SIR,

TO THE EDITOR.

I Transmit you a continuation of my "Elements of Vocal Science."

I am,

Your's faithfully,

TIMOTHEUS.

Section II.

OF THE CONCERT.

THE Orchestra differs from the Church principally as it enlarges the bounds of a singer's range. Without being wholly released from that constraint which the solemn duties of the former impose upon him, he enjoys a greater liberty of excursion. There is a certain degree of dignity common to both. But the orchestra bestows an elegant freedom which, to borrow a similitude from the customs of social life, is in manners analogous to the felicitous indulgence of the imagination-to the sparkling and the play of fancy that call forth all the powers and illumine the more familiar conversation of persons of the highest birth and the loftiest condition, without lowering the tone of self-consideration they are accustomed to observe. So in the manner of orchestra-singing a diversity is admitted & indeed courted, which allows the almost unbounded exercise of every species of vocal ability. -This division of the subject leaves us not much therefore to discuss separately; we have indeed scarcely more to do than to point out, that it is here the singer is empowered to manifest his judgement in the selection and execution of whatever is best suited to his powers, and to discuss the principles by which that judgment ought to be regulated.

The selections from the concert bills of this country now exhibit an astonishing variety. We say astonishing, because there is scarcely any perceptible allowance for the limitations placed upon talent by the insuperable decrees of nature. A performer of the first rank is expected to be able to sing in the Latin, French, Italian, and English languages, with equal facility and purity, and we may add, with

equal excellence-in the manner of the church and of the orchestra, and of the theatre-in the great and the ornamented styles, and moreover in songs of the deepest pathos and of the liveliest comic effect-airs sacred and airs amatory.* In my essay on style and manner, I have shewn that the faculties, both natural and acquired, which are employed in efforts so opposite, are scarcely likely to be possessed or obtained by the same individual. It becomes therefore a question well worthy the consideration of singers, whether they will afford the greatest share of gratification by the display of their talents in one grand style of intrinsic superiority, or whether they give more pleasure by a variety which cannot fail to reduce the real value of their entire performance, according to a sound and rigid yet just es• timation of its worth. To take the philosophical view of the proposition in which I think the matter ought to be regarded, it appears to me to bear a strict analogy in effect to the division of labour in any other pursuit, with a due allowance for the direction of natural aptitude. If therefore we can admit, as we may and must, that any one style has in itself sufficient to exercise and to occupy fully all the faculties, it should appear that the most judicious plan of proceeding is to cultivate one particular style exclusively, and consequently to adhere to that style universally. Such at least ought to be the course of a singer who aspires to be eminently great. It may perhaps be desired, 1st. That I should bring some proof of the belief I thus express, in regard to the scope which any single style affords, and 2dly. It may be objected, that certain entire characters in oratorios (which must be comprehended in the business of an orchestra as well as in treating of the church) include more than one style. To the first I reply generally, that the great singers of our times, MARA, BILLINGTON and CATALANI, HARRISON, BRAHAM and VAUGHAN, BARTLEMAN and LACY, have confined themselves to very few songs in orchestra performances, which might probably be deemed a

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*We have indeed heard one female singer on the same night and with really equal excellence, perform Handel's "What tho' I trace," "Farewell ye limpid springs," Bishop's " May and December," and a part in Guglielmi's duet of Vedete la vedete," and another Handel's "Holy Holy Lord," " Hush ye pretty warbling choir," and "O dolce concento," with variations. It is perhaps a proof of the versatility of female powers, that such changeful occupation is rarely allotted to meu.

Page 117, Vol. 1.

sufficient answer, so long as the public appetite has been agreeably supplied. But there are such multitudes of airs in every style, that no singer can be at a loss for songs of the most opposite expression, although of the same grand character. Of these many are of such standard excellence, that it is impossible for a singer in this country not to know them. They are comparatively few, and are drawn principally from the works of PURCELL, HANDEL, & HAYDN, and from the more recent compositions of CALLCOTT, HORSLEY, ATTWOOD, BISHOP, and others, who have each of them now in being songs which must be heard in concerts from time to time. But whenever it seems desirable either in justice to modern genius, or with a view to public gratification, to interweave other pieces with these the most splendid and the most solid instances of classical ability, there are abundant materials, though the spring of English production has not lately been so luxuriant as we could have wished to see it. In the works of the masters we have enumerated, there are examples out of number of compositions of infinite beauty, which are, we may say, absolutely unknown. My assertions will scarcely be admitted to stand against the testimony which has been given by the eminent persons I havé named, because it will be thought that their erudition would have reached, and their taste would have brought to light some of the specimens to which I have adverted, could such have stood a comparison with the songs so highly admired. But be it recollected, that I grant the very finest examples to be those which are already the public favorites; and it will, I expect, be conceded, that there is a feeling common to all professors to aim at doing the utmost at once, out of which proceeds the desire always to execute those songs which display the greatest variety of power and the richest endowment. No one is likely, therefore, to lay down a song of acknowledged superiority, so long as it continues to enjoy the unwearied attention and estimation of the audience. A striking proof of this is to be drawn from PURCELL's two songs of Mad Bess and "From Rosy Bowers," it would be difficult to determine towards which the preference ought to be accorded; yet the one has been sung by every female of note, while the other has scarcely been heard at all. The fact is, that up to a certain point of time, the long-nourished predilections of the public will give the law to taste of the artist, unless he be of a genius bold and powerful enough to turn the current of opinion towards new objects-and this shews us why the taste of MARA has been so

