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way of contributing; because, whether a person lived long or not, his payment would be the same; whereas, even by adopting the annual payment, on the above principles, the longest liver would lie under the greatest burden. A. B.

Since the above paper appeared in the Glasgow Herald, two societies in this city have adopted this plan ; one of them

has fixed their funeral-money at four pounds, and restricted themselves to the full payment: and the other makes a share two pounds, leaving it in the choice of the individuals to make either the full number of shares they please. or annual payment, and to hold any Glasgow, Oct. 9, 1811. A. B.

For the Monthly Magazine.

METEOROLOGICAL ABSTRACT for the last TWELVE MONTHS at CARLISLE.

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An.Mean. 49,00 Ann. Mean. 29,81425 34,55 185 242 123
Total Total Total Total

General Remarks on the Weather, &c.
observed at Carlisle, during the Year

1811.

First nine

frost, with a strong easterly wind, and light showers of snow. During this period, the thermometer continued nearly stationary at 32°, (freezing point;) 10th to 21st chiefly open weather, and frequently very stormy; 21st to 27th seasonable and pleasant, the remainder was intense frost, with light falls of snow. On the last day of the month we had a violent hurricane from the N. E. During this month, all the mountains in this neighbourhood were covered with snow. February, excepting three or four nights of hoar frost in the middle of the month, was invariably mild, but extremely wet and stormy. The mountains were generally capped with snow.

March. First eight days very wet and stormy. The remainder, excepting the 20th and 21st, which were drizzling and gloomy, was a succession of exceedingly fine weather for the season; it was mild and calm, with a serene and cloudless sky.

April. The 7th, 8th, 9th, and 10th, were frosty, with heavy falls of snow, when the surrounding mountains were

month was invariably mild and favourable for the season. In the afternoon of the 21st, occurred some vivid lightning, and loud peals of thunder, accompanied with a very heavy shower of rain, mixed with hail. The first swallows, this season, were seen here on the 14th, they became numerous on the 16th.

May. The beginning was mild and showery, the 5th, 6th, 7th, and 8th, were very cold, with heavy rains, when the neighbouring mountains were ob served to be whitened with snow; afterwards mild showers and distant thunder at intervals, till the 12th, when the wea ther became extremely sultry; and in the afternoon of that day, and also on the 13th and 14th, about the same hour each day, namely, five o'clock, we were visited by the most dreadful storms of thunder, lightning, and rain, ever remembered here. The incessant peals of thunder which shook the houses, and

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continued

continued blaze of dense-forked light ning produced universal terror. The lightning entered several dwelling-houses in this city and neighbourhood, and many of the inhabitants were more or less hurt, but fortunately no very serious injury occurred. At a village about six miles distance from this city, some valuable cows were struck dead in the out-houses by the electric fluid. The torrents of rain and hail which fell during this period, made the rivers and brooks overflow their banks to such a degree, as to be attended with very destructive consequences. These storms, each day, continued upwards of two hours. The weather afterwards was fair and brilliant till the 25th, the remainder of the month was wet, gloomy, and unpleasant. The quantity of rain, upwards of six inches, is greater than has been experienced here in the corresponding month, since the commencement of this register.

June continued moist and gloomy, and most unseasonably cold, till the 25th, when in the morning and evening of that day, we had some loud peals of thunder; the weather then changed to the opposite extreme, and the last five days of the month were very hot and brilliant.

July. The two first days were op. pressively hot, with intervals of distant thunder. The remainder was uniformly temperate, and on the whole favourable for the season.

August. The greater part of this month was very moist and gloomy; thunder at a distance on the 19th and 25th; on the latter day it was accompa● nied with a heavy fall of rain.

September. From the beginning till the 21st was an uninterrupted succession of the finest weather for the season we ever remember, not a drop of rain fell, and the sky was most beautifully serene and brilliant. The mid-day heat was uncommonly powerful. The night of the 20th was cloudy, with lightning and showers, and the remainder of the month was very wet and unpleasant.

