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MADAME CATALANI's style is still purely dramatic. By this epithet we mean to convey, the vivid conception that exalts passion to the utmost pitch of expressiveness-the brilliancy of colouring that invests every object upon which the imagination falls, with the richest clothing-that gives the broadest lights and the deepest shadows. Hence there is a particular point in the perspective, from which alone she can be viewed to advantage. Distance is indispensable, for her efforts are calculated to operate through amplitude of space and upon the largest assemblies. Approach her, and she is absolutely terrific the spectator trembles for the lovely frame that he perceives to be so tremendously agitated. They who have never witnessed the enthusiasm that illuminates that finest of all created countenances, have never seen, no not in MRS. SIDDONS herself, the perfection of majesty, nor in MISS O'NEILL the softest triumphs of the tender affections. MADAME CATALANI's person is a little increased, and her features are now stamped with the complete and perfect dignity of consummate beauty in its richest maturity. Her thoughts literally coruscate through the bright radiance of her eyes and the ever-changing varieties of her countenance. Her's is the noblest order of forms, and every vein and every fibre seems instinct with feeling the moment she begins to sing. Never do we recollect to have observed such powerful, such instantaneous illuminations of her figure and her features as CATALANI displays. Thus the whole person is aiding (how strongly!) the effects of the most extraordinary voice and the most extraordinary energy and the most extraordinary facility the world of art has ever known, and the combined results are irresistible. The mind is now allured and now impelled, now awed by dignity surpassing all that can be conceived, now transported by smiles of tenderness more exquisite than poetry has ever fancied.

Upon the present occasion she sung a "new grand air," by the MARQUIS SAMPIERI, "Della superba Roma," an air (by RODE) with variations, originally written for the violin, though adapted to Italian words; a recitative and air of PUCITTA, "Mio bene;" and MOZART's bass song (in Figaro), "Non piu andrai," with a verse of "God save the King," by way of finale.

Her audience was numerous and splendid, and her reception most flattering. In one of the boxes were the DUKES of CLARENCE and CAMBRIDGE, with the PRINCESS AUGUSTA and the DUCHESSES of

CLOUCESTER and of CAMBRIDGE-the room glittered with stars and orders, notwithstanding the music for the coronation was rehearsed at Carlton Palace, and MR. and MRS. COUTTS had a grand concert and ballet commencing at the same hour. The applauses at her entrance were loud and long-lasting.

The first three words that MADAME CATALANI sung were truly characteristic, and had "the mistress of the world" been personified, a more noble representative, "della superba Roma," there could not have been found. This was a song of grandeur, and displayed her volume and declamation to the best advantage. In RODE's composition the air allowed her to demonstrate her power of simple cantabile singing, while the variations give ample scope for her execution. She rules by force rather than finish. Throughout the energy and velocity were astonishing, and in one chromatic ascent by semitones, her voice resembled the rushing of a mighty wind through trees, but distance took off this singular effect of power. PUCITTA's song afforded opportunity for tender expression, and her utterance of the words "Dille che l'amo," (accompanied by the most enchanting look of tenderness that ever fascinated mortal,) was extacy itself, nor was there less delightful contrast in the syllables "Io moriro per lei," of which all description must fail to convey either the tone or the manner.

Yet notwithstanding these extraordinary beauties, perhaps "Non piu andrui," may be said to have been the favourite of the night. MADAME CATALANI transposed it a note higher than its original key. The song was probably chosen in order to manifest the strength, quality, and facility of her lower tones, and perhaps also the richness with which she is able to convey delicate humour.-She varied some of the passages, introducing a few descending notes upon the repetitions, "Non piu avrai," and occasionally changing the melody where diversity might render such alterations more pleasing than the original notes. She also appended two or three very brilliant cadences; but the general manner of the whole song had a peculiar and mellow raillery, particularly upon the words so often recurring, "Non piu audrai," that gave the superior charm. To conclude the concert, God save the King was delivered with a prodigious volume of voice and declamatory power.

The change that we principally perceive is an increase of the quantity (not an amelioration of the quality) of the tone, an aug

mentation of the general force, and a more decided application of various transition. These mutations add both to the majesty and the tenderness of her style, which is certainly her own altogether. She takes the hearer by storm. She convulses and she melts her audience by turns-she affects by vehemence not less than by rapidity. There is however nothing more curious than the gradations perceptible by varying the degree of contiguity-for the auditor would unquestionably form a different judgment according as he recedes or approaches the singer, through all shades, from absolute terror to mere brilliancy of execution, and expression superior for its strength. But at any distance he would not fail to acknowledge CATALANI'S supremacy. The absolute force can only be measured by observation at the nearest remove from the orchestra. There alone can the infinite and rapid workings of her sensibility be accurately discerned and understood. Her intonation appears to us more certain than it Her invention is probably little if at all extended-for she still adheres to her favorite riffioramenti. One of her strongest peculiarities in this respect is the repetition of the same phrase three, four, and even five times in succession, and repeating also shakes upon distant intervals. We observe the same agitation of the muscles of her faceand the motion of the under jaw is increased, particularly in the shake, which when near appears to be much too violent; but this disagreeable effect is lost by distance.

was.

