirable glees.* glees. He was a distinguished performer on the violincello, and alternately with Crosdill, afterwards with Cervetto, played first violoncello at the Ancient Concerts.

MUSICAL FESTIVALS IN WESTMINSTER ABBEY. THE great success of the performances in commemoration of Handel, in 1784, led the king (George III.), and indeed the public generally, to wish that others of a similar kind should take place annually, under the same venerable roof. It was urged that the fame of their excellence had reached multitudes of persons residing in distant parts of the country, too late to enable them to partake of the pleasure which the concerts, confessedly of so perfect a nature, afforded, and that those ought to be allowed the same opportunity of indulging their taste that had been enjoyed by the inhabitants of the metropolis. More* Harmonicon for Sept. 1833.

over, that numbers of young persons were, year by year, coming into life, as the phrase is, who would feel a strong desire-a desire which it would be right to gratify-to witness performances of the same description as those which they had heard so loudly extolled. Accordingly, in 1785, a Grand Musical Festival in Westminster Abbey' was announced, and took place on the 2d, 6th, 8th, and 11th of June, under the same patronage and direction as before; but the strength of the band was increased by the addition of more than a hundred performers, as will appear by the following statement, published at the time. INSTRUMENTAL PERFORMERS.

Violins.

Violas

Violoncellas.

VOCAL.

101

144

157

Joah Bates, Esq., conducted, as before; the elder Cramer led the band; and among the principals were, the celebrated Fischer, with John Parke, oboes; Florio, Papendick, one of the queen's pages, and Monzani, flutes; Crosdill, Cervetto, who is now living, Mara, the husband of the famous singer, and Stephen Paxton, the sweet composer, violoncellos; Baumgarten and Parkinson, bassons. The vocalists, whose names are now at all remembered, were, Madame Mara, and Signor Tenducci, sopranos; the elder Knyvett, alto; Harrison and Norris of Oxford, tenors; and Reinhold and Signor Tasca, bases. The performances of the first, second, and fourth days consisted of selections; the third of the Messiah.

The same conductor, leader, and nearly the same principals as before. But to the vocal list were added, Mrs. Billington and Signor Rubinelli. The second and third parts of the first day's performance consisted of Handel's Israel in Egypt, as it was originally composed, and called Exodus.' So that the report now circulated by a morning paper, that this Oratorio is to be given in an entire state, at the approaching Festival, for the first time since the composer's decease, is one of those fallacies for which some dealer in small paragraphic wares (vulgo, puffs) must be answerable. There being no overture to this oratorio, the fifth grand concerto of Handel was performed instead.

Tenors 98 Bases

Sopranos Altos, making 805, exclusive of principal singers, which being 20 in number, the total of performers was 825. With the exception of Signora Storace, who was added, and of Mrs. Billington, who did not appear, the chief performers, including the conductor, were as in the former year. One day was, as usual, dedicated to the Messiah, and Israel in Egypt was again given in its original and entire state. The other performances were miscellaneous; but all the music was still that of Handel only. The receipts at this festival exceeded those of former years very considerably. £14,042 13 0 7,342 13 0 £6,700 0 0

The excess in expense arose from the great increase in the band. The number of persons, or at least of tickets delivered at the doors, on each of the four years, was as follows:—

The money taken at the doors on the days of rehearsal accounts for the difference between the tickets admitted and the total receipts.

During the two succeeding years, there were no performances in the Abbey. In 1788, the king being in a threatening state of health, was recommended by his physicians to drink the Cheltenham waters, which being resolved on, led to his promising to be present at the Worcester music-meeting. It was then said that, by his Majesty's commands, there would be no Abbey music that season, in order not to endanger the success of the Worcester Festival. But, shortly after, the king's malady too plainly manifested itself, and, of course, nothing of a public kind, in which the royal presence was essential, took place during its continuance.

