318 
suffice it, therefore, only to notice Haydn’s 
first and third canzonets in his first 
set: the Mermaid’s song, and “ My mo- 
ther bids me bind my hair; ” than which, 
nothing can be more innoce ntly pleasing, 
or more simple and beautiful. Under this 
species of composition, however, I must 
except the modern chorus, which cer- 
tainly is wretched and paltry beyond all 
description. 
Jn instrumental music, modern com- 
positions are, and I think, deservedly, in 
very high repute; and though: it is this 
class, which Mr. M. seems chiefly to ob- 
ject to, yet, as variety of character is 
known to be its most promineut feature, 
it will be allowed, that a judicious dispo- 
sition of such materials must ever be pro- 
ductive of great eflects. Indeed, what- 
ever is in the power of musical sounds to 
accomplish, in order to please the ear or 
interest the mind, is here discernible in a 
most eminent degree. Among a great 
variety of compositions of this descrip- 
tion, I shall only refer to the first and 
last movemenis of Haydn’s celebrated 
overture in D, as elegant specimens ofa 
manly and nervous ae. and to the se- 
cond movement of the same piece as an 
exainple of swectly pleasing melody; but 
as for the spirit, and fire of his famous 
overture La'chasse, it stands unrivalled 
by any production whatsoever of former 
times. In this short enquiry I have con- 
fined myself to Haydn’s works, but those 
of many other composers might have been 
introduced with equal propriety. 
With regard to some of Mr. M’s. prac- 
tical observations, I must beg leave to 
deviate from him entirely. When he re- 
commends it to musical professors to 
“ initiate their pupils in Handel, and cul- 
tivate an early taste for such elevated en- 
tertainment as he affords,” is it meant to 
exclude modern music altogether from 
their practice? This, indeed, would be 
the only way to disgust them with that 
composer, as variety 1s the life and soul 
of music, and a sameness may be found in 
every author, however great. But if this 
is not his meaning, then I can only say, 
that there is nothing new in his proposi- 
tion, as that author’s songs are pretty well 
known by all young students. Tt is, be- 
sides, I believe, the opinion of every ex- 
perienced teacher, that if Handel’s music 
is to be played well, nothing will more ef+ 
fectually contribute towards it, than.a 
thorough acquaintance with modern com- 
positions, as the spirited, though regular 
passages of these, must endow the prac- 
t:tioner with a facility of execution, which 
On the merits of Handel and modern Conrposers. 
[Nov. 1 
is absolutely necessary in the perform 
ance of Handel’s songs or choruses. For, 
though these lagt may be simple in point 
of melody, i in the construction of their 
parts, which cannot well be omitted (be- 
ing, indeed, the principal source of the 
dignity and ’sublimity of all sacred music) * 
they are extremely complicated, and, 
therefore, not easily performed. Nor is 
this ereat execution of modern composi- 
tions, this “ piece of legerdemain, or 
slight-of-hand performance,” &c. in fact 
any thing new: instances of the same 
kind may be found in great abundance 
in the works of Handel himself. I need 
only refer the reader to the last move- 
ments of his first and second organ concer- 
tos, or to almostany one of his other con-_ 
certos or overtures, and he will there find 
the very “ frippery and pensense of mo- 
dern execution” itself. Even the instru- 
mental parts to some of his most sacred 
songs are of this description as in the fol- 
lowing ones: “ So rapid thy course is,” 
in Judas Maccabeus; and “ O thou that 
tellest,” ‘© Why do the nations,” and 
“ Thou shalt break them,” in the Messiah. 
Indeed, it can hardly be supposed, that 
instrumental music should so tamely pro- 
ceed in its modulations as vocal. When 
sounds are prodaced artificially by means 
of mechanical operations, something more 
is required to enliven a melody, than ° 
when they are drawn -from the very or- 
gans of nature, asssisted by the powers of 
articulation, which gives sense and mean- 
ing te every note. It is this discrimima-~ 
tion between nature and art,'soeminently 
cunspicuous in Handel's works as well as 
those of other great masters, which must 
ever be considered as the first and prin- 
cipal cause of the pleasure we receive in 
hearing them performed. Those, there- 
fore, who labour not under the prejudices 
of a sickly ear, operating like asickly ap- 
petite in rejecting wholesome food, will 
not very easily be persuaded to confine 
themselves in their amysements to oné 
species of composition alone: but, like the 
bee, sucking honey from every flower, 
they will be pleased with whatis beautiful 
or sublime, in whatever shape or garb 
they may find it. The ancient and the 
modern style, vocal and instrumental 
music, the tender and affecting strain, 
and the bold and spirited movement, all 
will conspire to encrease their delight, 
and by relieving each ether, serve ta 
heighten the general effect. 
Your's, &c. 
Leman-street, 
April 21, 1807. JF. ae 
: * 
A. < 
