ly do more than repeat our former opinions. There are no new facts, so narrow is the range even of her astonishing talents. Different songs afford only different modifications of the same qualities and powers. At the last of the concerts she sang Comfort ye my people, in the traditional English manner, received from the time of Handel himself. This concession to English feeling was judicious, but we should have preferred a more legitimate application. Comfort ye my people is written for a tenor, and is never so effectively sung, no, not even by Catalani herself, as by a tenor; and when the same Oratorio contains so sublime a composition for a soprano as I know that my Redeemer liveth, it looks something like a conceit to select the tenor song. There is scope enough even for Catalani, without Non piu andrai or Comfort ye. If this prodigious singer does actually retire at the close of these concerts, she will retire in the zenith of her powers. Signor Ambrogetti, that prince of whim, also retires from public life. His last concert was given "at the mansion of the most noble the Marchioness of Salisbury, under the immediate patronage of her Royal High ness the Duchess of Kent," on the 6th of May. There was a complete concentration both of talent and of fashion. All the Italian singers in London were present, and Mrs. Salmon, Miss Goodall, and Mr. Sapio assisted into the bargain. The Rooms were more than crowded, and it is said, the Marchioness's party consisted of nearly 500 friends in addition to those of the Signor himself. Messrs. Cramer's Concert was held in the Great Room in the King's Theatre on the 9th, and was very fully attended. The particular treat on this occasion was a duet on two Pianofortes, played by Messrs. Moscheles and J. B. Cramer. It was indeed a grand trial of skill. The music was part of a duet, written by the latter, with a Rondo superadded by the former, and excessively difficult. No two styles can well be more distinct. Mr. Moscheles is remarkable for force, elasticity, and rapidity; Mr. Cramer for smoothness, delicacy and feeling. We need scarcely say, that both exerted themselves to the utmost, nor must we omit Mr. Dizi's air with variations on the perpendicular harp; the tone was remarkably fine, and the execution delicate and beautiful. Mr. Greatorex and Mr. Sapio's Concerts were both on the succeeding evening to Messrs. Cramers'. No two concerts could well be more opposed. Mr. Greatorex had selected the finest serious English compositions, with a slight intermixture of Italian, principally comic, for the sake of Signor Ambrogetti. Mr. Sapio's was almost entirely Italian. At Mr. Greatorex's, Mr. Kalkbrenner played a Fantasia with such fire, brilliancy, and perfection, as to set his claims upon an equality with the highest, whencesoever they may come. One of the most delightful things we ever heard was Dr. Cooke's Echo Song from the Passions, which was repeated this year, having first been introduced last season on a similar occasion. Miss Stephens sings from the Orchestra, and is accompanied by the organ; the echo is Miss Travis, who is accompanied by a smaller instrument placed at the opposite end of the room, in the King's box. The effect is really exquisite, though it did not quite equal that of the last performance in precision. Nothing strikes us with more amazement than the support such concerts enjoy. On this evening, both the Argyll and the Hanover-square rooms were filled with nobility and fashion. At Mrs. Salmon's Concert, on the 17th, notwithstanding the King's visit to Covent-Garden, there was a similar display; indeed, the Great Argyll overflowed, and the anterooms were occupied by the company who could not obtain admission into the Concert Room. This was one of the finest concerts of the season. Messrs. Moscheles and Cramer repeated their duet with even higher effect, produced probably by the smaller space to be filled as well as by the practice gained through repetition. Mrs. Salmon made great exertions. She sang seven pieces all in different styles, and in some variations on The Last Rose of Summer, composed by Bochsa expressly for her, displayed marvellous powers of execution. Her voice is absolutely a violin, and in facility, and delicacy, and sweetness of tone combined, she surpasses Catalani herself as much as Catalani exceeds all other singers in majesty, volume, and richness. Catalani awes, Mrs. Salmon delights, her audience. Having thus conveyed some faint notion of the quantity, succession, and novelty which have satiated the musical world of the metropolis, although new trains are still appearing, we must turn to the publications, at this time not less numerous. From these we can only select, promising, however, to make good hereafter our unavoidable omissions. The Scotch air We're a' Noddin is become extremely popular, more, probably, through the dispute concerning the property, raised by Mr. Hawes, than from its intrinsic merit. Messrs. Kalkbrenner, Latour, and Klose, have each taken it as a theme for variations. The composition of the first named gentleman is in the form of a fantasia. The novelty and variety, as well as the immense difficulty of its combinations, are its principal features, while vast scope is given to the expressive powers of the performer. Great science is displayed in the treatment