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Partition Volume 2, pour British Minstrel, et Musical et Literary Miscellany

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Découvrez les partitions de musique pour British Minstrel, et Musical et Literary Miscellany Volume 2, Compilations, fruit du travail de Various. Cette partition romantique écrite pour les instruments comme: voix; voix(s), piano
La partition aborde plusieurs mouvements et l'on retrouve ce genre de musique classée dans les genres Music criticism, chansons, pour voix, langue anglaise, Compilations, Music histoire, Glees, écrits, partitions pour voix, pour voix non accompagnées, duos
Visionnez dans le même temps tout une collection de musique pour voix; voix(s), piano sur YouScribe, dans la rubrique Partitions de musique romantique.
Edition: Glasgow: William Hamilton, n. d.

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^
THE
BRITISH MINSTREL,
AND
MUSICAL AND LITERARY MISCELLANY;
A SELECTION OP STANDARD MUSIC,
SONGS, DUETS, GLEES, CHORUSES,
ETC.
AND
ARTICLES IN MUSICAL AND GENERAL LITERATURE.
VOL. n.
GLASGOW:
WILLIAM HAMILTON, 33 BATH STEEET,
J. MEKZIES AND OLIVER& CO., & BOTD, EDINBURGH J. HEYWOOD,
; MANCHESTER;
AND SmPKIN, MARSHALL, & CO., LONDON.INDEX.
ANTHEMS.
PiOB
How dear are thy counsels unto me, . Neukomm, 327
I will sing unto the Lord, J. Key,• . 192
In God's word will I rejoice,^ , 290
My voice shalt thou hear in the Neukomm,Morning, . . 246
CHORUSES.
And the Glory of the Lord, . Handel, 266
And he shall Purify, • , 333
For unto us a Child is born. , Handel, 300
Hallelujah, .... , . 168 Amen, , Handel, 212
thou that Tellest,O ^ , 149
The Heavens are telling. , Haydn, 79
Worthy is the Lamb, . Handel, 37
MOTETT.
what beauty Lord appears. . Mozart, 109
ROUNDS.
Beauteous Eyes Discover, voices.3 317
Dumb Peal, Dr. Cooke,.... i 333
Haste thee, O Lord, (Sacred) Thomas Ford,3 141
Still is the Night Breeze, — Harrington,. 3 Dr. 281
CANON.
Non Nobis Domine, . WiUiam Bird, 19
MADRIGAL.
Fair, Sweet, Cruel, i voices. Thomas Ford, 276
GLEES.
Abelard, . , (Sacred) 4 poices. Dr. Callcott, 124
.
Alice Brand, Dr. 226.... 3
Amidst the Myrtles as I Jonathan Battishill,walk. 6 90
—At setting Day, 4 Joseph Corfe, 286
Birks of Inverraay, — 3184
Breathe Soft ye Winds, 3 __ William Paxton, 98
Comely Swain, .... John Playford, 523
Come Fairest Nymph, 3 voices, and Chorus Earl of Mornington, 333i
Desolate is the Dwelling of Morna, Dr. Callcott,3 67
Discord dire Sister, Samuel Webbe, 218, , , 4
Forgive blest Shade, Callcott, 2423 Dr.
Glorious Apollo, Samuel Webbe,3 6
Great Apollo,.... 4 73
Gypsies, Keeve, 3 William 181
Here's a Health to all Good Lasses, 1223 ...
Hush to Peace, Arne,3 Dr. 119
Is it Night? Webbe, 3 Samuel 269
0'Lass Patie's Mill, Joseph Corfe,4 146
Lady as the Lily Fair, P. King,3 M. 201
Mighty Conqueror, Samuel Webbe,4 29
One day I heard Mary say, — Joseph Corfe,4 188
Roslin Castle,.... 4 20
Sacred Peace, Celestial Treasure, Stephen Storace, .4 309
Sweet Tyranness, Henry Pureell,, . 3 9
The fairest Month, J. Danbv3 279
Thou soft flowing Avon, —3 George TurnbuU, 48INDEX.
It
PAOk
157Samuel Webbe,3 voices,Girls,To me the Merry 21Q— Callcott,3 Dr. ,now on Land,To all you Ladies 100— Corfe,4 JosephTwcedside, 61— Corfe,JosephLaddie, iYellow Haired
DUETS.
101
Mozart,with Molnnclioly,Away 183Harrington,Dr.and Clora, . •Damon 237
Dr.blush the roay Morning,Sweet doth 11
Webbe,8.Ilange,Together we
CATCHES.
263Purcell,voices, H.3pr'ythee, John,Fye, nay 224— Aldrich,Dr.Bells, 3the bonnie High ChurchHark ! 233— Baildon,3Master Speaker, 6— Arne,Dr.3the merry poal go on,O lot 133Purcell,— H.4your hands.O hold —H.3Stone,Under this CIPurcell,— H.3When V and I,
SONGS.
1;.
air.ScottishMan's a Man for a' that,A 3S"The siller crown,"Air,
shall walk in silk attire,And ye 313William Leeves,Kev.Gray,Auld Robin 17T
Haydn,the Vale, . •Contented in 97Florio,C. H.Sea,Far, far, at 32SKelly,Michael
all turn yellow,Green leaves 281Turnbull,JohnPasses,Guard ye the 25
air, . •Scottishawa,Hero awa, there 61
•English air,of bashful fifteenHere's to the Maiden 811Ogie,"Air, " Katharine
Highland Mary, 21
Arne,Dr.and fears.Infancy our hopesIn 188
"Wood,my Cottage near theIn 240
John Turnbull, .
Lee,Jeanie 66
M'Leod,P.heart,came to the door ofmyLove 273
Scottish air,
Logan Water, 92
Turnbull,Johnour Ocean Home, .Love and 4
•air, •Scottish
.Mary Bawn, . 16
air,Scottish
. . •My Nannie, O, 63
•English air, .
Pitcher,My Friend and 136Kidd,W. J. P.My Gentle Bride, 209iiv,""The LamAir,
Boy Tammy,My 221
air,Irishdearie O,only Jo andMy 261
air, . .Scottish
Lassie, yet.love she's but aMy 320TurnlniU,JohnLand,blessing on thee.Oh 1 105" the^ryr,"Comin' thro'Air,
lo'e ye,ask me gin IO dinna S3crown,"sillerAir. "The
silk,Mary, ye'se be clad in .O 160thee,"" 1 loveAir, O Jean
Hill,on ParnassusO were I 200" lassie,"Collier's bonuieTheAir,bonnie Lesley,O saw ye HI
•Michael Kelly, .
Love no,Oh no, my 77Scottish air,
the Door,Oh I open 265." father,"Fee him,Air,comin',Saw ye Johnnie 121moe,'" dhos croothe naColeonAir.playmg,the Streamlet wasThe beam on 166
• •air, .Scottishof Scotland,The Blue Bell 63English air, •
Pitcher,The Friend and 297
.Geary,T. A.the board,glasses sparkle onThe 289" side,"LocherrochAir,
The Lass o' Gowrie, 162
Paxton, .StephenSaffron drest,morn returns inThe 201
Shield,Williamher cot.flow'd roundStreamlet thatThe 236
•English air,
I love,little Girl thatThe sweet 46
Hook,my cot.dove coos roundThe turtle 265" him, father," .Air, Fee
me ever, Jamie,Thou hast left 215" lassie,"bonnie brucketAir, The
thou fair Eliza, .Turn again
_ Ewe-bughts," ."TheAir,Marion?ewe-bughts,Will ye go to the
Arne,Dr.
Where the Bee sucks.
MELODIES.OR SCARCEOLD
Aldridge's Dance,
Gaelic air,dheireadh do Thearlach,An Sealladh mo
French air.
Bona Fils, Lo,
Air,West Indian
• •Caliinlie, .
Irish air,
.Caiolan's Farewell to Music,
French air,
Charmante Gabriclle, .
Scottish air,
D.iueo to yoni- Daddie,
English air,
.Dulce Domnm, . .^
INDEX.
Jacobite air, .Fareweel my Dame and Bairniei tw», , . 45
Irish air,Goby, O, The . . , 78
Gaelic air, . 190Goodwife admit the Wanderer, , .
Fife boat song, * 103Hey ca' thro', ,
the Weazle, The Irish air, , , 108Howlet and ,
of The English air, . 63Ladies London, • ,
Lament for a Friend, 94,
Willie, Scottish air, 263Lowland
Minuet, 211Martini's
bonnie Laddie's lang o* growin Scottish air, , . 36My ,
Lady's gown has gairs upon't, air, . 108My .
My Spirits are mounting, English air, . 141. ,
Negro Melody, W est Indian air, . . 210
"Nis rinneadh ar Taghadli, Gaelic Jorram," rowing 210or air,
Stick, Irish air, 18Oak The ,
Oh Love how just and how severe, English air, . . , 263
Old Nick in Love, Scottish ballad air, 299.
Old Woman clothed in gray, An Old ballad air. 299
Phiurag nan Gaol, North Highland air, 93.
Sattling Roaring Willie, Scottish air, 101
Porst, Gaelic air, 45Kory Ball's . . . ,
Seule dans un Bois, French TaudevUIo, 67
Strathavich, • Gaelic air, 27S
, .
an dubh, Gaelic air,Th^inig giUe ... 17,
LITERATUKE.
Abel, Charles Frederick • 186 Contrapuntist Society, . . 223.
Abell, John 164 Correlli, .... 118. , .
Acrostic, .... 234 Counter Alto, The 19
Address to our Readers, . I Tenor, Should it be sung by male or fe-. .
Adopted Child, The 35 male voices ? . . . 287
All—all is Music, by William Miller, 326 Dancing in Russia, . . 89
, .
AUegri, Gregorio 103 Danube, Convents on the banks of tha 140
Anacreontic to a Grasshopper, 275 Davaux, Jean Baptiat . . . 86
;
Ancient Concerts, London, 226 Death of Herr Frederick Kind, 199
Anecdote of Braham, 187 De Begnis, Ronzi 208. , ,
i Incledon, 239 Der Freischutz and Weber's Music, 198
Anecdotes in the Life of a Musician^ 180 Despairing Lover, Song to a 148,
Animals, Effect of Music on 2 Dezede, .... 279
Apollo, a Sonnet, 269 Different styles of Musical Composition, . 65....
Apollonicon, The 78 Donizetti, 262. , •
Arne, Dr. Thomas Augustine, • 148 Dulcimer, The 241
Auber's Music, 161 Effect of Music on Animals, 2. . . .
Bagpipe, The 69 Effects of Music, .... 238
Baif, John Anthony 77 Encouragement of Genius, from an M.S. story 298. .
Balbatre, Claude , 344 English Sailors and their Songs, . 186• • . ,
Bards Ireland, 96 Esquimaux Concert, 56of . • • .
Bass and Double Bass, 62 Evening Wind, To the 238.
Beautiful Incident the life 276 Expression, 141in ofMalibran, , ....
Beethoven's Battle Symphony, 29 Extensive Order, 236,
"Berlin, Theatres and Music in 207 Extract from Fenton's tragedy of Mariamne, 19
Best test Genius, Festivals and the Opera in Sweden. 28of 99
Strasburg, 281 Fine Arts, Influence of the study of the 136Bewitched Painters (The), a Tale of
Fiorello's Fiddle Stick, 274Birds in Summer, 99
223 Fischer the Oboe player, 181Birth-day of Robert Burns, The . . .
Blossoms, 48 Flower of the West, The 278....
Girls gathering 132 Fodor, Madame Mainville . . 169Blind Flowers, . .
and Tallyerand, 239 French Opera, Training for the . 66Boildeau .
Fugue Translated, A 207Braham, Anecdote of , . , 187
George the First operatic manager, 316Braham'a re-appearance, . . 35 an
Fiddle, The 60 Giardini, Felici . . 209Broken .
of Sticks, The Giordani, 207Bundle 96 ....
326 Glee Club, The ... 6Canadian Boat Song, , •
225 Gluck in dishabille. 163Canzonet, , • • •
345 Grand Oratorio in Glasgow Handel's Messiah, 322Carillons at Antwerp, ...
of Dermid, The 196Catalani, Madame . . . 299 Grave . . .
Hymn, 246 Guerdon of Life, The . 72Cathedral
The 124 Guzikow, M. .... 222Charms of Music, .
celebrated Violin players, 346 Gypsies, The 28Characteristics of
283 Handel's Monument and CommemorationsChatterton, Sonnets to
143 Westminster Abbey, 268Child and the dew drop, . .
Harmonious Sisters, The 816Chinese Musical Love Feasts, , 78
94 Harpsichord, The 77Church Music, On . . .
. 49 Harrington, Dr. 6Organ, A . . .
Healing the daughter of Jairus, 167Cimarosa, Mozart and . • . 99
288 Heaven and Earth, a sonnet, . 232Close of the Year 1843,
Home, • . . .Convents on the Banks of the Danube, The 140 « ,3VI INDEX
PAGE PAOE
Horace Imitated, 345 Ode to Scottish Music,
. . . .136
"How Rossini's opera of Otello" was composed. 105 Old and Scarce Melodies, Introductory article to 17
Imperial Court Singers of Russia, 267 , Notes on, 18, 36, 46, 68, 94,
Imitation, .... 61 102, 108, 131, 141, 167, 190 210, 263, 278, 299
Inauguration Leige,at 118 On Modern Songs, 166
Salzburg, 132 On Teaching Singing,.... lis
Inclcdon, Anecdote of Operatic and Sacred Music in Italy,239 244
InHuonce of the study of the Fine Arts, Organ at Freidburg,135 Switzerland, The 103
Instruments, Music for 162 at Haarlem, Description of the grand 234
Inventor of the Modern Scale, Organs,13 ..... 133
Italian Opera, Music at the Origin of Music,244 140
Italy, Operatic and Sacred Music in Paisiollo, Jean244 .... 233
Itinerant Musician, Sonnet an Past, The,to 78 by Wordsworth, 327
is for the People PhilharmonicIt letters must be cultivated, 154 Concert (Description of a) by Von
Kemble, Miss Adelaide Reaumer,
. . 232 206
Kind, Herr Frederick, Pianist,Death of 199 A new... 235,
Frost, PitchingKing ..... 118 the Voice, . . 169
.
Song, The Playford,Lark's .... 324 John .... 62
La Scala, Milan, 278 Popular Songs of the Tyrol, The . 71
Last of the Pipers, The . . 34 Power of Music, 317
Life, by Barry Cornwall, . . , 208 Purcell, Henry 197
Lily of the Vale, The 268 Queen Christina and LuUy'a Music, . 191
Lines written at Clifton Cottage, 234 Reputation in which Music was held by the
Liszt, Franz 206 Ancients,..... .... 224
Literary Novelty, 166 Rival's.... Wreath, The 26
Love of the Country, • . 132 Rossini,, ..... 156
"M'Nally, Leonard, 231 Rossini's. . . . Otello," how it was composed, 106
Mainzer, , in Scotland, Russia,M. . , 263 Imperial Court Singers of 267
lifeMalibran, Incident in the of 276 Sabbath. The 290
Martini, Jean Paul Gilles . . 211 Schneider, Franz .... 204
Maternal Distress over a Dying Child, 323 Scottish Music, Ode to 136, ...
