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reality, but I was disappointed. My passion for Agnes | One evening I went to meet her, and found her, as I still grew; but I hard so completely schooled myself | had before found her, in sweet and tranquil slumbers. into all outward suppression of it, that opportunities Once again I bent down and kissed her ; and like the that to others would have seemed irresistible, hardly touch that drew the running waters from the rock, that offereil a temptation to me. The touch of her white kiss drew from my indurated heart all its former feel. delicate hand, the odour of her warm balmy breath, ings. At this moment Agnes opened her eyes, and I created no sensation but that of deeper despair.

cast myself before her in an agony of passion, at the Once, and once only, did I stand in danger of be recollection of which, even now each nerve within me trayal, it was not in her presence, for there I was trembles. Nothing but the instant death of one of us always invincibly guarded. She had been, towards the could have prevented me from disclosing the great secret close of the year, unwell; and her physician, as he left of my existence—my unbounded, my unrequited love. her one evening, taking me aside, told me he appre I told her, as she listened motionless and speechless, hended she was suffering from the same fatal cause, the whole sad history of my sufferings, my struggle and which had destroyed her sisters. The remainder of my triumph ; and yet I breathed not a single whisper this fearful interview I do not recollect; I only re of hope--I knew that Death was waiting for his bride; member a stern resolution to betray no emotion, and I and he came to claim her. As I concluded my wild suppose I succeeded, for on the following day, Dr.-- and hurried confession, Agnes took my trembling hand made no allusion to what had passed. My attention and tenderly kissed it. “You have” she spoke faintly to Agnes now became most anxious, and I looked with and indistinctly, “my deepest pity, my purest affection, strangely mingled feelings for the return of Reginald my warmest gratitude. God will bless you for all that from abroad. At length he came—but how changed ! you have suffered for my sake, and for that of him whom The fervid climate had done its work upon him, and I am going to rejoin; and yet, to leave you thus,-you his health had suffered even more than that of Agnes, my more than brother, is the sting of death." She during his absence. Madeira offered the only chance spoke no more, but leant forwards into my arms and of recovery for both, and thither they entreated me to

died.

Bijou. accompany them. But before our voyage, a ceremony was to be performed, which called for all the firmness of my soul. I was to give away the bride; I did it,

SONG OF THE SPIRIT LEAVING THE BODY. and they who were present commended me for the cheerful seriousness with which I performed the duty.

"Tis past, 'tis past, the struggle's o'er

W bich bound me here below: Could they have read my heart, how deeply would they

And I shall never behold more, have pitied me. Gentle breezes and calm seas wafted

Aught of wretchedness or woe. us to the happy climate to which we were bound, but that climate seemed to have no balm in store for us.

At length the power to me is giv'n

For which I long have sigh'd: Reginald grew rapidly worse; and as we tended his

To traverse the wide realms of heav'n, sick couch, Agnes and I were scarcely ever separated.

Far from the “human.tide." Never in the hours of that happy summer which we

Farewell thou cold and senseless dust, spent together, under the shade of the old woods, amid

Go, mingle with other clay; the melody of birds and the odour of sweet flowers, did

I seek a world where nonght doth rust, she seem so truly lovely as when bending over the bed

Where hearts do not betray. of her dying husband. He died in our arms, blessing

My plumes are trembling in the wind, us. Before this event occurred, I had never dared to

As I speak the sacred spell ;think of it I could not bear to couple any thing like

There are none to mourn me left behind, hope, with the loss of my earliest and dearest friend,

Thou wretched world, farewell! with that fearful infliction which would deprive Agnes of the husband she adored. But now that he reposed in the bosom of the green mountains of Madeira, I

