REVIEW.

Church Music; edited and arranged by Richard Redhead, Organist, Margaret Chapel, St. Marylebone.

This is a collection of all sorts of music, except anthems, necessary for full choral service, besides a number of Psalm-tunes fitted for ordinary parochial duty. The volume is prefaced by an able defence of the practice of chanting, on which we need not remark further than, in one place,fit contrives to throw considerable doubt on what may be the precise object of the publication. The author says, "Without daily service, chanting to any extent, or in any degree of perfection, is quite out of the question," and, "The Psalms for the day, being continually different, cannot be chanted without constant practice." Now, as we find the first part of the book occupied by chants allotted, respectively, to the Psalms for each day of the month, we might conclude, on the author's showing, that his work can only be adapted for cathedrals, where, since their systems are already firmly established, it must be unnecessary; and yet, from the author's situation, from the rest of his preface, and from the other contents of his work, we must infer that it is intended for the use of parish-churches, where, also, on his own showing, the chants for the Psalms must be useless. A mistake as to facts, however, has led Mr. Redhead into this slight confusion in his preface. The chanting of the Psalms is, under any circumstances, impossible to a congregation; but, from experience, we can vouch that, with only hebdomadal service, it is very practicable to a good choir. In several churches in the north of England we have heard the Psalms chanted during Sunday service in a manner to cast shame upon the slovenliness of the daily doings at most cathedrals.

The musical part of this volume contains, firstly, thirty-six chants-ten single and twenty-six double-and as these are for the most part well-known they call for no further remark except as to the arrangements, which, though frequently those in common use, are occasionally, on the other hand, rather awkwardly put together. Next follow three Sanctuses-one made from the chacone of Jomelli, the second being the grand one by Orlando Gibbons in F, and the third composed by Mr. Redhead. This last is not deficient in pleasing idea, but it suffers greatly by unskilful arrangement;-in the fourth bar, a B sharp in the tenor is erroneously written C natural-between the eighth and ninth bars there is a brace of octaves between the tenor and bass-and between the thirteenth and fourteenth bars there are consecutive fifths between the alto and tenor. Next are two sets of responses to the Commandments-one by Dr. Rogers and the other by Davy -both well-known, and therefore needing no comment. These are followed by the Versicles for the whole service and the Litany as set to music by Thomas Tallis, and used, though with considerable deviations from the original text, in most cathedrals. These present many fine specimens of the peculiar style of harmony which characterized the era of their production, but the ancient counterpoint is here frequently violated by the use of the 6-4 in a dominant cadence, which is certainly not found in the original.

The volume is concluded by a number of Psalm-tunes, which, says the preface, "have been added in deference to the existing custom." What this may imply, except a doubt of the propriety of metrical Psalmody, we know not; but if this be its meaning we are completely at issue with Mr. Redhead on the point. So far from disapproving of it in parochial service, we think that if there be a fault in the musical service of our cathedrals, even, it is the absence of the psalmtune. A fine and legitimate chorale, sung by a multitude of voices, and richly and skilfully accompanied, is, to our liking, one of the most impressive things of which church-music is capable. The psalm-tunes here given are mostly old, and a few new, but in nearly all, the direst errors in counterpoint and harmony are observable. We cannot spare space to analyze the whole, and must therefore merely remark that, as matters of fact, the rules against consecutions of fifths and octaves are treated by Mr. Redhead with consummate disdain; and that, as a matter of taste, he frequently errs against a good old custom of vocal partwriting in sacrificing the fifth in a closing tonic chord, by using the flat-seventh in addition to the fifth in the previous dominant harmony. As we cannot mul

tiply examples, we call the author's attention to the two first psalm-tunes, which, if he properly digest, will probably induce him to revise the remainder. Mr. Redhead's original contributions to this department are two-" Headington," and "St. Margaret." The former is pleasing in melody and inoffensive in arrangement; but the latter is far otherwise ;-in the sixth whole bar from the commencement, the bass has an F natural which should have been written E sharp, and immediately afterwards the counterpoint is disfigured by awkward parallel jumps of the tenor and bass; from the eleventh to the twelfth bar, the treble and alto move in unison, and in the fourteenth bar there is a consecution of fifths between the same parts.

The music is well printed in type, and the book altogether handsomely brought

out.

I arise from Dreams of thee; serenade, composed by W. H. Grattan. Mr. Grattan knows better how to make a tune than how to appreciate the intensity of Shelley. We cannot deny that this serenade has an agreeable voicepart which is moreover well accompanied; but the common nature of the air and the jog-trot regularity of its phrasing are opposed to every kind of feeling except that of such a contentment as one enjoys after eating a good dinner-wherefore its expression is nil.

