[48] We do not forget the song of ‘Mad Tom’ introduced in the first concert, but scarcely feel warranted in considering it a legitimate production of this great composer; indeed, it has never generally been received as such, though not wanting in strong points of resemblance.
[49] The practice of beating time with the bow was introduced into this country by M. Spohr, and he, being a great musician as well as leader, has been, of course, imitated, for we are most industrious imitators of what is foreign: and, in truth, quackery is so much the order of the day, that without a due share of it success is hardly to be hoped for. How many small persons, singers, soi-disant composers, &c., are now-a-days raised to something like importance by grossly open as well as artful and disguised charlatanerie and puffing!—(Editor.)
[50] By the Countess of Tankerville.
[51] Afterwards George the Fourth.
[52] There is some great mistake in this. From the year of the Commemoration it was resolved to enlarge, not contract, the scale, and each succeeding season saw an augmentation, till the number of performers was gradually increased from between 500 and 600, to nearly 1000. (Editor of Harmonicon.)
[53] We cannot understand by what process of reasoning the author of this article would set about to prove that the hero of a lyric drama should have a base in preference to a tenor voice. We admit that he should not on any account be a soprano; that it would be better that he be not an alto; but here our objections cease. (Editor of Harmonicon.)
[54] ‘The reason that moved the king to this act of munificence was a singular one. The parish had chosen him their churchwarden, and he executed the office for two months; but at the end thereof he grew tired of it, as he well might, and presented the parish with that noble instrument which is now in the church.’—Hawkins’s Hist. v. 60.
[55] ‘In the time of the Duke of Somerset’s chancellorship at Cambridge, during the discontents of several members of that university at the rigour of his government and paucity of his patronage, Tudway, himself a malecontent, and joining in the clamour, said, “The chancellor rides us all, without a bit in our mouths.” Nor did the wicked sin of punning quit him even in sickness; for having been dangerously ill of a quinsy, and unable, for some time, to swallow food, the physician who attended him, after long debates and difficulties, at length turning to Mrs. Tudway, said, “Courage Madam! the doctor will get up Mayhill yet—he has been able to swallow some nourishment.” On which he exclaimed, “Don’t mind him, my dear, one swallow does not make a summer.”’—Burney’s Hist. iii. 459 note.
[56] In our next number, we shall give a very clever article from the ‘Westminster Review,’ on the subject of Harmonics, which really leaves nothing more to be said on the subject, and saves us the trouble of analysing the works now before us.
[57] The son of John Christopher Schmidt, Handel’s copyist and managing man. Dr. Burney has given a list of four oratorios composed by Smith, but takes no notice of Gideon, which is not mentioned in either his or Hawkins’s History of Music.