but too frequently the adjuncts in a lesson, the principals. He has thrown an originality and strength over his production which is far from common. The last part of the third page is extremely rich in this respect, and the lesson continues throughout in the same style. The chromatic passages for both hands are introduced into the fourth with great facility. The variation upon the fifth page is fraught with less meaning than the rest, and contains pas sages rather hard, even to modern ears. The sixth contains matter as rich as difficult. In the last variation we do not think the enharmonic change more singular than Mr. WEBBE's modulating from the key of E, with four sharps, to that of E, with three flats (the original key), which is effected in the manner following. He renders his E minor, passes to G major, after which he retakes the key of E, with three flats, by a chromatic ascent.

There are two points therefore of consideration with MR. WEBBE, and for the approbation of his auditors :-1st. the power of harmonizing in which has been shewn by his scholars, and (2nd) the manifestation of his own acquirements in science. These are independent of a desire, perhaps, which he has to inculcate the necessity of acquainting pupils with the practical nature of enharmonic changes and the use of the extreme keys. In respect to the first, though the air is harmonized in a way to shew that it was not the work of practised musicians, there is yet enough of art visible, in the gra tuitous introduction of the accidental D flat, to prove that they have attained more than is merely technical or the result of an artificial process of fixing terms in the memory alone. With regard to the second point, MR. WEBBE has, as we have said, made an original, rich, and difficult series of variations, during which he has given such proof of scientific combination, that it can belong only to advanced knowledge to relish and enjoy and give the credit due to him for his elaborate composition.

A SLIGHT SKETCH OF THE PRESENT STATE OF MUSIC IN LONDON.

A Description of the state of Music in the Metropolis would scem to be, at certain intervals, a necessary appendage to a work of this nature, because the progress of science and of practice would be indicated by such an exposition. All however that we dare promise our readers to attempt from time to time, is an occasional essay towards the elucidation of this desirable purpose, for a full and adequate description is beyond our grasp. We can aspire to no extensive plan; yet the acknowledged imperfection to which our limits bind us, shall not deter us from offering such a specu lation as our acquaintance with the state of public music in London enables us to draw up for the amusement of those whom distance may remove from the grand theatre of the emulation and contention of talent, the centre from whence improvement must be projected.

The prominent feature of the times appears to us to be, that the performance of instrumental music has made very rapid strides in the favor of the public. Vocal excellence is declining.

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The age which immediately preceded the appearance of HAYDN and MOZART was the age of vocalists. The endeavours of the great masters of that day were principally addressed to the display of their powers in the composition of operas, and to set off the abilities of singers like FARINELLI, SENESINO, CUZZONI, FAUSTINA, and others, who formed all the attraction and all the conversation of the world in which they moved. The attention of composers was concentrated in the production of vocal effects; and expression, had not yet given place to agility in singing. Sentiment still retained its mastery over execution. Scarcely had the life of HANDEL terminated, when the latent powers of instruments became better known; and as encouragement was offered, men arose, who enlarged (by extraordinary practice) those powers, while, in some instances, improved mechanism* was called in to aid the growing advancement. But the circumstance which has most materially contributed to effect the exaltation of the band was the series of

* Witness the substitution of the piano forte for the harpsichord, and the various additions to harps, horns, flutes, trumpets, and serpents, by pedals, keys, and other ingenious contrivances. We mention these as instances, with out intending to do more than elucidate the fact.

beautiful accompaniments by HAYDN and MOZART. If they have been since successfully followed by others, they were, nevertheless, the authors of the sudden and rapid progression of instrumental performers, to whom they gave power and almost pre-eminence. Só true it is, that a single genius is able to change, if not to fix, the taste of whole generations in the fine arts.

England early caught the spirit from the master magician himself; and we need do little more than refer our readers to our noticé of the Philharmonic Concert, in the present Number, to shew the rapidity with which the electric fire of talent was caught and communicated throughout the whole large circle of instrumental ability. A splendid portion of the science of the country was alike eager to patronize and partake the spirit, and to emulate the acquisitions in knowledge and the refinements enjoyed in other lands, where music has been understood to be cultivated in the highest perfection. The orchestras of the Antient Concert, and of the Opera were enriched by the access of this "noble rage," and the ead has been to carry instrumental music, whether employed by itself or in accompanyment, to a degree of polish which we think we may venture to assert, it has never attained at any former period in the history of the science. We shall not fall into the error of quoting particular names, however due to individuals distinction may be, lest we should subject ourselves to invidious imputations, but we refer those who wish for such information to the list of the Philharmonic Society and of the Opera band, as including a cento of ability, unequalled in the annals of music in England. Nor do these lists comprise by any means the whole. There is yet a vast floating mass of musicians of real talent, among those who pass almost unnoticed and unknown." Let us again especially point out to observation that it is the vast and sudden rise in the knowledge of instruments that is the surprising characteristic. A progression, and a progression proportionate to the daily extending encouragement, and the daily additions of fresh energy and intellect to the study was to be expected. But be it remarked, the start was suddenly taken, and the rising body has attained an accelerated velocity, analogous to that which attends the phænomena of substances moving by the natural laws of gravity in a contrary direction. The improvement has been diffused among all if not equally. The wind instruments have however received the most. It is not unfrequent to witness

the repetition of instrumental pieces by an encore, as it has been long the custom to call for vocal a second time.*

