sounds of the guitars, resembled the peal of a distant organ, The music performed was evidently written for the effect of this combination, the variations to Mozart's air especially, which were in the very best style, and suited to the power of the boys. The youngest has uncommon facility and strength of execution, and gave the obligato passages allotted to him with the most judicious skill, and the delicacy and peculiar effects produced by the eldest called forth bursts of approbation from the professors, and indeed from the whole room. Altogether this was one of the most pleasing and unassuming exhibitions we have witnessed for a long time-no prodigies were attempted, no unnatural sacrifice of expression to execution, but a pure and effective style has been retained, that must ensure them the approbation of the public wherever they go.

The concert for the benefit of the New Musical Fund took place at the Opera-house on the third of June. From such a society it may fairly be presumed the public has a title to expect one of the best concerts in London-but it so happened this year it was amongst the very worst. As we are anxious only for the interests of the art, we shall fasten upon this concert as exceedingly disgraceful-for if any thing ought to call forth the best exertions of the profession, it is when they undertake "kindly undertake" (that's the phrase) to assist the charity with their "talents." The performers announced were, Madame Ronzi De Begnis, Signor De Begnis, Madame Pasta, Miss Goodall, Madame Sala, the Misses Cawse, and Miss Paton-Mr. Braham, Mr. Terrail, Mr. Hawes, Mr. Phillips, and Mr. Bellamy. Madame De Begnis was indisposed, and Miss Paton was indisposed. Their absence was compensated by a certificate from Dr. Monck, a letter and a song from Signor De Begnis. Madame Pasta did not arrive till hours after her song was to have been sung-and then gave "Che faro," an aria not very attractive at best, and now hacknied past endurance.* Mr. Braham sung a trumpery ballad, Miss H. Cawse, the little song from the Hebrew family, pretty, but merely pretty-Fly away Dove. Mr. Attwood's Coronation Anthem, and some other things of little note, made up the rest of the vocal

* The writer of this article heard Madame P. sing it at four concerts out of five, and twice where other airs were announced. Such changes the public ought not to suffer.

selection. Now we ask, is this such a concert as a society of musicians, anxious to serve their distressed connections, ought to put forth for the attraction of the town or for the advancement of the art, or for the benefit of the funds of such a society? We must say that it reflects great discredit upon all concerned. We must exempt from this general censure Mr. Moscheles and Mr. Labarre, whose concertos on the piano forte and the harp were as fine specimens of their great abilities as they could perhaps have exhibited.

Madame Sala (who had previously appeared at Mr. Sapio's benefit) is a chaste singer in the sound Italian style of twenty years ago. Her voice is scarcely powerful enough for a large theatre, but her manner is pleasing, and in the chamber she would have considerable claims to estimation, where purity and polish are the substitutes for the force and contrast which public singing absolutely demands.

The particulars we have recited will necessarily lead those, who seek in them a knowledge of the progress of art, to draw some general conclusions, and it is with this view, not less than with the desire of exhibiting the music of the Metropolis in its parts, that we have pursued our narrative. It is only by comparing the results of years that we can arrive at any accurate notion of the state of the science and the practice.

To imagine that art while exercised so universally can stand still, would be to indulge a belief that is contradicted by universal experience, and yet we perceive so little that is new in our record of the season, that we are almost at a loss to point out the nature of the progression. There can be no doubt however that the knowledge and love of instrumental music is gradually, and with an accelerated pace, stealing over English society. This in itself is a striking indication not only of superior cultivation but of superior acquirement; for instrumental music consists of a great variety of parts and powers; rightly to feel, is in a good measure to understand the distribution of these, and implies more attention and better information than those who draw their delight from vocal music, commonly profess to have attained. In the latter it is not merely the concord of sweet sounds that awakes emotions; sentiment is connected with melody, and all can appreciate the agreement of the two. But there is an uncertainty VOL. VII. NO. XXVI.-JUNE, 1825. D d

as well as a complication in concerted instrumental pieces, which demands to be reconciled to the mind by a comprehension of their structure, before they will convey to the hearer any intellectual, or perhaps even physical pleasure. The attention of the unitiated auditor is called off and distracted, so as to leave him rather in a state of confusion than of delight. We gather the fact of the diffusion of the love of instrumental performance from the attention paid to the overtures and symphonies in concerts, where they are now commonly repeated, and even at the theatres they have been frequently encored. Another auxiliary proof is the publication of arrangements for various instruments, principally indeed the flute, harp, violin, or violoncello, with the piano forte, but still the universality of such publications prove that they are in customary use, and what individuals assist in performing, they love to hear. The further this principle is carried the better, for nothing will tend so much to promote the art as the participation which every one who can play on an instrument enjoys. Every one desires to contribute to the general stock of amusement, and in proportion as they do so contribute, is the importance of individuals increased. But except in the diffusion, we know of no striking improvement that has attended the progression of instrumental performance this year. The musical world of London hails with triumph the return of such a man as Mr. Moscheles, or the accession of such players as Messrs. Vogt, Schuncke, and Labarre, to the orchestras of the Metropolis, but there has been no novelty either in composition or in execution to call forth extraordinary attention or comment.

