MUSICAL BATTLE.
On Monday evening, June 2, 1783, one of the most extraordinary attempts to prove the power of music, that ever yet has been made in this kingdom, was exhibited, in the style, and under the title of a concert, at the Assembly room, King Street, St. James’s, Westminster.
The idea was that of representing the martial music, din, and horrors of an embattled army, so that the tones of the different instruments should cause the ear to believe a reality of the action, whilst the eye was convinced of the inimitable deception.
The entertainment commenced with a grand overture, composed for two orchestras, and divided into allegro, andante, and presto parts, as a prologue to the battle.
The call to arms followed; and several random cannon and musket shots, interchanged between the two orchestras, were so distinctly imitated in music, that we were led to imagine the actual presence of the bursting powder, and the real noise of the whistling ball. These gradually increased, as the armies were supposed to near their distance, until an allegro moderato gave the thunder of the artillery, the regular fire of the platoons, the press from one army on the redoubt of the other, the final attack upon the first line with musketry, and then carrying the redoubt by storm. Here followed a representation of a tempest, attended with thunder and lightning, which afforded a temporary rest to the two orchestran armies.
A recitative, with accompaniments, expressed a council of war, after which the signal was given for the cavalry of the conquering army to attack; then, a most perfect and harmonious imitation of the galloping and trotting of the horses, the discharge of the carbines and pistols, and the clashing of swords, followed.
Here the supposition of a defeat gave further scope to the inventive faculties of the designer, and proved the executive powers of the band to imitate the total rout of the conquered army, the sound of the retreat, the signal to pursue, with the bustle, noise, and clamour, naturally attending, until the victorious troops beat a halt, in consequence of the brave resistance of that division, which covered the retreat of the vanquished army.
The straggling shots in the pursuit conveyed a most beautiful harmony in the corresponding music from one orchestra to the other; which, with the plaintive tones of the wounded, and the lamentations of the expiring soldier, so naturally expressed, had a most powerful effect on the auditors.
The whole concluded with a lively and spirited allegory, three times repeated by the victors, in which was introduced a feu de joye, imitating artillery and musketry.
The invention, we understand, is due to Mr. Kloeffler, a professor of music, and musical director to the reigning Prince Bentheim, Steinfurth, &c., and the bands were under the direction of Messrs. Cramer and Solomon.
There were upwards of three hundred persons present, mostly of the first rank, among whom were the foreign ambassadors. The company expressed the highest satisfaction, and retired perfectly delighted with their evening’s entertainment.