of the subject, its several parts being constantly kept in view under different and ever-varying forms. We consider the piece as very characteristic of Mr. Kalkbrenner's style of execution. Mr. Latour has adopted the same air with va riations, adding an ad lib. accompaniment for the flute. He has also arranged the beautiful Polacca finale in Tancredi, as the 12th Number of the Operatic Airs. Both pieces possess the elegance of Mr. L.'s manner; and the latter, from the beauty as well as the sweetness of the additions, is particularly agreeable. Mr. Klose terms his piece, L'Esprit du moment, a bagatelle of an easier description than the former, but possessing much that recommends it to the notice of young performers. Mr. Kiallmark has arranged the Russian air from the National Melodies, with variations for the Pianoforte. There is some imagination in the adagio, and the piece is on the whole very pretty, but the subject is hardly fitted for the theme of a Pianoforte lesson. We have the same objection to Those evening bells, set by Mr. Ries as a duet. In the latter, the variations are for the most part consonant with the expression of the original, but its simplicity can only be injured by any additions, however able in other respects. The spirited Air, To Ladies' Eyes, from the Irish melodies, has been chosen as a subject for variations, by Mr. Hummel. They are brilliant and showy, with perhaps rather too much of sameness. flute accompaniment adds to their effect. An easy La Danse; a Divertimento for harp and flute, by Mr. Dizi. The picce opens with a cantabile introduction of great sweet.. ness; its passages, as well as those of the variations, are divided between the instru ments. The theme is simple and graceful, and is treated with much elegance. We doubt not but that this duet will become a Air, with variations for the harp, by C. A. Baur; a piece that unites brilliancy and effect with easy execution, and, although it cannot boast much originality, ic will please from its simplicity and melody. favourite. Charmant Ruisseau, a French Sixth Fantasia à la mode for the pianoforte, on the Air, Gente è qui l'Uccel latore, by Mr. Ries. The piece commences with an allegro in bold and spirited style, containing a few bars of the subject thrown in with much ingenuity. The theme is a lively Air of Mozart's. The variations appended by Mr. Ries are, without exception, the best we have ever seen from his hand. They are full of the gaiety and animation of the subject, and contain a constant flow of melody. The adagio is well contrasted with the spirit of the preceding and following movements, and, while it preserves the air, gives a totally different character, and is beautifully expressive. The piece concludes with a scherzando variation of much effect. Mr. Bochsa has published another Fantasia for the harp, combining the extraor dinary power and force of his execution with delicacy and grace. He has also arranged the Airs from Otello for the harp and pianoforte, with ad lib. accompani ments for the flute and violoncello. Latour has adapted selections from La Gazza Ladra for the pianoforte and flute. Mr. Sul Margine d'un Rio, with variations for the pianoforte, by Pio Cianchettini. This beautiful Air has been already arranged by many composers of eminence. Mr. Cianchettini has made it a vehicle for rapid execution, during which, he has carefully preserved his subject, and has avoided the path of other writers, except perhaps in the second variation, which bears some resemblance to the third in Mr. Latour's very beautiful lesson. We are sorry to see the piece so carelessly printed. Due Cori del Celebre Metastasio con Musica ad una voce del GG. Ferrari, elegant morceaux, more in the manner of a better age than the publications of the present day; they have melody and variety in a short compass, an airy accompani ment, and other strong recommendations of a more general nature. Protegete O Santi Numi, a terzetto, by Liverati, is a canon in a free style, but impressively written, and capable of much effect. It presents no difficulties in execu tion. Chi è colei che s'avvicina, a comic bass song by Rossini, represents an editor in all the embarrassments of solicitation from the various claimants to his notice. He is be- I Bassi, tenori, le primi cantanti, till the poor journalist is almost beside him- Io di tutto mi contento, is a comic duet from Mosca's opera lately produced. It pictures the shifts of a lover who has engaged himself too far with a lady, but who is anxious to misrepresent his qualities in a way to make her reject him. His candour is, however, overmatched by her's; for she declares that his avarice will only enable her to spend the more freely, and that if he is prone to use the cane, she will not be backward, "puni e schiaffi," says the damsel," anchio so dar." The music is very lively, though, as a whole, not equal to Rossini's duets in the same man ner. Mr. Charles Smith (of Liverpool, we NECROLOGICAL TABLE, Among the reminiscences associated with the date of 1821, will be found names of powerful interest; some of these belong to the historian, rather than to ourselves, whose purpose it is to record only those who have distinguished themselves in literature, science, and art. Yet there are two which, although they do not come within the immediate scope of