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TRIO-(Page 62).

a descendant of the Earls of Northumberland, born at Bridgnorth,
in 1728. His first literary production was a translation from the
Chinese. In 1763 he published Five Pieces of Runic Poetry Acis and Galatea. The flocks shall leave the mountains,

from the Icelandic. In 1765 he brought out the Reliques of
Ancient English Poetry, a work which, it has justly been said,
constitutes an era in the history of British literature. In 1770 he

edited the Northumberland Household Book, and likewise printed Polyphemus.
his Hermit of Warkworth, &c. In 1778 he was promoted to the
deanery of Carlisle, and in 1782 to the bishopric of Dromore.
This highly-gifted, exemplary prelate died in 1811, in his eighty-
third year.

The composer of the music is

THOMAS CARTER,

a native of that country which has always excelled in the tender and beautiful, both in lyric poetry and in melody,-Ireland; the land of verdure and genius, of oppression and suffering; but on which a better prospect is at length beginning to dawn. Mr. Carter was patronized by an Earl of Inchiquin, by whose assistance he completed his musical education at Naples, where he was very kindly received by the British minister, Sir William Hamilton. He afterwards went to India, and took the lead in all musical matters at Calcutta. But the climate forbade his stay on the banks of the Hoogly, and he came to London, where imprudences counterbalanced the advantages that rarely fail to attend talent and social qualities. He died of a hepatic disease, and in very straitened circumstances, in 1804.

MAY SONG (Page 58).

Hail! all hail! thou merry month of May !
We will hasten to the woods away,

And scent the flowers so sweet and gay.

Haste away, to hail the merry May!

Hark! hark! hark! to hail the month of May,
How the songsters warble on each spray!
And we will be as blithe as they.

Then away, to hail the merry May!

Hail! all hail! thou merry month of May!
Thou hast given to every bird its mate,
Grant lovers true as kind a fate,

So shall they all bless thee, merry May!

Translated from the German by W. J. Walter, Esq. The music is by CARL MARIA VON WEBER, from his Volkslieder, op. 64.

As we have inserted in the MUSICAL LIBRARY three pieces from the Serenata of Acis and Galatea, the story on which it is founded, briefly related, will not be out of place here. Acis, a Sicilian shepherd, loves Galatea, and is beloved by her, having for his rival the Cyclop Polyphemus, whom the nymph disdains. Jealous of Acis' happiness, the giant meditates his destruction, and watching his opportunity, while the youth is in soft discourse with Galatea, hurls at him the fragment of a rock, and he is slain. As the sea-nymph possesses not the power to restore her Acis to human life, she changes him into a fountain, which ever after bears his name.

Acis, viewing Galatea from a distance, sings the following

AIR-(Page 60).

Love in her eyes sits playing,

And sheds delicious death;

Love on her lips is straying,

And warbling in her breath.

The lovers now meet, and, sitting together, are warned by the chorus of the approach of Polyphemus. Acis, inspired by beauty, and trusting that the

Acis and Gal.

Poly.

"The woods the turtle-dove,
The nymphs forsake the fountains,
Ere I forsake my love.

Torture! fury! rage! despair!
I cannot, cannot, cannot bear.
Not showers to larks so pleasing,
Or sunshine to the bee;
Not sleep to toil so easing

As these dear smiles to me.

Fly swift, thou massy ruin, fly!
Die, presumptuous Acis! die!

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degree in 1588, became a gentleman of the chapel royal in 1592, and is supposed to have died in or near the year 1604. 1604. His compositions are numerous, consisting of madrigals, and canzonets for two and more voices, among which are many of great beauty, exhibiting a freedom of air very unusual at that period, and a richness of harmony that was to be expected in the works of so learned a theorist. He also composed services and anthems; and his fine service for the burial of the dead is the glory of our cathedral music. But his fame rests more on his Plaine and easie Introduction to Practical Musicke (1597), than on his compositions, for in the latter he had rivals, in the former, none. His treatise is not only the first that appeared in our language, but continued to be the best for upwards of a century and a half. His remarks on the art, and on its professors, are full of good sense, and though he is severe, he is just. The noble Florentine, Doni, in his Discorso sopra la perfettione delle Melodia (1635), speaks of him as Tommaso Morley, erudito musico Inglese.'

