MUSIC.
The Musical Gem. Edited by N. MORI and W. BALL.
In reviewing an Annual, or any other work, we must have especial regard to those who are likely to become its purchasers, and to set be- fore them the information they wish to possess. To enter into a de- tailed musical criticism of this, or any similar production, would be an obvious waste of time. Its probable purchasers would neither under- stand nor regard such an estimate of its contents : they measure them by a different standard, and require information of a different character. Their first inquiries would be directed to its appearance. " Is it a producible piece of furniture ?—can it take its place beside my Album, or my Amulet, or my Illustrations of the Waverley Novels ?" On these important points we would speak with some hesitation since we should regret that an error in taste should injure the sale of hesitation, since Annual, or (which would be infinitely worse) betray a lady into the purchase of a work, the cover of which would disgrace her drawing- room table. Let us endeavour, therefore, to be accurate. The di- mensions of the work are those of a handsome quarto—neither pon- derous nor slim, though rather inclining to thinness : it may be held -.without danger to the proper and graceful position of the arms ; and is, so far, recommendable. Then, the colour matches very well with that of a rosewood table, especially if inlaid with brass ornaments ; as there is a single line of gold running parallel with the edge at the -distance of about half an inch. The binding appears like silk at a little distance ; but we must, in justice to our fair readers, warn them ihat it is only a similitude of, and not real and veritable silk. Still it looks handsome, and groups well among other showy bindings. Pro- bably Mr. Moars good taste has led him to enwrap some of his volumes in real silk, although he might (and we are not offended there- at) think the imitation quite good enough for the Spectator's table. We would suggest to his seribus:consideration, the expediency of in- creasing the thickness of the gold line which encircles the cover, by half the sixteenth of an inch, and then running another parallel to it at the distance of about seven-eighths of an inch. We submit that this addi- tion would give it a richer and more becoming appearance. • Some surly readers may think that we have devoted too much tin; Ind space to the mere outside of this book. Such persons betray their ignorance of the intent, purpose, and duration of a Musical Annual; Its place is the table; not the pianoforte : it is to be looked at, not read, or played; or sung : it is to live two months, not a century Hence the binding is of more consequence than the letterpress or the engraving ; and our object being to impart useful information, we have devoted the amplest notice to the most important Part of the volume. The Prints merit our next attention. They are intended to be like. nesses of Madames SCHROEDER, CINTI, STOCKHAUSEN, and Herr HERZ. We say intended; for likenesses (except STOCKHAUSEN'S) they are not. CINTI'S ample shoulders and rotund face are givem—but where is her eye, where her bewitching smile? SCHROEDER'S fea- tures are in no respect recalled to us by her portrait : the former was
full of intellect, the latter exhibits mere vacuity. A biographical notice, sufficiently laudatory, is added to each likeness. The Pianoforte Music is selected with an appropriate regard to the tastes of those who learn to tinkle that instrument. We have Waltzes by PERRY, Galopades by CZERNY, Rondos by HERZ, and, to crown all, a Quadrilles from Robert le Diable. Is it. possible to group together more captivating assemblage of pieces ?-L-all short, and all pretty.
At first we thought there was some mistake about the Preface— that it had been designed for some other work, and, by a blunder of the binder, inserted in the lffusical Gent. It runs thus—" The number, &e. of the various Annuals, are among the most gratifying indications afforded us of the progressive difiiision of the Fine Arts over our father- land, and of the corresponding esteem and encouragement that arise to reward the industry and acquirements of its highly-gifted artists and com- posers, through the exercise of tastes and feelings that honour the na. tonal character." We turned over the leaf, anxious to see the names of these highly-gifted artists and composers whose works indi. cate this "progressive diffusion," and whose industry is thus de- servedly and patriotically rewarded in their " father-land :" and we found those of A UBE% VACCAY, MENDELSSOHN, NEUKOMM, Sent. BERT, BEETHOVEN, Madame CiNT.r, and Madame MALIRRAN ; and there we also saw, as in bitter mockery of England, A. LEE !—W110, with HORN, are the only " highly-gifted " artists upon whom this shower of national bounty seemed destined to descend,—they being the only " father-land" vocal writers whose names appear in the vo- lume. This, at first sight, seemed rather odd : but we think we have hit upon a solution of the difficulty. Most of the songs in this An- nual are, probably, copied from some German work of a corresponding character (of which there are several); and a preface being required for the Musical Gent, the translator of the songs rendered the German preface into. English, and transformed it into an introduction to the present volume. Therefore, in order to unravel the passage just quoted, it will only be necessary for the reader to understand, that by the word " father-land" is meant Germany, not England ; for in En,- land, alas ! this work furnishes a fresh instance that " the industry and talents of its highly-gifted artists and composers" meet with neither "esteem nor encouragement."
This riddle unravelled, we proceed, in conclusion, to the Vocal Music of the volume ; which forms, and, probably, was intended to form, the least important part of its contents. We have given the names of the composers ; and we must say, that some pains must have been employed to extract, from the compositions of such artists, pieces so uniformly "level to the meanest capacities." We can unhesitatingly assure our Annual-buying readers (the fairer part of them especially); that, although German, the songs in this volume will not task their powers of singing or playing very severely. They are generally pretty, easy trifles, which mill not lay much hold of the memory, and may be sung again and again as new. The best, incomparably, are MENnats- souN's, although airs of little pretension. The most worthless are those of our "highly-gifted composers." If any one has a mind to delight his eyes, let him look over the treble and bass of the lower line (page 6) of Mr. A. LEE'S song: if not content with the gratification of one sense, let him play it, and we guess his ears will be impressed for some time to come.
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