Changes in vocal music relate principally to style and mannerthese however have been rather checked than accelerated. The rapidity with which singers were travelling towards the excess of florid execution, has been a little staid by the substitution of Weber's music for Rossini's, and more especially by the style of Madame Pasta, who is certainly less exuberant in point of ornament and more expressive in point of majesty and simplicity, than any singer of the first class who has visited England for a long period. So true it is, that great artists lead and form the general taste. The florid style, though it has obtained in England, has never been seriously approved. Judgment abjures it both in theory and practice. It is always mentioned in abatement rather

than in exaltation of the merits of the individual who indulges in its exercise. It has formed the great drawback upon Braham's reputation, though it may have added to his popularity. In Garcia it is considered as a means (most scientifically used indeed) of covering the ravages of time. In Sinclair it is thought perfectly despicable.

It should also appear that the impetuous headlong rush into which it seemed all ranks and degrees were hastening towards Italian music has been somewhat stopped, and a return to English has been favoured by some of the leaders of fashion. Till however we have an opera-a legitimate opera-and a school of singing-till English composers are thus encouraged and thus supported, the contest will be long, and the struggle even for the bare existence of English music, severe. We trust much to the propagation of sounder notions, and the diffusion of patriotic sentiments by means of discussion. The public is as mobile a body as water. The stone once dropped in, the circle widens. So hints are communicated, and though the few only move, the many are nevertheless moved by the few. There is an extraordinary ductility about all who cannot or who will not take the trouble to think for themselves-they must be led, and thus the influence of fashion is accounted for. It is then but to give a right determination to the objects of the fashionable world, and success is certain. Time and the growth of talent will do this.-Even now there are powerful engines at work, and we hope to see that national patronage will be extended to national purposes in music as well as in all the other arts that in England comfort and enrich and elevate and adorn existence.

We have reserved the last place for the most prominent and perhaps the most important musical phænomenon of the times-namely, the increase and predominance of private over public concerts and if expence does not interrupt the present course of things, it is easy to foretell, that so far as the higher classes are concerned, public concerts will very soon receive little or no general support from them. There are several causes which have no reference to music itself, that are working this revolution. In the first place, the passion of persons of condition is the exclusion of all but those of their own caste from their society and amusements. The same feeling (or the desire of imitating it) afflicts

those of the next degrees to a lower gradation than is suspected. Hence every thing which is really open to the public at large, not only affords little temptation to rank and wealth, but is absolutely held in contempt by the possessors of these distinctions. To sit in the pit at the Opera, or in the body of the Argyll Rooms, is somewhat allied to a sense of degradation. To display any inte rest or curiosity about what attracts the mass of mankind, is no less derogatory to the nil admirari, the apathy which it is now the fashion to affect, and which may involve deeper consequences and put more to the hazard than the certain loss of present gratification which such induration of the heart implies. The next cause of the decline of public music is the late hours for dinner which are now established. It is impracticable to arrive in time, while in private parties the music is accommodated to the guests beginning at nine, ten, or eleven, as the circumstances may be. Private concerts have less formality, less observation in them than public. The guests approach the instruments or the singer-lounge from room to room or on the staircases-converse, and come or go at pleasure, and with far more ease than can be accomplished in public rooms. All these circumstances tend to withdraw most persons above the middle ranks from public concerts; while the frequency of those which are private, and which can be enjoyed without expence, assist in cloying the appetite. And what is to be placed against these persuasives to private rather than public music? Little, except the magnificent scale upon which the public concerts are conducted. From the rapid growth of wealth, and consequently of an affluent population, it is not possible to compute what the effects may be, but it is not difficult to perceive the highest classes are fast gliding away from the support of public concerts. They may be replaced by a new race—they may be brought back by any temporary cause of diverting their springs of action to a new purpose; but at present there is little upon which to build a hope of patronage. The Antient Concert we have before remarked goes on upon the same prescription that has so long held it together, and the Philharmonic has not a dozen titled persons upon the list of subscribers. Yet these are the only public concerts in a series. This speaks volumes.

From all that has been said we should then infer, did the momentum which impels the art act only in straight lines, that the