Melody, ..... 212 Serenade, The 108
Melody of Song, The .... 266 Should counter-tenor be sung by FemaleMale or
Merry Heart, The 96 voices, 287
Millico, Guiseppe 309 Singing Mouse, 217 The
Miseries of Musical Life, . Sivori, Camillo 165. . 99 ....
Modern Pianist, . 121 Skylark, The 242A . . .
inventor of the Soldier's 187 Scale, The 13 Return, The
of public diver- Sonnet,Modern Songs sung at places by Miss Mitford, . 300
sion. On .... 165 , Heaven and Earth, 232
Monument to Tannahill, . . . 163 , The Mystery of Night, 232
Moral Influence of Music, • to an Itinerant Musician, 78
Mozart and Cimarosa, . . to Music, .... 13,
1-24Musical Flourishing, . . to Sleep, 90. . . Joke, 90 Sonnets to Chatterton, 283....
Musical Obituary, 279 Stanzas written by a Young Lady, 317.
and Dancing among the Simalees of 326 Strolling The 237Music Aden, Actor,
Different styles 163Musical Composition, of 65 Tannahill, Monument to .
life of 116Musician, Anecdotes in the a . 180 Teaching Singing, On . . .
207Music, 143 Theatres and Music in Berlin,
148at the Italian Opera, 244 To a Despairing Lover, . . .
238
. for Instruments, 162 To the Evening Wind,
. in Germany, 314 the Grasshopper, Anacreontic 276To
. in Russia, 266 Training for the French Opera, . 56,
. Ode 180 Popular Songs of the 71, to . . Tyrol,
- Norwich Festival, 61of Italy, 97 Utilitarian Reflections on the 63,
, Origin of 140 .168Vaughan, Mr. . . .
• 317 . 100, Power of Vernon. Mr. . . .
should be heard only, 72 Violoncello, Price ofa . . . 269
Sonnet to . . 18 Viotti, Giovanni Battista . . 9
,
My Library, by Southey, 79 Von Reaumer's description of a Philharmonic
ConMysterious Music, . . 102 cert, . . . .206.
New Pianist, 236 Wakened Harp, The ... 6
Norwich Musical Festival, 63,61 Wandering Willie, . . . ,22
.
Notot, 166 Music—Der Freischutz, . 198Joseph . Weber's
Nun, Handel's Commemorations in 268The 161 Westminster Abbey,
O'Carolan, 63 the Youthful Poet Love, . 166Turlough . What does
Ode to Music, . , 180 Without a Rival, .... 177THE
BRITISH MINSTREL;
MUSICAL AND LITERARY MISCELLANY.
READERS. a contmuanceADDRESS TO OUR of our duties. We entered upon the
task of providing store ofa good and cheap music
TUE MINSTREL SPEAKETH TO THE POBLIC AND
for the people, with the heartiest love for the
unBACKWARD.LOOKETH dertaking, and that sustained us when everything
short period of seeming inaction, in the socialDuring that horizon looked lowering, gloomy, and
which comes hetween the close of our first and the ominous. The state of commerce and trade, the
beginning of our second volume, we cannot refrain excitement produced in the public mind by various
Public, in fewfrom addressing our patrons, the a political and other agitations, was such that we
could notshort sentences. expect to become the object of especial
When n-e commenced our task we had much attention, or to gain all at once that amount of
cirhope, and many fears ; but this uncertainty was to culationwhich better times might haveprocured for
character oura great extent inseparable from the of ourMiscellany. Still, in the midst of all these cir.
For although cheap selections of cumstances,publication. which no doubt rendered hazardousthe
music have at different periods been published, and success of our candidate for favourand acceptance,
many of them excellent, still a work like ours, we have nevertheless been cheered on by a steadily
would vocal music of allwhich, while it bring increasingdemand. We are not disposed to be
egothe hands of the amateur, promised to tistical or boastful,kinds into but we may say with truth, that
more, and that was, to unite with the the characterdo much ofour work has brought it healthfully
musical selections literary notices ofcomposers and to its present age; we have used none of the usual
of performers and their various orderstheir works, means to bolster itup,but have left itsuntrumpeted
remained desideratum to be supplied.of talent, a merits to be its sole recommendation. We have
It was this union of Music and Literature in the neither sought nor bought the voice of the
periodisame sheet, and atan exceedinglylow rate ofcharge, cal or newspaper press in our favour; yet we have
which constituted the novelty of our publication. been noticed by several publications, in words of
While we knew that such work was wanted,a and honourable, because unsolicited, commendation.
hoped that it wouldmeet with aready sale,we feared The Minstrel begs that all those who have
conlest the public should pronounce it to be either too descended to mention approveand of our humble
literary. But the event hasmusical or too proven sheet, may accept this public acknowledgment of
our idea good one,and our fear unfounded, fora the our gratitude.
public has silently answered with the kindest, and
THE MINSTREL ADDRESSETH CORRESPONDENTSto us most grateful, approval, by supporting us
AND CONTKIBDTORS.patronage, respectedliberally. For your public,
Minstrel offers kind thanks, and promises con- While we speak of ourselves we are happy tothe
tinued and unwearied industry. acknowledge that we have been well backed.
Every week new support has been vouchsafed to us
MINSTREL SPEAKETH OF HIMSELF, ANDTHE by numerous able and talented correspondents,
FINDETH REASONS OF SELF-GRATDLATION. who entered heart and hand with us into the
busiHaving achieved the first part of our labour, and ness of providing matter, each more anxious than
ourselves certain extent established in his fellow to aid us. And we venture to expressfeeling to a a
the good graces of the Public, we cast aside every hope that these our friends will not relax in their
feeliL^ W.4^S>oi"icuce, and gather ouiselres up for research, nor witlidraw their support from us, but
Ko. 41.— —
2 THE BRITISH MINSTREL; AND
continue like good allies until, with their help, our short from time to time, raising his head up now
and wereMiscellany " then, as if he feeding on grass ; the doghas become a Paradise of Dainty
Decontinued for above hour,an seated on his hind
lights," where they may luxuriate, pleased with
legs, looking steadfastly at the player ; the ass did
themselves, and happy because they have assisted not discover theleast indication ofhis being touched,
us ta%dd one mite to eatiug his thistlesthe sum of human happi- peaceably the hind lilted up her;
large wide ear, seemed theand very attentive ; cowsness.
stopped a little, and after gazing at us went
foiward; some little birds that were in the aviary,andTHE MINSTREL SPEAKETH OF THE FUTURE, AND
others on trees and bushes, almost tore their little
TO ALL WHOM IT MAY CONCERN.
throats with singing; but the cock who minded
only his hens, and the hens who were solely em-And now, when we turn our attention to the
fuployed in scraping a neighbouring dunghill, did not
ture, we are not willing to alarm any one by a mass show in any manner that the trumpmarine afforded
of unmeaning promises. The field which we them pleasure."
That dogs have an ear for music cannot beoccupy is inexhaustible, and we are untiring.
doubted. Steibelt had one which evidently knewWe intend to add to our stock ofmusic always such,
one piece of music from the other ; and a modern
and only such, as the concurring voices of "ap- composer had a pug dog that frisked merrily about
proved good masters" have raised to the most theroom, when a lively piece was played, but when
slowa melody was performed, particularly Dussek'shonourable place in musical science. Along with
Opera, he would seat15, himselfdown by thepiano
our usual amount of sacred chorusses, glees, duets,
and prick up his ear with intense attention, until
songs, catches, &c., we intend to continue our the player came to the forty-eighth bar, but as the
literary discord wasarticles, and, besides, we struck he would yell most piteously,contemplate
imand with drooping tail seek refuge from the un-mediately to give insertion to the first of a series of
pleasant sound uader the chairs or tables.
airs, (without words or accompaniments,) selected
Eastcoat relates that a hare left her retreat to
from the myriads which have been allowed to go listen to some choristers, who were singing on the
banks of theout of print, or Mersey, retiring when they ceasedwhich have never been known
exsingiug, and reappearing as recommencedthey theircept by tradition or in manu.^cript. Of these latter
strains. Bousset asserts that an olficer confined
there are still an enormous number lying hid, and in the Bastile, drew forth mice and spiders to
bewhich ought to be brought from guile histhe obscurity in solitude,with his flute; and a mountebank
in Paris, had taught rats to dance on ropethe inwhich tiiey have been allowed to remain. To all
perfect time; Chateaubriand states as a positivewho are in possession of such collections of old
fact, that he has seen the rattlesnake, in Upper
music, as gonehave out of print, or which have Canada, appeased by musiciana ; and the concert
never been published, we given in Paris to two elephants, in the Jardinwould say, that a severe des
Plantes, leaves no doubt in regard to the effect otinjury is continually being perpetrated upon the
harmony on the brute creation. Every instrument
fame and genius of their composers, so long as they seemed to operate distinctly as the several modes
are not allowed to pass into the world which they of pieces were slow or lively, until the excitement
were of these intelligent creatures had been carriedcomposed to gratify and delight. And any to
such an extent that furtherexperimentsweredeemednotice of such collections, or of the authors or
coldangerous. MilUngen.
lectors of old and scarce music, which can be
forwarded to us will be acknowledged, and published
"Buffon mentions, in his Natural History," the
if found proper. We may remark that it is not our
sensibility the elephant evinces for music.
Desirintention, while introducing these airs into our ing,to prove the truth of this assertion, a party of
pages, to diminish on that account our usual "quan- celebrated artistes," among whom were Messrs.
Duvernoytity of other and Kreutzer, repaired to the Menageriemusic, each part will contain the same
at the Jardin du Roi, where they gave a regularamount as heretofore, and such of these airs as we
musical treat to an elephant, the result of which
may insert will be given in addition. With these convinced them of the justness of the
greatnaturalfew words the Minstrel begs to retire "forthepresent, ist's observation. The little simple melody, Oma
tendre Musette," played on the violin by Kreutzer,as he must resume his working garb and prepare
seemed to afford much satisfaction to their attentive
for the business ofVolume Second.
auditor; but to the brilliant variations thatfollowed,
in which innumerable dilficulties were surmounted
with the greatest facility by the highly talented
perEFFECT former, the quadruped listened withOF MUSIC ON ANIMALS. the utmost
nonchalance. The merit of a bravura air, although
Curious anecdotes are related of the effects of sung in the first style of excellence, and a universal
music upon animals. Thorville "has given the fol- favourite Dilettanti,"amongst the was not better
lowing amusing account of his experiments: appreciated than had been the variations to the
for" While a man was playing on a trumpmarine, I mer air. One of Boccherini's celebrated quatuors,
made my observations on a cat, a dog, a horse, an to the dismay of all amateurs be it known, shared
ats, a bind, some cows, small birds, and a cock and the same, or even worse fatea ; for the elephant
heD«. who were in a yard under the window. The could not refrain from showing direct indicationsof
was not inthe least affected ; the horse stopped annoyance, and constantly gaped during the per-: — .
MUSICAL AND LITERARY MISCELLANY.
formance ofthe celebrated composition. Butwhen small pipe, which he instantly began to play on, in
took up his horn to try the effect of his a style which, [ confess, seemed to anythingDuvemoy me 6«f
powers on the animal—when he played likely to charm. Its noise was that of tlie smallestfascinating
few bars of" Chartnante Gabrielle," the creature, and shrillest sized fife, only differing from that in-a
attention, mored nearer and nearer tu the strument in being upon the in theall played at end,
and was soon so wholly engrossed in the same manner as a flageolet. The tune he per-player,
"concordofsweetsounds,"that iteven condescended formed was monotonous and disagreeable.
to take apartin the performance, correctly marking For about ten minutes the piping of our juggler,
time by agitating its ponderous trunk from riglit which he accompaniedwith strange contortions, hadthe
left, balancing toand fro its unwieldy body—nay, no effect, and we were once or twice on the pointto
even in producing from time to time some tones in of turning away, when he entreated us by his looks
thatperfect unison with the instrument. When the to remain, and watch the result. At the end of
had ceased, it knelt down, as if to time could by the fixedness of the man's eye,music render we see,
homage to the performance of Monsieur Duvernoy, that he saw his victim approaching; in another
caressed him with its trunk, and, in short, en- instant thehead of a large cobra capellapeered from
charmer,deavoured, after its own manner, to express the the hole. We naturally shrank back. The
pleasure had experienced the however, dismayed asit from unrivalled seemed rather delighted than
talent of the performer. Hence it results that the the monster emerged from its earthy home. Pre.
elephant is decidedly a lover ofmusic ; but that it sently its whole length appeared. A more
magnifiprefers the soft simple strains ofmelody to the more cent snake I had neverseen ; and I mustadmit that
combinations harmony, it seemed slowlyelaborate of cannot be fascinated bythe juggler,whonow
doubted. His is a weighty suffrage; nor can one retreated a few paces, to show his power. As he
accuse such an amateur ofhaving no ear. moved, the serpent moved ; when he stopped, the
serpent didthe same. The eye of the snakeseemed
magnetically riveted on that of the charmer,
depending on, and watching his every movement.Professor Luigi Metoxa, of Rome, has published
singular experiments The man assuredme afterwards that,had heceasedan account of some made by
wouldhim on snakes, in order to ascertainthe truth of the to play for a single instant the cobra capella
have sprang him, and destroyed him. I cer-assertion of the ancients respecting those creatures on
tainly never saw anything more curious ; but Ibeing affected by musical sounds. In the month
ofJuly, he put into large box number of must confess that the very close proximity of this1822, a a
different kinds of snakes, all vigorous and lively. death-dealing monsterwas byno means pleasing to
" feelings.An organ in the same room being then sounded," my
" When the man, followed about five yards' dis-Bays the Professor, the snakes no sooner heard at
the harmonious tones than they became violently tance by the snake, arrived at a smooth spot in the
down,agitated, attached themselves to the sides of the middle of the garden, he suddenly squatted
and play more energeticallybox, and made every effort to escape." The elaphis began to louder, and
coluber esculapii, it was than before. The animal paused for a moment,and the remarked, turned
towards theinstrument. This experiment, seems, then raising itself, stood upright, reared on its tail,it
assumeshas since been several times repeated, and always in the same position as that which it often
previous to making the fatal spring. Imaginingwith the same results. Dr. Busby's Orchestral
this to be the case,a trembling shudder went roundAnecdotes.
that portion of the party who had never before
witnessed a similar exhibition. The old hands, the
The following interesting narrative on the sub- regular His nickname given to Bengalees,)Qui (a
ject of" Snake Charming," by means of music, we stood perfectlyunmoved. They wereaware ofwhat
"from Hours intake Hindostan," a series ofpapers was about to follow. The snake, thus painfully—in Bentley's Miscellany bounding and down,poised, began a sort of up
I confess, when I heard that the snake-charmer keeping its steadily fixed on the musician, al-eye
had arrived in the cantonment I was quite delight- most in time to the tune he was playing.
