Our concerts, like many other matters in this part of the world, are rather in a retrograde than progressive condition; the cause of which it is unnecessary to dwell upon in this place. M. Chelard has given a grand concert, in which nothing but compositions of his own were performed. His overture to Macbeth, and the justly celebrated trio of the Witches in the same opera, were the best pieces of the evening. and executed in a masterly manner. His Greek Schlachtruf (Call to Battle) produced also a good effect.

STUTTGART.

The only new representation of the season was Robert der Teufel (Robert le Diable), the performance of which, having long been announced, was expected with the most intense curiosity. The first few performances attracted immense crowds of professors, amateurs, and play-goers in general, of every sex and age, from Stuttgart, as well as from all the surrounding country. The opera was executed by our best singers, and by our numerous choral establishment, who had studied the music with the greatest care under the instruction of our meritorious music-director Molique. Scenery, dresses, and machinery were splendid; and yet, in spite of these favourable circumstances, the opera did not meet with the rapturous reception which had been anticipated. The applause seemed to diminish at every representation, at the last of which, the sixth, the house was but moderately attended. Moses in Egypt, by Rossini, and Lindpaintner's Vampyr, have been reproduced with a new cast of characters, the latter under the direction of the author himself, after his recovery from a long illness, on which occasion he received the most affecting tokens of the participation of his friends and the public. Without dwelling on the catalogue of numerous well-known operas which were produced, we have to mention two or three new ballets, viz. the Insulaner (Islanders), the Bloede Ritter (Bashful Knight), and the Graue Männchen (Grey little Man).

As visiters we heard M. Oberhoffer, of the Imperial Theatre of Vienna, in the parts of the Vampyre, in Zampa, and in Kaspar in the Freischütz. Mr. O. possesses a pleasing sonorous voice, appears to be a solid musician, treads the stage nobly and with freedom, and received well-earned applause. Mdlle. von Fassmann appeared twice, namely as Camilla in Zampa, and as Donna Anna in Don Juan. This lady also is endowed with a powerful youthful, fresh voice; her exterior is pleasing, and, for a beginner, her acting very meritorious: the latter character was, however, rather above her present powers.

The grand Musical Festival, which it was intended should take place in our Cathedral, for the performance of an oratorio of Handel, or some other classic sacred composition, was unfortunately postponed. With respect to sacred music in general, the catalogue of recent performances is but insignificant: in the Catholic Church, however, we had a Mass by Bühler, which presented several good and successful pieces; and in the Royal Chapel we had, among other choral pieces, the Lord's Prayer, composed by the Court musician, Abenheim. The Society of Instrumental Music gave a Concert in the Saloon of the Museum, for the benefit of the young composer Louis Hetch, now residing in Vienna, in token of their gratitude for the services rendered by him while Director of this Institution.

STRASBURG.

M. Hyacinth Brice undertook the direction of the French Theatre, for the first time without pecuniary assistance from the City funds, for the season from 1833 to 1834; but his company could only be gradually and with difficulty rendered complete, as the public had rejected the second tenor, Adolphe Bernaux, and the baritone, Welch, whose place could only be supplied after some lapse of time. These impediments and the mediocrity of some of the singers rendered our French Opera but little interesting; Le Serment and Robert le Diable were the only new representations upon which a considerable degree of care was bestowed, but the older operas were brought out with unexampled negligence and imperfections, the numerous instances of which it is unnecessary to record. After the close of the French performances, the German company, under the direction of M. Weinmüller, from Augsburg, began its representations, but here we also met with various disappointments: instead of M. Chelard, who was announced as leader, we were obliged to be contented with a young beginner, M. Kirchner, who often mistakes the tempi, and Demoiselles Podleski from the Mannheim stage, and Louisa Gned, of the Francfort Theatre, presented themselves at a late period of the season; the appearance of the latter, however, impressed the public with a sense of the great loss they had sustained by her long absence. Adorned with every charm of youth, her powerful organ has an admirable effect in our large theatre, and the public is in raptures whenever she presents herself on the stage. On the 12th June Mozart's Requiem was performed in its complete state with great solemnity in our fine cathedral the Minster, in honour of Lafayette. Though in any other locality the number of performers might have been considerable, yet in this vast edifice the effect did not correspond with the means employed. It was only in the immediate vicinity of the orchestra, under the excellent direction of Mr. Kapellmeister Wackenthaler, that all the beauties of this masterpiece could be appreciated.