THE FRIEND OF THE DEAD. myself expected, that some traces of hope, some embers of former feeling would be awakened within me. But Yesterday, at the great gate of the church of the I found the current of these feelings had been dried up, Petits-Peres, an amusing circumstance congregated the The violence which I had so long exercised over my passengers around a funeral procession. I met acci. heart had crushed it, and in vain I attempted to revive dently a friend who recounted to me the following deit. Never in all my former sufferings, did I experience

tails of the affair. “Every lady knows that the chesensations so sickening as those which now oppressed valiers of St. Louis have never been extremely fortunate. me. I seemed as if I was losing the faculty of appre Attached to the destinies of the Bourbons, for forty ciating and understanding the virtues and charms of years, they have given as many proofs of their fidelity Agnes, and I grew disgusted with the torpor that stole to that family, as hatred to its competitors, Napoleonover my soul. In the mean time, while Agnes visibly ists, Republicans and others. This immoveable condeclined, and though I watched over her with a brother's stancy in suffering, which is evidently inculcated in the fond attention, it was evident she would shortly follow symbol of the patron of their order, has been little aphim whom she had lost. The summer came on, and to preciated by the Bourbons, who have proved them. avoid the heat, we retired to the mountains. Agnes selves to be as ungrateful, as they are unskilful. The was still able to walk a short distance abroad, and in Restoration saw these poor chevaliers stripped of their the evening, she was accustomed to wander for a little resources, suffering from emigration, hawking vainly while alone. These moments I thought she devoted to their crosses from the office of Aumônerie, to the a preparation for the awful change which awaited her. saloons of valets de chambres, sometimes succoured

M

when the hounds had taken their repast, They have “Indeed less than you imagine." The heir was on the. perhaps hastened the fall of the Bourbons, by the ob point of embracing him; but a tall, pale, withered, stinacy of their prejudices, but respectable even in their light-haired man interposes, passionately claiming the errors, the result of conviction, they have fallen with benefits of the malady of the deceased. It appeared their masters. Justice demands this admission. I that his account had not been discharged. He came to know one under the Restoration, who, in the midst of claim his fees at the coffin of the deceased, he bore the the greatest difficulties to procure an existence, has proofs in his hand. Here the adventure became inexnever lost his gaiety. He lives yet, he was at the fu tricable. The chevalier of St. Louis choking with neral I am speaking of, he was pointed out to me by

laughter, but fearing to be embroiled, slipped off by the coffin bearers. This is his history. The poor che- the Sacristy, and the real physician jumping into the calier is afflicted with a gout very similar to that of coach, rendered to his debt or his last duties. C. W. C. Louis XVIII., with this difference, however, that he has outlived him, and even his dynasty. His physician recommended him as a remedy, frequent carriage exer

TO MAY. cise. But all the chevaliers of St. Louis do not keep carriages, especially since the revolution of July. The

May, thoa month of rosy beauty. omnibus offers a ride too full of interruptions to be

Month, when pleasure was a duty; agreeable; besides, the springs of this vehicle have not

Month of maids that milk the kine, that gentleness of motion which communicates itself to

Bosom rich and breath divine; the members of the sufferer, and removes the humours.

Month of bees and month of flowers,

Month of blossom-Jaden bowers; The chevalier felt this, and regarded the physician with

Month of little hands with daisies, a piteous expression_his hands insensibly plunged

Lovers' love and poets' praises ; into his empty pockets. Suddenly an idea struck him,

Oh thou merry month complete, this was two years since. Every morning while taking

May, thy very name is sweet;

May was muid in olden times, his coffee, he monopolized the Petites- Affiches, then

And is still in Scottish rhymes; the Moniteur, then the Quotidienne; having digested

May's the blooming bawihorn bongh, the politics, he busies himself with the interments of

May's the month that's laughing now. the deceased of the city. When he possesses perfectly

I no sooner write the word,

Than it seems as though it heard, in his memory the list of deaths, he classes them by

And looks up and laughs at me, their importance, estimates the rank and luxury of

Like a sweei face, rosily; their funerals, and accordingly that he presumes the

Like an actuat colour bright, interment may be attended by mourning coaches, or

Flashing from the paper's white;