Euroed. Curious beyond measure to behold aspecimen peans, who have never visited British India, may
of his powers, I repaired early to the Commandant's, doubt but those who have been in thethe fact ;
where I had agreed to breakfast, and afterwards East will bear me out in the truth of the following
became one of the spectators of his attempts to en- assertion. The cobra capella actually danced for
trap, by fascination, some ofthese reptiles. had several its tail,apparentlycharmedwithIt minutes on
long been suspected that Colonel E 's garden the uncouth music the jugglerwas playing. In the
was infested by more than one of these dreaded meantime the native boy stole round, and on a
certherefore repaired his master, suddenly droppedmonsters ; we thither, where we tain signal given by
the juggler awaiting us. The man had the yot on the snake. strong waxedfound kedgeree A
nothing extraordinary in his appearance—nothing cloth was passed under it, drawn up, and tied.
attractive in his eye or manner. He was as com- The fatigued musician got up, salamed to the
comever To what his captive into the house,mon a looking native as I had seen. pany, and earned where
these people belong know not; I rather sus- he had several others similarly imprisoned. Incaste I
pect very low caste. about half an hour the same thing was repeateda
once de- similar effect.When we entered the enclosure,we at with precisely Out ofthe foursnakes
his task, which he did thus said to lurk in the garden, one only escaped hissired him to set about fas.
—He placed himself immediately in front of the cination, and this one failure he ascribed to the
supposed to presence of an evilhole in which one of the serpents was eye amongst our followers.
lurk, time kedyerec pot (an Even in these remote parts the sameplacing at the same a superstition
"earthen jar) near him, and desiring his assistant to respecting the Evil Eye" exists, that tinges the
cover the reptile with it on a certain signal being minds of half the students in the German
Univerkumerband (sash) sities.given. He then took Irom his a! ; ! !
BRITISH MINSTREL; ANDTHE
MART BAWN.
Slow with Expression. Words by Hector Macnei*.
rpzrjt¥^^ ^m:
t=--l^ ^^
:M=:ir- :if=^ F>=*r^R'^Hg-f
Las -sie wi' the gowden hair. Silken snood, and face sae fair. Las- sie wi' the ;eI-low huTi
9^rs
— s-m S^'-i*—
9^ ^r.^^^i g-_g W-—
Think na -to de ceive me ! Las-sie wi' the gowden hair, Flatt'ring smile and face sae fair,
a, EczizE 53B
i g-^ la- _ g^^=^ J^g^P^
-^ N-^-l;;i= ^^^^^^^^
Fare-ye-weellfor ne-Ter mair John-nie will be - lieve ;el o no Ma-ry Bawn,
:^jrp~ir -e-as
iEl^E
:|;^
q=5=:fc=^q-~qS==i5=^
=1s-^:=!5^ lixiijtii:r=PS: £«lS§E^ 3^
mair de-ceiTe meno Ma-ry Bawn, ye'll nae IMa - ry Bawn, Ma - ry Bawn,
:=1: :=!= =p:r^:S£ E£i3ErEE^:|
=fl^= .— 1—"UU
heartGrit and gritter grew her ISmiling, twice ye made me trow.
ae word before we part.Twice, poor fool I I turn'd to woo, Yet
could ne'er deceive ye Ifause maid brak your Love I ye vow,
Johnnie Dow,Johnnie Dow, Johnnie Dow,I've sworn to leave ye O no !Now
Johniiie love could ne'er deceive ye.maid brak O no 1Twice, fause ! ye your vow,
Twice, poor fool I I've learn'd to rue,
parting keek.Johnnie took aCome ye yet to mak me trow ?
her cheekSaw the tears hap o'erThrice ye'll ne'er deceive me I
speak,Pale she stood but couldnaBawn,No, no I Mary Bawn, Mary Bawn, Mary
Mary's cur'd o' smiling.O no ! thrice ye'll ne'er deceive me I
Johnnie took anither keek,
cheekBeauty's rose has left her IMary saw him turn to part.
Pale she stands and canna speakDeep his words sank in her heart
This is nae beguiling.Soon the tears began to start,
Mary Bawn,Mary Bawn, Mary Bawn,Johnnie, will ye leave mo? O no I
! Mary Bawn, lovo has nae beguiling.Soon the tears began to start. No, noMUSICAL AND LITERARY MISCELLANY.
LET THE MERRY PEAL GO ON..
CATCH FOR THREE VOICES.
Dr. Arne.Andante
(^,—»—— =|rp,*H=^:
1.psggg- :p:
O let the mer-ry peal go on, pro-claim how hap py
p:z^L:i±zf^:^=P: ±zM: :^^ ^^3^:t=t ^
ses gay and Lads e - late, the lores and gra - ce*
q=:=l:
-K-\-^:P=a=5a=ii
It: I
Of John and Jane shall be my song, Of John and Jane shall
I :t: I
Jane's with John, pro - claim, pro -claim. pro
:fs==:
:tf=P=P=?c
:P=i:
5=t4=^P
round them wait. The loves, The loTSB,
::=!: =^=^
=1- -p— qs;=fs:=^
:g=*:^^P
be my song. Of Jane and John, Of Jane and John,
the dayOf Jane and John, Of John and Jane
whole
P^=^inrti:
- Jane's with John.how hap py
=1^
:i=p:
:3izizEEizl^zzfe:: SB^
-jj, |jr
- and grac - es round them waitlate, the loves and grac es round them wait, the loves
=ts=q5;==i±: :^
1t:=!S;^r^
:iz=P=i==3t
long, John the wholeOf John and Jane shall be my song, Of Jane and day long— — ! ;;
THE BRITISH MINSTRELj AND
DR. HARRINGTON. THE WAKENED HARP.
WRITTEN ON BEING IMFOBMED THAT THE IBISIIDr. Henry Harrington, a physician,and scientific
HARP IS HO LONGER USED.amateur of music, was bom at Kelston, in
Somersetshire, Erin thyin 1727. At Oxford, where he completed ! Harp is in silence reposing,
his education, Its strings are all broken,his talents for music and poetry soon its music unknown;
Andattracted the attention the minstrel, no longer its magic disclosing.of the University.^ At the
Hasage of twenty-one, he laid it aside and forgotten its tone.commenced his medical
studies with an ardour and success that laid the
Is it that, Erin, the harp fondly cherished.
foundation of his future opulence and celebrity.
Has ceased to be loved by the sons of thy pride ?
After having for some time exercised his profession
Is it that valour and ardour have perished.
at Wells, he established himself at Bath, in which And the rude hand of bondage has cast it aside ?
city he instituted, under the denomination of" The
Harmonic Society," union Ah, no! in the heart of thy childrena of the lovers and pa- are waking
The notestrons of music, amongst whom were the Prince of which those chords are refusing to tell
Wales Andthe spirits tyrannyand the Duke of York. Dr Harrington, longhasbeen breaking
besides his theoretical acquisitions Still treasure the strains of itsin music, was a gladness full well.
good performer on several instruments, but par- Lone should the harp be while Erin is sitting
ticularly excelled as a flutist. While cultivating
The prey of the conqueror, robbed of her might
mechanics or the sublime mathematics, to which
For music like thine is the happy befitting
he was strongly attached, he pursued the study of The sorrows of Erin have put thee from sight.
polite literature, and the principles ofthe harmonic
art and, about When the; 1768, published a collection of let- conflict is o'er,and the green Isle rejoices
ters on various subjects, and two odes, Thathersonsone on the andherdaughtersarehappyand free.
subject of harmony, and the other on that of dis- Midst thejoy of their hearts, and the songs of their
cord, which voices.were most flatteringly received. If his
skill as physician obtained the The harp nowa confidence of the so silent awakened shall be
Duke of ifork, and many persons of the highest
distinction, The Glee Club.his benevolence and constant wish to —To promote the practice of
glee writing, LoYdpromote the cause of (in Sandwich, in 1762, alongst withhumanity, favour of which
several other noble amateurs, established a societyhe instituted a society at Bath,) ensured him the
for awarding prizes for the best compositions of thislove and esteem of every tender and feeling heart.
species, contributed by English composers. GreatHis musical compositions chiefly consisted of
emulation was e.xcited by this attempt to stimulate
catches, glees, and othersocialand convivial pieces, native talent; and Dr. 'William Hajes, Dr Arne,
all of which bore the marks of real and original Baildon, Dr. Cooke, and AVebbe, were competitors
talents, and, in their day, excitedmuch admiration. for the rewards bestowed by the society. Stafford
This excellent ingeniousamd man died at Bath, in Smith, Atterbury, Lord Mornington, the Paxtons,
1816. By a clause in his will, he left and Danbyfunds for an followed ; and, in the two or three years
annual which succeededsermon, recommendatory of the exercise of the establishment of this society,
the art of glee writinghumanity towards became very extensivelyanimals.
diffused, and greatly improved. In Dr1785, CalcottOur following compositionsreaders will find the
first sent in his contributions to the society , and, in
of Dr Harrington in the first volume ofour Minstrel,
1787, the regular Glee Club was established, which
"O thou whose Notes," glee, page 17*, "Poor has been continued to the present day. Webbe's
"Thomas Day," catch, page 34, and Give me the "Glorious Apollo" was written for this club, .and is
sweet delights page 265.of Love," Ciitch, always the opening glee. Htstury Music.of
GLORIOUS APOLLO,
'5LEE FOR THREE VOICES.
Soli. S. Webbe.
.y- .-y . y ... I^=^: ^:^:
:t^=pt t=tz :P=P:^=q: X± :t=|i
- -Glo-rioua A pol lo from on high be - held us wand'ring to find a
tem-pla
:j=d:p=p: :^^:d=i: :^r?=*
-r
GIo rious A - pol - lo firom on high be - held us wand'ring to find a tem-ple
:tj=r=!—t:
^-——: r r
MUSICAL AND LITEBARY MTSCELLANY.
Jtepeatln Chos. Soli,
CpE =PC=5: :^=tt: ^^-••ci~^l~o
utii
P
for bis praise. Sent Fo - - h;m-nia hi - ther to shield as, While we1; our-selves such a
fr
-^>— :=!==l=i|: rijrnqzn:
Ti-ri- zi:jt-^- -Ji-^ xj-i-:^i^3«iW
for his praise. Sent Po • ly - hym-nia hi - ther to shield us, While we our-selves such a
:=r: ntrrlqSl= qtr^-eo rt ztxt i^^mtz^i:P=ftTJ-H- 4= 3 I
-t—
Soli,^
#^ rfzA
:pL=f ^--2S- =5^-e--^-^ -r=!^5=t:: d:=j==l:±1 i :t:
struc-ture might raise. Thus then com • bin - ing, hands and hearts Join ing, Sing we in
33: ISO^:-ri—il- ^.rf-asEP
struc-ture might raise. Thus then com - bin - ing, hands and hearts -join ing, Sing we in
Mr.gzr^=5:31 t=?^r.-e- :P=P:
=|: =1:#=i= -XX1321 —
2»rf time in Chorus.
'S'o^1st |~2d'| ChoS'tr II /r
-Oi-^
'tT~^~|=:^ gq...o-s;-y-:«=l=feE^ -f=~
:l=:t
har-mo - ny - pol- lo's praise, praise, - - -A A pol lo's praise, A pol - lo's praise,
AA-
h-& -e- •e—-^-i:p=P=t 3:5- ::p:^:^
i-1^-1 .• < 1 r-T
har mo - ny A • pol - lo's praise, praise, A - pol - lo's - -praise, A pol lo's praise, A
Z3IWl ipc=pt » — 1 ©—W^-w— »-\ l=It ^— -ei- -©-F^
2i:
Soli.
efi~P-*z=9i 3:^=^ ^-^S :P=r
Ii
polio's praise, A - pol-lo'a praise. Here ev'-ry gen'rous sen-ti-ment - waking,a Mu- sic
inm:
?t=e: :3q:
:?£=?=*:s :=!: I--I—
polio's praise, A - pol-lo's praise. Here ev'-ry gen'rous sen-ti-ment a - waking, Mu- sic
in3:?: ]-rrff:31^
Si—
ANDTHE BRITISH MINSTREL;
Soli.Repeat in
Clws.
e,—^^ t^=f:
:tf=ip:=l: n^-4i=p:3: t=tzM3::j±^=l=t :t=t
:t ±rl^' I
spiring u-ni-tyand joy. Each so-cial plea-sure giving and par-taking. Glee and good
::t:^=l: 3=:j=l=:!=:t=jrq:g-_-==|i^:d=|rj-<a- :pxB=p=H=^;:=i;:pc ztaz*^
spir-ing u - ni- ty and joy Each so-cial plea-sure giving and par-tak-ing. Glee and good
=]: ^=^-^ :p=^
±1 :«t jdzzi :i=i:izi: t- ?=i-1—
#ft-
-e3^=3:5=qcr 3:?=ii
:t: :=1=P=P:
2i=ri: iii dn
•-mour our hours em - ploy. Thus then com - bin ing, hands and hearts join- ing,ha
Pl==!:
1:^3: 3rp=i:^|:P= ^=5^:P=:zi=irs^=i
t=f=t=t
•hours em • ploy. Thus then com - bin ing, hands and hearts join-hu mour our ing,
± ^ f-^ai
tz-4-ri—4- 3==p:^
irr ^
Repeat in Chos.
Soli.1st 2d
I 1
-q-
^JfLLfL^td^-Q-
'¥=¥=f:p=:p:
:t=:fc ;t=ti=±i¥
- - - - Our u - ni - ty andLong may con tin ue our u ni ty and joy, joy.
ft—fzzwz:P^=^ ^:r=w:
-Jr=M: mP
- - • - Our n - ni - ty andLong may con tin ue our u ni ty and joy, joy
a •-—— Fsi^ef W=r^- -<s>—P- g
Chos.
'^^ -f^. :*^=P5
=ft vrurr^ I
our u-ni-ty and joy, our u - ni - ty and .Toy.joy, our u-ni-tyand joy,
-ff'
-©pzpc*^ :w=3fz t=:^:P=P a=t::-*=dz=t: 1- i: Iizz^trt:
and joy, our u - ni - ty and joy.joy, our u-ni-ty and joy, our u-ni-ty
rprpfcai. -e-p-:=tr P^^^^Sl^— Q . — b
MISCELLANY.MUSICAL AND LITERARY
SWEET TYRANNESS.
FOR THREE VOICES.GLEE
Purcell.H.Andante.
33: :=!==lt
MZ1-^^- :p^:irzi: I I F— I F-1 ^:P= ——— —— —tetE^ :t=4c; :^-^
-t---Vti ma-- - sign my heart, for e -vermore 'tis thine ; Those gicSweet Ty ran ness ! I now re
~t- ^^=W-
^.W.—W^-s^-'^- -^rz^i :P=P:^P=f ZStJIJil^ ;-ut=»d3=&r^=»:
- - heart, for e -vermore 'tis thine; Those ma- gicSweet Ty -ran ness! I now re sign my
z^—^zzjt::prlp±:p:Z!s-ft-.^iz^.:BiEiE^EfEEEEi^ t=t=t=i:=tr:t :Sx:i:^z:ir^ :p=l^t^
:4=3s;: ^==^
3s;==!!s::ffxv==.f::
-Jttz.^— :i=3:
:3=S:It:d:
P=
-t-- self, to sla - ver - What need I care thysweets force nie, my arts, my y.
:^^- ZW=W=.ZWi:z^:2!s:;:i=:t
j- i- :ei-f:•^:P==f: —— -:s=:i=: w :tz=^=^:z^=3 :t=i= gT——-|
!;rff
- sla - - "What need I care thysweets force me, my arts, my self, to ver y.