AIX-LA-CHAPELLE.

M. Ferdinand Ries has been appointed Director of the Orchestra and of the Singing Academy, with a salary of 1500 thalers, about 2257. STOCKHOLM.

Among the newest dramatic pieces, none has caused so much interest and drawn so much applause as the opera Ryno, by the Court Marshal von Beskow. The composition of the music had been begun by the talented composer Brendler, and after his premature death was completed by the Crown Prince of Sweden.

POTSDAM.

The second grand festival of the Brandenburg Vocal Society took place on the 5th and 6th June, at Potsdam, under the management of M. Schärtlich. This Society, which was founded only last year, is composed of thirty branch societies established in various parts of the Electoral dominions, the members being professed church singers, schoolmasters, organists, &c. These branch societies have their regular individual meetings, and assemble once a year in a mass, to celebrate their grand festival. On this occasion the first day was devoted to the sacred festival in the court and garrison church. The performance began with a portion of the Liturgy by the chorus; then followed a fugue on the organ, played by M. Hönnicke; after which was sung a very effective but simple motet of Bernhard Klein, the first part of which was a capella, the other accompanied by the organ and wind instruments; the effect produced by this composition was very grand. To this succeeded a motet, by Professor Dr. Marx, for six voices, without accompaniment, which, as regards modulation and interlacement of the parts, appeared to be in imitation of the ancient style of Christian church music; this motet, though very difficult, was most admirably sung. M. F. Belcke then played a fantasia on the trombone with organ accompaniment, in a finished manner; and, after another grand motet by Bernhard Klein, the first part of the day's festival closed with a hymn for double chorus and solos, with instrumental accompaniment,-a happy effort of the genius of Dr. Friedrich Schneider, who composed it for the occasion, and conducted its performance. The second part commenced with the 'Holy,' from the Liturgy; then M. Köhler, from Breslau, played a fantasia upon the organ, on the subject of the Hallelujah in Handel's Messiah. A very fine melodic hymn by Schärtlich followed, being sung with great expression. M. C. G. Belcke, from Altenburg, then executed with much feeling an adagio for the flute, with organ accompaniment; after which another motet of Bernhard Klein was given; and the performance closed with a hymn, by A. Niedhardt, with accompaniment of wind instruments, of a character rather light and pleasing than sacred, which produced an admirable effect, the solos being delightfully sung by MM. Mantius, Stümer, Hammermeister, and Zschiesche. After the festival, which terminated at two o'clock, a dinner was spread for 450 persons in the garden of the Teutonia Lodge, under a tent adorned with the Prussian arms. Among the invited guests were the Chevalier Spontini, Kapellmeister Fr. Schneider, Music Director Rungenhagen, Kapellmeister Reissiger, M. Didike from Dessau, Professor Dr. Marx, M. Köhler, principal organist in Breslau, M. D. Neiderhardt, M. Girschner, and several amateurs of Berlin, Potsdam, &c. Mirth, cheerful conversation, and good singing, contributed to enliven the

scene.

The festival of the second day began at five o'clock in the afternoon, at the Tornow, on the Havel, a place of entertainment not far from Potsdam, whither upwards of 3000 individuals repaired by land or water to witness it. The pieces of music performed were Spontini's animated Festival March, for military instruments: Königslied (King's Song), for two choruses, by M. Schärtlich, without accompaniment; a Sacred Song, set to music by I. P. Schmidt, and particularly adapted for male voices, with wind instrument accompaniment; in this the choruses sang purely, correctly, and with expression, and the accompaniment told well; the voices, however, in the solo parts, were but faintly heard in the open air;-instrumental solo-Cavatina, from Der Freischütz, by M. F. Belcke, Chorus, by Girschner, lively and popular; Battle Song, by Girschner on the trombone, with wind instrument accompaniments; Hunting Torch Dance, for wind instruments; Hunting Song, by Schärtlich, light, natural, and pleasing; a song, by Fr. Schneider; and the festival concluded with Spontini's National Song, 'Borussia.'