MADAME CATALANI returns to this country greater than when she left it, greatest. Her very highest notes may perhaps be some, what impaired, but this we have no means of determining. In every other part and attribute of her voice and style she is decidedly matured and mellowed. She must be judged alone, for she has nothing in common with any other singer. It is, we repeat, by the effect only that we can estimate her ability. Measuring then by this simple standard, we say that she surprises, agitates, convulses, and enchants us by turns-that her dignity, her tenderness, and her enthusiasm defy description, and that the majesty of her voice is equalled only by the beauty and command of her form and countenance,

OBITUARY.

It has always been a part of our original design to record the deaths of eminent musical professors, with such notices of their lives and works as might serve to assist in perpetuating names dear to art. We have however hitherto frequently found much difficulty in obtaining authentic particulars, which must account for our apparent neglect of the duty of paying a tribute to departed eminence, acceptable, as we should esteem it, both to immediate connections and to the world of science. We now however commence our necrology with a notice of the late DR. CALLCOTT, a man who highly advanced the character of English Music; at the same time we beg to say, that we have contracted our memoir in consequence of having understood that it is in the contemplation of his family to re-publish a collection of his works, and to preface it with some account of the life of the author.

JOHN WALL CALLCOTT was born at Kensington Gravel Pits, on the twentieth of November, 1766. He was placed under the care of MR. WILLIAM YOUNG, where his progress was considerable for his age. At twelve years old, when he was removed from school, he had read much of Ovid, the greater part of Virgil, and had begun the study of the Greek Testament. From this early period, his acquirements, which were very great, were the fruits of his own industry.

His attention was addressed to music at the period of his leaving school (1778), when he obtained an introduction to the Organist of Kensington, and began to practice upon a spinnett, which his father bought for him. About the year 1782 he often attended the service at the Abbey and the Chapel Royal, and made some acquaintance with several of the heads of the profession. In this year he was also appointed Assistant Organist at St. George the Martyr, Queen's Square, Holborn, by MR. REINHOLD. He nearly at the same time, through the kindness of DR. COOKE, obtained admission to the Orchestra of the Academy of Ancient Music, and he sung in the chorusses of the Oratorios at Drury-lane Theatre during 1783, 1784, and 1785.

In the first of these years he began to bestow some attention upon the principles of vocal composition, and he finished his first glee to the words of GRAY's ode, "O Sovereign of the willing soul;" printed in WARREN'S 23d Collection. From this period he continued to improve in vocal harmony. During the year 1784 he had the pleasure to attend the commemoration of HANDEL, in Westminster Abbey. In the following year he gained three prize-medals given by the Catch Club, and took his Bachelor's degree at Oxford, on the invitation of DR. PHILIP HAYES. His exercise, on the occasion, was upon WARTON'S ode to Fancy. In 1786 he bore off two medals, at the Catch Club, and succeeded to several valuable engagements in teaching, through the interest of DR. ARNOLD, by whom his glee, "When Arthur first in Court began," was introduced among the music of The battle of Hexham. In 1787 he gained two more medals at the Catch Club. In 1788 he did not write for the prizes, though he still employed all his leisure in the study of composition for voices. In 1789 he again became a candidate for the medals, and had the good fortune (the concomitant of his uncommon abilities) to gain all four; a circumstance which never occurred before nor since. He was elected organist of Covent Garden church in 1789. The election was however strongly contested, and the business terminated by a proposal, on the part of MR. CALLCOTT, to divide the situation with his opponent, MR. CHARLES EVANS. In 1790 the celebrated HAYDN arrival in London. MR. C. was introduced to him, by MR.

SALOMON, and received some lessons from that eminent musician. He accepted the office of organist to the Asylum for Female Orphans in 1792, which situation he retained till 1802, when he resigned it in favour of MR. HORSLEY, the present worthy incumbent, afterwards his son-in-law. In 1800 he took his degree of Doctor in Music, in company with MR. CLEMENT SMITH, of Richmond. MR. HORSLEY, at the same time, took the degree of Batchelor. DR. CALLCOTT first conceived the design of composing a Musical Dictionary in 1797, and he persevered in it for some years after; but finding that such a work would interfere too much with his business as a teacher, he laid it aside till some future period of leisure and advantage, and in 1804 and 1805 employed himself in writing the "Musical Grammar," one of the most popular works in our language.

The Grammar was first published by BIRCHALL in 1806. In the following year his various pursuits and incessant application brought on a nervous complaint, which compelled him to retire altogether from business, and it was not till 1813 that his family and friends again had the happiness of seeing him among them. He remained well till the autumn of 1816, at which time symptoms of his former indisposition again appeared.

From this period his professional avocations were wholly suspended, and on the 5th of May, 1821, he ceased to feel all further affliction. He was interred at Kensington on the 23d of the same month.

The basis of DR. CALLCOTT's fame rests upon his glees, but he has written some songs that are unequalled in point of legitimate expression, and which, as we esteem them, are models for the formation of a fine English style. Such an one is his "Angel of life." His glees certainly place him among the very foremost of those who have cultivated that species of composition.

No man was ever more deservedly beloved than DR. CALLCOTT for the gentleness and benignity of his disposition, nor more highly respected for the extent of his various attainments in language, in literature, and in science.