an accidental A sharp, by which the key is changed to B with five sharps, pushes this tendency still further, and towards the latter part of the recitative a B sharp extends the same notion, which is progressive excitation. On the contrary, the taking off the D sharp upon the passage "Speak ye comfortably to Jerusalem," (besides the peculiar quality of the close interval itself) restores the tranquillizing effect of a key less stimulant.

"I know that my Redeemer liveth," an air which combines the grandest view of eternity with the "sure and certain hope of a joyful resurrection," thus connecting the most sublime affections with confident triumphant emotions, is also written in the same key, and its modulation is restricted within exactly the same confines. The next sharp is added to elevate as in the eminently fine passage, "and that he shall stand at the latter day upon the earth," and when a more solemn expression is to be made, the sharp seventh is taken off as in "yet in my flesh shall I see God."

We find the same notion supported in another place by the beautifulair, "Rend'il sereno,” in Sosarmes, but now better known as "Lord, remember David." This begins in B with five sharps, and the sentiment is very nearly allied to that of "Comfort ye my people."

The series of recitatives, beginning "There were shepherds," exhibits a train of results which I think illustrates our enquiry. For although it must be observed that the compass of the voice would naturally impose restraints upon the composer, yet a tone or a half tone higher or lower would make no such alteration as would distress the singer. When, therefore, HANDEL selects the key of C as the foundation, he perhaps contemplated the modulation; or if he did not, after he had made his Recitatives, he would probably be directed in his final decision as to the keys, by their adaptation to the sentiment. Thus then we find the mere narrative" There were Shepherds abiding in the field watching over their flocks by night,' in the open key of C. But in the next, "And lo! the Angel of the Lord came upon them," which is a circumstance of terror, the key is changed to F, and to signify depression more strongly, an E flat with the chord of, in other words, the discord of the seventh is used till the words, "The glory of the Lord shone round about them," while they add to the sublimity, diminish in a degree the terrific sensation. This superior dread is suceeeded by the consequence "And they were sore afraid," when the recitative closes (with the addition of another

flat) in B flat. The transition consummates the idea we entertain. The words of the next strain are" And the Angel said unto them, fear not; for behold, I bring you glad tidings of great joy, which shall be to all people; for unto you is born this day in the city of David a Son, which is CHRIST THE LORD!"

This passage of glory begins with the chord of A with sharps, and accidentals are introduced at every following bar, till the whole closes in F sharp key. This succession of increasing intervals is however clearly applicable only to circumstances of the greatest excitation, since the concluding recitative and the following chorus which express the exultation of " The multitude of the Heavenly Host, praising God and saying, GLORY TO GOD," descends to the more agreeable though still bright key of D.

These examples, I apprehend, will be esteemed sufficient to shew the legitimate application of the brilliant and beautiful scale of E with sharps, together with its (extension and perhaps the limits of sharp keys, and as I am not aware of any classical instance in vocal music of modulation being extended beyond the bounds to which these songs and recitatives advance by progressive sharps, it may be almost with certainty pronounced, that the temperament of instruments and the conforming power of the ear and the voice will scarcely allow a composer to go beyond the key of F sharp, carrying six sharps at the signature, and this only when extreme excitation is intended.

Having taken this view of the use of the keys having sharps at the signature, I shall turn to the application of those which on the contrary are distinguished by flats, following the same guide.

It appears at first inspection difficult to decide why HANDEL should have chosen the key of B flat for his air" Rejoice greatly," which in its incipient and closing passages seems to be purely a song of exultation. But here, Sir, I must recur to the remark I have before made at page 404 of your second volume, "that we must take the expression of the whole in order to understand that the design of the composer is to avail himself of the impression by such whole rather than by parts." If then we consider the entire nature of the sentiment of this song, we shall find it to be the joy of religious peace, which is rather marked by a sublime consciousness than a strong and tumultuous exclamation, although the word "shout" would seem to militate against my interpretation. This song is

indeed of a completely mixed character, and we accordingly find the modulation extending to the key of A with three sharps; and what is more singular in one of the divisions upon the word "Rejoice," the introduction of an A flat conveys us for a moment into E flat. I should therefore be disposed to instance this song as a proof of the consummate art with which HANDEL knew how to commingle the finest incentives to emotion, and thus to dash the cup of joy with that delicious and momentary infusion of sadness, that renders both more poignant, and which in truth are the ingredients the mind may be said to taste, when mortal thoughts begin to fade away before the contemplation of eternity.