our necrology, we cannot pass over in entire silence. The first of these is that of NAPOLEON BUONAPARTE, the hero of the republic, the founder of new dynasties, the imperial master of France, the humbled exile of St. Helena! He died on the 5th of May. The second is that of CAROLINE, the unfortunate Queen of England, who died on the 7th of August. fessional works, especially by his Experimental Researches concerning the Philosophy of Permanent Colours, 1794. Having resided some time in the West Indies, he wrote a Natural History of Guiana, in South America, 8vo. 1769; and an Essay on the Yellow Fever. Dr. Bancroft did not confine himself to scientific subjects, for in 1770 he produced a Novel, in three volumes, entitled, Charles Wentworth. Died at Margate. BARTLEMAN, JAMES. A singer of distinguished excellence. An admirably discriminative estimate of his merits as a vocal performer, and scientific musician, is to be found at page 661 of our second, and at page 569 of our third volume. Died April 15, aged 54. BARTSCH, ADAM. Knight of the Order of Leopold, Aulic Counsellor, and Director in Chief of the Imperial Library at Vienna. This indefatigable connoisseur was well known to all print collectors by his valuable work, Le Peintre Graveur, in Necrological Table for 1821. 20 volumes, 8vo. which is a valuable addition to the literature of that branch of the Fine Arts to which he more particularly devoted his time and talents. Just before his death he had completed another useful publication, in two volumes, 8vo. Anleitung zar Kupferstichkunde, (Introduction to the Study and Knowledge of Engravings): a work that may be considered as an excelient grammar of the art, and as affording much information within a small compass. His own etchings amount to 505. Born August 7, 1757. Died August 21. A portrait of Bartsch will be found in the third volume of Dibdin's Biographical Tour. BARRETT, DR. Vice-Provost of Trinity College, Dublin. For an entertaining account of the eccentricities of this singular character, the reader is referred to page 53 of our present volume. BONNYCASTLE, JOHN, Professor of Mathematics at the Royal Military Academy, Woolwich, was author of several popular works in the most useful branches of the mathematics. The principal of these are, Euclid's Elements of Geometry, 8vo. 1789; General History of Mathematics, from the French of Bossut, 8vo. 1803; a Treatise on Spherical Trigonometry; and a Treatise on Algebra, 2 vols. 8vo. 1813. BRIDEL, LOUIS. Preacher in the French Church at Basle, and Professor of Oriental Languages at the academy of Lausanne. His principal works are, French Translations of the Book of Job. of the Psalms, and of the Fifth Canto of Dante's Inferno; an Essay on the Jewish Chronology, and a variety of Papers in Le Conservateur Suisse. Died at Lausanne, in the month of February, in his 61st year. BROUGHTON, ROBERT. Captain of the Royal Navy, author of A Voyage of Discovery to the North Pacific Ocean, 4to. was descended from an ancient family in Staffordshire. He accompanied the celebrated navigator Vancouver in his Voyage of Discovery, at which period he himself discovered many lands and islands during a short time that his own vessel was separated from that of Vancouver. He afterwards explored the coast of Asia, between latitudes 35° and 52° N. and surveyed several parts that had been unnoticed by La Perouse. In 1809 Capt. Broughton commanded the Illustrious, 74 guns, in the Walcheren Expedition; and in the following year was sent against the Isle of France, in the conquest of which settlement he had the honour of sharing. After the peace, he was appointed Colonel of Marines. Died at Florence, March 12, in his 59th year. BRYAN, MICHAEL. An eminent pic ture collector, and a writer on the Fine Arts, was born at Newcastle, April 7, 1757. In 1781 he accompanied his elder brother to Flanders, where he continued to 589 reside until 1790, and became acquainted with the sister of the present Earl of Shrewsbury, whom he afterwards married. In 1794 he again visited the Continent for pictures, and in '1798, was employed to dispose of the Orleans collection, which he sold to the Duke of Bridgewater, the Marquess of Stafford, and the Earl of Carlisle. Biographical and Critical Dictionary of BURNEY, REAR ADMIRAL, FRS. was and Organist of St. Paul's, Covent GarCALCOTT, JOHN WALL, Mus. Doc. den, was author of a Musical Grammar, and of a work entitled, Statement of Earl Stanhope's System of Tuning Keyed Insitions have been universally admired for struments. Dr. Calcott's musical compothe science and genius they display. Died May 15. CAPPE, MRS. CATHERINE. This lady, who was the relict of the late Rev. Newgious publications, and one or two works come Cappe, of York, wrote several relirelating to charity schools, and female societies. of distinguished celebrity. CROME, JOHN, a native of Norwich, scendant of the Protector, being great CROMWELL, OLIVER, was a lineal degrandson of Henry, his fourth son, who Cambridge. This gentleman is author of was Lord Deputy of Ireland, and MP. for a very recent work, entitled, Memoirs of the Protector Oliver Cromwell, and his sons, Richard and Henry, illustrated by with six portraits, from family pictures, original letters, and other family papers: 4to. 1821. At one period of his life he relinquished all professional