ages, are

These principles have in fact been accumulating in all continuing to do so, and will continue this palpable progress.— Their beneficial influence is now operating, and will in after ages produce those effects of which we have now no more conception than our ancestors had of steam vessels and gas lights. When the principles of music, therefore, among other branches of science, become generally understood, the art will be properly estimated, even by the many; and this knowledge is even now working its way silently, surely, and effectually, amidst the frivolities of fashion and the choke-pamp of professional competition.

This last mentioned obstacle to struggling merit and popular improvement, is a case in point of which our readers in general are undoubtedly not aware, unless the reports that have reached us are groundless; for a little bird sings, that much opposition has been made to granting the composer of the music before us his diploma, though on what score we are at a loss to guess-not on the score before us we hope; which, in our opinion, qualifies the composer for his degree as much as any exercise ever submitted to the professor of music at either of our universities.

Truly, we see no just cause or impediment why Dr. Hodges and Alma Mater should not be joined together, particularly after certain alliances of the kind we wot of-alliances as outre* as that of the Doge to the Adriatic. "De non apparentibus et not existentibus eastem est ratio." No such objections therefore occurring to us, we would fain ask in legal phraseology, "If not, why not." But to proceed to our review from which we have been withheld, both here and elsewhere, and shall be sò again when we consider our introductory comments more conducive towards promoting the highest objects of our labours, than the consideration of individuals or their works; but patience kind reader! our prologue is now ended, and we draw up the curtain that our tediousness may take its expected range. We know not, however, whether our readers will consider it as the close of our prolegmena or the commencement of our critique, when we remark that amidst the general babyism of modern music, it is "refreshing"+ to turn the chas

* We must here enter a caveat against the probable suspicion of a pun on the syllables Ut Re.

+ The favourite word of a modern author; Michael Kelly, after Blackwood we believe, calls it a cockney term; and in the Literary Gazette we learn it is

tened melody, fine counterpoint, and proper clefs. This is music to retire to, from dramatic noise and nonsense, the "piping of hysteric changes," the perpetnal motion of racing fingers, extraadditional keys, and all the fopperies and extravagance of novelty hunting, and music run mad.

The publication before us consists of morning and evening services for the church and two anthems, composed for the opening of the organs at Clifton, in Gloucestershire, ahd at St. James's Church, Bristol. These compositions are therefore adapted for a choir, with an accompaniment for the organ. Dr. H. in a short preface, very properly waives all apology for the use of legitimate clefs; having however left the treble clef instead of the soprano, and an adaptation for the organ or piano forte to gratify amateurs and idlers.

According to the title of this work, it commences with the Te Deum, which is set in four parts-a production that unfortunately must always encounter the permanent impression of the grand, but unequal strains of Dettingen; the opening of which sweeps away all that is little into instantaneous oblivion. This anthem, however, is undoubtedly more fit for a full band, and an abbey, or an open plain, than for a limited choir, or the general purposes of church music. Dr. H. very properly refrains from all apery of this magnificent composition, and opens his Te Deum with plain, appropriate, and effective harmony. If the reviewer find it a task of encreasing difficulty to characterize the labours of composers by discriminate comment, the uniform character of sacred music renders this discrimination almost impracticable, except where the merits of the composer are very unequal in the few styles by which this class of music can be properly divertified. Now as this inequality does not appear in the work before us, it implicates an additional apology for the length of our proemial discussion. For this reason too, our subsequent remarks on this publication will for the most part be brief and general, yet, we trust, sufficiently explicit to do justice to the composition under consideration.

This Te Deum opens, are we have already intimated, with a solemn strain of plain and full counterpoint. The fugal points here, and throughout these services, are designedly and appro

a great favourite with the Edinburgh Reviewers. All this may be very true, but it is a "good ort," in spite of squibs and crackers.

priately brief; the lights and shades of the harmonies judiciously contrasted, and the modulation throughout sufficient and impressive. The Te Deum is, we think, the best part of the services, and some of the musical phrases are of a very elevated character; as for instance those adapted to the words "Day by day we magnify thee," and "Also the Holy Ghost the Comforter:" in the latter instance particularly the chromatic ascent of the tenor and countertenor parts, contrasted with the plain counterpoint of the trebles and bases, is a noble specimen of sublime solemnity. The words too," In Glory everlasting," page 8, are very finely set; and the conversion of Eb to D#, in the chord of the extreme sharp sixth, with its ascending resolution, is masterly and effective. The same treatment of this harmony occurs again more transiently at the words "Give thanks," in the Clifton anthem, page 31.

