WeGA, Rezeptionsdokumente, Digitale Edition
author: Anonymus
source date: 1826
language: en
availability: Creative Commons Attribution 4.0 International (CC BY 4.0) (http://creativecommons.org/licenses/by/4.0/)

SKETCH OF THE STATE OF MUSIC IN LONDON.

AUGUST, 1826.

[...]

The music at Covent Garden was this season as last committed pretty much to M. Von Weber. Der Freischutz occupied the commencement, and after his arrival he conducted his own pieces, and brought out his Oberon. Of this we have spoken elsewhere. No new singer has appeared. Mr. Braham keeps his state without a rival. Miss Paton is certainly very much improved in her general manner. Madame Vestris is also a reigning favourite, which, strange to say, she becomes by lowering her original Italian style to the light but coarse ballads of the English comic opera – “Cherry ripe“ for example. But in truth she owes her popularity to her personal beauty and to her acting—her singing is a tertium quid, comparatively but little considered. Miss H. Cawse has been added to the vocal strength of this theatre, and she exhibits considerable ability. In Ariel and in Puck she has been very successful, principally by preserving a natural manner, by pure enunciation and expression, and by the plainest use of her excellent voice.

Drury Lane followed the reigning fashion in re-producing Weber’s Freischutz. About the same time that Oberon was brought out, a new opera upon the story of Aladdin was put into Mr. Bishop's hands, and subsequently got up. Since it cannot be said to have greatly succeeded, it must be admitted to have failed, for the public will consider it as a contest between the two houses, and to a certain degree between the two composers, from the competition of the time and the nature of the subject. We think so highly of Mr. Bishop's talents that we deem it no more than is due to him, to treat of his opera at large in a separate article. But here we cannot omit to point out the disadvantages under which he came to the trial. The subject of the Covent Garden piece was new, at least to the English public, highly romantic and imaginative, embracing the most attractive poetical machinery, and it did contain not a little of the fancy and the diction of poetry. M. Von Weber had Miss Paton and Mr. Braham to represent his principal characters, singers who trample upon difficulties, and who can enter into every and all the shades of various passion with the strongest dramatic effect. Besides these there were an host of able seconds. The reputation he had so recently earned by his Freischutz, the novelty of a foreigner conducting his own operas in an English orchestra, all contributed to cast around him a halo of glory. To Mr. Bishop on the contrary was presented a story completely threadbare, and on this occasion it was exalted by no single ray of imaginative illumination, either in the incidents or the language. Mr. Sinclair was the principal singer, and Aladdin, the hero, was given to Miss Stephens, in order we presume to make way for the introduction of Miss Johnson. We do not mean to disparage either of them, for the just homage we have ever paid to the former declares our unaltered sense of her fine talents; but it will be seen at a glance that by removing the former from her natural station and dignity, the composer was circumscribed in his range, both as respects his principal character (Aladdin), and holding in view the range of the powers of the latter and the embarrassment of a first appearance, his heroine also. From this combination of circumstances, Mr. Bishop does not seem to have been permitted to enter upon his task on any thing like equal terms with the German composer. Nor will it be thought the least of his disadvantages, that he was compelled to meet his adversary in that mysterious and visionary world, whose agents it had been the delight and the study of Weber's life to employ and bend to his mastery.

We turn from the composer to the young lady for whose debut he was called upon to write. And here we can but notice the delicate contrivance for her introduction, without encountering at once at all those fears which beset the young aspirant at her entering upon the stage. Miss Johnson's first song was given from behind the scenes, which expedient however, while it protects the singer from the gaze of the audience, operates disadvantageously in smothering the tone of the voice by distance and the interposition of the scenery.

This young lady is gifted with beautiful and intellectual features, and is tall and elegantly formed. Her voice closely resembles her relation's, Miss Stephens, in all its tones and compass, but is rather sweet than powerful, and she follows exactly in the track of that lady. Her debut was successful, though from the narrow range of the songs allotted to her, it has not been attended with much eclat. Something of this perhaps belongs to her manner, which is the graceful quietude of private society, rather than the polished vivacity of the stage.

Mr. Sinclair and Mr. Horn were the principal male singers. The opinion is now so general, as fairly to be said to be universal, that the former, with a very fine natural organ, and with no mean power of acquired facility, is yet so deficient in the directing faculties, as to display only the glare of execution in his singing. Mr. Horn also lowers the estimation of his talents by the excessive force and violence of his manner. In a room this gentleman sings very sweetly, and though in a florid style, yet in good taste. His vehemence on the stage is therefore doubly to be regretted.