In 1790 the Abbey performances were renewed, the royal family were present, and the whole was under the same direction as heretofore, while the band was again augmented in number. The profits, however, if any, were inconsiderable.

The year 1791 witnessed the sixth Grand Festival in Westminster Abbey, when the performers were increased to the astonishing number of 1067. But, though tolerably well attended, the tickets were not demanded with the same avidity as before; the excitement of novelty had abated, and the state of public affairs was becoming alarming: hence, while the expenses of the performances were much enlarged, the means of meeting them were diminished, and from that year till the present moment no performances exclusively musical have taken place in the sacred fane which has witnessed so many triumphs of the art ;* except

* At this last Abbey meeting,' says the author of the History of the York Grand Musical Festival, in 1823, 'there was present one auditor, of all men the most capable of appreciating its excellence, the immortal Haydn, then on his first visit to this country; and from it he derived a confirmation of that deep reverence for the mighty genius of Handel, which, to the honour no less of his candid modesty than of his judgment, he was ever prone to avow. The study of Handel fixed his ecclesiastical style, and imparted grandeur and majesty to his ideas, previous to which his early oratorios do not rank high. His biographer observes, that if he had never studied Handel, he would never have written the Creation. He once said, on hearing the Messiah at Prince Schwartzenburg's, "This man is the father of us all!" and what an inspiring effect must its performance, by a thousand voices and instruments, have produced on the mind of such a hearer!'

one of a miscellaneous kind, of modern as well as ancient compositions, by a band of three hundred performers, which immediately followed the coronation of George IV., and while the Abbey remained in the state in which it had been prepared for that solemnity. This was for the benefit of the Westminster Hospital, and added upwards of eleven hundred pounds to the funds of that long-established and most useful institution.

The receipts, then, of the four years' performances in Westminster Abbey amounted, it will be seen, to the gross sum of 50,7541. 5s. 10d., and the net profits to 26,200l., of which 16,000l. were given to the Royal Society of Musicians; 55001. to the Westminster Hospital; and 4500l. to St. George's Hospital.

YORK, BIRMINGHAM, NORWICH, AND OTHER

FESTIVALS.

NEXT in rank to the performances in Wesminster Abbey, must. be placed the two great musical festivals at York in 1823 and 1825. The first was held in the month of September, and consisted of four morning performances in the Cathedral, and two evening concerts in the Assembly Rooms. The aggregate number of the band was 465, whereof 180 were instrumental, and 285 vocal performers. Mr. Greatorex was the conductor: 21,980 persons were present, that is, so many paid for admission, of which it is to be presumed that many attended every performance, and great numbers were at more than one. The receipts were 16,1747. 16s. 8d.; the expenses 88091. 15s. 2d., leaving the sum of 73651. ls. 6d. to be divided between four county charities.

The second, in 1825, took place also in the month of September: there were four morning performances in the Cathedral, and three evening concerts in the New Concert Room, built and opened for the occasion. Mr. Greatorex was conductor of the whole, assisted by Dr. Camidge. The leaders were Mr. F. Cramer for the mornings, Messrs. Mori, Kiesewetter, and Loder, for the evenings. The instrumental part of the orchestra con

sisted of the following:

The three last Grand Musical Festivals at Birmingham took place in the years 1823, 1826, and 1829.

The receipts in the year 1823 were 10,558.; the expenses 58061.

The receipts in 1826 amounted to 10,1047.; the disbursements to 55117.

The receipts in 1829 were 97717.; the expenditure 59647. Mr. Greatorex conducted the whole of these; but the general management was intrusted to Mr. Moore, a Birmingham gentleman.

The Festival, to be celebrated in October next, in the magnificent New Hall, which will then be opened, is expected to be the most splendid thing of the kind that ever took place; at least out of the metropolis.

Of the Norwich Festivals, that in 1824 produced 67621.; and the net profits remaining for the hospital were 24117.

