Philharmonic Concerts this year, Welsh) literature and music. This leaves Weimar at the beginning of body consists of about two hundred September, on a professional tour of the nobility and gentry of Wales, through Holland and the Nether- and others, principally Ancient Brilands.

tons, resident in London, amongst The committee of the Royal Aca- whom are many persone of deep demy of Music have made a Report research and learning. The soci upon their proceedings, which has ety has its rooms (in Lisle-street) been printed and distributed among and its officers; one volume of its the subscribers. The tone of it by no transactions has been published, means speaks that confidence which and another is preparing. It disa body, having in its disposal so con- tributes medals and prizes for essays siderable a sum as has been sub- and other compositions; collects mascribed, might be expected to use. nuscripts, &c. Under the patronage On the contrary, it should seem as of this institution, an Eisteddvod, or if the committee doubted the perma. Session of Bards, was held at the nent existence of the establishment; Freemasons' Tavern, on the 22d of for they solicit earnestly the most May. This meeting, under the active exertions of the noble direc- name Gorsedd y Beirdd, or Congress tors in its behalf, and for the increase of the Bards, was in very remote times of its funds. The Report details the amongst the privileged national asappointments of the Master and Mis semblies of the Cymry; and the presertress, whom it eulogizes as most ex- vation of Bardic traditions, the conemplary persons (a point that the servation of illustrious names and acsubscribers might take on the faith tions, and the promotion of general of the judgment of those persons to instruction, were its objects. About whom they have committed the most the twelfth century it ceased to act unlimited patronage); it vindicates as a national council; then, probably, the mode of electing the pupils, enu- took the name of Eisteddvod, and submerates the professors appointed, sequently became, by the progress of and justifies, by the example of the circumstances, what it now is-a foreign conservatories, the custom of meeting for the cultivation of music the pupils practising their various and poetry: with long intervals be exercises in the same room. The tween, the Eisteddvod has been conprofessors are cut down from thirty stantly kept up ever since. Of late to ten; and subsequently to this Re years, societies have been formed in port being prepared, the Board of the four provinces, for the encourageProfessors, which, by the originalment of national literature; and as regulations, was to be entrusted with auxiliary to this object, since 1819, the entire arrangement and direction they have had their annual Eisteddof the musical education of the stu- vodau. The first meeting in Londents, has been dissolved!! almost don, under the Cymmrodorion, was in before it had begun to act. There is no 1822, which is now also become anEnglish teacher of singing among the nual. On the present occasion, Lords Professors : the principal, Dr. Crotch, Dynevor and Kenyon were the preand his assistant, are the only instruc- sidents of the day. Mr. J. H. Parry tors in harmony and composition. stated in English, and Mr. Griffith Mr. Greatorex has removed his son Jones, in Welsh, the nature of the froin the Academy, who was elected meeting; and a concert, the principal amongst the first ten boys. A pri- part being Welsh music, was given. vate examination of the pupils has Mr. Davies performed Ar hyd y nos, taken place, and a public one is soon with variations, on the Cambrian to follow. After this Report the long pedal-harp, with two rows of strings, existence of the institution should W. Prichard, “ a mountain minstrel,” seem to be more problematical than and harper to Gwyneddigion, an air ever, even to those whose motives in (Pen Rhaw, or the Spade head) with the encouragement of the design are variations, peculiar to the Welsh or unimpeachable.

triple harp. But the most curious Three years since was revived a part of the celebration was the Pensociety under the title of the Cymm- nilion singing with the Welsh harps, rodorion, originally formed for the after the manner of the Ancient Bricultivation of Ancient British (or tons. The singer is presumed to be

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acquainted with the twenty-four the limited nature of the mstrument; measures, and he strikes in with the and a new air with a violin obligato harper, who is at liberty to change accompaniment, composed by Garcia, the air as often as he pleases. This expressly for Mrs. Salmon. It was is constantly done by persons totally altogether a most delightful concert. ignorant of music.

We mentioned the provincial meetSince our last report, there have ings that were about to take place. been some of the finest concerts of That at Oxford was held for the the season; namely, those of Mrs. 10th, 11th, and 12th of June. It Salmon, Mr. J. B. Cramer, and Mr. commenced with act of the Moscheles. Unfortunately, however, learned professor's Palestine; and Mr. Cramer could find no morning in the second was given, Mr. Attfor his concert but that of the day wood's Coronation Anthem, with on which Mrs. Salmon's was held in Selections from Mozart's Requiem, the evening. “When two men ride and Haydn's Seasons.