-®.-^ :=l=zr^rN:=q:-—r—r-_wrzw.~ :zi:
:lp==:£zz:?:
i±n:S==^=r^::P±=p:
^-
z^-±
-I—
==1=P=^= 3d:^^EgSEfE^pgEfeE^ 3|i= :ti=t==^=t=:
-i- t
- - ing charms would con quer kingsbeau - ty flings, Sach flow 'ry smil
:tsz:=l=1 \—^-W- «—a.g gazzizzzdzzljEBE^ ;^zzi: ^zEE
:^=
-|-I- - would con quer kings.beau - ty flings. Such flow 'ry smil ing charms
:q^:
--W^W---W=-W:P=: :pzz!zzzzt: mz:izzzi:
Spiritnel, and speedily obligedGIOVANNI BATTISTA VIOTTI, talents in the Concert
Giornovichi, who was then figuring as a star of theThe first violinist of liis age, and the enlightened
!"" Thewas first pretensions, to pale his ineffectual fireoriginator of the moderu order of violin-playing,
and brilliant asPied Concertos of Giornovichi, agreeableborn in 1755, at Fontaneto,a small village in
his graceful and elegantmont. Possessing the happiest disposition for his they were, and supported by
attractions when brought into ri-art, the progress he made under Pugnani was so playing, lost their
beauty and grandeur of Viotli's com-rapid, that at the age of twenty hewas chosen to fill valry with the
Chapel of positions, aided by the noble and powerful mannerthe situation of first violinist to the Royal
Turin. there, he in which he executed them.After about three years residence
the notice of theproceeded on his travels, already attained His fame very soon drew on himhaving
sent for to Versailles bymaturity of excellence. From Berlin he directed French Court, and he was
Autoniette. new concerto, of his own com-his course towards Paris, where he displayed his Blarie A
No; 42.!
THE BRITISH10 MINSTREL; AND
position, to be performed at a courtly festival, was discover in others anything beyond their exterior,
aflordto a treat worthy of Royalty ; and every one and judge of things otherwise than by the same
suof the privileged was impatient to hear him. At perHcial admeasurement. He, however, yielded on
the appointed hour, a thousand lights illumined two occasions, againthe to the eagerness which was
magniiieent musical saloon of the Queen; the most evinced forbearing him—but on two occasions only;
distinguished symphonists of the Chapel Royal, and of which the one did honour to his heart, the other,
of the theatres, (ordered for the service of their Ma- as it serves to acquaint us more intimately with his
jesties),were seated at the deskswhere the parts ofthe character, may be here related.
music were distributed. The Queen, the Princes, On a fifth story, in a little street in Paris, not far
the ladies of the royal family, and all the persons from the Place de la Revolution, in the year 1790,
belonging to their court, having arrived, the concert lodged a deputy of the Constituent Assembly, an
"trustworthycommenced. intimate and friend of Viotti's. The
The performers, in the midst ofwhom Viotti was conformity of their opinions, the same love of arts
distinguished, received from him their impulse, and and of liberty, anequal admiration of the works and
appeared to be animated with the same spirit. The genius of Rousseau, had formed this connexion be«
with fire the tween two men who weresymphony proceeded all the and all henceforward inseparable.
who conceived and directed it. It was during the excitingexpression of him times of enthusiasm and
expiration of the tutti, the enthusiasm was hope, that the ardent heart of Viotti not re.At the could
at its height; but etiquette forbade applause; the main indifferent to sentiments which afl'ected all
orchestra was silent. In the saloon, it seemed as if great and generous minds. He shared them with
every one present was forewarned by this very his friend. This person solicited him strongly to
silence to breathe more softly, in order to hearmore comply with the desire which some of the first
perwhich he was about to commence. sonages in the kingdom him,perfectly the solo expressed to hear if
strings, trembling under the lofty and brilliant only for once. Viotti last consented, but on oneThe at
bow of Viotti, hadalready sentforth some prelusive condition, namely, that the concert should be given
strains,when suddenly a great noise was heard from in the modest and humble retreat of the fifthfloor!

'the next apartment. Place A Mouseigneur le Comte La fortune passe par tout "We have," said he,
"carry- long enoughd' Artois!' He entered preceded by servants descended to them, but the times are
and accompanied by numerous changed; they must now mount, in order to raiseing flambeaux, a
train of bustling attendants. The folding doors themselves to us." This project was no sooner
were thrown open, and the concert was interrupted. thought of than prepared U)v execution. Viotti and
A moment after, the symphony began again : Si- his friend invited the most celebrated artists of the
thislence ! Viotti is going to play. In the meantime, day to grace novel festival. Garat, whom
nata-the Comte d' Artois cannot remain quietly seated; ture had endowed with a splendid voice, and a
rises walks about the room, addressing his lent of expression still more admirable—Herman,he and
discourse loudly to several ladies. Viotti looks Steibelt, Rode, (the pupil of Viotti.) To Puppowas
round with indignant surprise at the interruption, confided the direction ofthe orchestra; and to
BrSputs his violin under his arm, takes the music from val the office of seconding Viotti. Among the great
female artists of were Davrigny,the stand, and walks oft', leaving the concert, her the day, Madame
with Mandini, Viganoni, Morichelli, lady asMajesty, and his Royal Highness to the reproaches and a
of ail the audience, and leaving his biographers af- celebrated for her talents as for her charms. On
terwards in some doubt whether a just independence the appointed day, all the friends arrived. The bust
of spirit, or a petulance beyond the occasion, should of Rousseau, encircled with garlands of flowers, was
be regarded as the motive to this premature finale. uncovered, and formed the only ornament of this
novel music saloon. was Princes, not-Of thosewho read the anecdote, some may associate It there that
it withstanding the pride ofrank; great ladies, despitewith the story of the "bear and fiddle," while
others, siding with consider tiie the vanity of titles; pretty women, and superannu-Viotti, may
interruption that provoked him as something parallel to ated fops, clambered for the first time to the fifth
BoccheriniBeranger's ironical summons of story, to hear the celestial music of
performed Viotti might be want-by ; and, that nothing
"Bas! bas!
ing to complete the triumph ofthe artist, there was
Chapeau bras
not one of these persons who, after the concert,
dePlace au Marquis de Carabas I"
scended without regret, although it was the lot of
It has never been satisfactorily discovered what some palaces, andof them to return to sumptuous
were the reasons which induced Viotti, at an early into midst and splendour.the of etiquette, luxury,
period of his life, to relinquish all idea of ever per- Among those the envied pri-friends who enjoyed
forming in pubUc; some have referred to the inci vilege of hearing this great artist in private, was
dent above narrated as the cause of this; but they inBladame Montgeralt, who had a country-house
who pretend to be well acquainted with his charac- most bril-the valley ofMontmorency. Some of his
ter, have asserted that he disdained the applause of society of thisliant ideas had their access in the
the multitude, because it was offered almost indis- amiable and gifted woman, in whom he had found
criminately to superiority of talent and to presump- an enthusiasm for art equal to his own. She would
tuous mediocrity. It is well known that he rejected frequently seat herselfat the piano,and begin
aContile solicitations of people who were termed of the Viotti, catching in an in-certo all improviso; while
great world, because he would have no otherjudges stant motivo, would accompany herthe spirit of the
than such as were worthyof appreciating him ; and extemporaneous effusions, and display all the magic
that, notwithstanding the pretensions which the of his skill.
great and fashionable persons of his day asserted, character areThe spirit and honesty of Viotti's
on the score of knowing everything, and of being not following anecdote. Guiseppeill shown in the
the supreme arbiters of arts, of artists, and of taste, Poppo, who possessed no mean command over the
he observed that it wasvery rare to find among them violin, and whose talents were acknowledged by
men capable of a profound sentiment, who could more.Viotti with the readiest candour, cherished the—
LITEKARV MlSCELTiANY.MUSICAL AND 11
London. Having determined to relinquish thescholar of toof boasting himself afoolish vanitythan
profession, he devoted his resources, likebe an un- musicalTartini,"which vas known tothe great
Carboiielli of foregone fame, to the ministry of Bac-expressesor, as the French term lenientlytruth,
pub- chus, and associated himself with a respectableinexactitude." On somesuch deviations, "Mne
trade. Disappointment wasto be member of the nineLahoussaye chancedlic occasion, when M.
however, of this undertaking; and, afterenthusias- the issue,reallya disciple, and anpresent, who was
ofendeavour, he discovered that hiswhole for-him as a favour, to yearstic one, ofTartini's, Viotti begfjed
tune was gone. Thus reduced, he prevailed uponTartini's manner of playing.give him a specimen of
appointment" hisown struggling spirit to solicit sometone loud enough to beAnd now," said he, in a
from Louis" Pupp(. from the French Court, and receivedcompany, Now, Signerheard by all the
nomination to the management of theand you XVIII. thelisten to friend Monsieur Lahoussaye,my
Impelled anew by what Byronhow Tartini Grand Opera.will be enabled to form an idea as to
!' callsplaved
" various joltings of life's hackney-coach,"TheParis was abruptly terminated bjViiitti's stay in
1790 office;the revolutionary storm in he proceeded to Paris, and entered upon thethe bursting of
London cha-which drove him to England. His deliHt in but neither his age, nor his quiet unintriguing
the management with such a scene; and beat the memorable concerts under racter, was congenial
marked as it had beeti unsuccessful, but with the grant ofa pension.of Saliiman, was as brightly retired
connoisseurs were delighted by his then came over to end his days in England, lov-in Paris. The He
as these than citi-originalityand felicitous boldness, tempered ing rather to be an habitue of London, a
taste. In the become closely famil-qualities were by a pure and exalted zen of the world, for he had
share in the ma ways jnd habits of our metropolis,years 1794 and 1795, he had some iarised with the
King's theatre, and subsequent!} and seemed to have cherished an almostJohnsoniannagement of the
(occa- misfor-leader ol' the band in that temple of attachment to it. His previous cares andbecame
has said, racesional)concord. But, as an ancient author tunes had left him little power to continue the
just when it begins on 3d March, 1824.success is a thing of glass, and, of life, he died the of
looks, provokingly meets with retirement from the profession of thattowear its brightest it His long
quiet and blameless habits of life which his fame was built, had not impaireda fracture. The art on
of the greatmusician had not sufficed to exempt hinj his love of it, nor his inclination to support it. On
of political suspicion, Society, thatfrom the ofiicious visitations the institution of the Philharmonic
"some whispering instrumental music in thisprompted, it has been supposed, by decns et tutamen" of
professional envy. The result one of the original members, and,tale of slander, from country, he was
that poor Viotti suddenly received an order as an honorary performer, he not only led the bandwas,
immediately.from government to leave England in turnwith Saloman, F. Cramer, Yaneiwicz,
Spagapprehension the pro- interchangedBy what subtle ingenuity of noletti, and Vaccari, but, like them,
violin-player came to be associated at submission, by taking his seat, onceedings of a direction with
with the revolutions of empires, is other nights, among the ripieni ; thus assisting tothe Home office
mystery more dark than Delphos. Possi- form an orchestral phalanx such as certainly wasas yet a
for further par- hkely to bebly some future DTsraeli, enquiring never previously witnessed, and is little
means of enlighteningticulars within, may find the ever surpassed.
transaction, which certainly does person of feelings and sentiments farthe world on this Viottiwas a
at present, to afford scantier material for the less artificial than are commonly produced in menseem,
theirhistorian than for the epigrammatist. whose intercourse with society is fostered by
evinced Mi.xing,Thus ex|)elledfrom the country which had powers ofcontributing to its amusement.
proofs of hospita- with he seemstowards others so many generous of necessity, a great deal the world,
Viotti passed over to Holland,and subsequently remarkable degree, to have pre-lity, nevertheless, in a
fixed himself in the seclusion of the beautiful spot served himself "unspotted from the world;" and
muchnear Hamburg, named Sehonfeld. Here he gave though, as just remarked, he loved London
composition, as most evidence that he loved na-up his mind to the cares of there is very interesting
to or diminish those more painful purity rectitude of his taste,likely displace ture more. ^The and
ones which harassed his sensitive mind, on account association with the poetic and the true, standits
opportunitiesof the treatment he had been subjected to. Some thus recorded by one who had good
— man attach soof his best works were the product of this retreat; of appreciating him : " Never did a
Duetts Concertante, for to the simplest giftsincluding his celebrated Six much value (says M. Eymar),
two violins ; in the preface to which he touches on of nature and never did a child enjoy them more
;
:—the circumstance that was still afl'ectinghim " Cet passionately. A simple violet, discovered in its
ouvrage est le fruit du loisir que malheur me pro- lowlv bed among the grass, would transport hinx
Quelques out dictfis par peine, joy; peSr, plum, gatheredcure. morceaux fete la with' the liveliest a a
["d'autres par I'espoir." Thiswork is thefruit the fresh by his own hands, would, for the momentvf
leisure n'hich misfortunehas procured me. So^nepor- make him the happiest of mc^rtals. The perfume
somethingtions it have been dictated by ajfiiction, others by of the one had alvays new to him, andof
And, indeed, it has justly been remarked the of the othermore delicious thanhope."'] taste
that it would be diiEcult to find any musical work before. His organs, all delicacy and sensibility,
that should seem to have proceeded more directly seemed to have
preserved,undiminished,theiryoutheverything thisfrom a feeling heart than these exquisite duets. ful purity. In the country, was, to
Hamburgh former competitor, an object of fresh interest andIn he metwith his extraordinary man,
Giornovichi, who, like himself, had been compelled enjoyment. The slightest impression seemed
comto fly from Paris, the scene of his pristine glories. municated to all his senses at once. Everything
The latter gave two concerts at this place ; but the affected his imagination, everything spoke to his
graver-minded Viotti could not be persuaded to ap- heart, and he yielded himself at once to its
emopear in public his example.and imitate tions."'
In 1801, Viotti found himself' at liberty to return The natural bias of bis character receives furthei12 THE BRITISH MINSTREL; AND
illustration in the sketch which he himself has attributes of real genius, was in Viotti associateil
given, descriptive of his picking up one of the va- with a clear and cultivated intellect. He passed
rieties of the popular Ran: des Vaches among the much of his life in the society of the accomplished,
mountains of Switzerland. the literary, and the scientific; and his active mind
" The Ran: des Vaches which I send you," says gathered strength and refinement from the inter,
he to a friend, " is neither that which our friend course. If the Horatian dictum be right, that
Jean Jacques (Rousseau) has presented us, nor
that of "which M. de ia Borde speaks in Principibushis work placuisse viris baud ultima laus est,"
on music. cannotI say whether it is known or
it may be added to the sumnot all i know is that of Viotti's personal
; 1 heard it in Switzerland,
merits that he gained the respectand, once heard, I have not and esteem offorgotten it since.
the great," I was with whom he mixed on propersauntering along, towards terms,the decline of
not forgetful of theirday, in one rank as persons of birthof those sequestered andspots where we
fortune, nor of hisnever feel own, as a man of rare talent.a desire to open our lips. The weather
The strictest integritywas mild and serene; the and honour regulated allwind, which Idetest,was
his transactions
; and his feelingshushed all was calm were kind and
; —all was in unison with my
benevolent.feelings, Thus it may be seenand tended to lull me that his charac-into that melancholy
ter as amood man was calculated to givewhich, ever since I remember, increasedI have been
dignity and influenceaccustomed to his name as a musician.to feel at the hour of twilight.