We do not mean to underrate the other singers, if we forbear to say more than that in such a sketch superior powers only demand particular description. We therefore limit our enumeration to those who claim and enjoy the first rank.

The Oratorios for the last two or three seasons–indeed ever since they were abandoned by Mr. Bishop at the one house and Sir George Smart at the other, had been conducted rather as a matter of experiment, than upon any sound principles. It is not unfair therefore to infer that they were somewhat rashly undertaken, and as a natural consequence pushed not less rashly to extremes, in the vain hope of effecting by extraordinary and extravagant attractions that prosperity which could only attend a course of policy almost the very opposite to the conduct pursued. We speak in allusion to the years preceding 1825, which season formed a solitary and separate case, and one of which we have already given the details.* [* Musical Review, vol. 7, page 195 et seq.] This year Covent Garden first challenged the field, and as we presume, upon the responsibility of the proprietors, with Sir George Smart as conductor. There was no competitor in Drury Lane–and the design of the Concerts Spirituels at the King's Theatre was so feebly laid, that they expired after the fourth night.

Covent Garden secured a sufficient basis of real strength by engaging the principal singers of the highest celebrity amongst the English professors, and surrounding them with others of less distinguished but of rising reputation, entirely new to a London orchestra, for these performances have always served to introduce youthful talent. Accordingly Miss Stephens and Miss Paton, Madame Vestris, Mr. Braham, and Mr. Phillips, formed the nucleus, and these were supported by the Misses Love, Cawse, Goward, Farrar, and Roche, (the two latter appeared for the first time in London), Messrs. Pearman, Horncastle, Atkins, Robinson, and Tinney; Masters Longhurst and Barker.

Miss Goward is at present better known as a lively actress than as a concert singer, though her naturally sweet and extensive voice, the capability of her instructress, Mrs. Henry Smart, and the attainments she has made, give her claims which will hereafter probably raise her to much estimation. Of Miss Farrar we have had occasion to speak in our account of the York Festival. Her progress has fulfilled the just expectations formed of her. She has much organic power, and much technical knowledge. Whether her intellectual endowments will lead her where mind only can lead, will be found by the future. There is certainly considerable promise.

Miss Roche’s voice is scarcely powerful enough for so large a space as a theatre, and she appears to labour under a diffidence that has hitherto forbidden the full display of her talents. She has been taught by Signor Velluti, and exhibits the delicacy of his school. In private parties we have heard her sing very sweetly.

Mr. Horncastle, though well known to the profession, has not before sung at the oratorios. His voice is a tenor–pure, sweet, and well formed, and his style is sound, good, and to a certain degree, finished. He appears to cultivate the chaste and beautiful manner of the school of Harrison; and when practice shall have enlarged the volume of his voice, and given him that confidence which will enable him to throw the whole energy of his mind into his performance, there is no doubt but he will rank high as a concert singer, for his knowledge of music is extensive, and he cultivates singing studiously and according to the best principles. We gather so much not only from these performances, but from having heard him in private concerts, where he is much employed. Mr. Atkins has a round and powerful base voice, and may make a good and useful singer. His success however obviously depends upon the exaltation of his manner, and he should be very careful to pursue the best possible method.

So much for the personel of these performances. The Materiel, if not so various as when English and Italian were associated, when "Pious orgies" and "La ci darem" stood side by side, was yet even more diversified than consists with the penitential nature of the original institution and its present title. But for this we do not blame the conductor. The censure lies upon the endeavour to preserve the mockery of the shadow, when the substance has been swept away by the hand of time. These concerts as a whole are now not at all regarded in the nature of religious observances and scarcely of religious recollections. The good taste of the conductor was however exerted to sustain sacred music as the principal and prominent characteristic. The Messiah was thrice given entire–and whole acts from The Mount of Olives, Judas Maccabeus, and the Creation, were made the preludes to acts of lighter miscellaneous selection—superadded we presume as an attraction to the ballad-loving portion of the British community, who were kindly solaced with "Kelvin Grove," "Cherry ripe,” and such "delicacies of the season."

One new oratorio, the work of Sir John Stevenson, was produced. It was called "Thanksgiving,” and consisted of detached portions of the psalms and other parts of scripture, in the manner of the Messiah. The words considered with respect to the scope they afford the composer, were very judiciously chosen. They were placed so as to allow the succession of single and concerted pieces in an agreeable diversity.