A Grand Musical Festival took place in the month of September, 1829. The band comprised 134 instrumental, and 216 vocal, performers; in the whole 350. The receipts were stated, in

The Edinburgh Musical Festival in 1815 produced 5492l., leaving a profit for the charities of 15817. In 1819, at a second festival, the receipts were 52561.; the net profits 1252l. In 1824, at a third, the produce was 49407.; the profits 5421.

The Liverpool Festivals in 1813 and 1823 produced 60001. each, leaving the sum of 2200l. each year for the benefit of the charities. In 1827, the gross receipts of the festival were about 90007.; the expenses 48001. At that of 1830, the proceeds were 78007.; the disbursements 5800l. The last festival in 1833 produced about 8000l., leaving nearly 2900l. for the various charities. But of the former sum about 2500l. was received, not at the musical performances, but at the fancy ball.

In our next we shall give some account of the plan and arrangements for the ensuing musical festival in Westminster Abbey.

MUSICAL FESTIVAL AT AIX-LA-CHAPELLE. THE Musical Festival (Fête Musicale) of the Society of the Lower Rhine, which takes place every year on Whit-Sunday and Monday (les solennités de la Pentecôte), is this year fixed for the 18th and 19th of May, and will be held at the above city. The present is the third of the kind, since the institution of this national fete, which has been celebrated in that city; and for the third time also, the well-known composer and performer, Ferdinand Ries, has undertaken the duties of director. The choice of so distinguished an artist leaves no doubt as to the execution of the various pieces, of which the program has been arranged in the following manner :

FIRST DAY.

OVERTURE, composed for Schiller's drama, Don Carlos, by Ferdinand

Ries.

Deborah, ORATORIO by Handel, in three acts, with additional windinstruments, by Ferdinand Hiller.

SECOND DAY.

First Part. 1. SYMPHONY, Mozart, in c, known by the name of Jupiter.

2. HYMN, Cherubini.

Second Part. 3. First movement of Beethoven's Symphony, No. 9. 4. Selections from Frederick Schneider's Oratorio, The Last Judgment, namely, Nos. 10, 11, 12, 13, 14, 29, and 30 *. Like

The oratorio Deborah has never been heard in Germany. most of Handel's oratorios, it is set to English words; and, of all the works of the same kind written by that great master, is the one which has been less frequently performed in England, though not inferior to his best productions †.

Like many other works of Handel, Deborah now seems feeble in instrumentation. It is well known that fifty years have elapsed since Mozart felt the necessity of strengthening the score of the Messiah by additional wind-instruments. M. Ferdinand Hiller, a young composer of distinguished merit, has undertaken to render the same excellent service to Deborah. No one, probably, is better able to execute this difficult task. He knows intimately the style of the ancient masters; he passionately admires their compositions, and will attempt nothing that shall prove at all injurious to their effect. He then, no doubt, will not modernize this fine work. He has to guide him in his labours the model which Mozart has furnished in the Messiah.

The program does not distinguish which of the hymns of Cherubini is to be performed, it merely states that it is selected from the best works of that master; and all that ever proceeded from his pen in this class of composition is a model of perfection.

We are aware that the ninth symphony of Beethoven is that with the chorus, which has been attempted at Berlin, Paris, and London, without any opinion having been given on the merit of the work, the object of which the composer never explained, and seems to be still, in some degree, a secret.

The Last Judgment, of M. Fred. Schneider, is a noble, a grand composition, the reputation of which is firmly established in Germany. It formed a part of the musical festival given at Cologne in 1821, where it was performed for the first time.-(Revue Musicale.)

* We do not know how these numbers correspond with Mr. Edward Taylor's excellent English edition of this work, but we presume that they include the latter portion of the first part and most of the second.-(Editor.)

This work Handel thought one of his best. When asked by young professors for permission to hear his more pleasing works, Judas Maccabæus, Acis and Galatea, &c. &c., he replied, half angrily, Py Cot, you vill go to hear mine pretty music, put you vill not ask to hear mine Deborah!'-(Editor.)