WeGA, Rezeptionsdokumente, Digitale Edition
author: Anonymus
source date: 14. Juni 1825
language: en
availability: Creative Commons Attribution 4.0 International (CC BY 4.0) (http://creativecommons.org/licenses/by/4.0/)

Sketch of the State of Music in London.

June, 1825.

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Der Freyschutz had been celebrated for some time throughout Germany, when the overture was first heard in*[^1] the concerts of London. It would have been a disgrace to the taste of the country had not this bold, original, highly picturesque composition attracted its just share of popularity and praise. But we shall not treat the composer unfairly if we venture to assert that the the overture conveys by far too favourable an estimate of his talents, as applied to the music of the entire opera. With this, however, we have not at present much concern. We are now merely about to shew the rise and progress of the excessive attraction which has distinguished Weber's great work in England. The success of the opera amongst the romantic natives of Germany was unbounded. One theatre alone is said to have received thirty thousand florins, on the nights of its representation, in a single season, and new reports of its transmission through the Continental cities and towns were continually reaching England. Under these predisposing circumstances it was determined to introduce it at the English Opera House. Nor were the interests of the manager only concerned. We have it from unquestionable authority, that almost every German in London was invited to attend on the first night of its representation, as a matter of honour to his country, by the active interposition of Mr. Hawes. When these circumstances are taken into consideration, with the romantic and mystical constitution of the story–its magic and its scenery, its owls and its bats–all monstrous, all abdominable things–its

"Demon sent
Red from his penal element"–

it seems not to be wonderful that it should have seized so intensely upon the fancy for the public. The music, we are convinced by experience, had but a slight share in fixing its popularity, though the report of the music led the way to the introduction of the opera itself. Be this as it may, nothing now resounded in the theatres, and nothing could be found upon the counters of the music shops but Der Freyschutz, and arrangements of Der Freyschutz. – "Voice, fiddle, and flute" were all employed, whilst Mr. Hawes, the apostle of Weber, (and the Royal Harmonic Instituion) made it a concert at Liverpool, and spread its renown through the provinces. All England was thus filled with the report of Der Freyschutz, and Carl Maria Von Weber. Even the star of Rossini was forced to hide its diminished head at the coming of this new light.

[^1: * The praise of the first introduction of Der Freyschutz belongs to Messrs. Boosey and Co. of Holles-street, the spirited importers of foreign music. They had it on sale for twelve months before it appeared at the English Opera, and indeed procured the score, with which the managers of that theatre, were supplied by Mr. Hawes. This score, we have understood, Messrs. Boosey obtained for the use of Mr. Bochsa, who had been engaged hearly two years before to arrange it in several ways for the harp and piano forte. They also applied to Mr. Campbell to write words for two of the songs, which they printed in June, 1823. The claim of these pulishers to the honour of introducing the great work of M. Von Weber seems thus to be established, and it was they also who first gave the public a portrait of the composer, which is said to be very like him.]

This energy in the promotion of an object which, like most other such adventures, was bottomed in interest, will sufficiently account for the extension of Weber's reputation, and for the complexion of our sacred oratorios, during the penitential season of Lent. Poor old Handel did now and then "upheave his vastness," but he was well nigh dethroned and banished, by the strepitation of Kampf und Sieg, or cantata in honour of the battles of La Belle Alliance and Waterloo–by Euryanthe and Preciosa–by Abu Hassan–by Der Beherrscher der Geister, (the ruler of the spirits,) and by Natur und Liebe–all productions of the ubiquetarian Carl Maria.

We shall not be thought to go beyond the truth, when we say that there was something too much of this, and that the public has so felt it–at least the musical public. Weber has displayed a strong and original turn of mind in his Freyschutz, but there is nothing in his works, taken as a whole, that can justify the attempt thus to make him an idol, and an idol to the exclusion of all other worship. Preciosa has fallen the first night of representation, and Natur und Liebe has experienced but a cold reception, yet as good a one, probably, as it merits, for the sense of the public at large generally pronounces a just as well as a competent judgment.

The intimate connection which the benefit concert of Mr. Hawes bears to this subject must be an apology for introducing it here. It forms indeed the catastrophe of the drama. Mr. H. it appears, had long determined to bring Weber's compositions as orchestral music to a test, and therefore he concentrated at this concert the flower of the German composer's works. Der Freyschutz was done entire, and was followed by Natur und Liebe. The ablest singers in London were employed. Miss Paton and Miss Goodall, and the Misses Cawse, Messrs. Braham, Terrail, Bellamy, Hawes, and Phillips, with a sufficient chorus, supported these pieces. If we had before believed that the music of Der Freyschutz was purely dramatic, and with the exception of the overture, depended on its connection with the mystical structure of the opera for effect, we were more than ever convinced of the justice of such a judgment from the result of Mr. Hawes's concert. Nearly all that was not irresistibly ridiculous, was supremely dull. How indeed should it be otherwise, with the comic songs of Kilian and Rose, sung by Mr. Terrail and Miss Goodall, with a chorus of owls,*[^2] hooted by the choristers of St. Paul's, and the Chapel Royal, and the gong struck by Mr. Hawes himself? The audience could with difficulty sit out the opera, and from Natur und Liebe they continued to flee from its commencement. + [* Mrs. Anderson played a piano forte concerto at this concert. This lady has great requisites and fine taste. She is a teacher of deserved celebrity.] The first experiment, we should presume, will be satisfactory–a second will never be made.

