COVENT GARDEN THEATRE.
THE dramatic oratorio, contrary to expectation, has been eminently successful. After the first night it improved very much in representation, and still more so in the audiences. It has drawn crowds ever since.
On the 23rd of last month, an opera, altered from the French, under the name of The Coiners, or the Soldier’s Oath, the music by AUBER, was produced here; but we were at Drury Lane on that evening, and have not since had an opportunity of seeing this new production; on which we shall report next month, should the piece survive, which, according to what we hear, is somewhat doubtful.
THE MUSIC OF THE PRESENT NUMBER.
THE Vicomte de Villeblanche, one of the ancient noblesse of France, was a distinguished amateur. His mother, a great proficient in music, instructed him very early on the piano-forte, and he having sought refuge in this kingdom during the most troublesome period of the French revolution, took lessons of J. B. Cramer. When Buonaparte proclaimed an amnesty, the Vicomte returned to his native country, entered into the army, accompanied Napoleon in his expedition to Russia, and is supposed to have perished in the retreat, he never having been heard of since that disastrous event. Of his skill in music the movement in the present Number bears full testimony; it is the only composition by him that we ever met with or heard of; it appeared many years ago, (in a musical magazine which had no circulation,) and may be said to be an unknown production. That it is in the manner of Beethoven will be apparent to all, and that it is a very elegant imitation of a master then little known out of Germany, must also be admitted: we are glad to have been enabled to rescue a composition of so much merit either from oblivion, or from being hereafter claimed by some one having no title to it.
The March is arranged from a Notturno by Spohr.
The Saraband and Gigue of Corelli are familiarly known to the frequenters of the Ancient Concerts, and to all—we fear they are few in number—who are well read in classical music. We have adapted them from the original score, and endeavoured to render the violin passages not only practicable, but easy for keyed-instruments. The Sarabanda was a slow Spanish dance. The Giga speaks for itself. For an account of the composer, we refer the reader to one of our early volumes.