ZEITZ.

A vocal festival was celebrated here on the 21st May, in the church, which, though rather small, is well adapted for such a purpose; the performance took place under the direction of M. Rector Bräutigam, from Lucca, in Altenburg. After a short introduction on the organ, a choral composition of M. Sachse, of Altenburg, was given, and this was followed by a psalm, by Bernhard Klein, which, notwithstanding its exceeding difficulties, was admirably given. After this was executed a motet, by a young composer from Altenburg, M. Hössler, a very promising production; and the first part concluded with a motet, with double chorus, by Schicht.

The pieces constituting the second part were a hymn, by M. Feller,

organist in Eisenberg; Sanctus and Hosanna in Excelsis, by Hasslinger; a choral composition, with variations, for the organ and bassoon, by Music-Director W. Bach, of Berlin; and a Te Deum, by Knecht, for two male choruses. The singers, 367 in number, consisting of pastors, schoolmasters, and a few dilettanti, were the members of twelve different vocal societies assembled for this occasion.

The MAGDEBURG Festival, announced in our July number as fixed for the 28th, 29th, and 30th May, was, in consequence of unforeseen occurrences, postponed till the 2nd and 3rd July.

The HEIDELBERG Festival took place as announced; Haydn's Creation was very ably performed, and the audience, consisting of 2500 persons, were highly gratified.

season.

Donald is attached to Jessie, and on the eve of marriage with her, when a beautiful Sylph meets him, and by a single salute wins his affections. His new passion takes full possession of his soul; but after a violent struggle he determines to fulfil his engagement with Jessie, and is on the point of signing the marriage contract, when the Sylph, unseen, flies away with it, and speedily after persuades Donald to fly away with her, to her mountain retreat. He has offended Hela, an apparently de. crepit old man, but in reality the wizard of the glen, who now seeks revenge. Christie, a worthy dolt, is Donald's rival, treated with a pitying kind of contempt by Jessie. The Sylph, when she has succeeded in carrying away Donald, torments him by a few coquettish pranks, which almost drive him to despair; when Hela appears, and, pretending to return good for evil, gives him a scarf which will bind the beautiful nymph to good behaviour. The moment she is encompassed in its folds, her wings drop off, she loses her power, and becomes the prey of the infernal agents of Astaroth, who is neither more nor less than Beelzebub himself, under another name. Hope seems now extinguished in the bosom of Donald; when his kind friend, Etheria, Queen of the Sylphic empire, appears, and presents him with a charmed rose, by means of which he gains admission to the subterranean palace of Astaroth, (Anglice-the place never named to ears polite,) and, invisible to all, defeats the powers (ill named) of darkness (for they must be in a perpetual blaze)-saves the Sylph from the dagger of Hela-conveys her to that region situated between the infernal and supernal, and finally weds her she only losing her immortality in the conflict through which she has passed. Poor Jessie, seeing her case hopeless, consents to make honest, stupid Christie happy, according to the phrase; and the piece terminates, à l'ordinaire, in a double marriage. As a whole it is not absolutely void of interest, because the end does not stare one in the face at the beginning; but we cannot say much for the morality of the plot: it might not unaptly have been called Fidelity Punished, and Inconstancy Rewarded. Donald is a very faithless fellow, gentle Jessie a victim, and good-hearted, silly Christie is in the end pretty sure of being made a - very uncomfortable person. Perhaps, however, the author holds with that sometimes profligate, but often pleasant pagan, who ‹ Perjuria ridet amantum Jupiter.'

says,

We, let it be understood, belong to a totally different school of ethics. Having thus communicated the plot, it is time to speak, and more seriously, of the music.

Most of the compositions of Mr. Barnett that have come under our

notice, have been produced rather with a view to present sale than future fame; though we have seen songs of his that prove him to be equal to much greater efforts than the ordinary music market ever calls into action. He has always, manifested a taste for melody, and in his later publications a vigour of accompaniment, denoting an increased knowledge of the capabilities of harmony, is often visible. Nevertheless, his present work has much surpassed our expectations, and leads us to hope that, with the encouragement he has met with from the public and the press, he will proceed onwards, and assist in redeeming the musical character of the nation from the reproach which the state of our dramatic music for many years past has, we fear, merited. His precursor, Mr. Loder, has done much. Mr. Barnett has well upheld the character which the English Opera House obtained by Nourjahad; and we hear that a third work is soon to be brought forward, that is likely to add to the laurels reaped by the theatre from the former two. We may therefore reasonably expect a revival of that genius so conspicuous in our composers formerly, when Arne, Linley, Arnold, Shield, Jackson, Storace, and Bishop in his early days, supplied our lyric stage from their own resources, and rendered importations from Italy, Germany, and France, unnecessary.