It is observed in the Harmonicon*, that music was in the sixteenth century not less generally cultivated in England, than it is in Germany in the nineteenth, and that to be ignorant of its principles and unskilled in its practice, was then a defect in the education of either sex, uncommon in the better classes of society, and not very readily excused.' In corroboration of this, the commencement of Morley's Treatise-the whole of which is in dialogue-is quoted; the interlocutors being

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Philomathes. To seeke out an old frind of mine.

Pol. But before you goe, I praie you repeat some of the discourses which had you yester night at master Sophobulus his banket; for commonly he is not without both wise and learned guestes.

Phi. It is true indeede. And yester night, there were a 'number of excellent schollers (both gentlemen and others); but all the propose which then was discoursed vpon, was musicke,

Pol. I trust you were contented to suffer others to speake of that

matter?

Phi. I would that had been the worst: for I was compelled to discouer mine own ignorance, and confesse that I knewe nothing at all in it.

Pol. How so?

Phi. Among the rests of the guestes, by chance, Master Aphron came thether also, who falling to discourse of musicke, was in an argument so quickely taken vp and hotly pursued by Eudoxus and Calergus, two kinsmen of Sophobulus, as in his owne art he was ouerthrowne. But he still sticking in his opinion, the two gentlemen requested mee to examine his reasons, and confute them. But I refusing and pretending ignorance, the whole companie condemned mee of discurtesie, being fully perswaded, that I had beene as skilfull in that art, as they tooke mee to be learned in others. But supper being ended, and musicke bookes, according to the custome, being brought to the table, the mistresse of the house presented mee with a part, earnestly requesting mee to sing. But when, after manie excuses, I protested vnfainedly that I could not, euery one began to wonder, yea, some whispered to others, demanding how I was brought vp: so that vpon shame of mine ignorance, I go nowe to seeke mine olde frinde master Gnorimus, to make my selfe his scholler.

Pol. I am glad you are at length come to bee of that minde, though I wished it sooner: therefore goe, and I praie God send you such good successe as you would wish to your selfe. As for mee, I goe to heare some Mathematicall Lectures, so that, I thinke about one time wee may both meete at oure lodging.

Phi. Farewell, for I sit upon thornes till I be gone: therefore I will make haste. But if I be not deceiued, I see him I seeke sitting at yonder doore, out of doubt it is hee. And it should seeme hee studieth vpon some point of musicke; but I will driue him out of his dumpe. Good morrow, Sir.

The author of the Memoir of Thomas Morley, in the abovementioned work, has also vindicated that excellent musician, whose compositions are mentioned rather slightingly in the histories of both Hawkins and Burney.

ARIA E CORO-(Page 70).

Lieti fiori, ombrose piante, Voi sol ama un saggio cor, Che di pene è germe amor, Se si perde libertà.

Vol, iv. p. 210,

Le più amabile catene
Son ripiene di martir,
E piacer misto a sospir,
Non può dar felicità.

Lieti fiori, &c.

from the opera of Il Ratto di Proserpina, written by Lorenzo Da Ponte. Ceres has just quitted her daughter Proserpine, for a time. Proserpine, attended by her nymphs, laments her mother's absence, saying, that happiness is the lot alone of the smiling flowers and umbrageous plants by which she is surrounded: that the sweetest of attachments are not unmixed with sorrow and

sighs. Pluto, who is watching an opportunity to bear off Proserpine, takes advantage of the absence of Ceres, and succeeds in his design. The music is by