[^2: * The rage for Der Freyschutz has been very well and very laughably satirized in a piece called "Lofly Projects," brought out at Covent Garden, in which a German music-seller is made to offer a large sum for the composition of an opera, to be called "Love in a Charnel-house." A part of it is to be a trio between two owls and a wolf, by which the town is to be enraptured. A pantomine has also been got up, in which the clown fries seven pancakes, in derision of the casting of the seven bullets.]

But to come back to the oratorios. The losses which had driven former managers from the speculation would naturally caution the new undertakers against too considerable an expenditure. Accordingly the numbers and quality of the band, both vocal and instrumental, were reduced; and although the singers engaged were some of them of the first class, there was by no means that exuberant exhibition of talent which, at the same time that it attracted, satiated and fatigued the public on preceding occasion. We have but slight means of forming any judgment as to the profit and loss of the season–we believe it to have yielded a profit, particularly at Drury-lane, but so far as the music was concerned, it appears inferior to former years–nor were there many marks of good taste in the plan or the conduct. Weber's music was to be made the instrument of attraction, which was the more easily done by the previous occupation of the general imagination through Der Freyschutz. All the world perhaps knows that those who undertake the management of public amusements do so for the purpose of getting money. But still there is an accompanying notion that a certain quantity of judgment and a certain love of the arts and a desire for their advancement go along with the ruling motive. This is not always an illusion, and ought never to be so. But when it is, some care should be taken to conceal it. Very little of such a care could be discovered in the conduct of the oratorios at either house. The general prosperity of the times, rather than the particular excellence of the arrangements, may account for the partial success.

The only permanent concerts this season were the Antient and the Philharmonic, and so uniform is the tenor of their course, that they afford little scope for remark. At the former Mr. Sapio was engaged–an innovation to which his success at York was probably the leading cause. Miss Wilkinson, a singer new to the orchestra, has also appeared there this season.

This young lady is a descendant of the celebrated Tate Wilkinson, so long the manager of the York Theatre. Her voice is a contralto of rich tone, but a little thick and throaty, and of moderate compass and volume. She has been taught we are told by Signor Scappa, Mr. Wm. Knyvett, and lastly, by Mr. Greatorex [Thomas Greatorex (1758–1831), Komponist, Organist, Musiklehrer.]. Her style is smooth and to a certain degree polished, but at present it wants force and contrast, and consequently is limited in effect. We would be understood to speak with due reservation, for the first public efforts of any singer are entitled to great allowances. Miss Wilkinson may however be considered by her long period of study to have arrived at almost all she is capable of attaining, except that ripening of the powers which springs from orchestral practice. But her debut must be esteemed exceedingly successful.

Madame Pasta was engaged during the short period of her stay. Miss Stephens and Miss Travis, with Mrs. Salmon, were there as usual. This latter singer, we regret to state, was compelled to retire at the beginning of May from all her engagements, by a failure of powers, which appears to be an effect upon the nervous system. Mrs. Salmon's professional exertions during the last autumn had been incessant, and as her services were required at the most distant parts of the kingdom immediately in succession, her fatigue in travelling was proportionally great. In the early part of the season she was as much in request as ever in London, and had begun to feel the consequences of over exertion, when the alarming illness of her mother assisted in completing what a too solicitous discharge of public duty had begun, and her medical advisers declared absolute repose to be indispensable to her restoration; she therefore gave up all her engagements, and retired at once.*[^3]

[^3: * We are happy to learn that Mrs. Salmon is in the fairest way of recovery. Rest has already done much to restore her beautiful voice, and it is her purpose to resume her place in the orchestra at York.]

Mr. Phillips, a young base singer, has also been engaged at the Antient Concert, and has occupied a very prominent place in the performances. His voice is moderately powerful and welltoned, yet not heavy nor indeed remarkable for any peculiar quality. But his style indicates an acute and energetic mind, and there are obvious fondations upon which a sound and elegant superstructure may be raised, while his modesty and industrious perseverance in the study of his art are powerful recommendations. Bartleman's superiority, not less than his long standing, originated and preserved a taste for base singing, which has survived its author. Hence there is an auxious desire to renew and perpetuate those sources of pleasure to which he gave existence. The business of Polypheme, the Frost Scene, Saul and the Witch of Endor, the music to the Tempest and to Macbeth*[^4]–all these owed their place to him, and with the tenacity with which the fancy dwells on favourite objects, there is probably a lurking preference for these fine compositions in the minds of the directors. Whether Mr. Phillips will be able to satisfy this appetite time must determine–he is not yet sufficiently matured, but we must do him the justice to declare, that since Bartleman, there has been no fresh candidate for his place who seems to put forth such wellsupported pretensions.