The Aged Brothers; a Freemason's Song, composed by Brother B. Negri. Of this we can find nothing else to say than that it is a very jovial song, and composed, as its title-page announces, for a very good purpose.

MUSICAL INTELLIGENCE.

METROPOLITAN.

:

PRINCESS'S THEATRE.-Bishop's Overture to Guy Mannering has been given during the week. We presume Mr. Willy intends the production of this classical specimen of the English school, as a following up of his former efforts to establish the reputation of our native writers. The present work is vastly better played than were either of the overtures we have before noticed the conductor, doubtless, has felt that a composition of this complicated nature, containing such variety of character and such diffuseness of construction, should not be dismissed with the inconsiderate rehearsal that would suffice for a work of a single movement, built upon one idea, and carried out with one feeling, like Parisina; or one where the style is endeavoured to be maintained throughout, by the blending of one movement with another, like Chevy Chace; and has, therefore, exerted all his perseverance to bring Guy Mannering before the public with due justice, who appear to appreciate his efforts from the superior applause they bestow upon this overture to that given to either of its predecessors. We commend the increasing pains Mr. Tutton evidently takes with his countrymen's reputation, and hail the warm reception of Mr. Bishop's work as a demonstration of the improved taste of the enlightened British public.

PROVINCIAL.

[This department of the Musical World is compiled and abridged from the provincial press, and from the letters of our country correspondents. The editors of the M. W. are, therefore, not responsible for any matter of opinion it may contain, beyond what their editorial signature is appended to.]

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EXETER.-Devon and Exeter Quartett Concerts.-The second concert for the season took place on the 10th inst. ; it commenced with Beethoven's quintett, op. 81, which was exceedingly well played. The glees for the evening were "Go, idle boy" (Callcott); Prepare the hallow'd strain" (Carpenter); My love's like a lily" (Knyvett); and "Some of my heroes" (Stevens), by Miss Cole, Messrs. Down, Carpenter, Boult, Turner, and S. Haycraft. The first glee was a total failure, from the illness of one of the gentlemen, but the others made ample amends for it, more particularly the last. Miss Cole's songs were To rende a cheryshed love." (Pye), "Stanca di piu combattere" (Marliani), Ocean, thou mighty monster" (Weber), and "Whene'er by sorrow" (Keller). The first and last, although good music, did not seem to please, as they were coldly received;

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in the aria, "Stanca di piu," she completely took her audience by storm, and received a most unanimous encore; but the gem of the evening was Weber's magnificent scena, "Ocean," -in this she certainly surprised; it was sung with all that energy and great depth of feeling that this beautiful composition so much requires; in the duet, "Forsake me not" (Spohr) she was ably assisted by Mr. Carpenter, but the accompaniments were much too loud-in fact this was the case throughout the evening. Carpenter sang "The rose and the lily" (Storace) exceedingly well, and a similar compliment is due to Mr. S. Haycraft in Purday's simple ballad," They deem it a sorrow;" this gentleman also deserves praise for the beautiful manner in which he sang his difficult part in the glee, "Some of my heroes." The trio by Weber in G minor by Messrs. H. J. Haycraft, Ramson, and Hayes, was a very happy performance. The splendid quartett of Haydn's in F major was a great treat, and Messrs. Rice, Reynolds, J. Rice, and Hayes acquitted them selves in every way worthy the attention and applause they received. Miss Cole and Mr. H. J. Haycraft played Bertini's difficult duet, op. 125, with all the brilliancy and effect of the present system of pianoforte-playing, showing perfect command of the instrument, but very little taste. On the whole this concert was eminently successful; it was numerously attended. It is very gratifying to see the country nobility and gentry patronizing the native talent, who can now get an audience without the attractions of Bohemian wanderers or any other class of musical vagrants.

MISCELLANEOUS.