PIETRO WINTER,

who was born at Mannheim, in 1755. His father, a brigadier in the Palatine guards, took little interest, and less share, in the education of his son, who, manifesting an inclination for music, received instructions on the violin from William Cramer (father of J. B. and F. Cramer), then leader at the court of the elector. Winter had his first and early lessons in composition from the Abbé Vogler, but to Salieri he always considered himself indebted for the best knowledge he possessed of his art. In 1775 he was appointed director of the orchestra to the theatre at Mannheim; and when the court was transferred to Munich, he remained in his native town. He first composed ballets; then instrumental pieces, and much church music. In. 1780 his first complete opera, Helena und Paris, was produced. This was followed by Bellerophon. He then proceeded to Naples, where he brought out his Antigone. At Venice he produced the Fratelli Rivali, and Sacrifizio di Creta. Afterwards he went to Vienna, where he gave Das Unterbrochene Opferfest, the drama from the pen of the celebrated Huber. In 1803 he visited London, where he remained two years, and composed his three best operas, Calypso, Il Ratto di Proserpina, and Zaire. In these he was fortunate enough to have the aid of a Billington and a Grassini. After quitting our metropolis he proceeded to Paris, and brought out Tamerlan at the Académie Royale, with great success. equally fortunate was he with Castor et Pollux, the favourite work of Rameau, which Winter re-set, and drew down on himself the resentment of nearly every patriotic Frenchman. From this time he wrote nothing-except perhaps the short comic piece, Der Sanger und der Schneider-that merits notice; but continued composing for the church, up to almost the moment of his decease, which took place in 1825.

Not

AUSTRIAN NATIONAL HYMN, ON THE DEATH OF THE EMPEROR FRANCIS.

WE have just received from Vienna the Allgemeine Musikalischer Anzeiger (Universal Musical Advertiser) of the 19th of March, in which appears Castelli's IIymn on the Death of the late Emperor, adapted to the air composed by Haydn for the coronation of that monarch, and now performed, both publicly and privately, in every part of the Austrian dominions; for the government of Francis was quite paternal, except in that part of Italy which was under his sway; and he was naturally affable and benevolent. Simple in appearance and manners, and kind from disposition rather than from policy, he was much beloved by the Viennese, with whom he mixed in public walks, and even in the streets, often unaccompanied by an attendant, and always without any external indications of either royalty or superiority.

But, better to express sorrow, the first two stanzas are sung in the minor key of G. Thus it is called a Trauer-Gesang; i.e. griefsong. With the last stanza, denominated Hoffnungs-Gesang, or hope-song, the major third is restored, and we have Haydn's hymn in its original form.

This, in its altered state, belonging more to the history of music than to the Musical Library, we insert it in our Supplement in preference to incorporating it with our collection. The words are translated, as literally as the music would admit, by John Oxenford, Esq.

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ZELTER.

Designing to give in this Supplement a series of letters from Goethe's interesting correspondence with his friend Zelter, and as the latter is not so well known to the English reader as to render a biography superfluous, we preface our selection by the following memoir, from the Harmonicon, vol. xi.

CARL FRIEDRICH ZELTER was born at Berlin, in 1758. His father, a Saxon, had him instructed during his childhood and youth in various elegant, as well as useful, acquirements. Engaged in the cultivation of his mind, for which purpose he attended the Joachimsthal College, he had already attained his seventeenth year, when he was articled to his father's business, that of a builder. Hitherto he had not shown much inclination for music, and had manifested but little attention to the instruction he received on the piano-forte and organ, from a Berlin organist.

After a tedious and painful illness by which he was attacked in his eighteenth year, an extraordinary passion for music all at once sprung up in him. But as at this period nearly the whole of his time was devoted to his professional pursuits, the evening alone was left to him to satisfy his thirst for harmony. Thus whole nights were frequently spent in copying music, and in practising the violin and piano-forte. This enjoyment, however, was but of short duration, for his instructor in the latter instrument could no longer attend him; and, fearing that such constant and unwearied application might injure his health, his father endeavoured to check his voluntary studies. But this did not stop his progress, for as he was now deprived of his instruments, he began to compose, for which purpose only pen, ink, and paper were necessary. He had no rules, and being governed only by his fancy, his deficiency in the knowledge of composition was constantly manifesting itself, and having no acquaintance with scientific musicians, he had no means of gaining information through the medium of conversation; he, therefore, procured some scores of Emanuel Bach and Hasse, the study of which showed him the importance of order and unity in composition, and taught him how to preserve a constant flow of melody in the middle parts.