The accent on the last syllables of Cherubin and Seraphim (Seraphin) in the Te Deum, and on "them" in "Govern them, and lift them up," &c. are slight blemishes. The abbreviation "continu❜lly" is also objectionable and unnecessary; and "Thou settest at the right hand," &c. is an eyesore, for which another edition is an obvious remedy. The whole setting of this psalm, to go no farther, is a sufficient proof of the composer's ability in the style to which he aspires.

The rest of the church service is well set, but some of the fugal points rather trite, a circumstance perhaps inevitable in this restricted style of composition. We pass on therefore to the anthems, where the composer evidently rises in conception and execution. Of these the first is the Clifton anthem (we adopt Dr. H.'s own titles) which opens with a fine chorus in four parts, to the words, "O give thanks," &c. The melodies and harmonies here are both sweet and dignified, and the animation of the forte passages is increased by a spirited accompaniment, to which the piani phrases form a very touching and happy relief. The lively character of this chorus in D. major, an appropriate key for this style of music, is aptly followed by a fine base air in the minor relative. The interest of this air increases in its progress, and the rise of the melody on the division at the word "exalt," has a good effect, however antiquated and punning it may be deemed by the eye-critic. Thou art my God—I will exalt thee," is a grand close, in which all due attention is given to the words.

The following chorus, which concludes this anthem, opens a la Handel, perhaps rather too obviously so, accompaniment and all collectively considered: it is however a dignified chorus, in which the passages of octaves form a striking and grand contrast to the full harmonies; and the fugal point, beginning page 42, though very simple, is, on that account, we may say very impressive.

The St. James's anthem opens with a short overture in C minor, where again we are reminded of Handel as well as Corelli, and any attempt at originality is waived in favour of classical propriety. A fine chorus in C minor also, follows the overture, and is sufficiently diversified in style from the preceding chorusses, though not requiring any critical analysis. This is followed by a descriptive chorus in the major relative, in which the well-known words of the conclusive psalms, "Praise the Lord on the harp, organ," &c. are of course adapted to imitative music, and with interesting effect.

A fine double fugue terminates the work. This fugue is effectively and scientifically constructed throughout various modulations, and ultimately blends with a solemn hallelujah, both vocally and instrumentally, and terminates with grandeur.

Finally, if these compositions are not remarkably distinguished by originality, the apology is obviously that they are modelled on a style where originality now can scarcely be expected. The severity of that style introduced or at least established by the reformation, has banished quirks and fantasies in ecclesiastical music, and originality in this path of creative talent, requires the most discreet management even from the sublimest genius, He that is ambitious to ascend this high scale of composition may qualify himself for the task by sufficiently studying the cathedral music of our own country, and this qualification Dr. H. possesses, in our humble opinion, as manifestly as any composer we know of, "dead or alive." In a word, the publication before us is a satisfactory proof that the Doctor has done that for which he is fully competent, and merits all the encouragement that such labours ever deserve, but seldom elicit.

Reminiscences of Michael Kelly, of the King's Theatre, and Theatre Royal, Drury Lane, including a period of nearly half a century; with Original Anecdotes of many distinguished Persons, Political, Literary, and Musical. In two volumes. London. Colburn.

Amongst the earliest of our "reminiscences" is the author of this compilation of various and amusing anecdote. At the first musical festival we ever attended (about the age of 13) we remember Michael Kelly as the principal tenor-we remember him in the Seraskier, with his face full of fire and fury, "signifying nothing"-we remember him distinguished as "the Irish Nightingale"-we remember his voice, which Dr. Arnold used to say was like the tearing of brown paper-in short, we remember the whole man as he was nearly forty years ago; but we must do him the justice to say, he never pleased us so much before, and if this work may be considered as his last public act, it shall readily be granted, that in the midst of all the blandishments he relates, "nothing in life became him like the leaving it." Never have we read a book that shewed the author so perfectly satisfied with himself and others, so delighted at every turn and accident. For him "All the sweets of life combine,

"Mirth and music, love and wine;"

and he wanders along, partaking only of delights. But the sooner we let him speak for himself the better, premising however that we must confine ourselves chiefly if not entirely to musical anecdote, and to such particulars of his life as may convey a competent notion of its progress and events.

"I was born in Dublin.-My father, Thomas Kelly, at the period of my birth, was master of the ceremonies at the castle, and a wine merchant of considerable reputation in Mary-street. He was known for his elegant and graceful deportment, and no lady would be presented at the Irish Court, who had not previously had the advantage of his tuition. My mother's name was M'Cabe; she was of a very respectable family in the county of Westmeath. At a very early age, she was placed for education in a Roman Catholic convent on Anran Quay. My father (who was of the same religious persuasion) having a young relation placed also at this convent, when visiting her, had many opportunities of seeing Miss M'Cabe, and the results VOL. VII. NO. XXVIII.-DEC. 1825.

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