HANDEL Seems gradually to have descended into the depths of sorrow from this air in his transition through" He shall feed his flock," (also in B flat) and the inimitable chorus "Behold the Lamb of God," to the song, "He was despised," when adopting the key of E with three flats, he wanders at once into the darkest regions of pathos. The lugubrious effect of the key of A flat is well known to result from the extreme imperfection of the intervals composing the chord of the tonic; and the further we go the more powerfully the ear feels the accession of additional flats. The extreme closeness of the interval G flat, introduced upon the word "grief," is distressingly fine, though prepared by the opening symphony. Here however the limit seems to be placed somewhat earlier in the succession of flats than of sharps, as D flat with five flats at the signature, appears to be the extremest boundary to which HANDEL has ventured to go.

You will perceive, Sir, that the entire substance of this essay tends only to corroborate the deductions drawn from and inserted at the close of my last. We have, however, I conceive, arrived at an important distinction in addition to those laws which I therein ventured to lay down.

The effects of music in exciting the passions are susceptible almost of the same minute divisions and classifications as distinguish the passions themselves.

For I find, with such uniformity that the exceptions only establish the rule, that augmented intervals are employed in the expression of

* I have purposely omitted to speak of the effect of minor keys or of songs purely chromatic as they may hereafter become the subject of separate consideration.

elevation of mind and the livelier sentiments, while diminished intervals as uniformly demonstrate grief and depression. These too have their just degrees, as may be easily proved by the examination of songs that exhibit regular gradations of feeling. These gradations appertain as completely to the different keys and their scales, for the principle is the same.

With respect to the effects of the keys I think we are warranted in drawing the following inferences ;

1st. That the key of C from its approximation to perfect tune is adapted to narrative and to sentiments which are shaded by no intense passions or affections; that it rather indicates a mind free than impressed.

The keys of F and G are adapted to the lighest touches of feeling, the former being adapted to expressions of sadness, the latter to those of gaiety. The keys of B ffat and D carry a little further the same impressions.

The key of A with sharps affords an interval in the application of the stimulant proportions of music, which is not to be found in the succession of flat keys that are appropriate to the pathetic trains of emotion. E with sharps, occupies in the one, the place which E with flats possesses in the other; and hence it follows that the number of sharp keys, to which a composer may recur, is greater by one than of the flat keys. From this key, however, in both cases, it appears that the intensity of the operation of temperament begins to be felt, and that its limits stand, in compositions for voices, at F sharp and at D flat keys-beyond which there is no passing without infinite risk and danger.

I am, Sir,

Yours, respectfully,

VOL. III. NO. X.

Z

M.

TO THE EDITOR.

NORWICH, FEB. 14, 1821

SIR,

CHLADNI'S Treatise on Acoustics contains many very valuable and novel experiments on the nature of the vibrations of sonorous bodies; and if you think extracts from this work worthy of insertion in your Magazine, which increases in worth and utility, you are extremely welcome to avail yourself of my endeavours to excite the attention of those who can read French to the translation in that language from the original German.

C. J. SMYTH.

ABRIDGEMENT OF CHLADNI'S LIFE,

Prefixed to his Traitè D'Acoustique.

My father (first professor of law at Wittenburg, in Saxony,) had given me a good education in my paternal mansion, and at length in the provincial school of Grimmé. My education left me very little liberty; so that if others consider their youth as the most happy part of their lives, I cannot say as much of mine.-This continual restraint, which would not have been necessary, because I was not disposed to abuse liberty, produced a quite contrary effect by impressing me with an almost irresistible inclination to chuse for myself my occupations, to travel, to strive against adverse circumstances, &c. Being returned to Wittenburg and to Leipzig, and after having fulfilled what was required, I obtained at Leipzig the employment of a professor of law; but after the death of my father I quitted jurisprudence, because it was not conformable to my inclinations, and I applied myself principally to the study of nature, which had always been my secondary occupation, and yet