Now, however, his health actually began to sink under his exertions, and the many privations to which his earnest application subjected him. His thoughts were exclusively devoted to the art by which he was enamoured, and all else was neglected. His business was neglected for it, and his health ruined. His father again remonstrated, and the young enthusiast renewed his promises of obedience; he for some days took more sleep, and paid more attention to his affairs; but in less than a month relapsed into his former habits, though he did also attend to his drawing, his geometry, and other business; but at the same time prosecuted his musical studies with all the ardour which his little remaining strength would permit.

In the year 1783, having completed his probationary architectural drawing, he was admitted among the number of master builders. And now, for the first time, he received lessons, in counterpoint, from M. Fasch. "I have," he himself states, "made as much use of this excellent instruction as I possibly could, in the midst of my other occupations. To this worthy M. Fasch I am entirely indebted for whatever merit many of my compositions may possess."

After alluding to three themas with variations of his composition, published at Berlin, and many songs, scattered in various

publications, he adds, "I have besides composed several pieces of music for particular occasions. The best among these are a cantata upon the death of Friedrich II. in the year 1787, and another cantata upon the birthday of a beloved mother, in the year 1793. A variety of single arias and scenas, many of which I scarcely even can recollect, are not to be taken into account. The concerto for the tenor which I composed in the year 1780, if it has merit, has on the other hand many faults, aud is not theoretically correct. All the rest of my musical works are studies, consisting of fugued choral pieces and fugues, which I have never considered worthy of preservation. If I should hereafter be enabled to devote more time to my beloved art, I hope to indemnify the Friends of my Muse, if any such there be, for those works which from precipitance, or without any blame attaching to me, have already been brought before the public."

Thus far only, M. Gerber states, "extend the particulars which M. Zelter had the kindness to furnish me with in 1793. But it is necessary to add a few explanatory observations. For the benefit of such of my readers as have no other idea of a masterbuilder, than that he must be begirt with a leathern apron, and armed with a trowel, I must remind them, in the first place, that M. Zelter's tools consisted solely in a case of drawing instruments and a pen; and that no one can have any conception of his great, his important occupations, who has not had an opportunity of witnessing the solid taste, the grandeur and splendour, of the architecture of Berlin." How many an artist might, with a feeling of shame, look upon this pattern of activity, who, day after day, superintended the building of various great edifices; yet, nevertheless, ever bore in mind, with reference to music, the words of Horace, nulla dies sine linea. Horace, nulla dies sine linea. In order, also, to be as useful as possible when his fatiguing professional duties of the day were completed, he in his hours of relaxation, joined the singing academy of M. Fasch, and became one of its most active members; indeed, it may be said that he was M. Fasch's right-hand.

And when, in the year 1797, M. Gerber revisited Berlin, M. Zelter, singly, at the piano-forte, directed the whole, while M. Fasch, then become aged and infirm, was most commonly a silent listener at one corner of the room. And this school, or society, performed before MM. Naumann, Himmel, and other distinguished composers, one of Naumann's learned compositions written for them, (a Latin psalm,) and a part of Fasch's masterpiece for four choirs. In the same year too, M. Zelter conducted Graun's Tod Jesu at the Opera House, in which the choruses were sung by the united members of Fasch's society; the orchestra having consisted of the members of the Royal Chapel, and the best amateurs in Berlin.

