MUSIC.
Miserere for several Voices, with Choruses, composed by DONIZETTI. (The Accompaniment, for Pianoforte or Organ, adapted by the Composer.) THE later works of DorazErri have attracted the attention of musicians chiefly as it regards their disposal in the orchestra—their brilliant and graceful subjects for the violins, and numerous happy contrasts of wind- instrument symphony. In the combinations of his scores he has adopted ROSSINI'S German manner, and is in no degree behind him in luxuriance and gusto : consequently he is a favourite with the musicians of the orchestra, who take pains in rendering his compositions corre- spondent to the distinction and importance with which he treats their instruments. The suffrages of performers of this class, which have been
• unlimitedly obtained by the greatest masters, are still a sufficient test of ability.
Some statistics of the Opera in Italy, which have lately fallen under our notice, show that DONIZETTI is twice as popular there as any com- poser of the actual epoch. This position he owes less to any marked superiority over his competitors than to an advantage in technical rapidity, which enables him to offer new works in the proportion of two or more to one of theirs. He has had no leisure as yet to pro- duce a masterpiece. His eminence has been gained by diligence, and maintained by the talent of artists well written for. Want of originality has been a just accusation against him : yet, amidst all the faults of this popular man, there is a continued advance and amelioration in his works—a bias towards the classical ideal, which may one day show him playing for a higher stake of fame than the flattery of the salon or the panegyrical critique of the journals.
Even in church music, whose privilege it is to be exempt from secular influences, neither he nor Rossuu is able entirely to exclude the world without. Their religious services have a certain congruity with the Italian opera and its ecclesiastical conventions. They require for full effect a background of moonlit cloister or mouldering abbey, with mo- numental effigies and heraldic trophies ; supported by LADLACHE in pontificalibus, and GRISI in the robes of a penitent, with a whole chorus of masquerade monks and nuns. It must necessarily be thus where effect has been the primary object, and religious impression merely ac- cessory: for in true church music there is an abstract character—the pledge of a certain sanctity of conception, not to be falsified or assumed.
• The heart and soul of the composer has been in the service he celebrates. Take CHERVBINI'S Requiem in C minor as an example. No work is .Ticher in studied effects; but they belong to the cathedral, not to the theatre : independent of particular singers, and of all associations with the exterior world, they are the solemn accompaniments of death and eternity. This subject, as treated in the Gregorian Mass for the Dead, and likewise by JoatEm.r, PURCELL, MOZART, &c., exemplifies the highest truth and poetry of the art—qualities, however, which in a
• minor degree are congenial to every branch of church music. We are, however, not so wedded to the idea of the severer muse as
to have no charity for her in the guise in which Rossnar and Dostazzxtrt think fit to present her. This would be especially injudicious in Eng- land, where church music is very badly supported in churches, and were it not for sundry choral meetings in taverns, the extempore gatherings of her friends, her solemn voice would scarcely be heard. Let us not check, then, the progress of the age in &abaft and Misereres, though COSTA and a legion of "infirm virtue" under his command be required to give them voice on the Opera stage. The subject may be artificial; but the style of the music must of necessity be good, and the effects full of point and contrast—the composers writing not for a chapel or a church, but for a public that will pay and must be entertained.
It is under this aspect that the " Miserere" of DONIZETTI is laid out for special success. The musician sees in it at a glance, things that, well sung or chanted, are sure of effect ; for, though new here in their employment or collocation, he recognizes them all, and has tested them in some moment of his experience. There are twenty-one numbers or pieces in the " Miserere," which are reduced to one-half when the re- sponse or chant with which each solo, duet, &c., alternates, is sub- tracted. The occurrence of these chants between every movement of the more rhythmical composition recalls the plan of HAYDN in his "Se- ven Last Words " ; but here, the recurrence of the chant at least ten times renders due augmentation of effect necessary : accordingly, we have it from the simple canto fernio, beginning with the bases in unison and extended thus through all the parts, to the chant in full harmony combining all the voices. Supported by an efficient choir, these chants would certainly make a powerful impression : the pauses in them are artfully constructed, and the changes of harmony are often grand and antique. A long pause is directed to take place between each move- ment, so that silence likewise contributes to the solemnity.
The instrumental introduction opens in G minor, with eight bars of symphony in long and slow notes, in which it is evident the composer aims at breadth and severity of style : of novelty there is more perhaps than may be conceded to the opening movement of the Stabat ; though the musicianship, as far as development is concerned, is entirely in Rossnes favour. Here the various compositions are curtailed to a de- gree almost inconsistent with musical interest—from fifteen to twenty bars being about the average length of them. The fugue at the con- clusion in triple time, "Tune imponent," is full of agreeable motion ; it has spirit, novelty, and even grandeur of feature. The coda in the major is very beautifully imagined. A flowing vocal style pervades the solos, which are specially adapted to the powers of the Opera- singers ; and, bating one or two harsh modulations and cadences, there is nothing to interrupt the pleasing current of sensation. The work altogether, though too slightly developed to satisfy the well-read church musician, possesses attractions for choral societies ; and when heard complete, cannot fail to excite curiosity and interest.
The instrumental score of this work is reserved as a special privity by the composer ; who comes over here in the spring to superintend its representation by the artists of the Operahouse.
Report now speaks of a Requiem by PACINI ; which, if good, will be a new step in advance for the fame of modern Italy.
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