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October was a very humid and gloomy month, and for the first three weeks remarkably sultry, The weather proved unfavourable for finishing the harvest, and much of the grain in this district was secured in a grown and very bad con dition. Much lightning was observed in the night of the 25th. The last of the swallow tribe this season were seen on the 12th.

November was most unseasonably mild, the average height of the thermo

meter 46°, 12 is the highest that it has been in the same month for the last eleven years; the former half of the month was uncommonly wet, nearly the whole of the rain, namely, four inches, fell during this period. On the 5th, 6th, and 15th, the wind blew violent hurricanes from the S. E., S. and S. W. The barometer, the latter half of the month, was very high, yet the atmosphere continued moist and cloudy.

December. First three days very mild, wet, and stormy. On the 4th, about one-inch depth of snow fell, which was succeeded by two days of severe frost, when, in the space of thirty-six hours, we experienced a change of 30 degrees of temperature; the thermometer in that period having fallen from 53 degrees to 23 degrees. In the night of the 7th we had much lightning, and the fol lowing morning some peals of thunder. The weather afterwards continued rather variable, but chiefly mild till the 24th, when a frost commenced, which, with some trifling interruptions, continued till the end of the month. On the 27th and 28th, we had some heavy falls of snow and sleet, which being partially dissolved, was immediately succeeded by intense frost. The public roads and paths were then completely coated with ice, which rendered travelling extremely dangerous. The neighbouring mountains at this time were all perfectly white.

The average temperature for the whole year, 49°, exceeds the general average 10, 3, and is greater than any preceding year during the period of this register, (eleven years.) That of the barometer differs very little from the general average. The quantity of rain, 34,53 inches, exceeds the general average 4,5 inches, and, excepting 1804, is greater than any of the preceding years of the same period. Carlisle, Jan. 2, 1812. W. PITT.

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be able to bear the tremendous shock of the new system.

But I must descend from philosophic anticipation to the paper before me: here I cannot but remark that the author appears to subject himself to the very charge which he makes against others, by dictating his own ideas of taste, and enthroning Haydn as the Apollo of the present day. It surely is not necessary, in rendering every well-merited tribute of praise to the excellency of his masterly compositions, to depreciate the character of works which have received the discriminating and encreasing approbation of more than a century.

The strength of W. G.'s arguments in favor of the superiority of the moderns, appears to be in the supposed discovery by them of two new chords, viz. that of the thirteenth and of the extreme flat seventh.

will be in a duplicate geometric ratio to the last.

Schol. If any sound forming a part of a chord be placed out of the first septave, its vibrations are admeasurable by the primes which measured its octave below. Cor. All chords are reducible within a septave, consequently the denominative of a chord placed out of the septave, in which its fundamental note lies, muse be the same as if reduced within that compass,

Put r, for the number of vibrations made in a given time by the lowest or fundamental note of a supposed chord of the thirteenth, the whole chord will

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mon chord of the sixth: or thus, *.

3x
8

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is the chord of chord of the thirteenth is therefore a monentity.

6

He says, “If we search into the old authors, we shall not find a combination that exceeds four ingredients, whereas the present discoveries fully authorise. 3x the use of the chord of the thirteenth, which is a combination of all the notes in the scale." There is a difficuity in un derstanding what W. G. means by a chord containing all the notes of the scale. If he use notes in the same sense in which they occur in a previous sentence, viz. as the elements or diatonic progression of intervals forming a septave, his position contains an absurdity which I suppose the author did not intend. We certainly want a second prescription to inform us how this "chemical compound" is to be taken.

I purpose shewing that, what is generally termed the chord of the thirteenth (and I apprehend W. G. means to use the term in its accustomed signification), is a nonentity, by demonstrating that all chords, and every position of a fundamental chord, may be brought into the compass of an octave. Always to consider them as reduced within that compass would much facilitate the study of tho. rough bass.

A chord in music is the union of three or more sounds which harmonise, and whose vibrations are admeasurable by the primes 1.2.3.5, and their compounds or products.