The singers upon a horse,” says wise master were Madame Ronzi de Begnis, Sigs Dogberry, one must go behind;" nora Caradori, Miss Stephens, and but when a man and a woman ride Miss Travis, Signor de Begnis, upon a horse, the woman is even Messrs. Vaughan, W. Knyvett, and more certainly posted in the rear. Bellamy. At the miscellaneous conSo it proved with Mrs. Salmon, who certs the encores were very nuhad about half the number of auditors merous. that attended Mr. Cramer. It was The coming meetings are to be not, however, quite chivalrous in the held at Gloucester, Sept. 16, 17, 18; strong Pianist thus to jostle the fair York, Sept. 22, 23, 24, 25; Livervocalist from the wall; for be it pool, Sept. 29, 30, and Oct. 1, 2; known, Mr. Cramer's concert was Birmingham, Oct. 6, 7, 8, and 9. announced subsequently to Mrs. Sal- The Gloucester, York, and Birmon's. It is to be regretted that mingham, will be conducted by Mr. great interests should thus encounter; Greatorex; the Liverpool, by Sir for there is no saying how such dis- George Smart. The three latter are cords may be resolved. Mr. Cra- upon a scale of the most exalted mer's concert was almost literally a magnificence. Madame Catalani pianoforte performance. Of six in- certainly comes to Birmingham, and strumental pieces, four were for that the same splendid preparations, as instrument, either solo, in duet, or before, are making. At Liverpool, as principal. Mr. Cramer played a there will be Mrs. Salmon, Miss concerto and two duets, one with Stephens, and Miss Goodall, Mesd. Mr. Moscheles, and the other with Camporese and Ronzi, Messrs. Bra. Mr. Kalkbrenner. Competition has ham, Vaughan, Knyvett, Bellamy, done much for the public since it has Phillips, and De Begnis. The sermade Pianists so much more anxious pents and trombones from his Mato be heard than heretofore. Verily jesty's band will attend. At York, the musical world is deeply indebted there will be not less than 400 perto Mr. Moscheles. But, indeed, this formers, without including the prin concert afforded a vast treat to the cipals. The stimulus imparted by amateurs of fine playing, since it the success of the Birmingham meetbrought these performers, alike su« ing is operating far and wide, and preme in art, into a collision and not less beneficially for the diffusion comparison that elicited all their of music, than for the purposes of powers. Mr. Moscheles trusted to charity and of circulation. În York, his own strength, which is indeed there is an annual Congress of the immense, and the assistance of the , amateurs of the county, who asmost eminent singers. Mrs. Salmon semble very numerously, perform was aided by Signor Garcia, and most two concerts, dine together, and sing of the great Italian and English art- part-songs afterwards. This keeps ists. The three novelties of the night up the love of music, and operates were, a recitative and air, by Garcia, most beneficially; the meeting takes of his own composition ; Signor Vi- place this year, on the 19th and 20th mercati's playing on the Mandolin, of June. The audience are admitted which is truly surprising, considering gratuitously, and there are seldom

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less than 1000 persons present. The a pupil of Mozart's. His grand Duo, for overtures are listened to with Phil- the pianoforte, which was performed by harmonic attention, and the glees and Messrs. Crainer and Kalkbrenner, at the 'songs are sung by amateurs. A mu

concert of the former, exhibits, perhaps, sic hall is building at Sheffield, where better than any of his compositions, his the next year's meeting will probably

great attainments. take place.

Several of the pieces, from Merca

dante's Opera of Claudio e Elisa, brought The following are the principal out this season at the King's theatre, have publications of the month :

appeared. The style of this composer is Mr. Moscheles's Polonoise is an inte- evidently formed upon that of Rossini, resting and elegant composition ; it presents but it wants the grace and animation which a succession of brilliant and original pas- so peculiarly characterise the works of the sages, on which the rythm of the Polo. latter; it is, too, very unequal, and frenoise confers particular animation. The quently meagre.

The fable of the opera second and third pages are worthy of high is not of a kind to call forth the genius of commendation, for their beautiful melody, a composer ; it is uninteresting and absurd,

; as well as for the means they afford to pro- while the mixture of pathos and broad mote and exhibit the powers of the left humour would endanger the success even hand. The piece, like most of Mr. Mos- of a finer composition. cheles's compositions, contains many novel The recitative Mici cari Figli, followed and beautiful ideas, as powerfully deve- by the Aria Giusto Ciel, is, perhaps, the loped as they are finely conceived.

best ; the imitation of Rossini in the allegro To harp and fute players, we recom- movement is, however, so complete, as mend Mr. Dizi's Two Airs, with Varia almost to appear intentional. tions, the Yellow Hair'd Laddic, and Be A duet for two Sopranos, by Mercanedetta sia la Madre. They are the pro- dante, from Andronico, Nel seggio Pladuction of an elegant and cultivated fancy, cido, is very sweet, and proves that the and particularly well adapted to the genius composer would succeed better by adhering of the instruments.

to his natural purity. Mr. Kiallmark has arranged De Piacer Some duets, arias, &c. from operas by as a rondo for the pianoforte, in as easy a Rossini, never performed in this country, style as the nature of the subject will per- have also appeared. The aria, Cicl Pica mit, which is at least judicious; for it has toso, from Zelmira, is in his best manner; already appeared in almost every other the allegro perhaps too dramatic for the form.

chamber, but the recitative and andantino Mr. Peile's Pastoral Rondo has many are very beautiful and expressive movequalities to recommend it to the notice of ments. The duet Un Segreto è il mio players who make no pretensions to great Tormento, from 1 Sigismondo, is efattainments.

