4

REVIEW

1. The Musical Cabinet. Part IV.

We notice this periodical again, to say that this part has already anticipated what we, in our review of the previous parts, thought advisable. It contains pianoforte pieces by modern composers, Czerny and Hummel, of a lighter and more melodious cast. The latter, a Romanze, has moreover the advantage of a flute accompaniment, which, although ad libitum, that is, which may be left out without materially injuring the piece, yet is so independent of the pianoforte part, that it must add considerably to the effect.

2. Fantaisie sur un Air national russe pour le Pianoforte, composée et dediée avec respect aux Demoiselles Eleves de St. Ann's Hall. By P. K. WEIZEL, Professor of Music at College Point. New York, published by C. G. Christman, 404, Pearl street.

The above composition is written in imitation of the style of the present pianoforte heroes, and we find in it all their peculiarities : the wide-spread bass, the full accompaniment of the middle parts, then the melody in full harpeggio notes in the bass while the treble part has a spray shower of small notes, the melody laid in the middle, the discords. In this imitation the composer has very well succeeded, and shown a good knowledge of harmony; the fantasia is effective and brilliant, and evinces talent in the author. Yet, in point of invention, it discovers some commonplace passages, such as the forte triplets in both hands at the head of the third page, and those in the middle of the sixth page. The following Andantino is protracted too long for its effect; the opening Adagio on the other hand, the theme of the Andantino con gracia, the Agitato are very effectively managed, and the effect of the whole is gradually rising up to the last Prestissimo.

It

The composition, in the whole, is one which does honor to the composer; and would do the same to the enterprise of the publisher, if it were not so dreadfully disfigured by typographical errors. seems as though the proof sheets were not corrected at all, and we wonder that the author could allow his work to come in this dress before the public. On the first page alone we find four such errors, and so on in all the others. Accidentals are omitted, notes displaced, notes left out; in short, all sorts of errors show a great want of care in the publisher.

CONCERTS.

After the rumor of Mr. Herwig's extraordinary performances on the violin had spread to us from New York and Philadelphia for some time, the master at length has come himself among us, and last Saturday evening gave his first concert.

It consisted of his own performances, accompanied by pianoforte and quartette of stringed instruments, and of vocal music by Miss Stone and Mr. Greatorex. The pieces which he played were all of the modern school. De Beriot's and Paganini's compositions, and his own variations, showed all the new applications of the instrument, while Ernst's Adagio Religioso, a song without words, as the present fashion is, gave him opportunity to develope a rich tone and good bowing.

So far we agree with the generality of the audience, that Mr. Herwig is the best violin-player that has ever been in Boston; we however were not in Boston when Mr. Seitz played here, and therefore cannot say which one of the two was superior; but judge from all that we hear, that Mr. Seitz's style was so different, that they would hardly offer points of comparison.

Mr. Herwig excels in his independence and power of fingering, and in his purity of intonation. Of the first, many passages in the concerto gave evidence, and more especially that delicate and most difficult piece, De Beriot's Tremolo; and of the second, his harmonic passages in Paganini's and his own variations and the octaves in the Adagio Religioso. In the latter piece, he touched the heart of the whole audience by his pure intonation and delicate tone. He displays also great freedom of bowing, yet plays with a stiff arm, and we therefore think his fingering superior to his bowing.

We sincerely hope that we shall hear him again, and more than once, and that he then will choose also other pieces of a different character, which will give us the better opportunity of judging fully of his excellences, than we can as yet after once hearing him; and we trust and hope that his future concerts will collect the concertgoers of our city, who need not be afraid that they will find mere feats of dexterity, where they hoped to find expression and soul. The Adagio by Ernst, in its comparatively simple cantilene, showed that he possesses both in an eminent degree.

We must pay a compliment also to his coadjutors in the concert, as well to the singers as to those who accompanied him; but in doing s, we cannot omit a few words to Miss Stone.

When she first began we were very forcibly struck by the great improvement in her voice. It has gained since last winter in volume and beauty of tone, and in correctness of intonation; but what could induce her, an alto voice, to sing Bishop's Nightingale song, written for a high soprano voice? If it was her own choice, we would suggest to her, how far better it is to make a good alto than a poor soprano; the first she may achieve by persevering and careful study and vocalization, and she will eventually reap much more benefit from it, than by injuring her voice and health by trying to sing soprano, which is not the true character of her voice. If, what we much doubt however, her teacher made the choice for her, she would do better to change him as quick as possible.

THE MUSICAL MAGAZINE.

NO. LXXIV.

BOSTON, SATURDAY, NOVEMBER 6, 1841.

C. M. VON WEBER.

[Continued from page 327.]

We conclude our translations of his letters by giving several of his last letters from London to his wife. Ed. Musical Magazine.

March 6, 1826.

"Heaven be praised and thanked forever! Here I am, well and in good health, completely established, and quite happy by the receipt of your dear letter, giving me the assurance that you are well, and the boys also. What else and better do I want?