long followed, and why CATALANI has originated a new school of ideal vocal excellence. It shews us why the sound musical learning and fine expression of HARRISON, VAUGHAN, and BARTLEMAN still preserve a portion of respect, while another division of the public is attracted to MR. BRAHAM's declamatory and florid style, and to his (a heavy declension !) "Bewildered Maid," his Echo Song, and his "Is there a heart that never loved," as well as to the comic pieces of SIGNORS NALDI and AMBROGETTI. Prescription and novelty are in these instances identified with habit and desire of change, and habit and desire of change are the principles between which human nature continually fluctuates.

In discussing the second objection, we must clear the way a little in respect to the understanding of the great style. It is not because a song is of rapid execution, because it requires ornament, or because it contains passages of difficulty, that it is to be classed with any other than the great style. This great style, in our ideas, bas regard to the character of the expression, and if this be addressed to the loftier sentiments of the mind, no matter what the kind of notation may be, it classes itself under this head. Thus I hold that "I know that my Redeemer liveth," from the Messiah; "Total eclipse," "Why does the God of Israel sleep," from Samson; "In sweelest harmony," from Saul; "Heart the seat of soft delight," from Acis and Galatea, and Purcell's Mad Bess, come within the classification of the great style, and if any song happens to fall below that character, it should be rejected altogether, though I believe very few instances are to be quoted from the works of Handel. I shall endeayour to illustrate these notions more particularly in a future paper.

From my previous essays, as well as my present, it will be gathered, that even a commanding genius must yield at the outset to the sense and taste of the age in which he lives; but it is above all things important, that his first studies and earliest ideas be drawn from classical authorities. With this concession we may, however, go on to connect the leading rules which ought to direct the choice of a singer, and it appears to me, that these are the principles upon which the impartment of pleasure to our auditors depends, besides those, which especially appertain to individual faculties and acquirements.

It has been thought by DR. BURNEY that a composition wins

* See page 145. Vol. 1.

most upon the senses which dwells upon the same sentiment, or which at proper intervals returns again to the original musical theme: that is to say, that the sentiment ought to be of one kind, and that the mind ought not to be distracted at all from the particular feeling it is wished to excite. If I am not inclined to yield entirely to this hypothesis, it must be admitted to be true in a degree, since, by fre quently withdrawing the mind to different objects, all intensity of feeling must be prevented. It is, therefore, of the first importance, where the design is to interest the heart, that the passion of the song be of one kind, or if not so strictly limited, that the relations be not remote, but slide imperceptibly into one another. Violent transitions, although very customary, are always liable to break that train of the ideas which is most favourable to the primary object of the art.It is for this reason that the Italian poetry is said to excel that of any other nation in its capability for musical adaptation. One idea generally makes up the entire subject, and its simplicity becomes its recommendation. It is, however, to be remarked, that almost all Italian songs consist of two divisions. The one generally slow, pathetic, and tender; the other of livelier or stronger emotion. I have often endeavoured to decide, not so much upon the absolute propriety as upon the effect of such a division, and it appears to me, that the transition disturbs the mind and diminishes the intensity of feeling.The singer then has to choose between contrast and continuity. If he would affect deeply and please generally, he must study both. Let bim above all things be careful never to fail. Complete success is only to be secured by a rigid adherence to this maxim. He must labour incessantly, but never never let him attempt, no not even a single note or passage, that may be beyond his grasp. One who regulates himself by this golden rule, may ascend slowly, but he will continue to ascend.

These principles being deduced from the manner in which passions or emotions are raised in the mind, are equally applicable, whatever

+ I began the study of the Italian language at an advanced period of life, considerably after the termination of a classical education, during which I had read the Greek poets and tragedians, and after a long and intimate acquaintance with our own dramatic writers. I think the pleasure I enjoyed from the exquisite simplicity of METASTASIO was amongst the highest intellectual gratifications I can remember to have received. It infinitely more than repaid the drudgery of overcoming the rudiments of the language.