Like a bride that knows her pow'r, reduced to a simple cobillard, he brushes his black suit

Started in a summer bower. or remains in bed. Habit in these affairs has made him

If the rains that do is wrong, a wonderful tactician. The day fixed for the funeral,

Come to keep the winter long he attends at the church, dressed befittingly. While

And deny us thy sweet looks,

I can love thee, sweet, in books; waiting for the body, he mixes with the by-standers,

Love thee in the poets' pages, and seeks an eye to whom he may address himself, he

Where they keep thee green for ages; informs himself concerning the defunct, he recounts his

Love and read ibee, as a lover marriage, he remembers it, he danced at it. Soon as

Reads his lady's letter over,

Breathing blessings on the art, the coffin appears, his eyes become humid, he exclaims

Which commingles those that part. pooh! He kneels. During the mass, he converses on the virtues of the deceased, he asks the details of his

There is May in books for ever, malady, his pocket handkerchief is moistened with his

May will part from Spencer never ;

May's in Milton, May's in Prior, tears. They raise the bier-they place it on the car

May's in Chaucer, Thomson, Dyer; the mourners pass round it. Our chevalier, recom

May's in all the Italian books; mended by his cross, his mourning habit, his silver

She bas old and modern nooks, locks, imposes silence, gets into the coach between the

Where she sleeps with nymphs and elves

In happy places they call shelves, heir and the vicar. They set out to the grave-it is

And will rise and dress yonr rooms, closed. The spirituel friend of the defunct wipes bis

With a drapery thick wiil blooms. eyes, and the journey is finished. His physician is enchanted. He was yesterday morning at his three hun

Come, ye rains then if ye will, dred and thirty-seventh interment.

May's at home and with me still;
The chevalier

But come rather thou good weather, calculated another journey to St. Pere la Chaise. The

And find us in the fields together. footstool was placed, he bows to the curate, he enters

Leigh Hunt. the coach. A little man in a black mantle, with a sinister expression of countenance and sharp nose, approached him and pulled him by the habit. It was the

VOCAL MUSIC. heir. “To whom, Monsieur, have I the misfortune to speak?” “A friend of the dead," replied the haunting It is a mistake too general among amateurs, that, chevalier, with the greatest sang-froid. “You knew | as singing is, in a measure, giving vent to the feelings, my cousin intimately?” “I was his friend." "He unaccompanied by any visible mechanical operation, never spoke of you, you dined very rarely with him?" they should make the ear their sole guide ; with such, “ He was, notwithstanding, my friend." "That is as science is superfluous, and practice unnecessary. That tonishing, you were perhaps his physician ?" « Pre those are best calculated to succeed as singers, who cisely.” “Oh, monsieur, how many obligations!" I have great liveliness of ear, aocompanied by a musieal No. XXIX.VOL. III.

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memory, there can he no doubt; but it often occurs out considering their natural inclination, or how far that such natural advantages are obstacles to perfection. their voice or their accustomed practice may have fitted

