NEW MUSICAL PUBLICATIONS.
Mozart's Ttvelve Grand C.,ncertos Haydn's Grand Sitgeonias. '} Arranged by Resister..
These publications are a kind of joint legacy : the works of the fathers of modern music bequeathed to us by their favourite—we might almost say their last son ; for they were the models on which HUMMEL founded his own style, especially on that of Nlozaler. And a worthy disciple he was of that great master. The pianoforte school of MOZART was eminently and emphatically that of sentiment and passion : it was here that he spoke to us from the abundance of his own heart. Iu his usual music, he had to give, and he did give ex- pression and utterance to the mirth or the wo of others—to follow the train of thought which his part dictated, and to tinge it with brighter hues and clothe it with intenser light: but in his pianoforte music lie speaks his own thoughts, he pours out the fulness of his own mind; and we have no doubt that this was his favourite and accustomed if not necessary method of giving vent to his feelings. " AlozAtre must have written that movement when he was in love," was re- marked to us by his only English pupil, while listening to the per- formance of one of his exquisite Adagios. And such a succession of exquisitely tender, imploring, and impassioned strains, could only have proceeded from such a mind under such are influence. As we glean the history of SIIAKSPEARE'S mind from his Sonnets, so we may read that of Alozatnr in his compositions fur his instrument. With Ilcstaiss, writing was more a matter of business: be did not sit down to vent his feelings in a Sonata, butt to bring so much repute- von and so much hard crush into Lis possession. You would not ima- gine, to look at Ilusiatnr., that he had any music in his soul. Ilis features were coarse and vulgar, and his conversation soot, told you tthraitorlieurfirddlo pounds, Intt;ic as a trade: but, under all this repulsive ex- terior,
shillings, and penee conversation, the-re linked no ordinary refinement, with unfeigned reverence for all that was elevated in his art. Vulgar as he seemed, it was only seeming. We don't re- member a vulgar phrase iu any thing that we ever heard from hiin.
On the contrary, he was an eminently graceful writer. Ile never reached that depth and force of expression which came from aud went to the very soul. Alozmer was spiritually minded : Ilemsts6 dwelt ou the earth ; but it was on the earth besniteoue, adorned, elegant, fragrant ; there was nothing dreary, sterile, or forbidding in the track over which he wandered ; you were glad to accompany him, secure of pleasant scenes and grateful impressions. The same characteristics are imprinted on his vocal music. Put- ting aside the Requiem, and some other of Alozamr*s eitered composi- tions, we prefer the Masses of Hemmer. to those of his muster, or those, at least, which pass under the name of MOZART. They are
written with more cure, and, what is of more importance, with a stricter regard to the sentiment expressed by the words. Some of his smaller pieces for the service of the Catholic Church are eminently beautiful. His opera, Matilde von Guise, we know he did not rate very highly, although it contains some songs of very high character.
Of liesom's eminent fitness for the duty of editing the composi. Cons of HAYDN and MozanT, there can be no question ; and it is to be regretted that his death will, probably, put u period to the present elegant and valuable edition of the Twelve Grand Sintbnias of the one and the (7orwertos of the other. Should this be the case, the value of what is completed and published will be enhanced.
Previous page