employment. practised as a solicitor, but of late years Died at Cheshunt, May 31, aged 79. EDRIDGE, HENRY, ARA. and FAS. was born at Paddington, August, 1769. This artist's peculiar forte lay in his miniatures and water-colour portraits, which are recommended by a particular delicacy of execution. His performances in this line were very numerous; he did not however confine himself to it exclusively, occasionally cultivating his taste for landscape and picturesque scenery. Of his ability in this branch of the art he left some beautiful specimens, in a Series of Views taken during a Tour in Normandy, in the years 1817 and 1819. Died April 23. FENTON, RICHARD. This gentleman was a barrister by profession, and was the author of an Historical Tour through Pembrokeshire, 4to. 1811. He also accomplished the very laborious task of translating Athenæus, an author hardly known by name to the English reader. This translation, however, has not been published, but the manuscript is deposited in the library of Sir Richard Colt Hoare, at Stourhead. Died in November. FIORILLO, DOMENICO, the author of Geschichte der Zeichnenden Kunste, &c. His History of Italian Painting, although serviceable as a work of reference, contains but little originality or deep research, being principally a compilation from the numerous Italian writers on art. As an artist, he was entitled to but little praise either for the composition or the execution of his subjects; nor did he avail himself, as he might have done, of his long residence in Italy. Died Sept. 10th, in his 74th year. FUENTES, GIORGIO, a native of Milan, early distinguished himself by his attachment to painting; and, after his first studies, directed his attention to scenic decoration, a branch of the art that was then raised to importance by the talents of Galliani and Gonzaga. Died at Milan, in July, in his 65th year. GEYER, LUDWIG HEINRICK CHRISTIAN, a painter, actor, and dramatic writer of considerable repute in Germany. Painting was his earliest pursuit, and that to which he was more particularly attached. Yet a passion for theatrical amusements, and the hope of finding the stage a more lucrative profession, induced him to become an actor. As a dramatic writer, his compositions, although not numerous, were successful. Born at Eisleben, Jan. 21, 1780; died September 30. GILI, FILIPPO LUIGI, was born at Corneto, 14th March, 1756. He was a canon of the Basilica of the Vatican, and superintendent of the Observatory founded by Gregory XIII. His principal studies were natural history, botany, and particularly astronomy; and he wrote many treatises on scientific subjects. The Museum of natural history which he had formed was bequeathed by him to the Lancisi library. GREGORY, JAMES, MD. Professor of the practice of physic in the university of Edinburgh, RCP. FRS., &c. was born at Aberdeen, 1753, and was the eldest son of the late Dr. John Gregory. In 1776, he was appointed professor of the theory of physic in the university of Edinburgh, and on the retirement of Dr. Cullen was chosen to succeed him. Besides some professional works, he published, in 1792, two volumes of Philosophical and Literary Essays; and in the Transactions of the Royal Society of Edinburgh, a paper on the Theory of the Moods and Verbs. Aged 68. HARGRAVE, FRANCIS, one of his Majesty's counsel, and Recorder of Liverpool. This gentleman, who was bred to the bar, was a writer of considerable eminence on legal subjects. His law books and MSS. were some years ago purchased by parlia ment, and deposited in the library of Lincoln's Inn. HENNIKER, JOHN MAJOR, LORD HENNIKER, an Irish peer, baronet, FRS. and FAS. was born 1762, and succeeded his father, the first Lord Henniker, in 1803. His lordship contributed a paper to the 11th vol. of the Archæologia, on Bicknacre Priory; and published also Two Letters on the Origin, Antiquity, and History, of Norman Tiles stained with Armorial Bearings, 8vo. 1794. HOLROYD, THE RIGHT HON. JOHN BAKER, LORD SHEFFIELD. Early in life this nobleman became the friend of the celebrated Gibbon, whose Memoirs and Posthumous works he published in 3 vols. 4to. His lordship was a practical agriculturist, and likewise the author of a variety of publications on Commercial and Political Subjects. He was created an Irish peer in 1780; an English one in 1802. Died May 30th, in his 80th year. INCHBALD, ELIZABETH. This lady (whose maiden name was Simpson) was originally an actress, and made her appearance on the Manchester stage at the early age of 18. Her person was beautiful, her talent was considerable, yet she was not destined to become a first-rate actress: she therefore left the theatre and commenced dramatic writer; here she was more successful, for her productions in this line, which are rather numerous, present some of the last scintillations of that "expiring art," Comedy. As a novel writer, her pen was less prolific, for she composed only two works of this description; but these are of very superior interest, and her "Simple Story" may be regarded as a standard and classical work. In private life her reputation was unblemished. Died Aug. 1, aged 65. JAMES, CHARLES (Major), a writer on military subjects, and a poet of some talent. His chief work is his Military Dictionary, which has passed several editions. His poetical pieces appeared in two |