As in his services and anthems, Sir John has wisely borne in mind the solemn examples our old English composers afford him, but he appears chiefly to have formed his taste by the study of Handel, beyond all question the most sublime model in this species that any writer can propose to himself. Hence his production has the sober and exalted beauty we expect in such compositions. Of the airs, one "The snares of death," was so particularly well sung by Mr. Phillips as to merit an encore almost every night, and "Awake thou lute and harp," by Miss Paton, and subsequently worked into a trio, which was sung by her, Miss Farrar, and Mr. Horncastle, were those most prominently pleasing. To Mr. P.'s air there was an appropriate bassoon accompaniment. The chorusses were very creditable, particularly the last, which demonstrated both power and science. Thanksgiving was repeated several nights, and though in so far successful, it did not perhaps receive that degree of support which very able judges have determined ought to have followed so good a composition. But such is the conclusion we should have anticipated from the present state of manners as well as of musical taste. The serious and solemn affections have given place to more transient, more voluptuous impressions. The sparkling melodies of Rossini and his school, like the strong and effective scenes of the Waverley Novelist upon the novel-reading world, have trained the public to seem dull and dissatisfied under any enjoyments less stimulant. In the case before us, the absence of all character and story detracted much from the general sum of interest.

The first part of the season, though well attended, must be considered to be lost in the superior eclat which the presence of Weber gave to the performances at which he presided over his own compositions. Such an effect must be supposed to wait, not upon the intrinsic excellence of his works alone, but upon the circumstances which had prepared the way for his presentation to the English public.* [* See Musical Review, vol. 7, page 195, et seq.] Mr. Weber's mode of conducting was in the old fashion, standing in the front and giving the time with a roll of paper. The calm quiet manner in which he exercised his office–his weak and emaciated appearance might disappoint the imagination while they extorted the sympathy of the audiences that crowded to see the great German genius. He altered the time of performing some of the pieces in Der Freischutz, and augmented the effects by thus changing the expression. His own score differed materially from those hitherto used in this country. His presence visibly excited the singers, and Miss Paton and Mr. Braham were never heard to sing with finer expression than on the first evening of his presidency. We ought not to omit as exemplifying the honour the public know how to bestow on talent, that the pit rose in a body to welcome him, and the overture to Der Freischutz was encored.

The custom of introducing instrumental solos has naturally extended itself with the perfection of instrumentalists, and with the more general diffusion of the love of such music, which the frequency of these demonstrations of individual ability must be taken to indicate. Mr. Moscheles played at the commencement of the season, and with an effect which, though it universally attends him, is the more surprising when the nature of the instrument and the size of our theatres are considered. The perfections of Mr. Moscheles' style are certainly commanding, but the delicacy of his touch and the pathos of his expression have but half their interest in buildings of such vast magnitude.

Mr. Adams extemporised on the organ on two of the nights. He has a great hand, but the subject of one of his performances was not well chosen, though treated with taste and erudition.

Mr. Ribas, from Lisbon, was introduced, and took the station of first clarionet during the season. His accompaniment of Gratias agimus (sung by Miss Stephens) was creditable, but he does not approach the superior taste and beautiful expression of our own Willman, though perhaps Mr. Ribas is second only to him. Mr. Fürstenau, first flute at the Chapel Royal of Dresden, played a fantasia. His execution is brilliant, but his tone is thin; he falls infinitely short of Nicholson.*[^1] We believe this quality, or rather defect of tone, appertains to the instruments now generally in use throughout Germany; it resembles the flageolet. Mr. F. has been heard at several other concerts, but this defective tone always operates as a drawback from his general ability. [...]

[^1: * It is very pleasureable to observe how honourably our countrymen meet the competition that is continually pouring in upon them from all the nations of the Continent–those nations esteemed so universally to be more musical than poor Old England. Scarcely in a single instance have our instrumentalists failed to maintain their original brightness, when compared with those whom we know to be the most esteemed of foreign artists. This affords a more extraordinary theme of praise, when it is remembered that the improvements of the wind instruments were originally chiefly continental, and their continual and prominent introduction the work of Haydn and Mozart. Yet we have had no such players from all Europe put together as Nicholson, Wilman, Mackintosh, and Harper–nor do we believe they can be matched.]