A good course of practice on the piano forte, should them for peculiar imitation, generally excite disadbe accomplished before the solfa is commenced: this is vantageous comparison. This is never the case with the plan usually adopted on the continent, and, with any who sing what they feel strongly impelled to. In what result, the admirable singing listened to during the first place, we would have the natural compass the opera season of 1828.-9, plainly evinced. The strictly adhered to, and thus all those forced, harsh science of singers will cease to hecome a by-word for tones, which generally lead to the utter ruin of the laughter, when the same system becomes general in voice, will be avoided ; no mezzo soprano should be England. How much has the word science, with re allowed to scream up to C, or high treble descend to A; gard to singing, been abused! We have heard it at we would have no sweet voiced placid girl attempt it tributed to the vilest flourishes upon wrong harmonies, scena that demanded the impassioned declamation of it and to many other absurdities upon which the theatrical Pasta in Medea ;-nor any, excellent in ballad, attempt public no longer waste their applause. The vulgar Rode's variations, to remind us of the perfect articugraces and embellishments so called, copied from the lation of Mademoiselle Sontag. Few have the dis. theatre, and heard at second hand at every drawing crimination to select that species of music which is room a few years back, made sound judges despair of perfectly accordant with their disposition, as well as the success of music in England: but private performers within their powers; and it is notorious in public singers, have subsegrently been taught to look else-where for that many have gone through part after part without models, and the style of the theatre is now left to the any decided success, who have at length gained it by admiration of mechanics, and the imitation of street a casual experiment. musicians. Even of professional singers, the education Remembering, as was just observed, the natural has in England, been hitherto extremely superficial, limits of the voice, the diligent student should unreand it is not surprising that the pupils of such masters mittingly follow up the practice of the solfa, beginning should be scarcely better informed. A fine voice being piano, swelling out the voice and diminishing it again, held here, according to the Italian proverb, ninety in as long notes as a judicious 'economy of the breath nine out of a hundred requisites for a singer, all that will allow : making the exactness of the pitch and inthe master did to fit his pupil for the public, was to tonation the subject of the most vigilant attention, strengthen it, to teach a shake, a few cadences, and to The tendency of the voice is to sink, and the performer get half a dozen parts in operas, acquired by the labor is less likely to be aware of such accidents than the of intinite repetition. The pupil then, knowing no more audience. When it is remembered how exquisitely of harmony than the chords which accompany the scale, delicate is the structure of the organ, and that its inand those upon no certain principles, became instructor tonation is liable to be injured by the slightest agita. in his turn, and daily thought himself fulfilling his duty tion of the spirits, or nervous dread, to which the best to parents, by teaching their children the turns and singers are subject in performing before certain comgraces to a few fashionable songs. Indeed, ignorance panies, little need be said on the necessity for care in of music is so remarkable among singing masters, more the outset. Previous practice on the piano-forte will especially among Italian professors, most of whom are greatly quicken the improvement, and render the acpatronized for some eccentricity of person, manners, or quirements solid; and an instrument always kept in habits, that it is vain to expect from them a fundamental the perfection of tune, must be the standard of truth, and systematic course of instruction. Among the ex and the umpire between the ear and the voice. So ceptions to what we have just advanced, are two splen much, with respect to compass and tone, depends upon did ones: the composer Coccia, who has left England the general health, that the scale will be lengthened for some time ; and Liverati, who has made excellent or curtailed several notes, in proportion as it is good pupils; both these are well-grounded musicians, and or bad; but as it is injurious at any time to fatigue the therefore, bestow not too much case on externals. voice by over-application, it is especially so to exert it,

We would not have any of our readers repress an in | at peculiar times, to reach extreme notes with difficulty. clination to the study of singing from diffidence on the After daily practice of the scale, and the attainment score of the voice : daily practice will almost create a | of readiness in hitting distances or intervals, it will be tone where none existed; and, after all, if the defect highly advantageous to the young performer to take of quality can be compensated by an exuberance of the lower part in duets, or the middle voice in trios; feeling and good taste, it will delight infinitely more this prevents too great a reliance being placed upon than those powerful voices which, in unskillful per. the upper melody, facilitates the reading of music, gives formers, are perfectly overwhelming and disagreeable; confidence, and forms a good preparation for singing when, indeed, the loudness of the voice makes any to the accompaniments of modern music. The voice variation from the pitch, or misplaced emphasis, more should, as quickly as possible, divest itself of the distressing to the hearer.