The following are the titles of M. Zelter's detached papers and compositions. On the representation of Gluck's opera, Alceste, at the Berlin Opera House, from the letters of an artist published in the fifth number of the Journal, entitled Deutschesland. Berlin, 1796. After many interesting observations upon the dramatic treatment of the story by Calsabigi, he remarks, "the conductor of the opera should always have the right to wield the helm of the vessel, because he is more likely to enter into the beauties, of an excellent poem, than a poet is to understand anything of music, even what is meant by a dissonance.' Analysis of a scene from Benda's Romeo et Julie, in the first volume of the Lyceum of the Fine Arts. Berlin, 1797-8. Dance and aria from the opera Arur, with variations for the piano-forte.-La Maladie, pièce caracteristique pour le Clavecin.-Schiller's Ode an die Freude, (Ode to Joy,) for the piano-forte. Seize chorales composées par MM.

Reichardt, Gürrlich, Zelter, &c. Trinklied (Drinking Song) of K. Müchler. Twelve songs with piano-forte accompaniment. The following greater vocal productions also are quoted in Rellstab's catalogue. Aria di Bravura: Grato Flauto, &c. p. Soprano con Flauto concertato. Rondo a 6; Dove sei, mia bella Nice, &c., p. Soprano con Flauto concertato. Fragment from Wieland's Serafine in score; all of which were already written about the year 1790; and another of the same description from his celebrated cantata, already alluded to, on the death of Friedrich II.

The following works of his also have appeared in print; Memoir of Carl Friedrich Christian Fasch, by C. F. Zelter, with a portrait; Berlin. 1801. Another set of twelve songs, with piano-forte accompaniment. Der Taucher, (the Diver), by Schiller, for the piano-forte. Collection of Ballads and Songs; books 1, 2, 3, 4. Johanna Sebus, for several voices, with pianoforte. He subsequently collected his gems of songs and arias of every description, and published them in numbers. There is also a Te Deum of his composition.

In 1809, Zelter was appointed, by the King, professor of music at the Berlin academy of arts and sciences; and as a proof that it was not a mere empty title conferred upon him, the King called him the very same year to Königsberg, to attempt the revival of a taste for church music, which had sunk to a very low ebb, a task for which he was eminently qualified. At the commencement of this year, too, a new society had been formed at Berlin, consisting of about twenty-four male members of the singing academy, under the name of Die Liedertafel, (the Vocal Club,) of which Zelter was president. The members were divided into two bodies of tenors, and two of bases; they assembled once a month, and sang their songs, the poetry and music being of their own production, their president making his remarks on them. In fact, it was a revival, in a much improved form, of the guild of the old German "meister-sänger," and did no little credit to the state of cultivation, and the attainments of the dilettanti of Berlin. M. Zelter died, at rather an advanced age, in 1832.

MUSICAL COPYRIGHT.

If the body of music-publishers had only a moiety of the good sense and spirit which actuate the publishers of literary works, they would get an act passed to determine the nature of musical copyright, and fix by law the rights of musical composers. More - especially as relates to the power of foreign composers, living and publishing abroad, to establish a property in their works in this country, at the same moment that they are printing them in Paris, Berlin, Vienna, &c.

Attention has again been drawn to this subject, by an injunction granted by Lord Abinger, restraining Mr. T. Boosey from printing certain parts of Auber's new opera, Lestocq. Mr. Boosey has in consequence published a pamphlet on the subject, in which he sets forth the evils arising from the practice of purchasing, for a mere trifle, the exclusive right of publishing here works composed and printed abroad. He shows that this right is exercised in a manner highly injurious to the art, and gives mercenary, illjudging, badly-advised publishers, the power of doling out portions, often the worst of a work; of metamorphosing the best compositions into the meanest shapes, and of denying to the public the use of the foreign score, though published and consequently to be purchased abroad, except on terms of an exorbitant and pernicious kind.

Mr. Boosey says that his pages

relate to an attempted and most injurious monopoly of foreign operas, which, so far as it has been practised, has been, and if allowed to continue, will be, the means of completely preventing the musical public from obtaining some of the most beautiful of the music published abroad, and of depriving all English professors, music-publishers, sellers of music, engravers, stationers, and the various other persons employed in the music-trade, from obtaining that employment and profit which they would inevitably obtain if such monopoly did not exist.

continue, to the manifest injury of British interest; for if this be the effect of the law as it stands, these are times when public grievances only require to be exposed, in order to be relieved by such legislative enactments as may be requisite.'