The causes which have conduced to the changes in vocal art are more obscure; we can trace them scarcely beyond the single circum. stance of the example of one or two popular singers. Whether it be given to the celebrity of individuals to raze out the memory of former and long prevailing taste, and to propagate such an over-wcening admiration of the wonders they and they alone could perform, we shall not pretend to decide; but certain it is that since the appearance of CATALANI and MR. BRAHAM the practice of the art has suffered a complete revolution. Expression has gradually continued to yield a little and a little to execution. The pure commanding eloquence of earlier composers has melted away before the voluptuous not to call them the meretricious graces of more modern writers, and declamation, sentiment, and pathos are superseded by passages of agility and florid ornament. The music, which we may be permitted to call the music of the mind and of the soul, still indeed continues to be heard, though it is all but banished by the great body of the public, who begin to feel a tedium and a heaviness, whenever intense are substituted for voluptuous feelings, whenever music aims to call up the bliss which is intellectual, instead of desiring to produce that soft dream of extacy which follows the excitement of the tenderest passions. The compositions that affect are now almost entirely amatory. The intervals which they leave open are filled with the light and sportive gaité du cœur of Italian comedy.

At this time the metropolis enjoys three such concerts as no, other country could or can boast-in THE CONCERT OF ANCIENT MUSIC, THE PHILHARMONIC SOCIETY, AND THE VOCAL CONCERTS. In all these the richest lore of science, and the purest specimens of classical authority are preserved; in the former more especially, while the range of the two latter is more extended as to novelty and the compositions of modern writers as well as performers, who come before the public with indisputable titles to regard and estimation, and who are admitted to

We may here not unaptly remark the change which has taken place in the mode of bestowing applause in the concert-rooms and theatres of London. When a song or piece is highly approved, the applause by clapping of hands is long continued, or ceases, and is renewed, which is now esteemed to be equivalent to the former cry of encore, while in the theatre the efforts of a successful perfornier are crowned by long and continued shouts.

an honorable competition for public approbation. To these concerts, however, only a very high and select class of auditors, and the very highest of performers find admission. It is singu lar that with such encouragement there is in neither any male singer of rising talent to be found. MR. VAUGHAN occupies the place of the tenor at the ancient and the vocal concerts in a manner so consistent with the classical purity of these institutions, and so eminently superior to every other singer of his day, that we look in vain for his successor, should he be removed by any unforeseen occurrence. MR. BRAHAM has scarcely appeared in public at all during the winter, from choice it must be presumed, for to his powers the public will never be deaf. MR. WM. KNYVETT is the elegant and finished counter-tenor. The basses are MR. BARTLE MAN and MR. BELLAMY. The continued indisposition of the former has for the last seven months precluded the public from the gratification his performance always afforded; the latter, we understand, in consequence of his engagements in teaching, wishes to retire, as much as possible, from public singing; and we see as little promise of any one to succeed these gentlemen. In truth, we know of no other bass singer of ability at present. This department is at the lowest possible ebb, and a man of any merit would now probably find very hearty acceptance. The growing passion for comic Italian pieces has introduced Signors NALDI, ANGRISANI, and AMBROGETTI Occasionally to the orchestras of the concerts, and even of the oratorios. But their claims are exceedingly limited.-. NALDI, to his known defects of faulty intonation, nasality, and a constant lagging behind the time, now begins to add the characistics of coming age. He is almost passé. ANGRISANI, with a very fine voice, is coarse and unfinished; and AMBROGETTI has not a single faculty to entitle him to a place in an orchestra. The few notes he has are very soon worn out, and his singing becomes intolerable, except as an exhibition of comic skill, which we consider not to be among the attributes of concert singing. As a tenor, SIGNOR BEGREZ, has a beautiful voice, is an excellent musician, and performs in concert very sweetly and in a chaste good style.

The female singers are more numerous, and upon the whole (though declining into the substitution of agility for expression,) far better. MRS. DICKONS, MRS. SALMON, MISS CORRI, SIGNORA BELLOCCHI,