The number of vibrations of any interval (or note) being given, the vibrations of an interval of the same denomination, one octave higher will be double that zamber, and every succeeding octave

4

The chord of the sixth, and that of are continually used by every com

poser.

I have been, sir, under the necessity of regularly deducing my demonstration from first principles, in order to shew the incorrectness of W. G.'s claims for the moderns of the discovery of a new

chord.

This boasted chord of the thirteenth, this "compound of all the notes of the scale," is, when reduced to its septave, merely the chord of the sixth, or that of.

I will now proceed to an examination of his other discovery, the chord of the extreme flat seventh.

If W. G. were as well acquainted with the subline compositions he attempts to depreciate, as he ought to be, to qualify himself as a musical censor, or did not his partiality for Haydn bias his judg ment and prevent is doing that justice to the immortal Handel, which is now so generally awarded, he would not have committed himself by stating the chord of the extreme flat seventh to be a new discovery, or to have such a peculiar prominence of feature in the modern compo

sitions,

sitions, as to entitle them to any exclusive claim to approbation on that ac

'count.

The use of this chord was well known to Handel, and other ancient composers. I could cite several examples, in which it is introduced, with an effect, to an impar tial ear, at least equal to any produced by Haydn in his use of it: one or two will suffice.

In the fine chorus in Joshua, "O God, who in thine heavenly hand," it occurs in the last bar but two with the happiest effect.

In that beautiful line of the Dettingen Te Deum, "Where thou hadst overcome the sharpness of death," it is introduced with a sublimity of expression and power of accompaniment which almost harrows up the soul.

Such, sir, are the instances I adduce, not with a view of undervaluing the productions of the moderns, but merely to disprove the claim set up for them by W. G. of the discoveries of new combinations of sound, and to obtain for the Old School that due share of approbation to which it is entitled.

Handel unfortunately had not the advantage of W. G.'s chemical system of music, he probably was unacquainted with the affinities of chords; he has been more sparing of, and possibly more judicious in, the application of this "Menstruum, in which all the chords are chemically changed;" but as yet he yields the palm to none for extent of knowledge in the combination of sounds, or for grandeur of conception, in the construction of his choruses.

nonsense may be easy, to understa difficult.

W. G. observes, "In the time o del, the author never consulted the and genius of his instruments," & again, "All (the passages) were digested as to encumber an effec were intended to produce." Is thi candid criticism? The whole p need but be read to shew the partia of W. G.'s mind; such general, sweeping, changes cannot be answer I feel happy in the midst of in jections to most of W. G.'s position the opportunity of coinciding with in all the commendation he can be upon the beautiful and appropriate o ing of the Creation. Haydn attem an untried subject; the first moven of the Creation are finely conceived, managed with the hand of a master; I think it must be allowed, there falling off towards the close of the w I allude more particularly to the t part. The choruses have general theatrical accompaniment, and a tative close, which injures their effec sacred compositions; one or two of finest are, in respect of construct evident imitations of Handel's style.

I purpose taking a slight survey work of Handel's, which, although generally considered as his chef d'eur affords sufficient proofs of the depth his knowledge, the sublimity of genius, and the superiority of his co positions, as sacred music to any th since written. The Dettingen Te De will, as long as the science is cultivate remain a lasting monument of his tra ścendent abilities.

It will be remembered that this Deum was produced in commemorati of a great victory gained by the alli army over the French in the year 174. This circumstance gives a peculiar pr priety to the military style of the oper

Musical expression has undoubtedly received great improvements since the time of Handel. The present perfection of musical instruments gives the modern composer an advantage in that respect; but every imperfection under which Handel laboured affords an additional proof of the superiority of a genius which suring, and to the frequent introduction, mounted every obstacle! Surely no man will assert that the improvements of the English language at the present day detract from the merit of Shakespeare.