" In the latter capacity,My thoughts it has with great truthwandered at random, and my
been remarked of him, thatfootsteps were equally though the virtuosi ofundirected. My imagination
thewas present day contrive to executenot occupied with any manual diffi-particular object, and
culties exceedingmy heart those which were attemptedlay open to every in hisimpression of pensive
time, he has neverdelight. been surpassed in all theI walked forward; I descended highestthe
valqualities that belong toleys, and traversed performance on his instru-the heights. At length, chance
ment. His compositions forconducted me to it remain, to this day,a valley, which on rousing myself
unrivalled in spiritand grandeurfrom my waking dream, of design, gracefulI discovered to abound
melody,with and variety of expression andbeauties. It reminded ; they shallme of one of those
defurnish, whenlicious performed by the survivingretreats so beautifully disciplesdescribed by Gesner,
of his school,flowers, one of the most delightfulverdure, streamlets', all treatsunited to form a
which a lover ofpicture of the great and beautiful in musicperfect harmony. There, without being
can receive. The Concerto,fatigued,! in particular, whichseated myselfmechanically on fragmenta
attained some of its improvementsof rock, and in the hands ofagain fell into that kind of profound
the elegant Jarnowick, and thereverie, which so totally sweetly-expressiveabsorbed all my faculties
Mestrino, derivedthat a marked advancementI seemed to forget fromwhether I was upon the
Viotti, who gave toearth. this style the character which
" seems peculiarly its own,While sitting and brought it to a degreethus, wrapped in this slumber of
of elevation which it seems incapablethe soul, sounds of surmount-broke upon my ear, which were
ing.sometimes of a hurried, sometimes of a prolonged
Amongand the disciples of the school of thissustained character, and greatwere repeated in
master may be enumeratedsoftened Rode, Alday, Labarre,tones by the echoes around. I found they
Vacher, Cartier, Pixis, Madame Paravicini, Ma-proceeded from a mountain horn and their; eliect
demoiselle Gerbini, and ourwas countryman Mori.heightened by a plaintive female voice. Struck,
Dubourg'sas if by Violin.enchantment, I started from my lethargy,
listened with breathless attention, and learned, or
HOME.^—The only fountain in the wilderness of hferather engraved upon my memory, the Ran: des
where man drinks of water totally unmixed with bit-Vaches which I send you. But in order to
undertei'ness, is that which gushes for him in the calm and
stand all its beauties, you ought to be transplanted
shady recess of domestic hfe. Pleasures may heat the
to the scene in which I heard it, and to feel all the heart with artiiicial excitement, ambition mav delude
enthusiasm that such a moment inspired." it with its golden dreams, war may eradicate" its tine
This susceptibility of pure and simple emotions, fibres and diminish its sensitiveness, but it is only do.
which it is delightful to recognise as one of the mestic love that can render it truly happy.
THAT.A MAN'S A MAN FOR A'
Andante Words hy Burns,Sostenuto,
—^^t-H^-l'^-f -i-^
:i=t: EE£=^=p=^^*-Jz=^
- - - head an' that? TheIs there for ho nest po ver ty, That hangs his
assg^: —"^^^^ f~
I r; ; ; : —! :
AND LITERARY MISCELLANY.MUSICAL 13
-I—r:zsrrte5ri= =^i
=^=
i3t
For a' that, and a' that, Ourslave pass him by, We daur be free for a' that.coward we
5---»-—
-eitiz::^^?
/TN
itEZixs-p: :=-?E=S=^f=^,:5q:
:rre::tz=S=:s:=Pi:E:
:^zfe:=^fcztl-j:!&^ g3i£?zi:=t^=iE"l'^^1~
guinea stamp. The man's thegowd for a' that.toils obscure, and a' that.The rank is but the
9tE»=z:g::5— »
F-
rbelted knight,"What though on hamely fare we dine, A king can make a
"Wear hoddin-grey and a' that, A marquis, duke, and a' that
Gie fools their silks, and knaves their wine Eut an honest man's aboon his micht,
A raan's a man for a' that Gude faith, he maunna fa' that
For For a' that, and a' that.a' that and a' that,
dignities, and a' that.Their tinsel show and a' that. Their
prideThe honest man, though e'er sae puir. The pith o' sense, the o' worth.
Is king o' men fur a' that. Are higher ranks than a' that.
Ye see yon birkie, Then let us pray, that come it may.ca'd a lord,
Wha struts for that.and stares, and a' that As come it will, a'
Though hundreds worship at his word. That sense and worth, o'er a' the earth.
He's but a cnif for a' that. May bear the gree, and a' that.
For a' that, and a' that. For a' that, and a' that.
His ribbon, star, and a' that. It's comin' yet for a' that.
The man of independent man man, themind. That to warld o'er,
He looks and laughs at a' that. Shall brothers be for a' that.
decent man-INVENTOR OF THE MODERN SCALE. form the duties of it in a correct and
those legendary accountsner. If we may creditAlthough there is scarcelyawork onmusic which
extant in monkish manuscripts, wethat are stilldoes not make mention of Guido Aretinus as the
believe he was actually assisted in his piousshouldscalereformer of the ancient of music, and the
inintentionbyimmediatecommunication from heaven.the new method of notation, founded onventor of
of the syllables as theSome speak of the inventionadaptation of the syllables ut, re, mi, sol, la,the fa,
and Guido himself seems toefiect of inspiration ;from ahymn of St. John the Baptist yet, by a kind
;
same opinion,by his saying it washave been of theof fatality very difficult to account for, his memory
revealed to him by the Lord, or, as some interprethislives almost solely in inventions. He was a
his words, in a dream. Graver historians say,thatArezzo, city in Tuscany, and havingnative of a
monastery, itbeing at vespers in the chapel of hisbeen taught the practice of music in his youth, and
one of the offices appointed for thathappened thatprobably retained as a chorister in the service of
was the above-mentioned hymn to St.John thedaythe Benedictine monastery founded in that city, he
which commences with these-linesBaptist,monk professed, and a brother of the or-became a
lasis, REsonare fibris,St. Benedict. In thisretirement he seems to Ut queantder of ,
,'FAmulaMira gestorum, tuorum,devoted himself to the study of music,particu-have
SoLvi poUuti, LAbii reatura.larly the system of the ancients, and above all, to
Sancti Johahnis.
reform their method of notation. The difficulties
"We must suppose," says Sir John Hawkins,that attended the instruction ofyouth in the church
"offices were so great, that, as he himself says, ten that the converting of the tetrachords into
hexayears were generally consumed barely in acquiring chords, had previously been the subject offrequent
a knowledge of the plain song; and this considera- contemplation with Guido, and a method of
discrition induced him to labour after some amendment, minating the tones and semitones was the only
some method that might facilitate thing wanting to complete his invention. Duringinstruction, and
enable these employed in the of the above hymn, remarkedchoral office to per- the performance he— — r
THE BRITISH MINSTREL; AND14
the iteration of the words, and the frequent returns The particulars of this relation are very curious,
of «(, re, mi,fa, sol, la; he observed liliewise a dis- and as we have his own authority, there is no room
similarity between the closeness of the syllable mi, to doubt the truth of it. seemsIt that John XX.,
and the broad open sound of/a, which he thought or, as some writers compute, the nineteenth of that
could not fail to impress u.pon the mind an idea of name, having heard of the fame of Guido's school,
their congruity,andimmediately conceived thoughta and conceiving a desire to see him, sent three
mesof applying these six syllables to his new formed sengers inviteto him to Rome. Upon their arrival,
hexachord. Struck with the discovery, he retired it was resolved by the brethren of the monastery
his study, andto having perfected his system, began that he should go thither, attended by Grimaldo,the
introduce it into practice.to Abbot, and Peter, the chief of the canons of the
The persons to whom Guido first communicated church of Arezzo. Arriving at Rome, he was
prehis invention, were the brethren of his monastery, sented to the holy father, and by him received with
from whom he met with but a cold reception. In great kindness. The Pope had several
conversaan epistle from him to his friend Michael, a monk tions with him, in all of which he interrogated him
of Pomposa, he ascribes this to what was un- as to his knowledge in music ; and, upon sight of
doubtedly its true cause, envy; however,his interest an antiphonary which Guidohad brought with him,
with the abbot, and his employment in the chapel, marked with the syllables according to the new
ingave him an opportunity of trying the efficacy of vention, the Pope looked upon it as a kind of
prothis method on the boys who were trained up for digy, and ruminating on the doctrines delivered bj/
the choral service,and it exceeded his most sanguine Guido, would not stir from his seat till hadhe
expectations. learned perfectly to sing oft' averse ; upon which he
The fame of Guido's invention spread quickly declared that be could not have believed the efficacy
abroad, and no sooner was it known than generally of the method if he had not been convinced by the
followed. We are told by Kircher,that Hirmanus, experiment he had himself made of it. The Pope
Bishop of Hamburgh, and Elvericus, Bishop ofOs- would have detained him at Rome, but labouring
naburgh, made use of it, and, by the author of the under a bodily disorder, and fearing an injury to
" Histoire l.itteraire de la France," that it was re- hishealtli from the air of the place, and the heats
ceived in that country, and taught in all the monas- of summer, which was then approaching, Guido left
teries in tile kingdom. It is certain that the repu- that city upon a promise to return to it, and to
extation of his great skill in music had excited in the plain more at large to his holiness the principles of
Pope desirea to see and converse with him; of his system. On his return homewards, he made a
which, and of his going forto Rome that purpose, visit to the Abbot of Pomposa, who was very
earand the reception he met with from the Pontiff, nest to have Guido settle in the monastery of that
Guido has himself given a circumstantial account, place, to which invitation, it seems, he yielded,
in the epistle to his friend Michael, before men- being, as he says, " desirous of rendering so great a
tioned. monastery still more famous by his studies there."
TOGETHER WE RANGE.
DUET.
Allegretto. Webbe.
X
:P=^ f^=^ :it=e: ^fe^
- - ther we range - hills, De-To ge o'er the slow ris ing
ll!:
-P~=!- :P==s:
:^^W:
To - ge - ther we range o'er the
-1^
:f=:?E:
=1^::tit=i^:
-^^=P'- -I—
light - ed, de - light - ed witli - tor - al views. Or pause on thepas
Htqf i^rre: :q:\--NU^
:p=:pt ^=q:r-=3= i=i^ i=±S=Li::P=P:±=t£ :^=i1
—\f-Vslow ris - ing hills,Delighted with——— —
MUSICAL AND LITERARY MISCELLANY. IS
:p-±pL-^:#^-Fi.i?_(=_ft
"ixi:
u
newrock where the Rtrcanilet dis - tiis, And mark out themes for our
,-|t-1^
:3 ::?:::(£; :P^fts:
I :a=i;:z^— 'jEZ :z^ :t=:r: :iL-i=:«r:i3:ti=fc
And mark out new themes, new themes for our
Andante,
^S~s^ a^
=st---^\
^-ft-^d-ftz:ftz:?L ^iii3^i:g=«E|Etrt iZiC I1?^— 1? ir-tr-^i—
I ——
-muse. To pomp or proud ti ties we ne'er did as - pire, To pomp or proud
:qr—:q=iS=15; =^pzS?^4- :s:q:s
:r&
-.^-^-^z
:^=:J=3^:3i^i?~5^=*§S^s.
:f=:p::
;^=^^:
ti - ties we ne'er - are - -did as pire, We both of lium ble de scent
::f^zz^ci=r, ';^^
:z\-z'Kz:
Ir^: ¥i^2^\
:i=iP
:l:z=]: :4: -p -p. Ft
^-q-j£- 5i"s==^— -:K i^4~-:^=e=3t:P=^-
-izi. :t: i
We both are of - who the splendour ofhum ble de scent, Let those<!
-f- ==15=q==S=qa: :=S=i^,^-j: lairp:q: -^di-::=t
qlszns:::^=5=i:Izzri:
:i=rj^:
-^~'-h--jf^-^^:=s; -e-
-<aZ?LZZMZZ^ ::]= --zt: ^^^1
-I r-^
rieli - es ad - mire ------------------ view us and be
-^
1 ^ 1 1«^-—
li_^lili^il^^il&miiilL^
rich-es - - - mire.ad mire, Let those who the splen-dour of rich es
ad
^-,-k^^»j5=i= SeB^ggs^^l^i^^i
-I \r~V~^' \y
\
charm'd with con - tent - Ticw 113 and he charm'd, be charm'd with con - tent.
;ri ^._^—
with content.— — .
THE BRITISH16 MINSTREL; AND
MY NANNIE, O
Adagio non trofpo. Words hy BurTis*
-T-iS-i—Ee :i=^zzi.T::i=:
'^SiBE: l^^^=£il
*^i->i
Be hind yon hills where Lu - gar flows. 'Mang moors and moss - ea
d=r«: :^==p3;
iprzp: _k_ I I ,_ -re; ^A-
——
fi"^--zr HSS- "^---^-^ :i:sr±z=^=irs==ir===3zH—
:tz:
- sunma - ny, O, Tlie win try tlie day has clos'd,
And
r
J-Q- :zt=crat
::lt^:
:t:
T~
=»— " — -N—=>^ ' '(nt"""~t-~^~"r— — ^
:^=:?: ^^^r^E^E ri-^zridr:±
-I'll to Nan - nie O. Tho' west liii winds blav
* « =-- «. n— -e—H o.BE-l^EEp^tEEl -qizf^zrf^
:^:
dzzzczrt:=£l;E^E^=t::3=F=r:
-1-P^^rf^z—^zez\z:^.zw:zfi-z^ztz^: -'p^-»-.
> -1 1 u-^ 1 -a«a<««J.
k»^loud and shrill; And and rai - ny, O; I'll get my plaid, andit 'a baitli mirk
:gn:e-p:f:
»-p=iz: — :=prf:
:#|z?zi=p::E:ff!6r:rJ:SS=^^
:4:
==fjm i=3giyEEpiEp^ii^
d
out I'll steal, And o'er the hills Nan o.
I
-O-
I
-9L.-»^c=t: Q- -•-—ffi a--ft —
:Ssz=: "-5--t»
(
The openin' gowan, wat wi' dew,Mt Nannie 's chavmin', sweet, and young
;
Nae purer is than Nannie, O.Nae artfu' wiles to win ye, O
;
May ill befa' the flatterinj^ co\intry lad is my degree.tongue A
That wad beguile And few there be that ken me, Omy Nannie, O 1 ;
Her face is fair, her heart is true. But what care I how few they be
As spotless as she's welcome aye to Nannie, O.bonnie, O I'm;—— —
MUSICAL AND LITERARY MISCELLANY. fr
The last, an Irish air, theriches a' 's my penny fee, to which it belongs.My
And 1 maun guide it cannie, O. " is lively, rollicking air, at one timeOak Stick," a
But warld's gear ne'er troubles me,
"very popular in merry-makings, such as rockings"My tiiochts are a' my Nannie, O.
