that a theory of some of the parts of the science of harmony may be given in a very brief form, and that much of the mystery supposed to attach to this study is imposition. But let not those who wish to become sound theorists or able performers be misled by the appearance of simplicity in these few and early rudiments. All the real usefulness of any system is to be tried by practice alone. Now we are perfectly satisfied that no pupil will find his way to the practical application of any acquirements in theory, but by a course, and a long course of exercises, proceeding from the foundation to the summit. These will demand strict attention and much time and labourmuch patience and more memory. The art of merely playing from figures is soon learned. But to analyse a score, to comprehend the various designs of composers and their multifarious contrivances, and to be able to employ them at all creditably, is only to be accomplished by years of study, reflection, and exercise. He who should have atchieved all that MR. RELFE has taught, would have still the hardest task behind. For there are all the varieties of modulation; there are such things as florid counterpoint, canon, fugue, and imitation-canon by inversion, augmentation, double augmentation, and double diminution-melodies recte et retro, per arsin et thesin, and alla rovescio-fugue, authentic and plagal modes, and double fugue, strict and free. All these are subjects for the contemplation, for the remembrance, and for the genius of him who would be thought to possess a real knowledge of the science of harmony and of composition. It is the worst species of deception to broach any other doctrine. Let it not be supposed our observation at all points at MR. RELFE'S publication. He has exempted himself from any such imputation by his judicious introductory remarks.

See the Note on Page 380, Vol. 1.

The Triumphs of Oriana, a collection of Madrigals for five and six voices, written and composed in honor of Queen Elizabeth, by the most eminent composers of that age; published and dedicated to the Earl of Nottingham, by THOMAS MORLEY, 1601.

Now first published in score, and inscribed (by permission) with the utmost respect to Hugh, Earl of Fortescue, by Wм. Hawes, gentleman of his Majesty's chapels royal, almoner, vicar choral, and master of the choristers of St. Paul's cathedral. London: printed for the Editor.

No period of our history is more interesting to the musician than the reign of Elizabeth. At that time flourished TALLIS, BYRD, WILBYE, BENET, and a number of other celebrated men, who raised our English school of composition, to a state in which it might vie with the proudest of Italy; a distinction, we fear, which it has never since enjoyed.

Several circumstances concurred to produce this favorable situation of things. The clergy, almost all of whom had been educated in the principles of the Romish church, had strongly imbibed a taste for an art of which that church may truly be called the "nursing mother." But, more than this, the full beams of royal favor and patronage shone upon our native composers, and, as a necessary consequence, they received, from the great and powerful, the finest of all stimulants to exertion-applause and encouragement. It is not here our business to trace the decline of our school down to the present day, when every English writer is left to struggle for himself, as he is able. But we think it due to our countrymen to observe, that those who reproach them with a want of genius, should show that there is no want of opportunity and motive for its exertion; and we would, with unfeigned respect, hint to those persons of exalted rank among us, who, by general consent, are considered as the great depositaries of public favor, that, if they still continue on all occasions to prefer foreign writers and performers to

those of their own country, it is not justice to assert, because it has not been proved, that the latter are altogether unworthy of their countenance and support. It should ever be remembered, that no man's nerves are more finely strung than his are, who is called upon to distinguish himself by the exercise of his imagination. He is, indeed, the creature and sport of cloud and sunshine. The melancholy history of artists of all ages and descriptions tells us this; therefore, to expect that British composers should again rise to the eminence which they enjoyed at the period now under our consideration, without those inducements to arduous exertion which rank and wealth alone can offer, is to look for an effect without an adequate cause-it is truly to expect to reap that which we have

not sown.

Secular music was not much cultivated in England, during the first years of Elizabeth's reign; but a taste for Madrigals appears to have been gradually imbibed from Italy, and to have been considerably improved and rendered general by the exertions of N. YONGE, who, in 1588, published the first volume of his "Musica Transalpina, Madrigals of four, five, and six parts, chosen out of divers different authors; with the first and second part of La Virginella, made by MASTER BYRD upon two stanzas in ARIOSTO, brought to speak English with the rest.”*

Soon after this work appeared, many of our great masters distinguished themselves in rapid succession. MORLEY, (the pupil of BYRD) in 1593, printed his "Canzonets, or little short songs of three voices." These, in 1594, were followed by "Madrigals to four voices;" in 1595, by "Ballets or Falas to five voices;" by "Madrigals to five voices;" and in 1597, by "Canzonets, or little short airs to five and six voices." About the same time, WILBYE, BENET, WEELKES, SHIRBYE, and many others, gave compositions to the world, which ever have been, and must remain, objects of great interest to the industrious student.