I justly appreciate the great abilities of Catalani, the compass of voice and ease of inflexion which sire possesses will probably remain unrivalled; but am quite unable to follow W. G. to the starry height of his fancy, its flights are "too evanescent to be caught, and too perceptible to be lost," they appear like the "scintillations" of Catalani's voice, nei ther caught nor lost. To write sublime

those very beautiful trumpet and tron bone movements, which occur through out the piece. The hautboys subjec which immediately succeeds the statel trombone opening, will, I conceive, b allowed by W. G. hihself as a complet answer to his observation, that "In the time of Handel, the power and genius of the instruments were never copsulted by the author."

The short piano symphonies after the several repetitions of "We praise thee O God," are fine contrasts to the subsequent introductions of "We acknowledge

Thee,

Thee, &c." in minor chords powerfully supported. The continual motion of the accompaniment throughout this chorus, affords a fine specimen of instrumental composition.

The following chorus "All the Earth doth worship Thee," merits attention for the boldness of its style.

Earth are full of the Majesty of thy Glory." Description here would frustrate its purpose. The enraptured soul is fixed in adoration. Emanations from the Deity, like those which inspired the penning of this sublime effusion of Cherubin praise, have possessed her every faculty.

The interest, sir, which I feel in vindicating the inmortal fame of Handel, will, I trust, be my apology for the length of this communication. I purpose, at a future opportunity, continuing my observations on the subsequent portions of this divine composition. OXENSIS.

SIR,

WHE

The trio and chorus "To Thee all Angels cry aloud, &c." commences in the key of B minor, which in the course of thirty bars resolves itself successively into at least six other keys, without any of that disjointed unconnected harmony, which much of the modern music exhibits. This is one of those splendid instances of Handel's knowledge of composition which can never be surpassed. To the Editor of the Monthly Magazine. I will confess there is an apparent want of character in the expression of "To Thee all Angels cry ALOUD;" but must observe, that, if music is so adapted as to convey the general sense of the words, it may not be necessary for a composer to express each in particular, or to suppose that praise to the Creator must al ways be in full chorus. The fulness of the accompaniment to "The Heavens and all the Powers therein," and the efect invariably attendant upon Antiphone constructions, appears to justify the author's probable intention in making the former part piano. No man understood better how to produce strong impressions by simple combinations of

sound.

We now arrive, sir, at the consider ation of a chorus, which, for its grandeur of composition, strict propriety in the musical accentuation of the words, and beautiful expression of their sense, is just ly entitled to rank among the first of Handel's works.

The chorus "To Thee Cherubin and Seraphin continually do cry," is introduced by a short and judicious trumpet duetto, which is occasionally repeated. The taking up by the several parts of the words" continually" and "Holy" in alternate succession, and the division of time which their difference of accent occasions, give a spirited effect to the movement, whilst the simplicity of the accompaniment is correctly adapted to the subject of the chorus. The bar rest which precedes, and that which follows the last ejaculation of "HOLY" by the united powers of the entire orchestra, raise expectation to its highest pitch. The absorbed attention is then aroused from its trance by the astonishing burst af sound which introduces "Heaven and

THEN the utility of any general practice is doubtful, it cannot too often be made the subject of discussion; I shall thank you therefore to insert the following remarks on the present system of studying the Greek and Roman classics. I propose to take real utility for my guide on this question, as all sensible men are accustomed to do in other cases of great importance. The real and peculiar advantages of studying the Greek and Roman writers, in their original languages, may be enumerated in a few words. It gives a thorough knowledge of the theory of graminar, and a greater facility of comprehending the meaning of many English words and terms of art: it secures a person against the danger of being deceived by the errors of unfaithfulness of translations, and procures him the name of scholar. Are these temporary advantages an adequate compensation for eight, nine, or ten, of the most valuable years of life? It will be said, there are many other advantages attending the present mode.-I allow it. ButI contend that those which I have stated are the only ones which arise from studying the Greek and Roman authors in the languages in which they wrote. Now, in my opinion, all these advantages are counterbalanced by one, which must accompany the study of the writers in question, in English translations, viz. by the latter method a greater knowledge and command of the English language is ac quired. But I would surrender this even, if the time dedicated to Greek and Latin could not be more profitably employed in other more important respects.

The style of the ancient authors is certainly deserving of admiration and imitation; but the value we set upon them

must

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