SOCIETY OF BRITISH MUSICIANS.-The half-yearly general meeting was appointed for Friday last, but, as an insufficient number of members assembled to form a quorum, of course, no business could be entered into. It is lamentable to observe the listlessness thus evinced for the great and important cause this association pretends to advocate: the public cannot be expected to take any interest in a society the members of which manifest so little interest for its proceedings. We are told it was the intention of the committee to have urged the necessity of giving one or more concerts in the course of the approaching season, and to have called upon the meeting to arrange measures by which this object, which appears to us quite indispensable, not only to the well-doing, but to the absolute existence of the institution, might be carried into effect. There was a great complaint made through the medium of the public prints, when, in June last, her Majesty and Prince Albert refused this society's prayer for patronage, and the anti-national feeling displayed in this apparent disdain and certain discouragement of English musical talent was most strongly vituperated; but we cannot see with what pretensions a body of men can hope for the countenance and support of our rulers, who are not among themselves earnest in the cause they profess to uphold. This society has done much good for music in bringing forward several persons who now hold an important rank, not only in the English profession, but in the estimation of all Europe: it has our most sanguine good wishes, and it will even, while its efforts are worthy, receive our warmest support: the present indifference of the members, however, is, to the last degree, blamable, for it must act more as a blight upon the musical credit of this country than as an encouragement of native talent in composition and perform

ance.

MUSICAL ANTIQUARIAN SOCIETY.-The council met on Saturday, when it was resolved that the society be limited to one thousand members: upwards of two hundred and fifty subscribers' names have already been received, and the number is rapidly increasing this limitation will, doubtless, stimulate the already very general desire to participate the advantages which the Antiquarian Society holds out, and there is much reason to suppose the list will, before long, be entirely filled. Mr. Oliphant having retired from the council, Mr. Lucas was unanimously chosen in his place. We are unable to announce officially the reason of the former gentleman's resignation, but have been told it is because he finds there will be no pecuniary emolument for the duties of editor which might have devolved upon him as one of the council: by all means, Mr. Oliphant is right to turn his time to the best account; but it appears particularly ungracious in him, avowedly an amateur, to seek for "filthy lucre," where so many talented professors feel a pride in giving their services. This society is formed for gene

ral advantage and for the benefit of the art, not for the private gain of its founders: its object is to extend, so far as possible, a knowledge of the old English writers; to accomplish which, the whole of the funds will be appropriated to the printing of their scarce or hitherto unpublished works: were the various editors to be adequately imbursed for the trouble they must undergo in superintending these publications, the expenses would be greatly increased, and the advantages of the subscribers greatly diminished. We congratulate the society on the acquisition of the new councillor: the talents and zeal of Mr. Lucas render him a most desirable person for the office.

NAPOLEON'S FUNERAL.-The choir engaged for the requiem, at the Chapel of the Invalides, surpasses that of any previous celebration. In addition to the choristers of the various episcopal establishments of Paris, and the chorus singers of the Academie Royale, Opera Italienne, and Salle Favart, the following principal vocalists give their assistance: Soprani-Grisi, Persiani, Cinti Damoreau, and Dorus Gras; Contralti-Garcia Viardet, Eugenie Garcia, Albertazzi, and Stolz; Tenori-Rubini, Duprez, Alexis Dupont, and Masset; Bassi-Lablache, Tamburini, Lavasseur, and Alizard. This very strong list, together with the orchestras of the three lyric theatres, form a constellation not easily equalled in Europe, and worthy to participate in the most solemn ceremonial of modern

times.

M. MUSARD'S ENGAGEMENT at the Concerts d'Hiver terminates on Saturday next, when he will return to Paris, for the opening of his own establishment at Christmas. Mr. Eliason will resume the baton on Monday next, at Drurylane, when he will return to his former principle of giving a Symphony of one of the great masters every evening he alleges as his reason for not having acted upon it during M. Musard's conductorship, that this gentleman's reputation as a quadrille-factor, maugre his great musical knowledge, ability and experience, would, in the public estimation, disqualify him for directing classical music; and thus that chefs-d'œuvres of Beethoven will serve to fill up the blank to be caused by the secession of Musard's jeux d'esprit. We are doubtful whether or not to commend this reasoning, certain are we that the lovers of the Postillon Quadrille cannot co-admire the Eroica Symphony; and however capable M. Musard may be to conduct the latter, the former would surely act as a non-conductor to those whom the management wish to electrify, and the two styles of composition would be like the north and south poles of a magnet, the one repelling, the other attracting, in opposition to each other.

THE FAILURE OF MR. BARNETT'S SPECULATION is, it seems, to entail upon us another foreign encroachment, and an additional stab at our imputed national incapacity for the production of dramatic music. A scheme has been for some time in train for the occupation of the Princess's Theatre, at the end of January, by a French company of tragedians, including the celebrated Mdlle. Rachel-the Miss O'Neil of the present Parisian stage. Since the fatal and injurious result of Fridolin, it has been suggested to the undertakers of this enterprize to fill up the alternate nights of acting by representations of French comic operas; and agents are, at this moment, endeavouring to make engagements in Paris for the purpose: if they succeed, we may of course expect to be inflicted thrice a week with the doings of Halevy, Adolphe Adam, and their inferiors, with whom it would be no great honour to succeed in rivalry; but the foreigners will doubtless, as usual, enjoy the highest patronage, simply, because they are foreigners; while the native musician must struggle on amid the adverse stream of fashionable caprice, rendered even yet more formidable by the ambitious dribblings of a turbid spring, which, too feeble to stem the current, naturally swells it more strongly and fiercely against the really meritorious.

