conceptions are never to be violated. Almost the only additions the compositions of HANDEL will admit, are appoggiaturas, and the mode of inserting these have been transmitted by a sort of tradition, from HANDEL himself, through his first scholars, and (next to himself,) the most admirable judges of his writings, the late Mrs. BATES, MADAME MARA, to the last living representatives of his strong and pure style, MRS. LACY, MR. VAUGHAN, and MR. BARTLEMAN. These singers have handed down to us perfect models of the true style of singing HANDEL, and which, there is too much probability, will perish with them. They have at this moment no successors; and the introduction of the compositions of modern masters, to the gradual exclusion of HANDEL's Oratorios, is daily more observable.

Custom has rendered the addition of cadences at the conclusion of Oratorio songs indispensible. It is a worn-out observation, that cadences should accord with the song, although it is the most accurate and concise rule for their formation. To us, however, the cadence appears to have been a singular invasion (at the outset of the custom) of the rights of the composer, and no very slight or prudent assumption on the part of the singer, for he thus undertakes to give the last and strongest touches, when he attempts to engage the feelings by passages uncombined with words. It seems to us to have been the height of presumption to have arrogated the power by such means, of further exciting the sensibility, and leaving a last impression at the close of such a song as "I know that my Redeemer liveth." But custom has now established the usage, and it is no longer a matter of choice. The world will have it so. We therefore submit to the maturest consideration of vocalists, the single fact above stated that the cadence is designed to heighten the effect of the song, and to leave the last impression upon the mind of the hearer. It follows, that the notes should be so chosen and so executed, as not only to assort with, but to transcend all the other parts. The same custom hath ordained that the cadence shall be concluded by a shake. For this reason, if there were no other, it is necessary to inform this ornament with sentiment, which all who have heard MARA, or who have noted the pathetic use the Italians sometimes (though it must be confessed very rarely) make of the shake, know not only to be possible, but to be the true property of this ornament. This is a general remark. Of the particular mode of exer

cise and attainment I may come to speak hereafter, should I be permitted to complete my intentions of giving to the public an entire series of essays on THE ELEMENTS OF VOCAL SCIENCE.

SIR,

TO THE EDITOR.

I Have always considered music as a language, the principal object of which is to communicate sentiments to the hearers by means of appropriate sounds, arranged according to the laws of harmony.

To consider it merely as an amusement (as it too commonly is by the volatile and the ignorant,) intended only to relieve the listlessness of a vacant hour, is, in my opinion, to degrade it from the rank which it is so justly entitled to hold among the liberal arts. When properly understood and justly appreciated, it will be found not only to gratify and captivate the ear, but to have a nobler object, to administer (to those, at least, who have improved and refined their taste by study and reflection), an intellectual pleasure.

According to this enlarged and liberal view of music, its peculiar province may be properly defined to be the faculty of addressing itself, through the medium of the sense of bearing, to the fancy, the understanding, and the heart. As, in fine writing, the sound is the echo of the sense, so in music, particularly that of the higher class, the notes ought constantly to correspond with, and be, as it were, the echo of the very words to which they are set by the composer. If we analyze the best works of the principal composers, both foreigners and our own countrymen, we thall find that they all endeavour to construct them upon this idea, though with very unequal success. Among these, it is by all acknowledged, that no man ever yet possessed this faculty of adapting his music to the occasion, in such an eminent degree as HANDEL: and in spite of that capricious changeling, popular taste or fashion, we still find that the works of this great master always hold the highest place in the estimation of competent judges.

To point out from them some of those parts which would strikingly illustrate the truth of these observations, would be an agreeable and not a difficult task: the only difficulty indeed would be in the selection-for where all is excellence, which shall we prefer?

I will, however, endeavour to draw the attention of your readers, for a few moments, to some of his pieces, which have always appeared better to shew, in a remarkable manner, the wonderful and various powers of his mind. I say various powers, for he knew both how to move the tender passions and how to rouse the soul; and, like MILTON, to elevate its conceptions beyond the boundaries of this present world. MILTON is in poetry, what HANDEL is in music. Who, for example, can hear the pastoral symphony in his Messiah, without feeling the most delightful emotions, which notes so suited to the occasion, so smooth and pleasing, are adapted to inspire? The mind is soothed into tranquillity, and transported, as it were, into Arcadian scenes, the land of pastoral simplicity and innocence. Or, if we hear that charming passage in the same oratorio, "He shall feed his flock like a shepherd," or, the air in Samson," How willing my paternal love," (which MR. BARTLEMAN sings with so much sensibility and expression,) the sentiments of parental tenderness soften and subdue the mind, and melt it down to kindred affection. If, again, we turn to subjects of a melancholy cast, we shall find him equally great and impressive. Perhaps there is nothing to be found in the whole compass of music, that appals the heart with deeper awe, or overwhelms it more with horror and mourning, than the dead march in Saul. Every note is responsive to those gloomy and solemn ideas which, while they awaken our sorrowful recollection of those who are separated from us by the hand of death, inculcate this most important moral-they remind us, in warning accents, (which we should want the sensibilities belonging to our nature not to feel), of our own mortality.