This, indeed, was the golden age of English Madrigals, which seem to have formed the amusement of all ranks of our musical amateurs, and to have constituted almost the whole sum of those

DR. BURNEY, speaking of YONGE, says, "he was an Italian merchant, who, having opportunities of obtaining from his correspondents the newest and the best compositions from the Continent, had them frequently performed at his house for the entertainment of his musical friends.

compositions, which were peculiarly appropriated to the chamber. Not to be able to "take a part", was thought in those days as great sign of a deficient musical education, as it would now be, were a young lady to declare herself unable to perform a sonata, or accompany a song.

The following extract from MORLEY'S "Plaine and Easie Introduction to Practicall Musicke," places this part of our subject in so clear and lively a point of view, that we think our readers will be obliged to us for making it.

"Polymathes.-Sage brother Philomathes, what haste? whither go you so fast? Philomathes.-To seek out an old friend of mine. Pol.-But before you goe, I praie you repeat some of the discourses which you had yesternight at MASTER SOPHOBOLUS his banquet, for commonly he is not without both wise and learned guestes. Phi.-— It is true indeed, and yesternight there were a number of excellent schollers, both gentlemen and others but all the propose which was then discoursed upon, was musicke. Pol —I trust you were contented to suffer others to speak of that matter. Phi.-I would that had been the worst; for I was compelled to discover mine own ignorance, and confesse that I knewe nothing at all in it. Pol.-How so? Phi. Among the rest of the guestes by chance Master Aphron came thither also, who, falling to discourse of musicke, was in an argument so quickly taken up, and hotly pursued by Eudoxus and Calergus, two kinsmen of master Sophobulus, as in his own art he was over throwne, but he still sticking in his opinion, the two gentle-· men requested me to examine his reasons and confute them, but I refusing, and pretending ignorance, the whole company condemned me of discurtesie, being fully persuaded that I had been as skilfull in that art as they tooke mee to be learned in others; but supper: being ended, and musicke bookes, according to the custome, being brought to the table, the mistress of the house presented me with a part, earnestly requesting me to sing, but when, after many excuses 1 protested unfainedly that I could not, euerie one began to wonder ; yea some whispered to others demanding how I was brought up. So that upon shame of mine ignorance, I goe now to seek out mine old friende, Master Gnorimus, to make myself his schollar."

In 1601 appeared the work which forms the subject of our prosent article. Several contributions to it were from the pens of the most celebrated composers of the day; though we have sometimes

wondered that BYRD, then decidedly at the head of his profession, was not among them.

Various conjectures have been made concerning the circumstances which gave rise to this publication, for an account of which we may refer our readers to the histories of DR. BURNEY and SIR JOHN HAWKINS, or to the preface by MR. HAWES, who differs in opinion from both.

We cannot, however, pass by an observation made by SIR JOHN HAWKINS. "There is some piece of secret history (says he) which we have yet to learn, that would enable us to account for giving the Queen this romantic name. (Oriana.) Probably she was fond of it. CAMDEN relates that a Spanish Ambassador had libelled her by the name of Amadis Oriana, and for his insolence was put under a guard." Now, that Elizabeth should be "fond" of a name, under which she had been lampooned, appears a thing so very extraordinary, that we cannot admit the probability of it, even on the worthy Knight's authority.

Every student, in the school of English composition, has heard of "The triumphs of Oriana"-and this title has come upon him with a mysterious sort of influence, which is sometimes found to accompany the names of things which are but little understood. We were certainly among the number of those who imagined that these compositions possessed extraordinary merit; but MR. HAWES, by enabling us to view them in score, has undeceived us, and we do not remember ever to have examined so large a work with so little in it to interest and delight. MR. HAWES, with true editorial affection for the objects of his choice, seems angry with DR. BURNEY for speaking of them in a slighting manner; we therefore, as our opinion coincides very much with the Doctor's, must proceed to support it somewhat at large. It was GLUCK, we believe, who said that fine music consisted in good melody, good harmony, and good modulation—to this he should have added correct rythm, without which melody can have no existence, and harmony is but a mass of agreeable, but unmeaning sounds. Now we think that if the madrigals contained in "The triumphs of Oriana" be examined by the above tests, they will fall very short of the high characters which the worthy Editor would persuade us they possess. Melody, according to the modern acceptation of the term, was not cultivated at the period when these compositions first appeared; and indeed it is impossible to imagine