PRINCESS'S THEATRE. We regret to learn that the band has been playing here, not only to nearly empty benches, but with empty pockets, too, for these five weeks past. Mr. Willy is bound, under a heavy forfeiture, to keep the house open until the end of January. He intends to introduce glees at his concerts. PROFESSIONAL CHORAL SOCIETY.-It is not generally known, that a society has been lately established under this denomination. The members, in number already seventy, meet twice a week at the Hanover-square Rooms, for the pur

pose of practising the most elaborate and classical choral compositions, madrigals, &c., sacred and secular, under the direction of Mr. G. F. Harris; so that in due time this society will be enabled to furnish a perfect chorus, well acquainted with its business for any performances, either in the church, the theatre, or the concert-room. The members consist of the principal chorus-singers belonging to the Ancient Concerts, Italian Opera-house, Covent-garden, &c.; amateurs are not admitted.

A PRIVATE CONCERT of Chamber Music was given by the principal students of the Royal Academy of Music, on Monday last, to which they invited the professors and friends of the institution. We hear that several classical compositions were very ably played, and that much talent was evinced in the whole performance. It gives us much pleasure to note the laudable ambition which induced this attempt, which we hope will, from time to time, be followed by many similar efforts, and we give every praise to Messrs. S. Smith, Goodban, and R. Barnett, who, we understand, were the chief promoters of it.

SOCIETY OF FEMALE MUSICIANS.-The lady-member, who furnished us with the particulars of the general meeting which appeared last week, must have been mistaken as to the amount of property invested in the funds; we have been since officially informed that 300l. was the sum, not 1007., as we last week stated. We heartily congratulate the fair association on the flourishing condition of their

affairs.

M. LISZT, with Mr. Richardson, the flute-player, Miss Steele, Miss Bassano, Messrs. Lavenu and John Parry, after having given concerts with great success in some of the principal towns in Yorkshire and Lancashire, were to leave Liverpool, yesterday, for Dublin, where they are engaged by the Philharmonic Society to perform to-morrow (Friday) evening.

THE GLEE CLUB commences its annual meetings on Saturday, the 19th inst., at the Crown and Anchor. By a printer's error this was stated, last week, of the Adelphi Glee Club instead of the old established society.

THE MESSRS. BARNETT have not been able to form a company for want of a prima donna; for Miss Romer is now quite out of the question, after the scrape she has brought the managers into, by forcing them to bring out her brother's opera. They have made arrangements with Mr. Arnold, to perform at the English Opera-house; but they cannot commence before the 15th of January, owing, it is stated, to the theatre being let for some performances during the holidays.

LA FRANCE MUSICALE.-Under the title of "Esquisses biographiques sur quelques compositeurs Anglais," La France Musicale has commenced a series of articles on the musicians of this country, the first of which is devoted to Mr. Balfe. As Mr. Balfe is very handsomely dealt with, and every praise given to him which we could desire for our countryman, we have nothing to say on the subject of his French biography, but a few passing remarks it contains are worthy of notice-one for its absurdity, and the rest for their truth. Almost the first thing we encounter is a protestation against the sway of the Italian opera here, and against the consequent love for sound in preference to sense. But, adds La France, "certain composers have succeeded in securing libretti, and in adapting to them music consistent with their situations. Among the number of these vigorous minds, of these intelligent reformers, we may mention Lord Burghes, chief of the Academy of Music, and Bearneth, whose Fair Rosamond is, musically speaking, a work of a high order. It would be difficult for any but a musician to guess, from the disguised condition of their names, who these two people might be; but, glad as we are to find that the French are at length coming to their senses with regard to the merits of our musicians, this paragraph furnishes a sad proof of their ignorance both of English names and English pretensions. Lord Burghersh is, doubtless, a clever man for a lord, but, arcades ambo! the idea of linking him in the same sentence with the composer of Rosamond is a little too bad for anything. The following observation is, however, of a different calibre. Speaking of the London criticisms on Balfe's Siege of Rochelle, La France says, "But it is the custom in London to attack everyone who is rising; while in France, Germany, and Italy, every kind of encouragement is held out