" Ayrshire, aiidkirns," in the southern parts ofand
auld gudeinan delights to viewOur
selection is purposelyin Galloway. Our presentthrive bonnie,His sheep and kye O
;
better than words whatBut I'm as blyth, that bauds his plough. various, and it will show
Nannie,And has nae care but O. follow. In this division of ourscheme we intend to
Come weel, come wae, I carena by,
will not tie ourselves down to theMiscellany, weI'll tak what Heaven will send me, O ;
Nae other care in life hae I, of any people or country, but will cull amelodies
But live and love my Nannie, O
from the productions of all lands.posie
Fleming,' theThe heroine of this song was a Miss from thoseWe respectfully request contributions
Taj'bolton, Ayr-daughter of a farmer in the parish of
who are the happy possessors of such treasures ; thevery youngshire. It was written while Burns was a
wasman, and while, in reality, his only employment airs of a people are precious, because they
consti"to baud the plough," and ponder on his mistress.
in theirtute a language to such as have been, bred
Chambers's Scottish Songs.
maylocality, and furnish a means by which we
character of their habitsjudge of the prevailing
OLD AND SCARCE MELODIES. none are valueless,because they fill upand feelings—
address at the commence- the chain of the history of music. Much labour hasWe mentioned in our
that we intended to been undertaken from an early period to rescue thement of the present volume,
oblivion,of airs which have been lost lyrical and ballad poetry of Europe frompublish a selection
by theto the present generation ; in fulfilment of and that toil has been amply recompensed,almost
which has beenpresent our readers with three melo- amount of interesting matterwhich we now
the same enthusiasm hasofwhich, the Gaelic air, has never to our brought to light. Thatdies, one
hitherto, with regard to music,knowledge been published in any other collection, not been displayed
second regret; but it can furnish no excuse whyand which is well worth preservation. The we may
offered as a mere we should allow the traditional and characteristicis a West Indian melody, and is
merit; but as it is a melodies of our own country still within reach, tocuriosity; it possesses no other
serve as a type of the class die and be heard no more.genuine specimen, may
GILLE DUBH AN RAOIR DON BHAILE SO-THAINIG AN
black youth came last nlijht to oar town.][Z/te
Gaelic Air.
Moderato
q=:=s==?E:
:?=::=?:
:S=i::i=i:
/o
. ^^•Z?Z^-.ft
^^-— —2 -=^ -1-=^ -]/'^ji
-^^^^^
-J-
q=zjfc]!!:=^=|=q=q^:
:ed=fc^:3;^-^:?;*riz^t^=^=i-i=^=^=§^§^3: =i=i:
._^_^.!r-a:
CALIMBE.
West Indian Air.Allegro e pomposo.
wrzzizzZ!^£ES^:tzfz
E^lEEiE^EE^EES ' ""HTltinf ^^m^m
No. 43,THE BRITISH MINSTBEL; AND18
THE OAK STICK.
Jig time. ___ Irish Air.
#^^
:^zpz|»: t=^^ ati::»: ;aI i^
^^
--Pr^:&
r~
1/ipi-p: ^^-J_H ^^ :C£:
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-^-"Pt P---P: #^-— il^Z^f:SS=?= t:i
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1.No. —This air is sung frequently by the fair denly leaping from its mother lake in the highest
daughters of the Gael, in the district of Lorn, cleft of Nevis or Cruachau ; and the savage lashing
Argyleshire. is said of great antiquity.It to be of the sea at Corrie Vrechdan, or Connal, then
While residing some time in the pleasing village of again the melancholy wail of the wind through the
Oban in the year 1831, we noted the air from the native hazel and pine woods, rushing and moaning
singing of a young lady, and we believe it has as if in pain, then soft and softer, dying away or
never been published. We are sorry that we have passing into the joyous mirth of gambolling
childnot sufficient Gaelic scholarcraft to be able to give hood. The fashionable music of the day is silent
the legend to which it was sung, in a southron to the feeling of a Scottish man. and noIt may,
garb—or convey to our readers a perception of the doubt does speak distinctly and forcefully to the
style of the fair songstress. But we would particu- people among whom it had its origin, but to us it
mustlarly call the attention of the sons and daughters of necessarily seem vapid and nerveless. And
song in the locality which this air belongs, what funeral music doto to the you possess? None. But
well known fact, that Robert Burns, when he let us hear in the glens and on tlie hillsides of
"made his tour through the Highlands, was so much Scotland, the sad strains of Locliaber no more"
— "struck with the beauty of many of the airs, that " Eleu Loro"—the Lament ofMacgregor"—and
"they became the causes to which we owe some of Oran an Oig," every sense but that of deep
his sweetest songs. And we are well aware that in melancholy and despair sinks before them.
Oban and Inverary, and the country round, there No. 2.—We will not be guilty of abetting the
are many persons still residingwho have thepower, crime against good taste, which the authors of the
present perpe-if they have the will, to aid us in rescuing their popular Negro Extravaganzas are
popular oblivion trating, by publishing rubbish misnamedairs from the to which they are the a
fast hastening. The Patrick M'Donald, in song accompanying this air. We present it as aRev.
the West Highlands, and Captain Eraser, in the specimen of genuine Negro nuisic. It was very
North, have donemuch to preserve their native airs, fashionable amongst the slave population of the
and makethem extensivelyknown,yet manyremain French West India islands about fifty years ago.
"to picked up by the attentive gleaner. There The word Calimbe," which ^ve have prefixed asbe are
the war tunes—the gatherings—the bridal airs and the title,was the burthen or refrain.
funeral chants of several clans, which are of his- No. 3.—Miles Daily, aviolin player,whowas living
torical importance, and which give a truth to the about twenty-five yeai's ago, and was esteemed, in
legends his the best jig player in north of Ireland,wild and romantic of our Celtic brethren. day, the
time has the bereaved and torn heart gave it as his opinion that the Oak Stick was oiMany a
found a balm for its afllictions from the low breath- Irish origin. He did not know the composer, but
ing of a melody which contained in itself, or sug- we think it is of modern date. It is taken froman
gested ideas of fairer times, and happier circum- MS. collection dated 177i).
stances. And oft when the fierce and rapacious
ambition of a more powerful sept has threatened
extermination to a doomed name, the pibroch with
SONNET TO MCSIC
its simple yet almost inexhaustible variations, has
roused a spirit of heroic resolve, and reckless self- Let me again drink, with enraptured ear,
in breasts of its people, makesdevotion the which soft tones that fall upon the lie.artThose low
valour of Sparta the more true, becausethe classic stream, which to the eyeLike snow flakes on the
the resistance and success of the oppressed was as which no more shall partSoon disappear, but
a startseemingly impossible. And then, ye Lowland men, From its embracing bosom. So
byOf brflliant melody hath passedwho pride yourselves on your more varied sources
strainUnheeded, but that faint and lovelyof means byhappiness, and the multiplicity of
Hath stirred emotions that may never die.which ye can add to it,—what is the mirth of your
re-throbsAnd the glad heart throbs and again.
bridal parties ? what is the music in which ye are
And fancy paints fair visions in the air,
most frequently asked to delight? What are the
Or dreams of golden hours with love in all.
measures ye dance? Waltzes, quadrilles,
mazourwith flowers and ne'er approached byPaths strewn
kas and gallopades—foreign all,and therefore
inexcare.
pressive. Their language is not that of Auld Scot- 'Tis gild our darkest clouds below,this may
land, in whose music blended withis fearful beauty venomed sting from grief and woe.And pluck the
all nature's utterings. — May, 1839.The mountain torrent sud- Greenock Advertiser,MUSICAL AND LITERARY MISCELLANY. ISi
NOBIS DO MINE.NON
CANON.
IVm. Bird.
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bis sedno - bis Do - mi - ne, non no - -Non
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r- no - mi - nituo da Glo ri
sed
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- -- - ni da Glo ri Bedno mi
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da - Non - bis Do - mi -tuo Glo ri no ne.
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- - - - - - -no mi ni tuo da Glo ri am. Non no bis
DoasE
:^.=2i::i=i: :^=i: =0= I
-sed no-mi m tuo Glo -I Non.da
dissolves the union-band,saints, while DeathEXTRACT FROM FENTON'S TRAGEDY OF O'er
fretful dream of life.them from the"MARIAMNE." And frees
Music shall wake her ; that hath power to charm
Pale sickness, and avert the stings of pain
; THE COUNTER ALTO.But, ever on mind the surethe effects
Are most conspicuous, where the varied notes order to render our selection of concerted mu-In
Can raise and quell our passions, and becalm
for thestill more generally useful, we will,sicIn sweet oblivion the too wakeful sense
the counterfuture, print a double set of notes in
grief,Of or love ; and print a dimpled smile
and choruses where neces-alto stave of our gleesOn the green bloodless cheek of dumb despair.
series being for female, and thesary—the lowerSuch powerful strains bid harmony resound ; as good spirits are supposed to sing higher for male voices.—
20 THE BRITISH MLNSTREL; AND
ROSLIN CASTLE.
GLEE FOR FOUR VOICES.
Joseph Corfe.
SOPKANO.
ALTO.
TKNOE.
BASS.
gavall things and sweet ap - pear, 'When Co - lin with tlie
i—iilz
^—— * »—
1 :; r^*-— —rr^=^.?s=;p:=:^ ff=^=f:
r\j-^-^-j-r^^-u
:pzz|—pr: -pE=i:
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all things gay and Bweet ap - pear lin with theCo
a: '^^'--5:mt :t:==£:
zzLi
oi
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~tit
- -morn ing ray, A - - rose and sunc; his ral lay.
ir
J: —_j^-._4j ^a
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=F=FQ-rcr7-c/—u— crc
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I^E? :(=::tst :t-|-==t:
morn - ing ray, rose and sung his ral lay.A
:t:i 1P
LITKRARY MISCELLANY. 21MUSICAL AND
ggElE^^EgEaSJE^^gg^EE^g^
hills and dalea with- herd sung. The- ny's charms the shepOf Nun
X^-^:j
:*=r?i=|t^;
EES^ :^= :P=i= ^m:Ui::t==I==t=
with- The hills iind dales- charms the shep herd Bung,Of Nan
ny's
:(i=:^:=!aE^ t=t=EE :t:=f=ti^t:
^T>
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^E^^: :^=P
EE£sE=L I h 1
AndKail - ny - :-un<j,
I I
^7N
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i-i»-
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rsrr\
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swain, And- - Kos - - lin cas - tie heard theNan nv rung, While
an^ :e=^»=f=p;
1:t -I :^1-I- 1—t:il- —^EE^i .~^^L. -«»l 1 -*j «
1
- .^frl--rr— —? l^ JEEfeE=fEi|EEa:^i==;]:
cho'd back the cheer - ful strain.
n ra-n
-ji:
tr^-^r^^-^tj--^
:ff=t
:^= iPiif:
p=^
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- cheer ful strain.cho'd back the
'—£E i~=ti:;; : :; '; ;; ; —
22 THE BRITFSH MINSTREL; AND
followed loud andMuse! The breathing spring As the chorus ended, there aAwake, sweet
awake, and sing way of cheers. Attracted by soundsWith rapture warms : I hearty laugh by
Awake and join the vocal throng. congenial to my present feelings, Iwhich were so
And hail the morning with a song: towards the spot from which they came,made
To Nannie raise the cheerful lay downs had no goodcautiously, however, for the
O, bid her haste and come away of the music, without ri-name ; and the attraction
In sweetest smiles herself adorn,
Syrens in melody, might havevalling that of the
new graces to the morn 1And add
followed by similarly inconvenient consequen-beeu
ces to an incautious amateur.O look, my love ! on every spray
sinuosities ofI crepton,tlierefore, trusting that theA feather'd warbler tunes liis lay
;
throng. broken as it was into knolls and sand-'Tis beauty fires the ravish'd the ground,
And love inspires the melting song would permit me to obtain a iight of the musi-pits,
Then let the raptured notes arise cians before I should be observed by them. As I
beauty darts from Nannie's eyesFor raised. Theadvanced, the old ditty was agiiin
my rising bosom warms.And love of man and two boys ; theyvoices seemed those a
my soul with sweet alarms.And fills kept good time, and were managedwere rough, but
too to belong to the ordinary coun-with much skilllayOh, come, my love ! Thy Colin's
! try people.With rapture calls : O, come away
Come, while the Muse this wreath shall twine " sun, and cried. Fire, fire, fire IJack looked at the
Around that modest brow ofthine. mireTom stabled his keifel in Birkendale
! hither haste, and with thee bringO Jem started a calf, and halloo'd for a stag
blooming with the spring.That beauty Will mounted a gate post instead of his nag
shine,Those graces that divinely
very very merry,And charm this ravished heart of mine I For all our men were
And all our men were drinking;
This song, which first appeared in David Herd's
There were two men of mine.
of was the composition of RichardCollection, 1769, Three men of thine.
young man who was employed by the bhndHewit, a And three that belonged to old Sir Thorn o' Lyne
;
act as his guide during his ramblespoet, Blacklock, to went to the ferry, they were very very merry.As they
continued, forin Cumberland, and some years after- drinking"For all our men were
wards, to serve him as an amanuensis. The air of
" Roslin Castle" was composed by Oswald, about the voices, as they mixed in their several parts,The
beginning of the eighteenth century. The four voiced
ran through them, untwisting and again en-and
which we have given is by Joseph Corfe, of Salis-glee seemedtwining all the links of the merry old catch,
ofseveral very beautiful glees in whichbury,the author
bacchanalian spiritto have a little touch of thesubject ofScotch airs are made the the composition.
and showed plainly that thewhich they celebrated,
engaged in the same joyous revel asmusicians were
the mmyie of old SirThom o' Lyne. At length IWANDERING WILLIE.
they sat cosilycame within sight of them, where
• • 'All these considerations wrought me up to hunker, a littleniched into what you might call a
a kind of impatieuce yesterday evening ; so that I snug, and surrounded by itssand-pit, dry and
snatched up my hat,and prepared for a sally beyond screen of whins in full bloom.banks, and a
the cultivated farm and ornamented grounds of one of the trio whom I recognized asThe only
were desirousMount Sharon, just as if I to escape a personal acquaintance was the notorious little
from the realms of art, into those of free and un- his stave, wasBenjie, who, having just finished
constrained nature. pie-crust into hiscramming a huge luncheon of
I was scarcely more delighted when I first enter- in the other he held amouth with one hand, while
thaned this peaceful demesne, I now was—such is tankard, his eyes dancing with all the gleefoaming
human nature!—the inconsistencyof when J escaped forbidden revel; and his features, which haveof a
open downs, which formerlyfrom it to the had all times a mischievous archness of expression,at
seemed so dreary. The clouds, riding high upon waters, andconfessing the full sweetness of stolen
a summer breeze, drove, in gay succession, over my bread eaten in secret.
