Falstaff a mutilation into Italian of a few of the comic scenes in Shakspeare's Merry Wives of Windsor, married to some most execrable music by the composer of the Maid of Artois. Of the acting we can only say, that we were not disappointed, never having expected for a moment that Italian singers, of whatever eminence, could be capable of an appropriate conception of any of the creations of Shakspeare. Lablache was amusing enough, but was more like Tony Lumpkin, than Sir John Falstaff. The rest were very common-place except Grisi, who is never uninteresting, from the mere fact that she is Grisi. The music was, to the greatest possible extent, unlike what it ought to have been -miserable, senseless trash-the very worst that has proceeded from the pen of Mr. Balfe, which is saying much, when we call to mind his last effusions, Catherine Grey, Diadeste, and Joan of Arc. As we consider the whole a complete fiesco, we shall waste no more words upon it, merely suggesting to Messrs. Laporte and Balfe, that there are many other sources less sacred, less revered, than the immortal productions of Shakspeare, from whence they might, with much more propriety, have obtained materials for their money-getting experiments. We cannot understand how an English audience could for one moment tolerate such impiety.

Mr. Sedlatzek and Signor Brizzi's Concert.

The annual morning concert of these eminent professors, attracted a very numerous audience at the Hanover Square Rooms, on the 20th of June. We arrived in the middle of Mr. Kroff's song, The fleecy clouds, which he gave with great taste and feeling. Mr. Sedlatzek performed a fantasia on the flute, Le Souvenir du Simplon, and he fully sustained his high reputation; he also played a double concerto for two flutes with Mr. Frisch, and received great applause. Signor Ivanhoff sang Donizetti's aria from Lucia di Lammermoor, with his usual good taste and judgement; and we wish that Una furtiva lagrima, which was murdered by Catone, had also fallen to his share. We regret that Miss Bruce attempted Lord Burghersh's Torna in quel onda, a simple English ballad would have suited her much better. Notwithstanding that Mademoiselle Placci and Signor Castellan have sung Mira la bianca luna, at about half-a-dozen concerts, they are not yet perfect, and we doubt very much if they ever will be so. Mr. Strauss's delightful band was in attendance, and played some of the waltzes which he has arranged with such skill.

Signor de Begnis and Mr. Mori's Concert.

The high character which these artists bear in their profession, was quite sufficient to ensure a very numerous attendance at their concert, on the 23rd of June. It commenced with Beethoven's symphony in D, which was very finely played; but the chief attraction was this great master's celebrated Septuor, played by forty-six performers, the violin parts being filled by concerto performers and leaders, and the others selected from the Opera and Philharmonic bands: it was indeed a treat-but why were the beautiful slow movement and finale left out? however, we will not complain, for the performers did full justice to this fine composition. Ivanhoff sang very finely; we wish we could say as much of Madame Cinti Damoreau-does this greatly over-rated lady imagine she can sing everything? we are led to imagine so from the self-satisfied air she always

VOL. I.

N

assumes before an audience. Mrs. A. Shaw, Mrs. Bishop, Miss F. Woodham, Mr. H. Phillips, Mr. Begrez, and Mr. E. Seguin, contributed their assistance. We cannot close this short notice without mentioning our disapproval of such an exhibition as Signor de Begnis treated us with.

Mr. Bochsa's Concert.

Mr. Bochsa's annual concert took place on the stage of the Italian Opera, on the 26th of June, and the house was filled by all the rank and fashion of the metropolis. Mr. Bochsa contributed towards the success of the concert by the admirable manner in which he played his characteristic Morceau d'apropos, introducing several Irish airs, which is quite a chef d'œuvre. M. Doehler and Madame Dulcken did full justice to Hummel's duet for two pianos. Madame Cinti Damoreau murdered the scene from Le Mauvais œil-Pour les preserver tous, and her attempt at singing The Last Rose of Summer, was truly laughable; but Grisi, Persiani, Albertazzi, Rubini, Tamburini, and Lablache, fully compensated, by their exquisite performance, for these failures.

REVIEW OF NEW MUSIC.

Overture to "Romeo and Juliet," arranged as a duet, and dedicated to W. STERNDALE BENNETT, by the Composer G. A. MACFARREN.

Mr. Macfarren has selected a most difficult subject to illustrate by musical sounds, but has nevertheless succeeded in producing a highly picturesque and beautiful work. We can make but one objection to this overture, viz. that its general character is too bold for the subject. We think the prominent feature in an overture to Romeo and Juliet should be a voluptuous melancholy, a moonlight melody, "soft as lovers' sighs,” a music such as Shelley describes in the sensitive plant,

*

66

so delicate, soft, and intense,

That 'twas felt like an odour within the sense."