The music of the Mountain Sylph is uniformly good, the overture excepted. The melodies are nearly all very pleasing, and some of them quite new. The instrumentation throughout is rich, ingenious, and occasionally even too full-over affluent. The concerted pieces are of a superior character, displaying a skill in score-writing, and a knowledge of effect, that seldom are attained by any composer, and still more rarely till after long experience. We must speak with more reserve of the quantity of actual originality exhibited in this opera: reminiscences, as they are delicately termed, present themselves not unfrequently; but more than one instance occurs in which the composer has boldly borrowed. For instance, the solo, Break my heart,' begins in the notes of Paisiello's Gl' affetti miei,' or For tenderness form'd ;'the conclusion of the trio, This magic-wove scarf,' is, almost note for note, from Don Giovanni- Protegga il giusto cielo ;' and the duet, Some magic her sense steals away,' forms its commencement on Mozart's air, 'L'amor e un ladroncello.' The music in the incantation scene could

hardly escape being in some degree written on Weber's model. It is mightily indiscreet to introduce such scenes: none will probably ever equal the original, and everything of the kind, for some time to come, must be either an avowed imitation or a lamentable failure. The whole of this was, most prudently, much curtailed on the second night. But to return to the favourable side: Mr. Barnett has gained much in the estimation of the sensible portion of the public by attention to the author well, has studied each character, and adapted his music accordmeaning of the words, and to their due accentuation. He has read his ingly. The pieces given to Hela have, by a contemporary critic, been thought rather unfitting; but the wizard once knew virtuous days, when the feelings of humanity were alive in him; and though abandoned to magical practices, and sold to the infernal powers, he may be allowed to look back to a time before disappointed love had converted him into a fiend-when he was, as he sings,

'A flowret gay as rare,

With heart as mild
As infant child,

And features too as fair.'

Of the performers, Mr. H. Phillips, it is almost needless to say, leaves nothing to be wished. Miss Somerville sings and acts her part in a very naïve, pleasing manner, though she sometimes labours too much, particularly when anything requiring execution falls to her share. Miss E. Romer is charming throughout; and Mr. Wilson acts his part remarkably correctly: he is stanch, too, in the concerted pieces. Delicacy in vocal style will, let us hope, come with time and experience.

The opera is got up most liberally and well, and is performed every night. Indeed, we learn that, even in the month of September, when London is comparatively a desert, the audiences have regularly increased in number at each repetition of the piece.

NOTICES TO CORRESPONDENTS.

WE beg leave to decline, though not without many thanks, the communications of W. J. W., and L. P.

Surely R. B. cannot seriously suppose that his Glee and Song are admissible! The account of the Aix-la-Chapelle Music Meeting, and Musical Anecdotes of Napoleon, are postponed till next Number for want of room.

Errata in our Last.

Page 62, column 1, line 20, for was, read and. 67,

1, .5 from bottom; after 'accompaniments,' read are.

THE MUSIC OF PART VIII.

AIR, WITH VARIATIONS-(Page 129). The French air, Charmante Gabrielle,' the composer of which seems to be unknown, is, most deservedly, a favourite with all who are acquainted with it. Mr. Onslow has shown his discrimination in adopting this as a theme, and his taste in the variations he has written on it, of which we have selected four that are most likely to prove generally pleasing.

