in the arts. Thus it is that inward thoughts and feelings-the springs of action-unconsciously leave their impress on all outward manifestations. More than two centuries ago, Doni thus wrote of National melodies :-"Although Italian music is the most excellent and varied of all, French airs possess variety and lightness, the melodies being spirited and pleasing. The melody and rhythm of old Spanish airs suggests grave and majestic subjects; that of the Moors is beautiful and lively, but more soft and effeminate; Portuguese music abounds in tender and affecting passages; Sicilian airs possess little variety, are mournful and lugubrious; the English (including Scottish, Irish, and Welsh) and German are bold and warlike conceptions, manifesting a certain manly and military character." It is curious and interesting to notice in how far many of these observations are applicable at the present day, notwithstanding the important changes and modifications which music has since undergone, both as a science and an art. French music from Lully, Rameau, Gretry, &c., to that of Meyerbeer,1 though showy and brilliant, has been too habitually cramped by ancient rules and "unities," absurdly imposed from other days and climes; thus rarely allowing it to rise above point and neatness, except when in direct violation of these rules-the natural taste of the composers leading them right in spite of their theories. Italian melody is more graceful and flowing, richer and sweeter, expressive of lively emotion, passion-in one word, abandonment. We are forcibly reminded of 1 A native of Berlin. the difference between Nicholas Poussin and the painters of the Florentine and Venetian schools. German music, with its gorgeous glooms and golden gleaming light, its rich Gothic variety, its pathetic tenderness, its new scientific modulations, combinations, and contrasts full of strange wild beauty, might be described The English Choral Service, Anthems, and Psalmody, and also our secular music, culminating in Purcell, have not yet been surpassed in depth, clearness, beauty, manliness, and intrinsic lasting excellence, by the vocal music of any age or country. Thus the Italian, German, and English vocal, may be regarded as the three greatest schools of music in the world. Italian Operatic music, much of which is addressed merely to the senses and surface feelings, might thus not inaptly be described in the words of Shakspere, "A violet in the youth of primy nature- The perfume and suppliance of a minute; No more;" while German and English music, possessing a far deeper and more thoughtful character, is, to adopt Milton's language "Such as raised To height of noblest temper heroes old Nor wanting power to mitigate or suage With solemn touches troubled thoughts, and chase We shall here briefly advert to a few of the great German composers of recent times, endeavouring at the same time to convey an idea of their position and works. BACH. Johann Sebastian Bach, (Born 1685, Died 1750) for the severe and sustained grandeur of his sacred music, is second only to Handel. Clearness, purity, and perfect symmetry of design, are alike apparent in his most complex harmonies, simple modulations, or sweet-flowing melodies. His magnificent combinations and bold transitions unite splendour, richness, profundity and breadth, with all that is solemn and chaste. "Wildly romantic, deeply mysterious, yet all flowing naturally" as has justly been observed, "from the inspiration of the moment," his Organ-fugues are unrivalled; their marvellous Preludes, as also the Adagios of his Sonatas for two rows of keys and obligato pedals being characterized by rare etheriality and beauty. Herein he displays the most consummate knowledge of counterpoint in complete subservience to genius. His "Passionsmusik" and "Chorales," or psalm tunes, are among his finest vocal compositions. His choruses, airs, and sacred music of every kind is grave and dignified; and along with Handel's, might be "a pattern 1 Observe the disposition of the accents in this wonderful line. To read it with feeling almost makes us pant, as we labour on through the lengthened rhythm. to these later times" in all the more important elements of the highest excellence. A certain air of Roman grandeur seems verily to linger about the memory of this accomplished musician, whose greatness, both in composition and as a performer, was only equalled by his amiability and retiring modesty. HANDEL. George Frederick Handel, the Milton of music, was born at Halle in 1684, and died in 1759, having spent the best part of his life, and composed his greatest works in England. We cannot conceive of his majestic grandeur, sublimity, and spirituality being excelled while humanity remains as it is. His numerous operas, and other secular pieces, might be compared to the masque of "Comus," that star-lit dream of beauty, and to other of the minor poems, while his oratorios are themselves musical epics of the highest order. Of these the "Messiah" is, undoubtedly, the greatest, standing alone in the whole range of music, both in regard to recitative, chorus, and song-so great, indeed, that we hear and know too little of his "Saul," "Israel in Egypt," "Samson," "Judas Maccabæus," and other works, which are only "a little lower." In it "we feel," as has been admirably said, "that the sculptured grandeur of his recitative fulfils our highest conception of Divine utterance-that there is that in some of his choruses which is almost too mighty for the weakness of man to express-as if those stupendous words, 'Wonderful, Counsellor, The Prince of Peace!' could hardly be done justice to, till the lips of angels and archangels had shouted them through the vast Profound in his tremendous salvos of sound: and yet that, though the power of such passages might be magnified by heaven's millions, their beauty could hardly be exalted. We feel in that awful chorus, 'And the glory of the Lord shall be revealed,' that those three magical notes which announce in claps of thunder 'That all flesh - shall see - it, together,' might better belong to an order of ethereal beings, with wings, that they might rise spontaneous with the sounds, than to a miserable race who are merged in clay and chained to earth, though they feel they hardly stand upon it when they hear them.” How mournful and pathetic the effect of the diminished seventh at the words, "a man of sorrows," in "He was despised and rejected;" and the first four bars of the first song, simple and soothing, prepare the heart for those Divine words, "Comfort ye," with their strong consolation, and assured hope of ultimate rest! Listening to the Messiah, we seem verily by anticipation to hear "The sound Symphonious of ten thousand harps that tune And voices of "All the saints above, In solemn troops and sweet societies, That sing, and singing in their glory move." Where all is so great, it is difficult to particularize. "For unto us a child is born," "The Hallelujah Chorus,” the airs, "I know that my Redeemer liveth," "He shall feed his flock," and "He was despised and rejected," are for all time. Feeling his imagination kindled by the sublime poetry |