It appears that M. Auber sold the copyright of Lestocq to M. Troupenas, a Paris publisher, for 18,000 fs. (7501.) and that the latter assigned his right to Messrs. D'Almaine for 801. But this right of course is meant to be confined to England, as doubtless is expressed in the deed of assignment. M. Troupenas publishes the full score of the opera in Paris, while Mr. D'Almaine gives only an arrangement of it in fifty-three pages, but claims the power to withhold the work from the British public in any other shape than that in which it suits him to print it. Thus, says Mr. Boosey,

Besides the actual loss we have experienced in not being able freely to import and sell Foreign Operas in their original form, and publish good arrangements of them when required, we have had much difficulty in making our customers understand why they were to be deprived in London of the songs from the French operas which they had heard at Paris; any reasons we could offer appearing to them perfectly ridiculous.'

Mr. Boosey shows what must be the result of Lord Abinger's decision, if not set aside by the House of Lords, to whom an appeal is to be made.

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Any London publisher can now purchase from a foreign publisher (who has already enjoyed the full benefit of his rights in his own country,) the sole proprietorship in Great Britain of an opera composed expressly by a foreigner for a foreign theatre, to words in a foreign language, and performed by a company, of foreigners in a foreign country. After announcing to the trade in threatening letters that he has so purchased it, and spending about 51. in engraving the airs or melodies without any accompaniment, he can, sanctioned by the late decision, first of all prevent its importation, and then be the means of depriving the resident professors, engravers, printers, and music-sellers, of employment and profit to a great extent, and also curtail the consumption of pewter plates, paper, &c. to an incalculable amount. This will be evident to any one who considers the number of music-shops there are now in Great Britain, and that each has its respective professors, who arrange for them for various instruments, as the piano-forte, harp, flute, violin, &c. &c., and also their respective engravers, printers, and stationers. It should also be remarked, that, besides the want of choice, the public will thus (being limited, as in former instances, to one indifferent arrangement) be obliged to pay the publishers their own price; as in the case of the airs from Lestocq, which since this motion has been obtained, the publishers have raised from 9s. to 12s. All the celebrated orchestral symphonies and overtures which appear on the Continent, and are performed at the Philharmonic and other Concerts, will be equally subject to the same prohibitory system."

This subject was argued three years ago, in the case of Meyerbeer's Robert le Diable, and the New Monthly Magazine rea soned thus on the subject:

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Mr. Mason (who had purchased the copyright) and his lawyers must proceed, if they proceed at all, on the right of an author to sell his works in foreign countries, after having published them in his own. We do not see that any difference can be established in favour of musical ideas over other ideas; and if M. Meyerbeer had written a novel of Robert le Diable, instead of an opera, and published it în Paris, would he be entitled to complain of its being reprinted here, or in America? He certainly would not. The only condition on which he could establish copyright would be contemporaneous publication in two or more countries through the medium of the interests in each country. Suppose Mr. Mason had not bought the score of Meyerbeer, should we still have been deprived of the pleasure of hearing his opera? This is not maintained for a moment; then, after publication in any country of a desired work, how are we to proceed? We cannot copy it, for how do we know that the score or the MS. is not actually bought by some one who may or may not choose to publish it?—and after perhaps expending considerable sums upon the getting up or printing of the affair, some possessor of a dormant right may spring up, and scatter all our preparations to the winds.'

Our object,' says Mr. B. is two-fold :—a justification of our justification of our own conduct as regards the music we have published from Lestocq, If there is anything clear in this difficult matter of copyright, and to arouse the attention of those whose amusement and liveli- it is the usage that the claims of an author or composer do not hood is so deeply interested in preventing the monopoly in ques-extend beyond the country or countries of original publication. tion. If we succeed in doing the latter, it will then rest with the British public to say whether they will allow such monopoly to

'Musical ideas differ from others in this, that their language is universal. When a musical composer writes, he uses an alphabet

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