Des nuages de musique, de sons et d'accords,, enfin la musique des sylphes. Instead of this, Mr. Macfarren commences with a majestic subject, which gives the predominant colouring to the whole composition. Those parts of the overture which are evidently intended to picture the loves of Romeo and Juliet, are inferior in interest to the rest; and the quarrels of the Montagues and Capulets, coupled with the gay and witty Mercutio, seem chiefly to have occupied the composer's attention. These should have been only subordinate: in fact, we may venture to say, in a philosophical musical picture, like the present, they should hardly have been touched upon.

Music, except in very rare instances, is only capable of describing the feeling produced by an object, not the object itself-so (to carry out our idea,) the feeling after a perusal of Romeo and Juliet, or even during its representation on the stage, is one in which affection and melancholy are the principal ingredients. But enough of censure, if the term censure may be applied to our remarks, which are merely illustrative of our own peculiar opinion-chacun a son gout. It is certain, that the overture of Mr. Macfarren, as it stands, is much more likely to give pleasure to ninetenths of its auditors, than one of so morbidly poetical a character, as in our opinion would have better fitted the subject. It is now so well known to our musical readers from its success at the Concerts of the Society of British Musicians, that an analysis of its merits, artistically considered, would be superfluous. Suffice it to say, that it was tried three years ago

* Balzac.

by the Philharmonic Orchestra, with some other works of vastly inferior merit, and (of course) was not deemed worthy of acceptance by that most sapient and patriotic body. The enthusiasm with which it has been since received, proves the utter worthlessness of the judgment of the Philharmonic Directors, the majority of whom know about as much of music as they know of liberal feeling, and are as prejudiced as they are ignorant. Fantasie sur la Cavatine d'Anna Bolena. "Ah! nel Veder la tua Costanza." Composée pour le Piano Forte par T. DOehler. Mori and Laurence.

We are at a loss to know what induced Mr. Doehler to visit England. He has produced no effect whatever as a pianiste, for indeed he has many equals. He is an imitator, and a very poor one, of that really splendid performer, Sigismond Thalberg, and the only opinion that has been formed of his abilities is, that he is very far behind his master. If we are to take the work before us as an example of his talent as a composer, he is by no means on a level with Herz, even in that writer's dullest moments. If this be music, heaven preserve us from the "divine art." The best advice we can give Mr. Doehler is, to return as speedily as possible to the land from whence he came, where perhaps his extraordinary merits may be more appreciated than in this barbarous and unmusical country.

Nay, smile not at my sullen brow." Poetry by LORD BYRON. Music by W. F. LOCKWOOD, R.A.M. Cocks & Co.

The words by Lord Byron are well known and generally admired. To Mr. Lockwood, if we may be permitted to indulge in a pun, we would address this precept of Cardan to his sons,—

Perhaps he understand us. may

The music of the present song is by no means equal to that of his last, though Lord Byron's poetry is undoubtedly a cut above" that of Master Bird.

MISCELLANEA.

We are happy to learn that Mr. G. A. Macfarren is engaged on an Opera in two acts, for the Lyceum Theatre, which has been accepted and will speedily be produced. The drama is by his talented father, Mr. G. Macfarren, and is to be entitled (as we have heard,) The Devil's Opera. Wieland is to have a prominent part, which will give the composer good scope for something new in the shape of characteristic music. We look forward anxiously for this opera, and sincerely wish it success; for we must confess, we are heartily tired of Mr. Balfe's imitations of Donizetti and his clique; and we are inclined to think, that, if Mr. Macfarren were to have a fair chance, he would soon place himself above all that have yet attempted a modern English Opera.

* Among these we recollect a symphony by Monsieur Hiller, with a Scotch reel for the last movement; and an overture by Mr. Guynemer, of which, to say that it was nonsense, would be to award it too much praise, or rather, too little censure. It is sufficient to mention the symphonies of Onslow and Maurer, the overtures of Ries and Marschner, &c. &c. and the sublime emanation from the stupendously imaginative brain of Mr. Guynemer, (the overture to the Exiles,) to show how far the Directors of the Philharmonic are capable of distinguishing between good and bad in music.

+ It is inexplicable to us, how a music publisher can be found adventurous enough to print such insipid stuff-such a collection of ugly unmeaning passages, without one fraction of melody to relieve its intolerable dullness. Signor Donizetti's air, feeble as it is, is the only endurable part of the fantasia.

