THE QUEEN OF SWEDEN.
In the extracts from the Duchess of Orlean’s Letters, we find, that Queen Christina, of Sweden, (who was as peculiar in her night dress, as in almost every thing else, and who, instead of a night-cap, made use of an uncouth linen wrapper,) having spent a restless day in bed, ordered a band of Italian musicians, from the opera, to approach near to her curtains, which were close drawn, and strive to amuse her. After some time, the voice of one of the performers striking her with singular pleasure, she suddenly thrust her homely, stern, ill-dressed head from behind the curtains, exclaiming loudly, “Mort Diable! comme il chante bien!” (Death and the Devil! how well he sings!) The poor Italians, not used to such rough applause, from a figure so hideous, were unable to proceed, from the terror which they felt, and the whole concert was at a stand for several minutes.
THE ORIGIN OF CHANTING IN CATHEDRALS.
St. Austin, who was originally a monk at Rome, and was sent about the year 596, by Gregory I. at the head of forty other monks, to convert the English to Christianity, was the first who introduced chanting in the Divine Service, which is still continued in our cathedrals. His desire was to induce converts; and he strove, not only by argument, to effect his object, but by every other laudable means he could devise; hence he endeavoured, as much as possible, to render the Divine Service interesting, as well as instructive. This practice of chanting, or singing, made rapid increases. Our Saxon forefathers were so enthusiastically fond of it, that one continued strain was kept up night and day, by a succession of priests; even their penances could be redeemed by the singing of a certain number of Psalms, or by a frequent repetition of the Lord’s Prayer. He was very successful in his endeavours, and, among others, King Ethelbert himself became a convert. St. Austin resided principally at Durovernum, (Canterbury,) and died May 26, 607.
ORIGIN OF THE CELEBRATED OX MINUET, BY SIGNOR HAYDN.
Haydn saw with surprise a butcher call upon him one day, who being as sensible to the charms of his works as any other person, said freely to him, “Sir, I know you are both good and obliging, therefore I address myself to you with full confidence;—you excel in all kinds of composition; you are the first of composers: but I am particularly fond of your minuets. I stand in need of one, that is pretty, and quite new, for my daughter’s wedding, which is to take place in a few days, and I cannot address myself better than to the famous Haydn.”—Haydn, always full of kindness, smiled at this new homage, and promised it to him on the following day. The amateur returned at the appointed time, and received with joyful gratitude the precious gift. Shortly after, the sound of instruments struck Haydn’s ear.—He listened, and thought he recollected his new minuet. He went to his window, from whence he saw a superb Ox, with gilded horns, adorned with festoons and garlands, and surrounded by an ambulating orchestra, stopping under his balcony. Haydn was roused from his reverie by the butcher, who made his appearance in his apartment, and again expressed his sentiments of admiration, and concluded his speech, by saying, “Dear Sir, I thought that a butcher could not express his gratitude for so beautiful a minuet better than by offering you the finest Ox in his possession.”—Haydn refused—the butcher entreated, till at length Haydn, affected at the butcher’s frank generosity, accepted the present, and from that moment the minuet was known throughout Vienna by the name of the Ox Minuet, and has lately been introduced as a musical curiosity in England.
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.