assistance of those go-cart and leading-string accomA radical defect of ear is, then, the only real objec paniments, by which popular song writers enervate the tion to the cultivation of singing, since voice may be taste; and destroy the capacity for improvement; for if acquired by artificial means; and as it is impossible the pupil be well accustomed to read and to keep time, that a true lover of music can exist without a fondness it matters little what goes forward on the instrument for vocal melody, we hope to be rendering a service to or in the orchestra : and here, instead of a barred acour fair readers by showing them how easily, without companiment, with the melody on the top of it, in extraordinary natural gifts, they may please themselves unison with the voice and helping it all the way, we and others. Want of judgment or self-appreciation is may have our enjoyment doubled, in listening to the cause why private performances often displease; and fancy and ingenuity of the composer, as they are em. those who follow the prevailing fashion in music, with. ! ployed in setting off his prominent subject. There is 2 strict analogy between the light and shadow and the it is, to many, the index of the mind, as well as of other resources by which an historical painter draws moral qualities; and it may be remarked, that the low, attention to his principal figure, and the use of varied soft tones of gentle and amiable beings, whatever their accompaniments to a grand air; they are, doubtless, musical endownents may be, seldom fail to please; beto be used with discretion : but we cannot listen to the sides which, the singing of ladies indicates the cultibeautiful phrases in Mozart's accompaniments, or to vation of their taste generally, and the embellishment those in Beethoven's cantatas, of which the one of the mind. Shakspeare felt that there is a reciprocal “ Ah! Perfido," will instantly occur to the mind of charm reflected from music on the singer, and from the the concert-frequenting amateur, and persuade ourselves

singer on music, when he wrote that beautiful comparison that they injure vocal melody. Ignorance and vanity of the sound of a loved voice to were the causes why many public singers, at firsi, set

- "Ditries highly penned, their faces against free accompaniments ;-because they.

Sung by a fair qneen in a suminmer's bower, were compelled to sing in strict time; to learn the

With ravishing division to her lute." music of their parts thoroughly, which their want of For an instant compare the vulgarity of a ballad singer, habit in reading rendered difficult; to leave out cadences her repulsive tone of voice and hideois graces, to the and flourishes; and to share the public attention with manner of an equally uncultivated singer in good sothe performers in the orchestra.

ciety; or watch the treatment of a pretty melody froin All that we urge tends to this,—that neglect of lay the concert room, at the west end of London, until it ing a foundation of musical knowledge, and too great

reaches the ears from under the parlor window, and dependence on the ear, hinder many from becoming observe how it gains something new of vulgarity with fine performers; and these errors, therefore, cannot be every fresh degradation. The discrepancy between too zealously combated. In Mrs. Billington there was the copy and the original air becomes, at length, ludian example of the wonderful effects produced by industry crous. The pretty air, “ Oh, no, we never mention and cultivation, upon natural genius. This lady was

her!” will serve to illustrate our observation. as fine a piano-forte performer as a singer, but she had Where several young ladies, or friends, reside in one the good sense to keep the knowledge of her skill in family, there is an opportunity for bringing the social the back-ground; because she knew that the public harmony of voices to a kind of perfection, which casual would not believe such a phenomenon of perfection, in intercourse can never lead to. In a country life the acall the styles of vocal and instrumental music, could | complishment of music is especially graceful. What possibly exist; and that, as she showed excellence as a can better befit morning or evening society in an arbor, player, the public would detract from her merits as a or in the shady recesses of a park or pleasure-ground, singer. One instance of the talent of this extraordinary than an Italian Arietta of Millico or Paesiello, aided by woman is worth recording. Mrs. Billington proposed a few touches of the extempore guitar? A social glee to bring forward, for her benefit, Mozart's opera, La sung by heart, may not render the labors of embroidery Clemenza di Tito, which had never been heard in this less interesting, or ill occupy the interval of reading country, and of which there was only one manuscript aloud. One of the chief delights of ladies' work is score in the kingdom. This copy was in the possession that it so little engrosses the thoughts. While their of his majesty George the Fourth, then Prince of Wales, fingers are mechanically employed, they may, in a who kindly sent it to the Opera House for her use. The hundred ways, entertain themselves, and those about whole hand, the singers, the chorus, were anxious to them, as well with the music of their voices, as with the hear the contents of so precious a novelty as a manu merry conceits of their wit and fancy. script opera of Mozart; and Mrs. Billington gratified To resume our practical hints ;-as it is necessary them by sitting down to the piano-forte, and playing that solo singing should have a considerable degree of the accompaniments from the score, and singing the | polish in the execution, we would recommend the young principal part-that of Vitellia.-In this way she went |

pupil to the choice of slow expressive airs of the old through the whole of the opera, from beginning to end