A motley exhibition took place at the St. James's Theatre on Friday the 18th ult. A serious opera, by his sapient and munificent Lordship of Burghersh, performed by an orchestra which occupied three parts of the pit, and a chorus for which there was scarcely room on the stage. Every thing was encored, and the noble composer made his bow at the conclusion. Mrs. Bishop sung in a most vehement manner the passionate strains of his Lordship, and Miss Fanny Wyndham was quite sickly with excess of affectation-usque ad nauseam. Mr. Stretton sang like an expiring bullfinch, and Mr. Ivanhoff was as stiff and immoveable as usual, performing an "unknown," whom nobody seemed desirous to know anything about. He was profoundly ludicrous, and wore a suit of black imitation armour. Mr. Lucas conducted, Mr. Cramer led. Every thing went to perfection, and in consequence of the strength of the orchestra and chorus, all the mistakes in harmony, unallowed progressions, perfect consecutive fifths, &c. &c. came out with refreshing energy-quite to the delight of his Lordship, on whom wrong notes produce the same effect as right ones. We heard his Lordship once remonstrate with a member of the orchestra, but only once. The drums came in two bars too soon, and a professor kindly told his Lordship that something was wrong; on which Lord Burghersh, with stentorian lungs, cried out to Mr. Ella, (the first second violin player in England, perhaps in Europe; we know nothing of Asia.) "Ella Ella! you are playing that wrong again!" This rather amused Mr. Ella, who was not playing at all at the time, but knowing his Lordship's peculiarities, he bore the laugh of the orchestra good humouredly enough. We observed Messrs. Potter, Bennett, Holmes, and other celebrated performers in the theatre, who now and then were compelled, in spite of politeness, to put their hands to their ears. We understand that after all expences are paid, the amount that remains from the receipts is to be disposed of for the benefit of Messrs Ivanoff and Stretton, Mrs. Bishop and Miss Fanny Wyndham, together with the Professors, Associates and Members of the Royal Academy of Music, including Mesdames Abbott and Davidson, the cook and superintendent! This will be a magnificent donation! perhaps half-a-crown to be divided amongst all of them!! munificent heir to the vast domains of the present Earl of Westmoreland!! We must in justice mention what has been communicated to us, viz.—that all the Members of the Academy, including Mr. Moscheles and the Professors, received sixpence a head, and a promise of his Lordship's future patronage. If Mr. Lucas corrected his Lordship's work, we must take the liberty to say that he has executed his task very carelessly; but he is a wag, and we have no doubt loves his joke. We admire his Lordship's boldness in his progressions-par exemple, if by any accident, unknown to himself, he find himself in the key of G flat, the key of the piece being F-his Lordship, in the unrestrained exuberance of his genius, disregards the trammels of modulation and fearlessly takes the chord of F, at once, telling the fifths and octaves to go to the devil: this is a rapid way of learning harmony, which, we understand, his Lordship invented at Naples. The opera is called Il Torneo-the tournament; but there is no tournament, nor any signs of a tournament in the piece; therefore, we suppose it is called Il Torneo. We have an English translation, by one Daco, of which a single specimen will suffice.

Italian. Alfredo in catene.

Translation. Enter Alfred ated on a seat!!

Ex uno disce omnes. We need hardly say, in conclusion, that the music was far below criticism.

*A protegé of Lord Saltoun, generally known as Count Ella. He is the author of some celebrated sketches translated out of good French into bad English.

W. Davy, Gilbert-street, Oxford-street.

MONTHLY COLLECTION.

No. V.-OCTOBER.

Contents.

1. Stories for Steam-boats, by George Macfarren, Esq. No. 2. The Destiny of Love and the Fortune of

Page

3. Cleveland; or, The Man of Principle, (continued,)

by G. De Clifford 233

4. Memorial Sonnets, No. 1, by D. R.
5. Tales of the Parish Wake, by Paddy the Piper. No.

244

1. Mickky Magrath 245

253

6. Stanzas, by Miss E. Nelson 7. Translations of celebrated Foreign Works. No. 1. "Monsieur Frontin," (continued,) from the French of Ch. Paul de Kock 254 8. Lines addressed to a Beautiful Girl, by G. De Clif

ford 263

9. Miscellaneous Criticisms, No. 4. Christopher among the Mountains, by D. R.

264

London:

HARRISONS,

4, ORCHARD STREET, PORTMAN SQUARE. HARGROVE, YORK; DILLON, DOUGLAS, ISLE OF MAN; T. WEBB, DUBLIN; T. CLARKE, EDINGBURGH; GRIFFIN, GLASGOW; PACINI, PARIS; KISTNER, LEIPSIC; P. & G. VALLARDI, MILAN.