Abbildungen der Seite
PDF
EPUB

combination are linked by a common power. One of these we shall cite.

Oh my sweet mother, 'tis in vain, so wilder'd is my heart and brain.

Who will fail to recognise one of the sweet portions of "Home sweet home?" These similitudes are very curious, because they serve to demonstrate how vague yet how applicable to different emotions (probably of the same class) musical phrases must ever be considered. We can conceive nothing more touching than this song.

"Weeping for thee" is a gem from the same casket. The air is as pensive, as plaintive, as its forerunner, and as beautiful, while the marked accentuation gives it by places a peculiar wailing expressiveness. In a continued accompaniment of slow but equal triplets, there is a degree of melancholy to which such a division of notes should seem to be unfavourable. Is it the consequence of having heard innumerable ballads thus set, (which by the way implies the intrinsic quality to which we allude) and therefore attributable to association, or is it the monotonous return of the same rhythm? We ought not to omit to remark the art of the poet, in thus adhering to the pensive character of the first movement of the minds of those he describes, and through which he leads so judiciously to the next feelings in the train natural to such a situation.

"The Romaika" has so much peculiarity, that we should be induced to suppose it some national dance, and the rather as it bears a very strong resemblance to the dance and chorus sung in the Harem in Weber's Oberon, which indicates some common source either of recollection or of choice. It is so light yet so rhythmical, that we cannot wonder such a strain should sink into the mind wherever heard. Nothing has haunted us more than Weber's dance-if Weber's it be. The direction assigned, "playfully," is sufficiently descriptive, and the symphony will shew at once its character and the resemblance we have pointed out.

D

mf

"The War Dance," which is a chorus, appears to us to possess at least as much of the light of genius as either of the foregoing compositions. There is an energetic solemnity in the construction mixed with a strength that is exceedingly imposing. The points too as they come in, contribute essentially to this impression. The succession of combined and interrupted motion in the accompaniment is very happily imagined.

Strength, subdued however in a measure by complaint is the prominent feature of "As on the shore." It is simple to the highest possible degree, which naturally adds to the force. Why in such a song, why break down this quality by the appogiaturas which more than once are appended? Surely that on the word "broken" weakens the expression? Modern refinement has, we have often occasion to observe, both in the works of the composer and in the practice of the singer, made large and frequent encroachments upon just declamation, in this respect, to the injury of both in point of effect. The suspensions thus employed are only of power when the sense lingers. It very rarely happens that in passages of nervous elevation they can be successfully used.

66

"Oh

"The two fountains" is merely a graceful canzonetta. Memory," is the "Cara Memoria" of Caraffa. They are gone" is mournful to excess, which is perhaps the highest compliment we can pay to a strain so short yet so affecting.

The last, "Maidens of Zia," is smooth, graceful, and tender, and brings a calm over the mind, "a sober certainty of waking

bliss," that perhaps leaves those who have contributed to an evening of such intellectual delight in the best possible toneneither braced too high nor sunk too low, but touched with the tempered fires that should warm the recollection of all that has been enjoyed.

“EVENINGS IN GREECE" may not perhaps be ranked amongst the most popular of the author's works, but it seems to us to deserve a place with the most elegant, from the novelty of the plan, and the beauty and simplicity of the execution. It is after enjoying such elevation as works like these inspire, that we perceive how deeply indebted society is for its most intense as well as its most innocent and perhaps its most useful pleasures to the imaginative authors. It is then that we are feelingly persuaded how erroneous an estimate the world forms, in its disposition of honours and rewards, if the production of happiness constitute the just claim to distinction and emolument. But the Poet has his compensation in the consciousness of the delight he diffuses, and we cannot conceive any gift that Kings, or indeed that mankind have to bestow, so precious as the satisfaction Mr. Moore must enjoy, when he fathoms or when he unlocks the spring of his fancy for the delight of his fellow creatures.

The Recollections of Ireland, a grand Fantasia on "The Groves of
Blarney,"
" "Garry Owen," and "St. Patrick's Day;" for the
Piano Forte, with Orchestral Accompaniments, by J. Moscheles.
Cramer, Addison, and Beale, and S. Chappell.

This lesson was composed by Mr. Moscheles for his own performance, at his own concert, last season, where we had the pleasure of hearing it, at a time when the composer was stimulated alike by the occasion, and the natural ardour of genius in the prosecution of its own creations, to give it the greatest possible effect, and when it flowed from under his hand with a smoothness, brilliancy, and mastery of art that called forth the undivided and enthusiastic applause of a crowded audience. To us, memory still

throws her charm around "The Recollections of Ireland," but to most of our readers this satisfaction is denied, and we must therefore, however reluctantly, yield to her power only so much as to bear in mind the effect of which the lesson is capable, while we turn to its closer perusal. Although written for a similar occasion to that which called forth "The Fall of Paris," the two lessons are so essentially different in almost every point, that they do not come within the limits of comparison. The latter was written at a time when Mr. M.'s talents as a performer were but new to an English public, and when as a composer he was totally unknown, and his object was to show his power in both ways. When the Recollections are composed, he writes in the full confidence of an established reputation, for numerous pupils whom he has himself qualified to appreciate his style, and for a public, who by frequent opportunities of hearing his performance, are prepared to receive his productions with the approbation they deserve. These are the principal points of difference, yet when all is considered we should be inclined to rank " The Recollections of Ireland” higher as a composition, and in its own particular style, than "The Fall of Paris," on the ground that it draws its effects from more natural sources, and is written more with a view of pleasing than astonishing-in fact, that Mr. Moscheles is here seen more in the light of a composer, whereas in the former instance he was to be regarded rather in the character of an artist.

The introduction can be only considered as a field for the powers of execution, but this execution perhaps, generally below the present standard of difficulty, is more chastened, and freer from that straining after effect than is usual, even with Mr. M. himself. We subjoin the concluding cadence as peculiar to the composer, and as showing the kind of execution in which he excels.

[blocks in formation]
[graphic][ocr errors][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed]

The choice of airs is very happy-they are popular, good in themselves, and afford great room for contrast. The first, now best known under the name of "The Last Rose of Summer," is arranged with the delicacy of taste and truth of feeling that bespeaks the refined artist. Two ornaments we insert for their originality and beautiful adaptation.

[merged small][ocr errors]

The key of F major, at the conclusion of this air, changes to a movement, sombre in its modulation, in the key of D flat major. There is a degree of sameness pervading the next four pages, which consist principally of difficult arpeggios, dependant on harmony for effect. The composer however soon shews both the power of contrast and his knowledge of effects. The lively air of "Garry Owen" steals upon us by degrees, till at length, after a gradual change through B sharp, to the brilliant key of B flat major, this exhilarating melody bursts forth, aided in its sudden

« ZurückWeiter »