Italian school, as the best to initiate the voice. Some --giving Mozart's expression and character so admira. | of the airs in Artaxerxes, composed by Dr. Arne, in bly, at sight, that the audience were in a state of en. imitation of the Italian style, are excellent for this thusiasm, no less with what they heard, than the purpose; as are also the charming canzonets of Millico. admiration of her wonderful powers and fine musical A close and brilliant shake is so necessary an ornament mind. If industry and knowledge of the mechanical to many styles of vocal music, that the daily practice part of music were the means of perfecting a Billington, of it (taking care that, it be very slow at first, and we may conclude that they are equally calculated to quickened by degrees) is indispensable. Avoid any make the most of the poorest voice. Students should attempts at brilliant passages, or show songs, until your not become impatient of practice, because the tone does solfeggi have put it in your power to accomplish thern not fow freely, or appear of a good quality, during with ease and distinctness. To swell the number of their first attempts :-such is the case with every unused those who have worn out the patience of whole parties instrument,-every violin not played upon, or Aute not of innocent, unoffending people, by the everlasting breathed through; but perseverance in the rules of art “ Di Piacer," is not a commendable ambition. The will soften imperfections and correct defects.

public, from the time of Farinelli, downwards, has conThe influence of the temper upon tone deserves much sented to applaud divisions; and, to a certain degree, consideration. Habits of querulousness or ill-nature, the study of them is advisable, as they give fluency and will communicate a catlike quality to the singing, as

power in dramatic music; but arpeggio passages, like infallibly as they give a peculiar character to the speak the celebrated variations to Rode's air, so inimitably ing voice. That there really exist amiable tones is not executed by Mademoiselle Sontag, serve, in themselves, a fanciful chimera. In the voice there is no deception; no purpose of music. Above all, they should not be attrompted in an early stage of the progress, nor until s to our surprise, that the higher the notes ascended, the the car nas attained the nicest accuracy.

softer the singer gave them; which is exactly the reExpression is the principal and characteristic charm verse of what is usually to be remarked in such exof the voice, but propriety of expression demands fitness hibitions. to a peculiar style ; for instance, nothing can be more We have but a few words more to say on the mechandisagreeable than to hear Italian opera music sung with | ism of the voice, before we recommend the pupil to her the frigidity of the English style ; except it be to hear diligence. Let the words be well pronounced, the tone a native ballad overlaid with foreign ornaments and flow directly from the chest, without receiving the frippery. A thorough acquaintance with the Italian slightest taint of peculiarity of quality from the head language, and a dilligent observation of the best per or throat in its passage. This is a point upon which formers at the opera, are to be recommended to those some of our most celebrated English singing-masters whose taste leads them in that direction; for it is in have shown great negligence; it will therefore be pru. vain to think of giving, even in private, the spirit of dent to choose such a teacher as has already made good opera music, from the mere notes, sung with an inflexi | pupils. ble face. Like the renowned Miserere, of Allegri, which In order to form the taste upon the principles of a performed out of the Sistine Chapel, at Rome, without purely vocal style, we must turn to those treasures of the usual solemnities, appeared but a common-place, melody which are discoverable in the Italian and Gersecond-rate affair,-opera music, without the requisite man operas of the latter half of the last century,-in warmth of manner, becomes incongruous, if not an ela Sarti, Gluck, Paesiello, Cimarosa, and Mozart. Rossini borate absurdity. Conceive the sly, impertinent address is the author now earliest put upon the music desk, of the knavish Leporello to Elvira, “ Madamina,” but injudiciously; for though he has composed here given with all the gravity of visage which a church-war

