Handel’s Suites de Pièces are in few hands. The Chaconne[7], now given—the elegant melody of which, if only heard, can never want admirers—is followed by no less than sixty-two variations in the original work! We have selected a few of those we considered the best, and put the mark 8va alta over two, conceiving that the author might thus have written them, had the instruments in his day furnished the notes.
The Romance and Duet from Fortunatus require no further remark than what appears in our account of that new German Opera. Not having had time to obtain a good and adaptable translation of the original words, we have set others to them, which certainly suit the music.
FEBRUARY, 1833.
MEMOIRS OF GARCIA AND RUBINI.
MANUEL DEL POPULO VINCENTE GARCIA was born at Seville the 21st of January, 1775. At six years old he was received into the choir of the cathedral, and commenced his musical studies under the instruction of Don Antonio Ripa and Juan Almarcha. At this time there was no theatre in Seville, and sacred music was in high estimation; the vocal corps belonging to the cathedral was not only strong in number, but contained, also, some distinguished performers, particularly a tenor and a male soprano. Garcia, having a very agreeable voice and extraordinary talents for music, was soon distinguished amongst his compeers, and by the time he was seventeen, his fame not only as a singer, but also as a composer and chef d’orchestre, had spread far beyond the limits of his native city. The manager of the Cadiz Theatre engaged him, and brought him forward in a toccadilla, in which the young debutant sang several pieces of his own composition. Here he obtained considerable reputation as a singer. His voice—a fine tenor—very flexible, and very extensive, particularly in the upper part, was much admired; but his action was so embarrassed and cold, that the most discerning spectator could never have detected in the awkward youth before him even the germ of that dramatic talent which afterwards classed him so high among acting singers. From Cadiz, Garcia proceeded to Madrid, where, arriving during Lent, he appeared in an oratorio, the only species of music allowed to be performed during that season in Spain. His residence in Madrid was of considerable duration; and he there composed several toccadillas.
When Garcia at length quitted Madrid, he proceeded to Malaga, in which city he composed his first opera, entitled El Preso, the libretto of which was borrowed from a French piece called ‘The Prisoner, or the Likeness.’ While he was at Malaga an epidemic fever raged there with such virulence as nearly to depopulate whole districts, but Garcia was fortunate enough to escape its ravages and get back safe to Madrid. On his return to the capital, he brought into fashion a species of operettas, in one or two acts, similar to those which were then in vogue in France; the plots, indeed, were chiefly taken from French pieces. These operas made the round of the Spanish theatres, and were almost all received with great applause. Garcia is one of the few Spanish composers who have written in the style of the national music of the country, which, as is well known, possesses a character entirely distinct from that of either Italy, Germany, or France. Several of his airs became highly popular; one in particular called Lo Cavallo, sung by him in the character of a smuggler, is as well known throughout Spain as Charmante Gabrielle in France, or God save the King in England. Some persons have denied Garcia’s claim to be considered as the composer of this most original melody; it is true the names of those who write popular airs are quickly forgotten, but in this case the fact is of easy proof, for there are many amateurs still living in Madrid who well remember the effect made by the air Yo che soy contrabandista, when Garcia sang it for the first time not thirty years ago.
On the 11th February, 1808, Garcia made his appearance in Paris, selecting for his début the Griselda of Paer, being the first time he had ever performed in an Italian opera. A journalist, whose criticisms carried much weight with them at that time, says of him—‘Don Garcia is a young artist of distinguished talent; his countenance is agreeable and expressive—his delivery correct—his action natural and animated; his voice is sweet-toned, graceful, of very extensive compass and extreme flexibility. It is evident that he is a man of great ability and experience in his art; his singing is rich in ornament, but frequently too much embroidered.’ In point of fact, however, Garcia owed all his talents as a singer to himself alone: he had never really studied it as an art, but had merely listened, imitated, and practised. On the 15th March, 1809, he gave for his benefit a Spanish monologue operetta, called El Poeta Calculista, (the first and only Spanish opera that has ever been performed in Paris,) with such decided success, that it was repeated several times running, until the excessive fatigue of supporting alone a piece in which four compositions out of the seven it comprised, were constantly encored, obliged him to suspend the representations.