tised, ductile, and beautiful as that of Miss Stephens, in a song which calls forth all these qualities to their utmost stretch. It is perhaps incumbent upon the conductor, should the knowledge of these facts escape the memory of the director for the night, to assist in sparing the performers so delicate yet so decided a competition. A man who has the interest of the concert so deeply at heart as Mr. Greatorex, and who enjoys in so high a degree the esteem of the noble directors, has it in his power to arrange these little niceties, and sure we are it must be in his inclination to preclude all possible cause of exacerbation in the minds of those, who can but be aggrieved by so inadvertent an opposition of their powers, however high they may stand above the general taint of envy.

The concerts of the Philharmonie Society have had little to distinguish them this season from those of former years. Managed by directors of the highest professional eminence, who act as it were under the perpetual surveillance of an association, consisting of members already so distinguished in art as to render them tremblingly alive to every circumstance that may diminish their own or the general reputation, judgment, care, and discipline, are more likely to be exercised in their full force here than in almost any other similar situation. The laws respecting pieces by single instruments have been slightly relaxed, but this is the only deviation from former habitudes we have discovered. But whilst the instrumental music is here above all praise, the vocal is certainly less an object of attention than it ought to be. The truth probably is, that the directors having engaged the finest talent, consider that the employment of their abilities to the best advantage may be safely devolved upon the singers themselves, Experience proves the contrary.

Mr. Vogt, an hautbois player, and Mr. Schuncke, a player on the French horn, have been the only performers absolutely new to the concert. The first is a player of great execution-greater indeed perhaps than any of his predecessor, but his tone is by comparison with Griesbach's, thin and unsatisfactory. He is however an artist of eminent merit. Mr. Schuncke is also highly advanced, and second only to Puzzi, who surpasses him in delicacy, in tone, and in general expression. Mr. C. Potter, Mr. Neate, Mr. Peile, and lastly, Mr. Moscheles, have played piano

forte concertos-Mr. Lindley and Mr. Kiesewetter accompanied solos on their several instruments. The compositions newly introduced were Beethoven's symphony (purchased and got up by the society at an expence of 250 guineas), Spontini's overture to Olimpia, and an overture by Mr. Onslow. Of the first a correspondent has already given so detailed an account,* and his criticism has been so completely borne out by the performance, that we should only repeat what he has said were we to enter again upon an analysis of its parts. The impression on the auditors was certainly a mixed feeling of pleasure and dissatisfaction—of pleasure arising from the casual and bright gleams of talent that every now and then broke forth-of dissatisfaction at the exaggeration of several of the parts, at the disjointed nature of the whole composition, and at its immoderate length; it lasted an hour and five minutes. The expence it entails in the engagement of a chorus, the necessity of repeated rehearsals, &c. &c. may perhaps forbid its ever being done again, and will certainly impede both its frequent repetition or its general reception. Yet it is the work of a great mind. Mr. Onslow's is a production of the school of Beethoven, and indicates strength and originality of genius.

At the end of February Madame Catalani commenced a series of concerts fortnightly, conducted by Mr. P. Cianchettini. The number was to have been four, but it was subsequently extended. The first two were but thinly attended, but afterwards the Argyll Rooms were crowded to their fullest extent. Mrs. Salmon and Mr. Sapio were the principal coadjutors, but M. Begrez and several other vocalists assisted during the performances, and on one evening Signor Pistrucci,† the celebrated improvisatore, gave specimens of his peculiar talent between the acts. But it is not to be concealed that there was, and there was to be, but one object of attraction, and that object was Madame Catalani herself. She sang six pieces each evening, comprehending all styles, from Sweet Home and Rule Britannia, to Gratias Agimus, and Mr. Cianchettini's Mazurka. We mention these concerts principally to demonstrate the command which such abilities as those of Ma

*See vol. 7, page 80.

+ This gentleman is a man of considerable ability, and various information. He has lately engaged in the publication of a series of allegorical prints, in numbers, to illustrate the passions. They exhibit a great deal of fancy.

dame Catalani enjoy in England. She rejects all public engagements in which she is not permitted to share the emoluments with the proprietors. She exhausts (as might be supposed) her attractiveness and reduces her estimation by singing between the acts at the play-house. Yet after all, she steps forth, and in her own power and person draws together a succession of the largest audiences the concerts of the metropolis have ever attracted. Since last year the character of her singing has undergone no other perceptible change than an augmentation of force-the sure and certain consequence of the first touches of the hand of time. We are more than ever satisfied that nature has never gifted any other individual with a voice of such volume. The quality has also been mellowed by years and incessant exercise in the largest theatres, and by the energy with which the possessor has always applied herself to the illustration of passion. Apparently she more than ever despises, and practically more than ever tramples upon the rules of art by which others have found it alike necessary and useful to be guided. Her force is really so tremendous, that the hearers, especially those who are near the singer, tremble for the physical danger one must suppose such effort entails. But, spite of all these drawbacks, we must still believe there never has yet been but one Catalani.