GEORGE ONSLOW, ESQ.,

is by birth a Frenchman, born at Claremont, in Auvergne, in 1784, but of an English and noble family. His father, the Honourable Edward Onslow, son of George, Lord (afterwards Earl of) Onslow, settled abroad, where he married a French lady, and the first fruits of this union having when very young displayed a decided genius for music, he received instructions at Hamburg from Dussek, and afterwards in London from J. B. Cramer. His knowledge of the theory of music he gained from M. Reicha, professor at the Conservatoire Royale. He commenced his career as a composer, by music for the piano-forte, and two duets, among other works, are undeniable evidence of the highest talent. His fifteen quartets and ten quintets, for stringed instruments, are further proofs of his genius and knowledge, which were afterwards still more conspicuously displayed in two operas, L'Alcalde della Vega, produced in Paris in 1824, and Le Colporteur, performed in the same city in 1827, with the most unequivocal success. Mr. Onslow married a wealthy lady of Rouen, which city he has chosen as his place of fixed residence; and though,' says his biographer in the Harmonicon, an artist in one strict sense of the word, yet he has never made his talent his calling. He profits by his compositions, it is true, as Lord Byron did by most of his poetry, but neither the one is a musician, nor was the other an author, by profession. Not that it would derogate from either to be so considered, for the world is fast emerging from that state of barbaric ignorance when men were valued for their titles and additions, and not according to their personal endowments and power of adding to the stock of human happiness.'

INTRODUCTION AND RONDO-(Page 133),

Fourth Day

Letter to the Editor

Do.

Foreign Musical Report

Page

93

94

95

95

Italy, to whose protection his parents consigned him, and he was taken to the seat of that gentleman, in Dorsetshire, where he received the most liberal education; and in the society of a family as much distinguished by literary habits and taste as by wealth, he acquired that love of the belles lettres and of science which characterized him to the latest period of his life. At eighteen he composed his Op. 2, a work which it is needless to eulogize; and though now attainable by all moderately good players, was, when first published, declared by J. C. Bach, Schroeter, and others of the same order, to be too difficult for them to attempt. Shortly after this he was engaged as accompanist on the harpsichord at the King's Theatre. În 1780 he made his first tour on the Continent, visiting nearly all the principal cities of Europe *. During the progress of this he wrote, in Paris, his Operas 5 and 6, and in Vienna his Operas 7, 8, 9, and 10. On his return to England he published his Operas 11 and 12. In 1783 he made a second visit to the Continent, and, returning the following year, printed many other works. In 1800 the house of Longman and Broderip having failed, a new firm was established, at the head of which Mr. Clementi placed himself, and there continued till within a short time of his death. In 1802 he went for the third time to the Continent, remaining abroad about eight years. While in Berlin he married his first wife, but had soon to regret her loss in childbed of a son, who reached man's estate, and promised to be the source of much happiness to his father; when, by the accidental discharge of a pistol, his life paid the forfeit of an incautious

use of fire-arms.

Mr. Clementi was one of the founders and directors of the Phil

harmonic Society, to which he presented two symphonies, and every season conducted one of the celebrated concerts of that institution. In 1827 the musical profession, as a testimony of affection and respect, invited him to a dinner at the Albion Tavern, and

MUZIO CLEMENTI.

This highly-distinguished musician, who may be considered as the father of the piano-forte, was born at Rome, in 1752 it has been stated, though we have good reason to think that his birth ought to have been dated four years earlier. His father worked in silver, as an embosser and chaser of figures and utensils for the service of the church; and he had a relative, Baroni, principal composer at St. Peter's, from whom he received his first instructions in music. At nine years of age he was appointed to an organist's place in his native city! And three years later he composed a mass for four voices. About this time his talents. attracted the notice of Mr. Peter Beckford, then travelling in

* In Vienna Clementi became acquainted with Mozart, with whom he performed before the emperor, Joseph II., and the grand duke (afterwards emperor), Paul of Russia, and his consort. On one occasion, when the imperial trio only were present, Clementi and Mozart were desired to play. Some question of etiquette, as to who should begin, arising, the emperor decided it by calling on Clementi, who, after preluding for some time, performed a sonata; and was followed by Mozart, who, without any other exordium than striking the chord of the key, also played a sonata. The grand duchess then said that one of her masters had written some pieces for her which were beyond her powers, but that she should much like to hear their effect; and producing two, Clementi played one and Mozart the other, at first sight. She next proposed a theme, on which, at her request, the two great masters extemporized, alternately, to the astonishment and delight of their imperial audience. The plan was evidently premeditated, and hardly fair towards the eminent professors, who were thus surprised into immediate competition. The result, however, was equally honourable to both, between whom existed no unworthy feeling of jealousy, and creditable to them as artists, on whose talents no demand, however unexpected or unusual, could be too great.-(Vide Harmonicon, ix. 184.)