head, now obscuring the sun, now letting its rays mistaking the profession of theThere was no
stream in transient flashes upon various parts of and female, who were partners with Benjie inmale
and especially loose-bodiedthe landscape, upon the broad mir- merry doings. The man's longthese
ror of distant Firth of Solway. it,) thethe great-coat, (wrap-rascal as the vulgar term
I advanced on the scene with the light step of a which lay beside him,tiddle-case, with its straps,
liberated captive; and, like John Bunyan's Pilgrim, which might contain his fewand a small knapsack
could have found in my heart to sing as I went on gray eye; features which, innecessaries; a clear
my way. It seemed as if my gaiety had accumu- contending with many a storm, had not lost a wild
while suppressed, and that was, in at pre-lated I my pre- careless expression of glee, animatedand
sentjoyous mood, entitled to expend the savings of own pleasuresent, when he was exercising for his
the previous week. But just as I was about to practised for bread,—allup- the arts which he usually
lift a merry stave, I heard, to my joyful surprise, those peripatetic followers ofannounced one of
the voices of three or more choristers, singing,with whom the vulgar call a strolling fiddler.Orpheus,
considerable success, the lively old catch, more attentively, I easily discovered thatGazing
were open, theirthough the poor musician's eyes
" For all our men were very very merry. ecstasy with which hesense was shut, and that the
And drinkingall our men only derived its appa-turned them up to Heaven,
There were two men of mine,
expression from his own internal emotions,rentThree men of thine,
received no assistance from the visible objectsbutAnd three that belonged to old Sir Thorn o' Lyne;
inBeside him sat his female companion,they around.As went to the ferry, they were very very merry,
seemed also toman's hat, a blue coat, whichAnd all our men were drinking." a— —
AND LITERARY MISCELLANY. '23MUSICAL
apparel, and red anes in a way at a dyke-side. Here's another—it'shave been an article of male a
was cleaner, in person and in no a Scotch tune, but it passes for ane—Oswaldpetticoat. She
cheated monythan such itinerants generally are ; and, made it himself, I reckon—he has aclothes,
mba, but he canna cheat Wandering Willie."having been in her day a strapping bona she ane,
attention to her ap- He then played your favourite air of 'Roslindid not even yet neglect some
wore large amber necklace, and silver Castle,' with anumber of beautiful variations, somepearance ; a
extempore.ear-rings, and had her plaid fastened across her of which I am certain were almost
" fiddle there, my friend," saidbreast with a brooch of the same metal. You have another
—" comrade?" But Willie's ears wereThe man also looked clean, notwithstanding the I Have you a
his attire, and had decent silk hand, deaf, or his attention was still busied with the tune.meanness of a
" ay,sir—trothwell knotted about his throat,under which The female replied in his stead, Okerchief
like oursells.peeped clean owerlay. His beard, also, instead we have a partner—a gangrel bodya
better if he hadof displaying a grizzly stubble, unmoved for seve- No butmy hinny might have been
abundance liked ; for mony a bein nook in mony a braw houseral days, flowed in thick and comely
inches, and has been offered to my hinny Willie, if he wad butover the breast, to the length of six
with his hair, which was but beginning to just bide still and play to the gentles."mingled
!"" the blind man,exhibit a touch of age. To sum up his appearance, Whisht, woman ! whisht said
"his dinna deave thethe loose garment which I have described, was se- angrily, shaking locks ;
your havers. Stay in a house andcured around him by a large old-fashioned belt, gentleman wi'
!brass studs, in which hung a dirk, with play to the gentles —strike up when my leddywith a
bidsand fork, its usual accompaniments. Alto- pleases, and lay down the bow when my lord !knife
Look out, Mag-gether, there was something more wild and adven- Na, na, that's nae life for Willie.
gie woman, and see if ye can see Robinturous-looking about the man than I could have peer out,—
modern crowder; coming. De'il be in him ! he has got to the lee-sideexpected to see in an ordinary
bow which and then drew across of some smuggler's punch-bowl, and he wunnaand the he now
the violin, to direct his little choir, was decidedly budge the night, I doubt."
—" consort's instrument,"said I "Willthat of no ordinary performer. Thatisyour
skill?" I slipped attheYou must understand, that many of these obser- you give me leave to try my
remark; same shilling into the woman's hand.vations were the fruits of after for I had time a
" fiddlescarce approached so near as to get a distinct I dinna ken whether I dare trust Robin's
him aview of the party, when my friend Benjie's lurch- to ye," said Willie, bluntly. His wife gave
contempting attendant, which he calls by the appropriate twitch. "Hout awa,Maggie," he said, in
"ofHemp, cock his tail of the hint ; thotigh gentleman may hae gienname began to and ears, the
and, sensible of my presence, flew, barking like ye siller, he may have nae bow-hand for a' that,a
fury, to the place where I had meant to lie con- and I'll no trust Robin's hddle wi' an ignoramus.
be-cealed till I heard another soug. I was obliged, But that's no sac muckle amiss," he added, as I
" thinking yehowever, to jump on my feet, and intimidate gan to touch the instrument ; I am
otherwise bit me,Hemp, who would have by two have some skill o' the craft." ,
sound kicks on the ribs, which sent him howling To confirm him in this favourable opinion, I
beasback to his master. gan to execute such a complicated flourish I
pillar ofLittle Benjie seemed somewhat dismayed at my thought must have turned Crowdero into a
the top ofappearance ; but, calculating on my placability, he stone with envy and wonder. I scaled
at once to the bottomspeedily afiected great glee, and almost in one the finger-board, to dive
" frombreath assured the itinerants was with flying lingers, like Timotheus,that I a grand skipped
gentleman, and had plenty of money, shilt to shift—struck arpeggios and harmonic tones,and was very
whichkind to poor folk;" and informed me that this was but without exciting any of the astonishment
"Willie Steenson—Wandering Willie—the best I had expected.
considerablefiddler that ever kittled thairm with horse-hair." Willie indeed listened to me with
The woman rose and curtsied and Wandering attention; but was no sooner finished, than he
; I
Willie sanctioned his own praises with a nod, and immediately mimicked on his own instrument the
" pro-the ejaculation, All is true that the little boy says." fantastic complication of tones which I had
asked parody of my per-I him if he was of this country. duced, and made so whimsical a
—" !"This country replied the blind although somewhat angry, I couldman " I am formance, that,
ofevery country in broad Scotland, and wee laughing heartily.a bit not help
of England to the boot. But yet I am, in some At length the old man stopped of his own accowl,
of country; me by hissense, this for I was born within hear- and, as if he had sufliciently rebuked
"ing of the roar of Sulway. Will for that, ye will play veryI give yourhonour mimicry, he said, But a'
a touch of the auld bread-winner?" little practice and some gude teaching.\\eel wi' a
He preluded as he spoke, in a manner which I3ut ye maun learn to put the heart into it,
manreally excited my curiosity; and then taking the to put the heart into it."
of and receivedold tune ' Galashiels' for his theme, he graced it I played an air in simpler taste,
with a number of wild, complicated, and beautii'nl more decided approbation.
"variations during which, it was wonderful to ob- That's something like it, man. Od, ye are a
;
!"
serve how his sightless face was lighted up under clever birkie
the conscious pride touched his coat again. "Theand heartfelt delight in the The woman
exercise of his own very considerable powers. gentleman, Willie—yemaunna speakgentleman is a
" What think you of that, to hiui, hinnie."now, for threescoreand that gate
twa?" "The deevil I maunna?" said Willie; "and what
I expressed was ten gentles, cannamy surprise and pleasure. for maunna 1 ? If he he
' ?"A rant, man an can he— auld rant," said Willie ; nae- draw a bow like me,
I'
" •thing like the music ye hae in cannot, my honest friend," said I.your ball-houses and Indeed I
* »jour playhouses in Edinbro'; but it's weel aneugh « « Redgauntlet.— — — ^
THE BRITISH MINSTREL; AND24
IN INFANCY OUR HOPES AND FEARS.
[The loner notes the treble stave are so arranged that they may be sung as a secondof part ifmished.]
Dr. Arne.
T- :$^ ::1====i:|
-^•^-Q-.
~^-:
- - and -In in fan cy our hopes fears Were to each o ther known, And
:=) :fSf^:=q=f:
:q:: ict:
3 ,^3
'5^
friendship in rip - erour years Has twin'd our hearts in has
p..
_i r-^--~z=^=zt-.aSEi-Z^E-EE xzz—w.zjz— :t:rzfrffaz iH
1
-I
-F.1st. 2d.
twin'd our hearts in one. one. OhOh I! clear him thenfrom this offence,
Thy
-zzM.~W-\
'r.—wr:t=;jr
±-t-\iz^^iiiiiiililiipi
r—l-J I—l-r
--3-1._a_l ——*—*--= _a JI
H-^l^
love, thy du - ty prove, Re - store him with that innocence, Which first inspir'd my
:f-
-?-.-*-^=P;-^=l=ps5i;:=pi:p--ff:Si H:-»P :g^ 11_^E 1—
I 1 I—. 1—— m-w^ J5r:p5:— ——iv 35
-e-HL=lil±feEjE^E^^^E^;
firstlove which spir'd my love.
:i|=:SEE q^E^:q=:1:
::i|-i: :3*=iJti=-I-r
than happy state,In infancy our hopes and fears, Ah ! happy, more
hearts twin'd in one.Were to each other known When are
;
fate,No sordid int'rest then appear'd. Yet few, so rigid is our
crownAffection rul'd alone. May wear the tender ;
As friendship ripen'd with our youth. By one rude touch the roses fall,
The fruit was gatliered there And all their beauties fade.
;
Bright wisdom and fair blooming' truth In vain we sigh, in vain we call,
Subsided ev'ry care. Too late is human aid.: ! I ! •
MUSICAL AND LITERARY MISCELLANY.
AWA.HERE AWA, THERE
Words hy Burns.Lurghetto.
i"—- ^- X
-Wl--X^n=.-w- sfrj::p— rri-^tzS:i==/- :*=*z=i:~i—I
- - - Wil - lie. Herea - wa. there a wa, wan der ingHere
m
' nil^W ^ I hi^
^
pB-r-ttas «>~l fl— —zt-tW- JTi:=P=s=i::p:r:1: :3==M=lz£i*Sfa:
±n:=p:t£=:t
XT- wabaud a , , -„ , i
- name. Come to my bo - som my ain on - lythere a wa,
\ \ ]
=1:^~ii
-e^=t:==!^; z:t.-~
:j=zs=!:
:«fts: ==P:~=i: iferzt: :i.7=3zzi:
3= ±
bring'stme my Wil - lie thedear Tell me thou
_e-^Si :_ 1=p_p——
1s=X ^3=[
winds"Winter blew loud and cauld at our parting "Waken, ye breezes ! row gently, ye billows;
Fears for my Willie brought tears in my ee And waft my dear laddie ance mair to my arms.
"Welcome now, summer, and welcome, Williemy ;
But, oh, if he's faithless, and mindsThe summer to nature, and Willie to me. na his Nannie,
Flow us,still between thou dark heaving main I
Rest, ye wild storms, in the caves of your slumbers May I never see it, may I never trow it.
How your dread howling a iover alarms ! But, dying, believe that my Willie's my ain !
THE RIVAL'S WREATH. She was an empress—a goddess. Her smile sent
At length the night came, and the multitude. Her step acrossall Naples crowded a sunshine through
to the opera to hear Ganibrica, the most powerful, stir of delight. Her gestures,the stage caused a
the most gifted, the most renowned and dazzling of prophetess interpreting to mortalslike those a
Cantatrice that had ever ravished heart, senses and the language of heaven, made the pulses leap,
breath, from Ihe fiery-souled bosominhabitants of that and the heart heave in the —and when,
celebrated city. The enthusiasm of superb awful form, fullthe Neapolitans all majestic, her and of
for music, under any circumstances, is inconceiv- inspiration—a statue beyond the chisel of Angelo
able to the people of a colder clime, but Gambrica or Praxiteles—her countenance, a manifestation
had excited it beyond itself. Her figure, large, of all that Rossini ever imagined, or Raphael
symmetrical and commanding, recalled Cleopatra drew, when thus revealed—a magnificent vision
—or Juno. Her features were sweet noble. On the unnumbered, and expectant facesand before
her queenly brow dignity sat enthroned; and all her wonderful voice poured forth its volume, now
loftythe and all the tender passions were reflect- in a stream gentle as the murmuring zephyr, and
ed in turn from her classic and ever-eloquent clear as the voice of the limpid brook—now
startface. Her eyes, endowed with the power of magic, ling as the heave of the ocean, or the fall of the
carried with every glance the highest emotions of cataract, and, at length, terrible as the sudden
poetry and music. The public worshipped her. thunder, and rapid as the lightning when it darts
No. 44.— —a
THE BRITISH MINSTREL; AND'26
from earth to heaven. It was the audience,from heaven to earth, her unpretending efforts, her
unproitempest of delight, the hurri- nounced name, had beencurious to witness the unnoticed. But scarcely
earthqualse, which involved the assembly had she presented herself, whencane, the a murmur of
surand overwhelmed the performances in a chaos of prise ran through the auditory. Nothing more
unfrantic acclamations. like Gambrica could be imagined; yet so soft,
inGambrica was an Italian. With her first breath genuous, modest, and spirituellc were her air, shape,
Had she and countejbice,she had inhaled lire from the sun. been and so wonderfully was the
imthat bosom had held a heart pression created by her appearance, confirmed andborn in Nova Zembla,
Enthusiasm, for good or evil, would deepened by her voice and grace, that, as if byof passion.
pre"have been her leading quality. Had she been bred concert, an audible and universal whisper of who
veins would still is she?" was andin the cell of a convent, her vestal heard, a general stir from all
might have modified her parts of the house. As if afraid tohave run tire. Education give utterance
could not have chilled it to their emotions in the usual manner, the audienceimpetuous disposition—it
her education ! The air of the north remained for some moments in a kind of suspense,utterly. But
lookingcooled her blood—she knew not the to behold a heavenly illusion suddenly dis-had never
always pelled,solemnity of solitude. She had lived and this celestial visitant utter some tone,awful
observation, and quaffed the in- or make some motion, to relink her in their mindsin theglare ofpublic
ofpublic applause. Ithadbecome with the associations of earth. Slie proceeded,toxicatingdraught
aliment—a want—a demand of however, in her part ; she gave the few introductoryto her a necessary
Without it she would have faded like passages in the same new and exquisite manner,her nature.
till,without light. It was her air—her sunshine. at the end of a brilliant and most difficult solo,a rose
executed withshe had been the most potent attraction a taste, ease, simplicity and powerFor years
infancy she not excelled—not equalledin her fairy theatric world. In danced by Gambrica herself—
"angel amid murmurs of startled brava! brava!" uttered in the tone ofas fay, or floated as an onea
her form, and touched thrown off his guard by rapture, broke the spell ofdelight. As time ripened
seducing grace of girlhood, she had silence, and such peals burst forth as made theit with the
mortal eyes as sylph, naiad, or princess; house tremble to its foundations. The perform-dazzled
at length, years rolling like summer ances were stopped. The audience rose in a body.and when,
into Handkerchiefs, inhours over the rose, had only expanded her gloves, hats, waved the air from
—had only awakened the high dome to the feet of the lovely being, her-more bewildering loveliness
power—she had queened self astonished at the tumult she had raised.new and more dangerous
veritable enchantress. Aided by Gambrica, froro the greenroom, heard these omi-it as if, indeed, a
of poetry, painting, music and ro- nous sounds, and felt the boards tremble under herall the magic
amid the gorgeous story of oriental feet. She hastened forth, and from an unobservedmance, now
retreat,now leading on the warm dreams of the beheld the sight-blasting view of a rival,lands,
in far-gone potent with all the spells of grace, youth, beauty,burning south—now spell-bound the
the sober inhabitants of genius; a rival, conjured up from no one knewdays of Arabian fable—to
onlyknown as the hero- where—raised like Venus, full-formed from thethe outward earth she was
magnificent phantasmagoria. Adoring deep—mounted upon her pedestal—waving herine of these
sacreddwelling amid its beams as the eagle wand—and wielding with a hand, yesterdayfame, and
feeble From thesun, she had little sympathy with, or and unknown, all her thunders.near the
earth. Wealth was lips of -the hundreds, too, she heard undisguisedknowledge of, the common
in the streams, raptures, sanctioning, leading on the triumph ofgathered by her as if it floated and
plains. She scarce knew this new and all resplendent enemy. Her earsfell like manna over the
"she was on the topmost round." rung with the continual and simultaneous pealsambition ; for
own head.below her—mankind at her feet each one seemed a bolt directed at herThe world was
forsook her limbssound of her voice, they bent or rose Her breath failed—the strengthand, at the
her bosom, paralyzed herlike the sea beneath the trident of its monarch. —rage and despair filled
efforts, and painted themselves on her countenance.She was the embodied dream of the poet—she
beshe was priestess It happened that the opera shadowed forth a talecame, in turn, each passion— the
creature half earthly, half divine. He not unlike the reality of those interests and emo-of nature—a
brought into action, and thatseen Gambrica, had seen nothing. tions which were thuswho had not
competitors before the audience bore rolesheard her, had not lived. It was the twoHe who had not
which illustration of the downfall oflife that she led—her simple appearance gave a fatala bright
long-successful ambition before the rising of aever greeted by thousands and thousands, withfor
upon iiations, like purer and lovelier star.tumultuous rapture—her rising
approach chases shadows, Marina gained each moment in the esteem of thethat of Aurora,whose the
dissimilitude between her andsky with rosy light. auditors. The veryand overspreads the
impetus to her success. ForGambrica gave a new
world discovered that nature hadnight, after a long absence, she was to the first time, theUpon this
Neapolitans attended other gems than that which they had worn, to theappear in her best part. The
caprice forenjoy the wonders exclusion of all others; and, with thefor a thousandth time to and
were prepared in antheir of song. which they are celebrated, theywitness the triumph of queen
of which they becameinstant to throw aside that
Gambrica, Marina pleased by forceThe second character of the piece was entrusted weary. After
novelty and contrast. Her very faults were ato a young female, who had tremblingly ventured of
Her simple relief. She was like the sighing of a flute, afterto make her dibut on this evening.
