wishing it may enjoy an extensive circulation among them, and the aid and encouragement of those, who like myself, enjoy the leisure, and cultivate the desire to render both subservient to the purposes of public virtue and public happiness.

I am, Sir,

Yours, faithfully,

VETUS.

THE MUSICAL STUDENT.

No. 1.

I Have often lamented that musical literature should be so little cultivated among us. This appears more remarkable, when we consider the great encouragement which is given to music in this country, and when every one is aware that we are exceedingly apt to take offence if our claim to the distinction of a musical people is disputed.

On this topic much might be said, but as I now have neither leisure nor inclination for a formal disquisition, I shall hereafter, from time to time, state my opinions concerning it. At present, it may suffice to observe, that the chief design which I have in view is, to excite, in my brother professors, a taste for more particular enquiry into the principles of the art they practice, and to induce them to make the result of their enquiries public, for their mutual instruction and advantage.

It is a remark of Dr. Burney, that music has been more advanced by the labours of unlearned men, than it has been by philo sophers and mathematicians; and, should any one be disinclined to believe this assertion, he must still admit, that the greatest benefit may be expected to arise from an interchange of ideas between those, who with genius and enthusiasm for their art, are in the daily study and exercise of it.

A frank exposition of the doubts, the difficulties, and even of the disappointments and failures of such men, will be of incalculable advantage to those who follow them; and, in this work, the humblest musician should not be deterred from bearing a part, since, by some happy circumstance, he may occasionally contribute as much to the general improvement, as the most enlightened and distinguished.

It is this consideration which encourages me to commence a scries

of essays, on musical subjects, though to say the truth, I have little or no pretensions to scholarship, and am quite a novice in literary composition. After this declaration, many perhaps will think any undertaking exceedingly rash. But I would entreat them to consider what I have just said, and to remember that the Trumpeter, though a very insignificant personage, is often instrumental in summoning the greatest heroes to the field.

Besides, the old observation may be here repeated, that it is impossible for any one to aim at the instruction of others without improving himself: and, therefore, my present attempt may make a writer of me, when my friends least expect it. Pope, I remember, somewhere mentions the great difficulty which he experienced, when he first began his translation of Homer, and Gibbon describes, with much complacency, the facility in composition which practice gave him.

Now I am far from supposing that I shall ever be so poetical as Pope, or so philosophical as Gibbon; nevertheless I trust that habit will improve me in the art of writing, and that I shall not hereafter be reduced, as I now often am, to nibble one end of my pen for a thought, as much as I wear out the other in expressing it.

It is usual for authors, at the commencement of their works, to state the plan on which they intend to proceed; but I must really confess that I have no plan at all. I do this without any affectation of singularity, and, indeed, it does not appear requisite for me, at this time, to specify any particular object which I may have in view -save that of general improvement.

Biography, criticism, and scientific discussion, may all occupy me in turn; and in the treatment of them, my readers, if I should have any, must be pleased to take me in my own way.

I have just acknowledged my unacquaintance with literary composition, consequently it is not to be apprehended that I shall sacrifice truth to the rounding of my periods. Nay, were I so inclined, I think that I should be deterred by the example of a reverend gentleman, who having lately introduced the Pope and the Inquisition for the above-mentioned purpose, received for his pains a rebuke from the highest and most grave authority.

In the prosecution of my design, it will also be my earnest wish and endeavour to avoid giving offence or uneasiness to individuals. I shall, therefore, treat my subjects as generally as possible, but if

any one should imagine that my remarks apply particularly to him, notwithstanding my declaration to the contrary, he must be reminded of the homely French proverb-Qui se sent galeux se gale.

The Spectator says "I have observed, that a reader seldom peruses a book with pleasure till he knows whether the writer of it be a black or a fair man, of a mild or choleric disposition, married or a batchelor, with other particulars of the like nature, that conduce much to the right understanding of an author." It is not, however, my intention to say much concerning myself; for, being quite an every-day sort of person, it would be an idle waste of my reader's time. It does not appear that I have ever been very remarkable for genius, or that my birth was accompanied by any prodigies. No bees are said to have settled on my cradle-though, to be sure, that might have happened from my being born in London, and in the winter. Even for music, I did not discover any early predilection. Once I cried, it is true, till my good father bought me a fife, and I afterwards cried because I could not play upon it; but, as such things may have been done by other children, I shall lay no stress on them. Music now constitutes one of the great delights of my life, and its advancement in my country, and the encreasing reputation and honor of all those who worthily profess it, are objects always near to my heart.