If we pursue our remarks still further, and consider some of his passages that are remarkable for loftiness and sublimity of style, and take for our subject the Hallelujah chorus, we shall then find all that is grand and magnificent in lauding the glories of the Supreme Being. All creation seems joining in the general chorus, and in strains of rapturous adoration; chaunting Hallelujahs and Hosannas, to him who sitteth on the everlasting throne. In short, HANDEL'S mind is so rich and abundant, that it always appears to be full of the

subject, whatever it may be; and it is so comprehensive and so judicious, that he scarcely ever fails of adapting his music to the character of the sentiment. If the subject be soft and pathetic, his notes are smooth and moving-if sorrowful, deep, sad and mournful; if it aspires to magnificence and sublimity, they assume a loftier tone, and swell with majesty and grandeur.

If ever there existed a musician who could lay just claim to origi nality, that man was HANDEL. He drew all his stores from nature and from the force of his own genius, and was indebted to no one either for his style or his thoughts. He could not bend his talents to think after any body else; conscious of the strength of his own pow ers, he disdained imitation, and trusted confidently to them alone. His music therefore is, properly speaking, his own; and what gives it unrivalled grace and dignity is this: not only that it is constructed on the purest principles of harmony, but also supported by a noble base, so peculiar to himself, whilst a rich and agreeable stream of melody runs throughout, and animates the whole; and that in a degree which is not to be equalled in the works of any other composer, either ancient or modern.

I cannot, therefore, hesitate in affirming, that as he stands first and foremost of all others in his profession, his works deserve to be held in the highest admiration, and to be studied by all the lovers of music.

But, notwithstanding this, much is it to be regretted that a light and frivolous kind of music should attract so many admirers at the present day, whilst HANDEL, comparatively speaking, is attended to only by a few; those few however are men for the most part of sound judgment and refined taste, and competent to decide on the relative merits of rival composers.

For my part I must confess (and I am far from arrogating to myscif the praise of a critical knowledge of music) that when I have heard a fine passage of HANDEL performed on the organ, by that great master, MR. CHARLES WESLEY, and afterwards hear a piece of music of any other composer, though given with all the feeling of that inimitable performer, there still is, to my ear, a thinness of tone, a lightness and want of expression, which sink the latter almost to insignificance by a comparison with the former. It may be said, however, after all, who is entitled to set up his own opinion as the standard of taste? for what is agreeable to one person may not be so

to another. Tastes are various; so I acknowledge they are, but still we cannot surely admire the taste of that man who in poetry would prefer SHENSTONE & GAY, to MILTON and SHAKESPEARE; or in painting, would esteem a picture by the hand of CARLO MARATTI, or LUCA GIORDANO, beyond the learning and the genius so distinguishable in the works of RAPHAEL and MICHAEL ANGELO. I cannot, Sir, close these remarks without adverting again to the extraordinary ability of MR. CHARLES WESLEY. I know his just partiality to HANDEL, and I know also that few, if any, have ever surpassed him in giving upon that noble instrument, the organ, the full and characteristic expression to his music. Possessed of a profound knowledge of his art, accompanied with a graceful and masterly execution, he touches every note with life and spirit, and calls forth all the latent beauties of his favourite author. He feels with all the soul of HANDEL.

No performer can lay just claim to excellence unless his mind directs and inspires his execution. Excellence, though it cannot be acquired without practice, is not to be attained by practice alone. Nature must furnish the ground-work; she must give sensibility, and what may not be improperly termed, a poetic feeling, Without this the performer may indeed acquire a considerable degree of accuracy, and a surprising power of execution, enough to amuse and gratify, and even astonish a mixed and common auditory; but he will never satisfy the critic's ear, for his music will be wholly deficient in pathos and expression, and consequently will fail to awaken the passions and touch the heart.

“Poeta nascitur, non fit" is a just observation, and is equally appli cable to musicians and poets. It is this sensibility which gives such a charm to MR. CHARLES WESLEY'S exccution, and has ranked him so deservedly high among the professors of his art; nor yet is he eminent only as a performer of other men's works, his own composi tions, to many of which I have frequently listened with delight, are at once remarkable for taste and originality of invention. Ilis talents are of the first order, and his merits have been fully acknowledged by the first judges of music, particularly by his Majesty and the Prince Regent.

SIR JOSHUA REYNOLDS was such an enthusiastic admirer of MICHAEL ANGELO, that he laboured unceasingly in his official discourses addressed to the Royal Academy, to impress on the minds