I

forte, when, choosing a subject from Handel's first organ concerto, he extemporized on it in a manner that proved how little his powers of imagination were affected by time, and excited the wonder of a very numerous company of judges assembled on the memorable occasion.

Mr. Clementi died on the 10th of March, 1832, after an illness of short duration, though his mind had for some time previous been gradually yielding to the attacks of age. His remains were deposited in the cloisters of Westminster Abbey, the three choirs of London, and a great number of his brother-professors attending to pay the last tribute of respect to so valuable a man, and so eminent a composer.

ANDANTE (Page 137),

or the Surprise movement, from the third of the twelve grand symphonies, written by Haydn for Salomon's concerts. The effect of this is greatly impaired, if not quite destroyed, when played too fast; and much will depend upon due attention to the marks of staccato and tenuto. The first time this was performed in the Hanover Square Rooms, some forty years ago, or more, the sudden unexpected loudness of the chord at the end of the first strain caused a lady to faint away. From this circumstance, it is said, it took the name of The Surprise.

MARCH-(Page 140).

For this spirited and original composition, we are indebted to a correspondent, who did not specify the work whence it is taken.

FRIEDRICH HEINRICH HIMMEL,

was born in the Electorate of Brandenburgh, in 1765. Public report has always assigned to him as a father, Frederick-William II. He was intended for the church, and, during two years, applied himself to theology at the university of Halle, but his natural genius was for music, and nature finally triumphed. His first and only master was Naumann, kapellmeister at Dresden, under whom his progress was so rapid, that, in two years, he returned to Berlin, and presented to his royal patron an entire oratorio, Isaaco, the drama of Metastasio. On the retirement of Reichardt, in 1795, he was appointed to the situation of kapellmeister at Berlin. In 1797, his Semiramide was brought out in a most splendid and successful manner, at the Opera House of Berlin, and at once stamped his reputation. But his TrauerCantate, or Funeral Anthem, on the death of Friedrich-Wilhelm II., published in score at Berlin, in 1798, is his greatest work. After this, he composed a Te Deum for the coronation of the present King of Prussia, which was shortly afterwards followed by his most favourite opera, Fanchon, the text by Kotzebue, which immediately became popular in every city on the Continent. In 1801, Himmel made a journey into France and England, and afterwards to Vienna. In this country he composed some sonatas, by agreement with two music-publishers. He died at Berlin in 1804.

Himmel possessed a fertile fancy: the list of his works, of his opere, reaches the number 77. Two sets of his sonatas were once exceedingly popular, and many of his songs will never fall into neglect, while beautiful melody and well-expressed words continue to please.

CANZONET (Page 122).
Fidelity.

While hollow burst the rushing winds,
And heavy beats the shower,
This anxious aching bosom finds
No comfort in its power:
For, ah! my love, it little knows
What thy hard fate may be;.
What bitter storm of fortune blows,
What tempests trouble thee.

A wayward fate hath spun the thread
On which our days depend,
And darkling in the chequer'd shade,
She draws it to an end.

But whatsoe'er may be our doom,
The lot is cast for me,

For in the world, or in the grave,

My heart is fix'd on thee.

This is the sixth of Haydn's first book of canzonets; the words by Mrs. John Hunter. (Vide page 15.)

DUET (Page 126).

As I saw fair Clora walk alone,
The feathered snow came softly down,
As Jove, descending from his tower,
To court her in a silver shower.
The wanton snow flew to her breast
Like little birds into their nest;

But being o'ercome by whiteness there,
For grief dissolved into a tear.
Thence falling on her garment's hem,

To deck her, froze into a gem.

who, Sir John Hawkins tells us, was organist of Bermondsey, and published, about the year 1773, three cantatas, the first whereof was sung by one Bat., or Bartholomew, Platt, a favourite singer with the vulgar, in a pantomime called Harlequin Director, performed at Sadler's Wells, beginning "A Cypress Grove, whose melancholy shade," a composition which would have done honour to some of the ablest masters of the time. He also composed a song, called "New Mad Tom*," beginning, "In my triumphant chariot hurl'd," which the same Bat. Platt was used to sing at Sadler's Wells, dressed in the character of a madman, to the great delight of all who mistook roaring for singing. There is also extant, of Hayden's composition, a pretty song, in two parts, "As I saw fair Clora," which is well known to the proficients in vocal harmony.—(Hist. of Music, v. 179.)