She resembled silencequality, extent, and power of the blast of the trumpet.and sweet taste ; the
moonlight, after the bright-voice, more than once gained a word of and odour-breathingher had
" and remorseless day."condescending encouragement from the despotic ness of the gaudy
fromGambrica felt that the sceptre was slippingmistress of song. She did not come on till after
subsequentlyThe applauses which shethe entrance of Gambrica, by whom, as well as by lier hands.MUSICAL AND LITERARY MISCELLANY. 27
were not what they had been. She went ful hour,dressed in a style sternly simple—a robe ofreceived
lost all inspiration; white. her uncovered nofrom the stage, after having On head ornament, but
desperate, as if an evil spirit had taken the raven hair parted over her brow. It was ob-trembling,
possession of her. A large mirror hung in the served that once or twice her dark eyes flashed, and
green-room. She gazed at herself in it. Her coun- that her cheek was pale and grave
" "tenance was haggard—her features dark and heavy Poor Gambrica," whispered many, her day is
with passion—and to throw the last shadow over over."
gloom, at this inopportune and miserable mo-her
ment, she detected a wrinkle on her brow, and Marina appeared. Not her fondest friends had
upon the sable and glossy hair parted over her dared to predict so dazzling a triumph. She was
forehead, two or three lines of white. It is thus trebly successful—as the loveliest creature that ever
was purethat mortality breaks upon the aspirations of earthly seen—as the most touching, noble, and
dreamers. actress; and all heras a singer, transcendant over
The curtain fell, but the audience remained, and, predecessors. Her voice was a phenomenon. Such
with vehement clamours, demanded the manager. a one had never before been heard by mortal ears.
On his appearance, a general cry expressed the She herself had not known all its deep powers, its
receive inimediatewish that Marina should an divine revelations. As she proceeded in her role,
engagement as donna. The ready each instant inspiringprima caterer for at subduing, electrifying, her
their pleasure acquiesced, of course, delighted to hearers their enthusiasm arose toan
; and applause
find a new treasure. Three heavy rounds of ap- exaltation indescribable, and when she had thrice
plause offered a parting tribute to the newly-risen sung thefinale, and each time more ravishingly,the
star, and then night, calm and quiet, settled over rounds of applause were blended into one continued
glittering shock;the bay and half-aerial mountains the the audience rose in a delirium, an ecstacy,
silent shore and the sleeping city. rarely seen out of opera-house, andan Italian
For some days nothing was talked of but Marina. crowns, verses, wreaths, flowers, laurels and roses
How capricious is the popular judgment ! how were showered down at her feet.
utterly it will be ravished to-day with that which She stood silent, trembling, overwhelmed, in the
to-morrow will be flung by and forgotten. Gam- presence of these thundering thousands, her hand
brica's name now scarcelywas heard but as the pre- on her heaving bosom, her eyes bent modestly and
cursor of an invidious comparison. Marina filled gracefully to the ground.
every heart. Marina was uttered by every Few sights aremore strikingthan the interior oflip. a
Marina was the theme of every cafS, every street, spacious theatre completely crowded,around,above,,
every square. row behind row, circle after circle, tier over tier,I
" How unlike Gambrica!" was the ungrateful an amphitheatreof heads,the floor, theample walls,
exclamation. intel-swaying with a sea of faces, alive withhuman
" Ah ! poverina, she has had her day," cried one. lect, lucid with burning from the stage lightseyes,
" She was good but she is terribly passie" said back to the receding columns, melting into vague
another. masses up to the golden roof, and these thousands
" For me," cried a third, " I alwaysknew ehe was ofawakenedminds concentratedupon one creature,
overrated. worshipped like a deity. Next to a Roman oration
" A sun flower by the rose," said a fourth. came the half-unearthly triumphs of theopera.
" Too large—too round—too tall—too heavy—her
hair too black, her eyes no softness," added a fifth. Gambrica rose,attracting universal attention,and
•' "Then," said the first, how over-dramatic ! for a moment the stormy roar abated. The
deWe are cloyed with a style too studied and volup- throned queen lifted her tall figure and turned her
tuous. Nature is too elaborately andimproved upon. eyes upon the agitated multitude. In her hand,
Nothing is left to itself. She may massivebe the first of resting upon the balustrade, she grasped a
"her school, but the school of Marina the Generous Gam-is first. wreath of ever living green.
!""Did you observe her attitude last night when she brica," cried a voice, she will award the wreath
drew the dagger?" The most lively applause followed this
sugges" Yes, fishwoman goinga to fight." tion, proclaiming at once that it was magnanimous
" "She is a great singer, though," ventured thea little and just, and the lips of thousands echoed
"dandy, who had not heard Marina. then mo-wreath," the wreath.'' There was a
" Certainly, very great; but then she is always ment's silence.
the same." " Let her advance," was heard distinctly in every
!"" And what horrid faces part of the house, iu the silver tones of that
wellknown voice.
These strictures were general. They were the Marina, lashes glittering with tears, herher
first that Gambrica had ever encountered. They cheek flushed, her bosom heaving with delight,
adfell on her heart like lava. vancedafew steps and benther beautifulhead in an
attitude sweetas Psyche before the mother of Love.
Again the night came, and the theatre was be- raised aloft. The wreathThat arm, majestic, was
sieged by an enthusiastic throng. Equipage after was cast. chaos of applause greeted its fall—A but
equipage dashed up. Party after party of bewil- high, shrill, and audible above the roaring thunder,
dering faces and dazzling shoulders hastened in. pierced the shriek of that lovely victim.
Each seat was filled, the aisles were crowded, the Marina fell dead upon the boards crimsonedwith
lobbies overflowed ; allthe nobility, fashion, science, her blood.
and loveliness, fortunate enough to secure places, The fatal wreath was of bronze.
were assembled. Sounds of impatience arose.
Never had there been morea brilliant audience. Italy is the land of poetry even in its crimes. The
In a small private box, over the in fullstage, incident is said to be a literal fact, of recent
occurview,sat Gambrica alone; a spectator of this event- rence.—Sunbeam.! ! ' ——; —
THE BRITISH MINSTREL;28 AND
FESTIVALS, AND THE loweringOPERA IN A solemn dnsk, when the stream rolls
SWEDEN. Rapidly, as the cold willows dip their leaves
Into its colder swell," when homeward rooksCatteau, in his General View ofSweden," says,
Fly past in silence, andthat there are two rlavs the grey hern flapsof tlie year, the first of May,
His steady wing,—a dusk, gloomy asand midsummer, particularly consecrated to mirth this.
Hath itsown joy. Hark! now,how sweetlyand joy. On the first of large fires, which mournfulMay,
The sound of distant bellscomes up the waveseem to announce that natural warmth is about
;
'Tis not the flickering toneto succeed that we have lovedthe severity of winter, are kindled in the
To hear commingling withfields; around the dreamy notesthese fires the people assemble,
Of folded flocks;—it is the quietwhile others go to enjoy good cheer, and with the music
That the sense strains to catch,—a low soft voice.glass in their hands, to banish care and sorrow.
Somethingmore earthly than the hollow wind,Midsummer.day is still better calculated to inspire
And yet a sound that seems not as of man.mirth and festivity ; the fine season is then
estabThat owlet's screech—it is not dissonantlished the sun everywhere diffuses his vivifying
;
Tlie full rich flow of nightingales accordsrays ; the tenants of the woods, freed from their
With the clear moonshine and the bhissomylong captivity, tune their throats to joy; the flocks ga!e;
But that harsh voice was made for nights like this,range the fields at their ease, to taste the juicy
It is the storm's own song.grass ; and man, awakened from that lethargy into
Saw youhas that light.which he been sunk, together with all nature,
That sparkles on the stream?seems to be animated with new soul, while his A low smoke creepsa
Above the curved bank that fugitive glare.faculties resume their wonted vigour, and his heart ;
Which leaps upon the old oak's scanty twigs,becomes open to the soft impressions of sensibility.
Proclaims the Gypsies' fire: this sudden turnOn the evening before this happy period, the
peoShows all the trappings of their leafy haunt.ple assemble ; the houses are ornamented with
It is a quiet nookboughs; ; the stunted tree,and theyoungmen and youngwomen erect
And the lithe weeds thata pole,aroundwhich they dance till morning. twine about the
bank,HavWill form their night bower. ! how drowsilying recruited their strength bysomehours Oof repose,
They bask before the murky flame, which flingsthey repair to church, and, after imploring the
proIts faint gleam o'er their black dishevell'd hair.tection of the Supreme Being, they again
givethemShrouding theirselves deep tann'd faces I Their old horse,up to fresii effusions of joy. During these
His rough, grey-hidetwo festivals, whitening in that dim light.the people display all their gaiety by
Browses beside thedances and low, close covering tent.songs—the greater part of which are
The only busy one. That wither'd hagnational, and partake somewhat of the climate.
Hath heard our voices ; now she stirs theAmong the public amusements of flame.Stockholm,
:And throws aside their dusky canopythose most worthy of notice aretheatrical
represenThere lie the lazy group, women, and men,tations. The opera has attained to a degree of
And children, withall vacant upturn'd eye.perfection which astonishes strangers. Original
Tasting an animalpieces joy which lazier wealthare sometimesperformed ; the rest are trans
Not seldom misses.lated from the French but the; preference is always
Most happy, or most wretched,thoughgiven to those which your taskshave music of Gluck's
comOf pilfering idleness have bowed you low,position.
Ye seem to me as things of other times,
And other countries, relics of mystic beings.THE GYPSIES.
That held communion with the silent heavens
It is a threatening eve, but yet the sky And talk'd of destinies. Cheats, as ye are,
Hath tints of loveliness. That plain ofsmall clouds. Ye have within you dregs ofa deep spirit.
How still it lies upon the glimmering blue, That dwelt by mountains, or by mighty streams.
Like a calm rippling lake, or sheet of snow. In forests that no mortal hand had rear'd,
That the keen wind hath ruflled into ridges In desert plains, wide as the pathless sea.—
;Onward the rainstorm rides 'tis over past. There liv'd that spirit, gazing on the clear stars.
Those skirts of yellow,gray show that the west Till it would read depthsthe hidden of fate.
Is lighted up—how beautifully ! Stand In their eternal courses. Lone enthusiasts.
Stand on this hillock ; 'tis a gorgeous sight. Sages and seers ! is your mysterious lore
To see the biack strugglingclouds with that gleam Yet known to such as these? They have a bond
Of parting splendour! What a brilliant flood In their traditions, but the soul is fled
Breaks momently, and paints those massive heaps Of divination ; and the undoubting faith.
With gold and crimson, while their edges glow That lent its wings to pierce the sightless world,
As with a living fire. And now those rays Abides not with these children of the wilds:
Strike down in delicate lines, while the full orb They see the stars with no oracular soul
Sinks gloriously. Awhile, beamsthe golden hear not songs of fate in the low wind;
Dapple the sky, and then mountainous pilea Planets eclips'd have no deep lore for them ;
Blackens in sullen triumph. Still the light The very lost healing balm;herbs have their
Strives with the storm, and mingles with its depth, Devotion knows them not ; the light of truth,
In one broad plain of dull and coppery hue. Simple, and pure,and common as the air.
O ! for a tranquil souleve, to fill the For them hath ignorance veil'd ; but yet they cling
With a rejjose of thought; still warm eve.a To shadows of tradition, and beguile
When the woods glow, and the unfretted wster The simple maid with many a perilous tale
Lingers beneath the green boughs then the weeds. Of dark or blissful chance. I scorn you not.
;
Thistle and dock, that batten on this bank. Poor wanderers ! for still ye seem to me
Seem beautiful: the linnet hides in them, Heirs of a pastoral life, the charter'd tenants
And, as she upward springs, they gently wave dingle some owns.Of glade or ; thing that Nature
In —the soft level light. But a thick dusk, Kniijht.Charles Frien<'ship's Offering.—
MUSICAL AND LITERARY MISCELLANY. 29
advancing, but as the horridBATTLE SYMPHONY. the French army inBEETHOVEN'S
" confusion worse confounded'' proceeds gradually
grandeur of effect, originality of invention,andIf
certain that they areto accumulate, we are morallyas neces-energetic passages, are to be considered
numbers under the Britishgiving way, they fall inconstituents of that musical compound—ansary
dispersed, and only onearmy, the whole band areinstrumental piece; it is notprobable that any other
fast fleetingattempting to keep up theJifer is heardpiece of the same length can vie with this specimen
Malbrook, butvalour of his countrymen by playing
of what a man of genius, and only a man of real
the parchingthe fatigue he has undergone, andwhen he determined. Ingenius, can accomplish is
obliges him to play it in the mi-thirst he endures,midst of all the seeming confusion which thethe
sorrowfully, instead of the joyful marchnor key—
title of this piece would lead us to expect in the per
Itplayed by his comrades before the battle. may
lormance of it, there is one passage trifling in itself,
think there isbe considered fanciful, but 1 reallyintroduced, shews thebut which, from the way it is
of nature in this pas-as true and genuine a touchmuster-hand as fully the most elaborate Sym-as
even in tiie dramatic writ-sage as can be foundphony could possibly do. I allude to the air of
"ings ofthe Bard Amn."—Quarterly Musical lie-ofMalbrook, which is at the beginning of the
sinvieiu, 1821.playedt'oiiia, understood as the national march by
THE MIGHTY CONQUEROR,
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