It is on these accounts that I have ventured to present myself before the public, in spite of all the disadvantages under which I labor; but, circumstanced as I am, let no one wonder that I wish to be strictly incognito. My friends, therefore, should they recognise me, must have the goodness to let me pass on without any of those significant nods and winks which show them to be wiser than their neighbours; and, should I ever be compelled to deny myself, I entreat them to extend to me that polite indulgence which often leads them to allow that an acquaintance is "not at home," although they have just seen the worthy gentleman move away from the window.

Enough has now been said to give a general idea of my design, in the execution of which I shall neither be profound nor witty, if I can help it. The ladies, therefore, and the critics will have nothing

to fear.

Those persons who are disposed to assist the musical student in his undertaking, are requested to send their communications addressed

to him, at the publishers, Messrs. Baldwin, Cradock, and Joy, Paternoster Row, London.

SIR,

TO THE EDITOR.

As in S in your last number, page 215, you mentioned a volume of Masses, which were published by the permission of the late Mr. SAMUEL WEBBE, perhaps a few remarks on that volume may not be unacceptable to your readers, previous to which I shall hazard an opinion as to how it happens that his sacred music is generally considered inferior to his secular compositions. The following advertisement, prefixed to the volume itself, shews by inference the intention of Mr. Webbe in the composition.

ADVERTISEMENT.

"The following compositions being well adapted to the powers of a small choir, have been eagerly sought after, both for public and private usc.

"On observing that Mr. Webbe had no intention of ever printing them himself, we solicited his permission to publish them, which he not only granted, but also offered to assist in correcting the plates.

"With the view then of rendering them as useful as possible, we printed them in the pocket size; and also separately for general accommodation.

"Although the basses are not always figured, the hand of the skillful organist will seldom be at a loss for proper harmonies necessary for the accompaniments, as they will naturally arise from the progression of the melody, which (as all church music should be,) is as simple as possible, &c."

In addition to science and a highly cultivated taste, which his secular compositions sufficiently indicate, Mr. Webbe has shewn, by the simplicity of his composition in the work above alluded to, that he possessed a clear idea of musical effect. He was well aware that music, in many parts, enriched with extraneous modulations, is not to be performed but by singers whose powers and abilities are of the very first rate; that such music is much better calculated for the

chamber than for the church, and that such choirs could not be expected out of London: He therefore so calculated his music as to produce, even in small choirs, a choral effect. A striking example of this may be found in the Portuguese Hymn "Adeste fideles." The universal joy at the birth of a Saviour manifested in this hymn, which is used only during the Christmas festivity, is but feebly expressed by a few select voices, uniting with the most exquisite precision, to give effect in a large building to the delicate and tender harmonies and graceful passages with which Mr. Novello has adorned it. This delightful species of harmony is indeed well calculated for the chamber; but the nobly energetic arrangement of Mr. Webbe, admitting by its simplicity of an indefinite number of voices, is far better adapted to the expression and diffusion of that general exultation which actually operates upon every one assembled in the sacred edifice on so joyous an occasion. I have selected this hymn, because generally known in the musical world, and for that reason best calculated to elucidate and enforce, by comparison, my idea of the sound judgment of the author, whose work is now under consideration. If it appears thus conspicuously in the arrangement of a piece not originally his own, we may surely give him credit for a due exercise of it in the compositions in question: for his glees prove his powers; and I hence draw the conclusion that, in his Masses, he has rendered those powers subservient to his judgment. The volume of them alluded to in your Magazine bas the following title page: "A Collection of Modern Church Music, consisting of Masses, &c. composed by the following masters, Webbe, Paxton, Ricci, and Dr. Arne. Published by permission of Mr. Webbe, and under his immediate inspection." The first five appear to be by Mr. Webbe; the sixth is supposed to be by Dr. Arne, the seventh is by Ricci, and the eighth and ninth by Paxton. The first and fourth, in the keys of A and D major, appear to have been intended for common occasions. The second, which is in the key of Bb major, opens with a fine largo sostenuto movement, the third strain of which contains some fine though simple modulation. The "Gloria" commencing at « Et in terrâ Pax" begins with the eighth tone of the Gregorian chants reduced to time, on the stile of which the whole appears to be founded. The soli and tutti are well contrasted. There are some fine modulations from "Qui tollis peccata mundi,” to “Tu solus altissimus Jesu Christe," and "cum sancto" to the end, concludes the