FROM the time of the Prince of Venosa, who died in 1614, to the present year, not a single instance of a noble composer of madrigals was to be found, till Lord Burghersh produced No. 1 of the above, which was first heard at Mr. Sale’s concert in May last. The decidedly favourable manner in which madrigals were received last season, both at the Ancient and Vocal Concerts, most likely induced the noble Lord to turn his attention to this kind of music, and we are glad that it has found so able and influential a patron. No. 1, in B flat, carries with it internal evidence of having been wholly designed before any part of it was committed to paper; the unity, so well sustained from beginning to end, is an incontestable proof of this. Herein consists one of its greatest merits, while the melody which flows through it is not less to be admired. This is written in the true stile madrigalesco, a style distinguished by its free imitations and double counterpoint, and the effect of the whole is remarkably good; though to bring it fairly out the singers must be on the alert, and give their earnest attention to the unexpected transitions that occur. While we state how much this has pleased us, we must confess that there are one or two points in which we differ from the composer. Had, for instance, the diminished 7th (page 10, bar 7) been resolved, we should have been better satisfied; and wish that the piano-forte accompaniment (which should only be used when singers require support) had continued with the voices throughout, instead of being raised an octave above them in the latter part of the composition.
No. 2 will please the most uncultivated hearers by the beauty of its melody, and connoisseurs will discover that it possesses also other claims to notice, founded on what is not so obvious to the uninitiated in such compositions. The same consistency is observable in this as in the preceding; the subjects all stand in a certain traceable relationship to each other, and lead us to suppose that the whole was struck off at a heat. This is an original work, and not less pleasing than new. The ease and sweetness of the air will, of course, be most generally noticed, but those who are alive to the charms of harmony may find enough here to engage their attention very agreeably. In a word, there are no commonplaces either in this or the former; both bear the uncounterfeited stamp of true genius,—by which we mean, the union of invention and taste.
No. 3 is a pastoral quartet, andantino, in six-eight time, the words are set with judgment, the melody is flowing and happily imagined, the inner parts are well written, and the whole produces that agreeable, tranquillizing effect which, we conclude, was the main object of the composer.
- RECIT. and AIR, ‘Ah! che i giorni,’ from SPOHR’s Opera, Der Alchymist, translated from the German by EDWARD TAYLOR. (Cramer and Co.)
- THREE GERMAN SONGS, with English and German words, composed by J. P. PIXIS. (Dean.)
- ARIETTA, in DONIZETTI’s opera, Anna Bolena, with graces and embellishments by SIGNOR RUBINI. (Willis and Co.)
No. 1 is a deeply expressive air in A flat, with an accompaniment abounding in those riches of harmony which Spohr possesses in his ample stores. This was sung by Mrs. Wood at a Philharmonic concert, Mr. E. Taylor having very cleverly converted the German into Italian for the occasion. It may be thought a bold thing to differ from the author respecting the movement of his air, but it seems to us that in using the words ‘Allegro Vivace,’—(we say nothing about the literal meaning and tautology)—he either mistakes their power, or directs a much greater degree of quickness than is favourable to good effect. That time understood by the term allegretto, appears to us to be best suited to both words and music. But, to say the truth, most of the Italian words used in music are very barbarously perverted.
M. Pixis’ three songs, though imitations of Swiss airs, are the most pleasing things that we have seen from his pen for a long time past. They were sung by Madlle. Pixis, at the Queen’s palace this spring, and pleased much.
These are for a mezzo-soprano, and though not very difficult, require much flexibility of voice, as well as some skill to do them justice. The airs are varied to the second and third stanzas, and the singer is there called upon to exert herself. The English words are well adapted to the melodies.