ARIA-(Page 132.)

Yon eager swain for toil again
Prepares with op'ning day:

O'er furrows long recounts his song,
And floats in air away.

With measured pace and manly grace,
The seed he casts around,

Where blade and ear shall soon appear,
And wave o'er all the ground.

The Husbandman's Song,' in HAYDN'S Seasons. The above words are entirely altered from Baron Von Swieten's English translation of his German verses †. It is hardly necessary to point out to the reader, that this motivo furnished Signor Rossini with the subject of the most favourite of his compositions, 'Zitti! Zitti! piano! piano!' in Il Barbiere di Siviglia. It is, perhaps, equally superfluous to say, that the accompaniment is the andante of the composer's third grand symphony, a combination as happy in effect as ingenious in contrivance.-(See page 137 of INSTRUMENTAL MUSIC).

Oh! love is fair as the clouds that glow

With morning's ray by yon mountain's brow;
The verdant plain all his bounty feels,

His flow'ry breath through the wide world steals.
O maiden, maiden, how I love thee!
Thy glad eye sparkles-thou lovest me!

The lark loves song, and his field of blue;

The flower, heav'n's breeze, and the morning dew-
And thus I love thee with all my heart,
Thou who canst joy-aye, and youth impart.
To dance or sing I'm inspired by thee-
May'st thou be happy, as thou lov'st me!

A translation of the Maygesang of GOETHE, made by JOHN OXEN-
German words.
FORD, Esq., to suit the air, as composed by BEETHOVEN to the

TWEED-SIDE, harmonized as a GLEE-(Page 138).

1.

What beauties does Flora disclose!

How sweet are her smiles upon Tweed! Yet Mary's still sweeter than thoseBoth nature and fancy exceed.

No daisy, nor sweet blushing rose,

Nor all the gay flowers of the field,
Not Tweed gliding gently through those,
Such beauty and pleasure does yield.
2.

"Tis she does the virgins excel,

No beauty with her may compare ;
Love's graces around her do dwell,

She's fairest where thousands are fair! Say, charmer, where do thy flock stray? Oh! tell me at noon where they feed; Shall I seek them on sweet winding Tay, Or the pleasanter banks of the Tweed? Written above a century ago, by

HULL MUSICAL FESTIVAL.

THE great and opulent town of Hull, long wishing to share with other places in the county the enjoyments and eclat of a musical festival, and possessing a fine Gothic structure-the largest parish church in the kingdom,-well calculated for the purpose, as well as an excellent newly-built concert-room, succeeded, the latter end of September, in getting up a meeting, with a view to raise funds for the completion of the splendid east window of Trinity Church, and in aid of the General Infirmary; and though the laudable object was not accomplished, the gentlemen who planned and directed the business may console themselves by reflecting, that the failure is not to be imputed to mismanagement, but to a report, raised for very sinister purposes, that the cholera was raging in the town, and rendering it unsafe for strangers to enter, which deterred hundreds from being present at any one of the performances, morning or evening,

That there was no want of spirit or judgment in making the various engagements, will be evident from the following names:Madame Čaradori Allan, Miss Masson, Miss C. Novello, and Madame Stockhausen; Messrs. Braham, Hobbs, Machin, and H. Phillips. Mr. F. Cramer led the band, and among the instrumentalists were Messrs. Lindley, Dragonetti, Nicholson, G, Cooke, Willman, Platt, Harper, Chipp, &c. The chorus was remarkably strong, selected from the various societies in the county, and under the direction of Mr. Skelton; and Sir G. Smart was the conductor.

FIRST DAY.-WEDNESDAY MORNING, Sept. 24tн. THE performance began with a selection from Neükomm's oratorio, The Mount Sinai, or The Ten Commandments, an unequal