and there, exquisite subjects, his novelties of air are den wears at a parish meeting, and the portrait, how made up, too frequently, of surprising quaint, or inever it may appear exaggerated into cariacature, is not strumental phrases; and it is only in compliance with, without an original. It is indeed, seldom that in Eng. the over anxious desire of friends to see improvement, land we find any strong natural aptitude for the lighter (as they imagine it) that pupils are hurried into such kinds of dramatic music, which require action. We extravagances, before they well know what song means. are more prone to indulge in witty speeches and satire | Music of this kind accustoms the hearer not to look than in arch looks and bodily gesticulations. To suc closely to the union of sense with sound, but to be ceed properly in such music as the airs in the Beggar's satisfied with any words to any tune; and consequently, Opera, and the well known Scotch and Irish melodies, to lower the intellectual standard of the art. One test of kindred simplicity and pathos, demands, generally, a of the genuine goodness and meaning of an air, is its voice of great native beauty, and a refined and tender liability to be injured by additions, or decorations, at soul. The impetuosity which well befits the Italian the will of the performer; this is seldom the case with style is no profitable qualification of this department compositions in the modern school of Italian music. of vocal music. Handel's oratorio songs, require, prin With Mercadante, Pacini, and others of that stamp, cipally, a smooth, beautifully toned voice,-the utmost sing how you will,-- decorate at pleasure,-at pleasure conception of the devotional feeling of the composer, add, omit, or do what you list, and the music will be a beautiful crescendo and decrescendo and a perfect found none the worse ; for we cannot spoil what is shake. Perhaps there is nothing in music which ap already bad, or turn into nonsence that which has no proaches so nearly our imagination of the angelical, as meaning. These composers are like bungling novel the tones of a beautiful female voice in some of the writers, who shroud their imperfect ideas, and half conprayer replete songs of Handel. Let us recommend ceptions, under the obscurity of words, and palm their Mrs. Knyvett as an example of perfection in this style, own stupidity upon the reader. It would be folly to as Miss Stephens is in that of ballads and national institute any comparison or believe the crude notions airs.

of such pretenders, and the school of Gluck and Mozart, Whatever be the flexibility which practice bestows upon whose crotchets and quavers, if there were a language the voice, it is requisite that the time for displaying it refined enough, it would be no difficult matter to trans. should be regulated by the judgment; for one of the late into words. most frequent but least tolerable offences in singing, is But let us return to our rules of the passions, and to break the continuity, and to injure the sentiment of a to the young days of Melody, when she appears gracetine air, by the unmeaning succession of notes termed ful, free, and natural, reminding us of the wood-nymphs roulade ; but this false taste is already on the decline. and goddesses of the poets, and not of the meretricious Rapid and distinct articulation is never misplaced in a bedizened creature she has become. The province of bravura ; and the judicious performer will always select vocal melody is but ill fulfilled when the sounds penesuch movement as will place the acquirements in a fa trate no farther than the ear; but sufficiently so, when vourable light, without detracting from the reputation they convey some emotion from one human being to of the taste. The famed singer, Signora Guari, when another, agreeable to the nature of the expression which Mozart, then a youth, was travelling through Parma, the poetry or sentiment requires. The secret of the and creating the liveliest astonishment by his compo musician's labour is a grand one, -as unfathomable in sitions and performance, invited him to her house, and ! its source as any mystery of nature; we feel assured sang to him some airs, which, not of that kind cal that there is no deception in it; we readily acknowledge culated most to charm such a musician, excited his ad the difference between airs of a tender, melancholy, or miration to so great a degree that he wrote down some joyous character; but upon what principal they become of the passages executed, least his account should be so, and by what process their affinity to certain sentideemed incredible. Is is recorded by Mozart, to add ments is discovered, is a puzzling question,-indeed, one

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