[^4: * The mention of this "wild and mearthly" composition brings to our remembrance the presence of Mrs. Siddons on Wednesday, June 1, when Lock's music was performed. This great idol of the public admiration sat near the door at the lower end of the room–but no sonner had the music begun than the general observation of all around was turned towards her, in remembrance of her consummate excellence in the Queen of English Tragedy–the Lady Macbeth. When the first strains were heard, her eye recalled some of its accustomed fires, and as the music proceeded, we thought we perceived, by a gradual elevation of port, the majesty of former hours renewed in her mind, which though not quite extinguished, seemed soon to be quelled by some internal sense that this mortal triumph was past. We trust however that this distinguished woman will live many years to enjoy such occasional gleams of recollected greatness, reflected back upon her from that public whose delight she so long formed, while she remained the wonder and the glory of her art.]

Nothing new, in the strict sense of the term, can be introduced into the bills of these concerts, but glees, the composition of Webbe and Dr. Callcott, have this year been superadded. The policy and propriety of limiting the performances to the same things year after year may and has indeed been much questioned. And without derogating from the acknowledged excellence, the superior excellence of the stock pieces, a plea in favour of more extensive researches may yet be safely advanced. This year there has been a curious repetition of the same songs, but by different singers. Thus Martin Luther's hymn was first sung by Miss Stephens, and a night or two after by Miss Wilkinson, and Brave Jonathan first by Mr. Bellamy, and subsequently by Mr. Phillips. This is an experiment which can hardly be said to be quite considerate to the feelings of the parties. Thus a young singer like Miss Wilkinson must be injured, and her reputation was injured by the immediate comparison she suffered with a voice so practised, ductile, and beautiful as that of Miss Stephens, in a song which calls forth all these qualities to their utmost stretch. It is perhaps incumbent upon the conductor, should the knowledge of these facts escape the memory of the director for the night, to assist in sparing the performers so delicate yet so decided a competition. A man who has the interst of the concert so deeply at heart as Mr. Greatorex, and who enjoys in so high a degree the esteem of the noble directors, has it in his power to arrange these little niceties, and sure we are it must be in his inclination to preclude all possible cause of exacerbation in the minds of those, who can but be aggrieved by so inadvertent an opposition of their powers, however high they may stand above the general taint of envy.

The concerts of the Philharmonic Society have had little to distinguish them this season from those of former years. Managed by directors of the highest professional eminence, who act as it were under the perpetual surveillance of an association, consisting of members already so distinguished in art as to render them tremblingly alive to every circumstance that may diminish their own or the general reputation, judgment, care, and discipline, are more likely to be excercised in their full force here than in almost any other similar situation. The laws repecting pieces by single instruments have been slightly relaxed, but this is the only deviation from former habitudes we have discovered. But whilst the instrumental music is here above all praise, the vocal is certainly less an object of attention than it ought to be. The truth probably is, that the directors having engaged the finest talent, consider that the employment of their abilities to the best advantage may be safely devolved upon the singers themselves. Experience proves the contrary.

[...]

The domain of the English theatre has been almost wholly occupied by Weber and Der Freyschutz. Even the king a appeared determined to have the fullest materials for judging the merits of the man who has concentrated upon himself so much of the regard his Majesty's dutiful and loyal subjects. Der Freyschutz was commanded both at Covent Garden and Drury-lane, on the evenings when the king was present.

But in truth music has by no means the importance in our musical drama that should apperatain to it. Nothing proves this more strongly than the attractiveness of the German melo-drame. Nor can it be otherwise until a just perception of the intrinsic beauties of opera be generally diffused, until a true taste be cultivated, until indeed, a portion of that patronage which has been for a century past dedicated to the planting and maintaining a theatre for an Italian, be addressed to the establishment and support of an English opera. An earnest desire for national honour in art, evinced by such a patronage, might induce our great poets and musicians to combine for so worthy, so noble a purpose; but till this be done, our stages are not likely to exhibit any thing beyond the same anomalous jargon of dialogue and song, the same heterogenous mixture of nonsense and show, which at once disgraces and most effectually stops the progress of national taste, and reduces our composers and our artists either to imperfect imitators, or to the comparative disregard of the public.

The usurpation of Der Freyschutz has necessarily very much precluded the introduction of new vocalists. Miss Graddon gas appeared at Drury-lane, as a first singer, with considerable approbation. At present this young lady ist obviously more indebted to nature than art, for her musical education, judging from her performance, has not been conducted with a care equal to her endowmeuts. She has, however, strongly fixed herself in the good opinion of the public, and, with well-condeucted study, may do much. At Covent Garden Miss H. Cawse played in "The Hebrew Family," a new piece, which fell the first night, and strange to tell, the little heroine was engaged by the managers at a salary and for a term (as report says) which speaks their confidence in her merits. Indeed she is an extraordinary child, for a child she still is, being yet under fourteen. Her stature also is exceedingly small. But her voice and her intellect are both powerful, and, unter the care of Sir George Smart, she has made very considerable advances in the knowledge of the art. We have heard her several times both in public and private concerts, where she has this winter been much engaged, and there can be little doubt that she will rise to eminence. Her elder sister, who is also very young, has a good voice, and is advancing rapidly under the same judicious instructor.

[...]