fections of the soul, only increases its influence, by the frequency of its exhibition.

ἐσ Poetry and good sense, it must be admitted, but seldom appear on the opera stage: yet they are not incompatible with excellent Music. The opera of LA CLEMENZA DI TITO, written by the incomparable Metastasio, and set by the no less admirable Mozart, may be said to unite every requisite of perfection, of which the lyric drama is capable. With what joy does every true lover of harmony constantly hail the return of these nurslings of the graces, to refresh the tired ear, so frequently wearied by the repetition of Music so very remote from the excellence within our reach.

"The Music of Mozart charms every cultivated ear, and possesses all the exquisite beauties of the art: it abounds in the most playful, touching, and original melodies, and is replete with harmonies the most ingenious, elaborate, and surprising. It is either gay, mournful, calm, or agitated, accordingly as the passions are to be affected:-now airy and sportive, it stimulates and exhilarates the spirits: and now flowing in a rich, full stream of modulation, it is solemn and tranquillizing. It can inspire the mind with the tenderest, or agitate it with the most turbulent emotions; and no master of song, except HANDEL, ever possessed such a power of affecting the passions.

"The mechanism of Mozart's compositions is no less the result of genius the various parts always co-operate, and alternately act as light and shade to each other. He displays the power of each instrument inimitably: thus producing accompaniments so appropriate, and so illustrative of the general subject, and combined in so skilful a manner, that the attention is always kept alive, and a design is recognized throughout, which is pursued through all the varieties of fancy, and the labyrinths of science.

"We wish to excite the attention of all our fair readers, whose performance, in every department of music, reflects so much honour on the art, to the sublime productions of Mozart: the difficulties of this master are not greater than those of many eminent note-splitters of the present day, whose compositions are beneath criticism. Passages invented merely to display the " NON PLUS ULTRA" of execution, will never repay the labour requisite to vanquish their unmeaning intricacies: while on the contrary, the "extremes of a master's mind," perpetually discoverable in the productions of Mozart, ever improve upon acquaintance, and abundantly reward the student's industry.

"We have purposely selected La Clemenza di Tito to illustrate our position: not only because it has of late been frequentiy performed, and consequently is fresh in the recollection of every frequenter of the Opera, but, as a drama, is the most generally admired of all Metastasio's lyric effusions. The critics of Italy, who best understand the genuine Opera, and who have strictly examined the works of Metastasio, are of opinion that a good taste in theatrical representations in music was born and died with him:

and

and it is well observed by a most judicious writer, that Apostolo Zeno seems to have been the schylus, and Metastasio the Sophocles and Euripides of the modern melo-drama.

"Benignity was the principal feature in the character of Metastasio: it pervaded all his actions, and appeared in all his writings, for it was deeply rooted in his heart: and the luxuriance, with which it flourished was never more apparent, than when he pourtrayed the character of Titus, and established his right to the title of delicia humani generis-the delight of the human race. "No apology, it is to be hoped, will be necessary, for concluding our history of the Italian Opera with the following short account of its brightest ornament, METASTASIO.

"Pietro Trapasso, second son of Felici Trapasso of Assisi, was born at Rome, Jan. 6, 1698; baptized by Cardinal Ottoboni, 19th inst. died at Vienna April 12th, 1782, aged 84 years.

"At ten years old, Trapasso possessed the faculty of making extempore verses on any given subject. Crouds used to assemble at his father's shop in an evening to hear him sing "al' improvista." Gravina, the Civilian, accidentally passing by on one of these occasions, was so delighted with his talents, that he adopted and educated him, called him METASTASIO: and at his death, bequeathed his property to him, amounting to 15,000 Roman crowns, equal to £4000 sterling, which Metastasio soon ran through with the characteristic carelessness of a man of genius."

Mr. Burgh concludes his very entertaining work with an animated, but somewhat too enthusiastic account of the recent establishment of the PHILHARMONIC SOCIETY; at the close of which, he thus takes leave of the public.

"Having endeavoured to gratify our readers by communicating what we believe to be the general sentiment, in regard to the merits of the Philharmonie Society, it is almost superfluous to observe, that, perhaps, at no former period has the science of music been so generally understood, so ably practised, or so judiciously patronised in this country, as at the present hour.

"Independently of foreign auxiliaries, we may enumerate, among our native bands, many vocal and instrumental performers, in no respect inferior to their continental rivals.

"In regard to the united excellencies of natural talent, embellished by the highest polish of cultivated taste, Italy herself would find it difficult, if not impossible, to produce parallels to the names of BILLINGTON, BARTLEMAN AND BRAHAM.

And as instrumental performers, Messrs. J. and François Cramer, each in his respective line, may safely assert his claim to a degree of strength, correctness and elegance of expression, incalculably superior to the tricks, and rapid execution of those dealers innotes, et rien que des notes,' whom the tasteless caprice of fashion is constantly importing, like other wonderful and useless

9

exotics,

exotics, the natural productions of warmer and more enervating regions.

"It is unnecessary, and perhaps improper, to enter more particularly into the history of living professors. The public are now abundantly capable of forming an accurate judgment on their se veral merits, without needing assistance from the presumptuous opinion of an individual: and from the very prominent features of unquestionable merit in the musicians of our own growth, there is little reason to apprehend that the patronage of the great will ever again be exclusively confined to foreign adventurers; but that, on the contrary, English talent, which has at length found, will still maintain its level."

As a book, which is peculiarly adapted to the capacities and dispositions of the higher classes of female seminaries, we can fairly recommend this work, and as a useful and entertaining history of that art, which so universally engages the attention of mankind, and forms so necessary a branch of female education.

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