fective, and not difficult. Mr. Klose's Four Rondos are of the Nella casa devi avere, from the opera easiest description, and extremely well of Pietra di Puragone, is a duet of great adapted to the purposes of early instruc- humour; it consists of the instructions of tion.

a young lady to an ancient beau, as to his The newly-published arrangements are conduct after marriage ; and he, in the arthe third books of La Donna del Lago, dour of his affection, consents to be both apd Pietro L'Eremita, by Mr. Latour; blind, deaf, and dumb. Rossini has aand the eighth book of Mr. Bochsa's 'adap- dorned his subject with elegant and anitation of Rossini's Operas, for the harp, mated melody, and the usual proportion of consisting of a second selection from Pietro rapid articulation and execution. l'Eremita.

Mr. Rawlings's Canzonet, Hither The first and second of Mozart's Sym- Fairy Queen repair, sung by Mrs. Salphonies, arranged by Hummel, for the mon, at the British Concerts, and accompianoforte, flute, violin, and violoncello, is panied on the flute by Mr. Card, was rea most valuable publication ; Mr. Hummel ceived with great approbation. Its effect being peculiarly fitted to such a task, from depends much upon the accompaniment, his perfect knowledge of the powers of his but it has a lightness and elegance exinstrument, his science as a musician, and tremely well adapted to the character of from the circumstance of his having been the words.

A LETTER TO THE DRAMATISTS OF THE DAY.

Alas, for the lost Drama! the Drama is no more!

logues, conversations in verse, ameibatory pentameters, pro and con poems, or non-descripts, as the case may be. Thus, an author who strings together, without unity of action, order, or connexion, a number of adventures, may designate his work an epic poem if he please; but it is nevertheless, in spite of his onomatonomy, no more an epic poem than the Seven Champions of Christendom, or the Lives of the English Admirals.

But what are these grand, leading, indispensable, essential attributes? Some are obvious. Others less apparent, but as essential, it is my design to recall to your attention; as I conceive it is to the neglect, contempt, non-observance, or oblivion of these, that the degeneracy of the modern drama is chiefly owing; and not to any deficiency of genius in the writers.

Now, Gentlemen pensioners of the Muses' train, it strikes me that an excellent method of elucidating these mysteries would be, to appropriate to myself the liberty of adverting to your works, casting a retrospective glance at your predecessors; to arrogate to myself the power of expressing my opinions on the merits and defects of both; and, finally, to do éxactly as I please with them. without farther preamble

and recite" in the long-lost strain of the drama! Come, I say-Stop.

Another word upon the three mistakes committed in this letter before I began the first line of my address. I call you dramatists; and moreover, Gentlemen: that is, conjunctively,― dramatic gentlemen, or gentlemen dramatists, which you will. Now here are three mistakes, in two words; a fair earnest of my future accuracy. For: some of you may be dramatists, yet no gentlemen; or, gentlemen, yet no dramatists; or, dramatists and gentlemen, yet not tragic dramatic gentlemen, whom alone I address in this "grandis epistola." By the first oversight, I exclude gentlewomen; which made no part of my intent. "Shakspeares in petticoats," Sapphos in busking and English, or those who would be so, will honour me by allowing this letter to relate to them under the general name of dramatists. To the gentlemen no dramatists, I have only to apologize for taking their names in vain. I do not address myself to the comic dramatists of the day; for legitimate drama must begin with tragedy.

Preliminaries being premised, as Peter Pleonasm might say, let's on to the material as quick as our quill So can carry us. The latest work of note in the dramatic line, which hath crossed my visual ray, is Durazzo; and with a few remarks upon this, I take your leave, gentlemen, to begin my Instauratio Magna Dramati

Except one word as to what I, your gratuitous correspondent, negatively am. I am not a critic-merely one deeply inspired with a love of the drama, and possessed with an ardent desire and expectation to see Tragedy again walk forth in the stole of her ancient splendour. Secondly: I never myself wrote a drama; so you have nothing to fear from the envious shafts of an anonymous rival. Whatever opinions I may give, be they right or wrong, they are ho

nest.

Come then! To make Shakspeare lean from his cloud, and Massinger pause with the nectar at his lips; to make beetle-brow'd Ben dissolve his heretofore illiquifiable features into a smile of applause, Otway break out in heroics, and the whole corps dramatique of the sky rise on their elbows from their yellow beds of asphodel-to catch the faint sounds of our sublunary voices, as we "ravė

corum.

I say "of note," because though tragedies are now-a-days as "plenty as blackberries," they are not, in general, half so mentally palatable as those luxurious vegetables are corporeally. The consequence is, the trade of a tragedist hath fallen into disrepute with the critical; and for a work to be " of note" at present, the author must have been previously notable; as the author of Durazzo was, by his tragedy of Conscience. This circumstance, however, did not wholly direct my choice, though it might have solicited it. A galaxy of cream-coloured title pages, beset with alphabetical maculæ, spotted here and there and every where, with " tragedy," "drama,' "five acts," "London," and