After having slept well and paid heavily in Dover, I left it yesterday, the 5th, at 8 o'clock, in the express coach; a fine coach, drawn by four horses, of whom no prince need be ashamed; four persons inside, four persons behind, four persons on top, and quick as lightning through the country, which is splendid beyond all description. The meadows covered by the most beautiful verdure, the gardens ornamented by flowers in full bloom, all the buildings of a neatness and an elegance which most advantageously contrasts with the dirt and mud in France; the great rivers full of vessels of all sizes, (among others the largest man of war of 148 guns,) the fine villas, the lively roads, in short, a truly unique ride. In Rochester we took soup and roast meat 43

VOL. III.

within a quarter of an hour's time, and at 5 o'clock the twelve miles (German) to the metropolis were finished. The description of the grand impression of this capital I must leave for verbal communication, and this rich subject shall enliven our quiet Hosterwitz. Smart expected us. A hack was procured, and all our things, boxes, music, &c., were packed into it with ourselves, three persons, making rather an adventurous appearance. In Smart's house I am very well taken care of, all possible conveniences have been thought of, and I could relate to you many a curious instance of it. Bath, everything, is in the house. At 6 o'clock we dined at Smart's; Furstenau unpacked his things, and by 10 o'clock I was in bed, and slept excellently till 7 o'clock this morning. Furstenau lives very near by, in the house of a German, very good, paying one pound sterling a week. I found a number of cards from visiters, who had been here before my arrival. From the first instrument maker a beautiful pianoforte, with a polite note, asking to make him happy by using it during my stay here. The direction of the oratorios has been made very commodious for me; I shall conduct on all the four evenings twelve pieces from the Freyschutz, in immediate succession. That is done in an hour. Furstenau performs already next Friday, in the oratorio. Everything promises the most brilliant and lucrative success. The whole day, till 5 o'clock, is at my own disposition; then I go to dinner, into the theatre, or into a party. Kemble is in Bath, but will return the day after tomorrow; to-day we dine with his lady. After dinner I shall go to Covent Garden, where I shall hear all the singers, and after that into the concert. Tomorrow morning I shall begin to work. This morning I have established myself, and brushed myself up, and just now your dear letter came, which rejoiced me very much. To be alone here in England does not cause me anxiety; the whole manner of the English is very pleasant to my nature, and my little English, which I am rapidly improving, is of great use to me. The people here are much rejoiced at it, and pay me great compliments on account of it, as did the French about my little knowledge of that language.

I have here time The Oberon will some days later; The people are

On account of the opera you need have no fears; and rest for it, for my time is truly respected here. moreover not be produced on Easter Monday, but the dafe I will tell you as soon as I know it myself. too good with their anxious interest in me; if I do not fare well enough on my travels nobody does; no king's wishes are so warmly

anticipated as are mine; I am petted on all sides, and I may say almost literally that they carry me on their hands. [German proverb for expressing great care and love. Ed. M. Mag.] I am very careful, and you may rest entirely quiet on my account. My cough is singular; for eight days it had disappeared altogether, then on the 3d, before I went to Calais, it returned, with a choking fit, and since then it is again quiet. I am very precise in my observations in regard to it, and can never discover a particular cause of it. Sometimes I deny myself all indulgence, and the fit will come on; at other times I eat and drink whatever I like, and it does not appear. Well, as God pleases. To show you how undisturbed I may be, I will describe to you my quarters. Smart lives on the first floor, and we dine there also; on the second is the parlor, and on the third my chamber and study, where nobody is admitted. Every visiter is announced, and refused without ado, if I so please, nobody taking offence at it here. A servant, with his wife, are the only domestics; they have lived with Smart for sixteen years, and are therefore well instructed and faithful. You see I could not be better provided for."

March 7, 8 o'clock, A. M.

"At 7 o'clock, last night, we drove to Covent Garden, where Rob Roy, a sort of opera, text from Walter Scott's novel, was given. A most splendidly decorated, not very large house. While I stepped out to the front of my box, to look better at the house, a voice called out: 'Weber! Weber is here!' and although I immediately withdrew, the audience broke out into such an endless applause and hurraing, that I had to show myself and bow several times. Then the overture to the Freyschutz was loudly called for, and every time I showed myself the tempest broke out afresh. Happily, the overture to Rob Roy began, and the enthusiasm calmed down after a while. Can you desire and expect greater enthusiasm? I must confess I was really surprised and affected, although I can stand and am accustomed to some applause. In such moments I could give, I know not what, if I could only have you at my side, for you have not yet seen me at all thus honored by foreigners. I can joyfully assure you, also, my dear soul, that you may rest altogether without any anxiety in regard to singers and orchestra. Miss Paton is a singer of the first rank, and she will sing the Rezia divinely; Braham the same, although in a very different style. Then there are other tenors, very good, and I do not conceive how English singing can be so much abused. The singers have a perfectly good Italian school, fine voices