The single benefit concerts have scarcely been so numerous this year as formerly, though perhaps the fluctuation is not great, since nearly the same persons have the same claim to public remuneration in this way, communibus annis. As those at the close of their professional career retire, new candidates must arise. The difference of number commonly lies in benefits for individuals upon charitable rather than professional grounds; but the expences of concerts, as they are now organized, have operated to deter persons from such a mode of appeal. Morning concerts have been more frequent. Those of the Messrs. Cramer and Mr. Cianchettini were of this description. Perhaps the best attended, and best also so far as the music was concerned, was that of Mr. Mori, on Monday evening, May 30. There have been a few, and but a few, at private houses.

It was our intention to have included in this sketch a portraiture of the private music during the season, but the materials before us are so multifarious, and the observations which arise out of

them would together take us to such a length, that we think it right to give them a separate place in a future Number. The general consequences we shall include in our summary at the conclusion of the present article.

The domain of the English theatre has been almost wholly occupied by Weber and Der Freyschutz. Even the King appeared determined to have the fullest materials for judging the merits of the man who has concentrated upon himself so much of the regard his Majesty's dutiful and loyal subjects. Der Freyschutz was commanded both at Covent Garden and Drury-lane, on the evenings when the King was present.

But in truth music has by no means the importance in our musical drama that should appertain to it. Nothing proves this more strongly than the attractiveness of the German melo-drame. Nor can it be otherwise until a just perception of the intrinsic beauties of opera be generally diffused, until a true taste be cultivated, until indeed, a portion of that patronage which has been for a century past dedicated to the planting and maintaining a theatre for an Italian, be addressed to the establishment and support of an English opera. An earnest desire for national honour in art, evinced by such a patronage, might induce our great poets and musicians to combine for so worthy, so noble a purpose; but till this be done, our stages are not likely to exhibit any thing beyond the same anomalous jargon of dialogue and song, the same heterogenous mixture of nonsense and show, which at once disgraces and most effectually stops the progress of national taste, and reduces our composers and our artists either to imperfect imitators, or to the comparative disregard of the public.

The usurpation of Der Freyschutz has necessarily very much precluded the introduction of new vocalists. Miss Graddon has appeared at Drury-lane, as a first singer, with considerable approbation. At present this young lady is obviously more indebted to nature than art, for her musical education, judging from her performance, has not been conducted with a care equal to her endowmeuts. She has, however, strongly fixed herself in the good opinion of the public, and, with well-conducted study, may do much. At Covent Garden Miss H. Cawse played in "The Hebrew Family," a new piece, which fell the first night, and strange to tell, the little heroine was engaged by the managers at

a salary and for a term (as report says) which speaks their confidence in her merits. Indeed she is an extraordinary child, for a child she still is, being yet under fourteen. Her stature also is exceedingly small. But her voice and her intellect are both powerful, and, under the care of Sir George Smart, she has made very considerable advances in the knowledge of the art. We have heard her several times both in public and private concerts, where she has this winter been much engaged, and there can be little doubt that she will rise to eminence. Her elder sister, who is also very young, has a good voice, and is advancing rapidly under the same judicious instructor.

The two societies, charitably instituted for the rescue of the widows and families of musicians from the penury which it is but the too common lot of the children of genius to fall, each of them annually enforce their claims upon the generosity of the public by music.

At the dinner of the Royal Society of Musicians, on Thursday, the 21st of April, two youths from Germany, of the name of Schulz, and their father, performed on two guitars, and an instrument unknown as yet in this country, the Phys-harmonica. These talented boys are under the patronage of his Royal Highness the Duke of Sussex. The eldest is apparently about 14 years of age, the youngest 12. They possess the feeling and have pursued exactly that line of study so much required in musicians at the present day-neat and expressive execution, joined to energy and refined taste. They seem to delight in their own performance, to feel every note they play this is the true secret of the musical art. The first piece they performed was an introduction and variation upon Mozart's " Away with melancholy." The new instrument, the Phys-harmonica, here displayed its powers and effects. About the shape and size of a dressing case or writing desk, this little instrument, which has a small set of black and white keys similar to the piano forte, has an insignificant appearance; its construction however resembles the celestina-the sounds are produced by working a pulley and wheel with the foot, and the entire effect resides in the touch, by which the swell or crescendo and diminuendo are produced. The tone of the Phys-harmonica is similar to but much sweeter and purer than the oboe, and the effect during performance, when contrasted with the slight tinkling