singing, than writers on vocal art in general, and a most important partit is...* "There seems to be an air of truth about the following sentences, (alluding to the cultivation of youthful voices) which are of so much importance in the science of teaching, that it is to be wished some experiments could be made to verify Mr. Nathan's theory. **** "In his section concerning the swelling and dying of the voice,' there is an application of an expedient, which Mr. Nathan has much enlarged, and which deserves to be ranked among the most useful discoveries of modern art. This is how to demonstrate visually, by variations of the common signs for erescendo and diminuendo, with some new modifications, the precise mode of singing any given passage---Handel's song, 'Holy, holy, Lord,' is printed with the directions placed over nearly all the notes of the song; and a more perfect direction and illustration, cannot, we venture to presume, be given vira voce, as to quantity, and therefore, in some sort, quality of sound. By this expedient, Mr. Nathan has gone far to remove one of the greatest impediments hitherto experienced in conveying precise notions of expression; and he has done more than any one in forming a philosophical language, as it were, in which such ideas may be imparted. "The directions as to the mouth are sensible, and particularly as Mr. Nathan adheres to moderation. All extravagances are, The same remark applies to his section on articulation. he says, absurd. "Mr. Nathan commences his examples, by an ascending and descending scale conjoined, in all the clefs, and in thirteen major and thirteen minor keys. The exercises are elaborate and well contrived; they convey the rudiments of every possible combination of time, intervals, and divisions. The student, who will sedulously practise them, will never be embarrassed by any passage he may meet."--- Quarterly Musical Review, No. XIX. "To his very excellent instructions in music, Mr. Nathan has added an equally amusing and well-written essay on that delightful science. Of the practical part, we shall only say, few lessons will be more beneficial to the young scholar; but from the theoretical part we take the liberty to select a few quotations, which we trust will be entertaining as a cento of musical anecdote. The commencement is given to statements of the love and influence of music among the ancients, which is followed by like instances of its effect on the moderns. Music is now but an elegant science, an accomplishment for young ladies, inseparably connected, in the higher and middling classes, with rival and singing misses, frowning mammas (if a squalling shake is interrupted by a whisper) of affected taste, ennui, and guinea tickets of solemn Germans and cringing Italians, who grow fat on the spoils of folly, and laugh at their feeders. It is not among the most skilled that we are to look for the intense feeling of music; it is among those with whom it is remembered with the dreams of their youth, whose song of their childhood is cherished in their heart of hearts, that we shall find its most potent effects. Mr. Nathan is, however, at once a master and an enthusiast in his art; he records every instance of its power, believing each strange tale devoutly true;' he is the very man to have exclaimed, on hearing a Handel or a Mozart, 'And I too am a musician.”---Literary Gazette, Sept. 6, 1823. "We will take the liberty of adding, that we have been much gratified with many of Mr. Nathan's compositions, and that his recent Work on Music is one of the most skilful we have seen."---Literary Gazette, July 26. "It is to be regretted that Mr. Nathan should have published his work as an Essay, that title not being calculated to give the musical world an adequate idea of its importance: for, however just its application to those parts of the work relating to the history and theory of music, it does not convey to the public mind that it contains (as is the case) a complete course of study, instructions, and lessons, sufficiently comprehensive to enable the student to bring his voice to the most finished state of cultivation. "Possessing a just conception of the legitimate object of music, Mr. Nathan has written freely on the agreement of accent and emphasis, which should subsist in the adaptation of music to poetry. In treating on this part of the subject, one of our first composers furnishes him with sufficient proof that his remarks are as necessary as judicious; while at the same time the justice of them is so self-evident, that the composer alluded to, must himself read them with every conviction of their propriety. "Some of the remarks contained in the Essay are severe; and we at first felt disposed to condemn the apparent harshness exhibited towards those whom Mr. Nathan calls the lacqueys of music; but we fear his remarks are too well supported by fact, to justify our censure; at any rate, they can only apply to those who, conscious of the deficiency of their pretensions, identify themselves with the picture he has drawn. "Mr. Nathan professes, that he has endeavoured to divest his language of all superfluous technicality and so far has he succeeded, that while he has rendered his Essay an invaluable assistant to the professor, the general interspersion of anecdote is so judicious, that it is no less calculated for the perusal of juvenile students, and must be read, even by those unacquainted with the science, with interest and delight.”—La Belle Assemble. "Mr. Nathan has just published a work highly creditable to his taste and talents. It is An Essay on the History and Theory of Music, and on the Qualities, Capabilities, and Management of the Human Voice.' It is a most erudite and instructive production, well deserving the patronage which we understand it experiences from His Majesty, and, we will add, the general attention of the public, which it will not fail to receive."--- Morning Post, June 7, 1823. 66 Many able expositions of the origin and progress of music have been submitted to the public by men universally allowed to possess the greatest talents in the peculiar branch of literature which they have discussed; but a work, comprehending a general history of the science, and a dissertation on the individual accomplishment of singing, has long been a desideratum in the musical world. Mr. Nathan, the Author of the Work before us, has long been a successful aspirant to public notice as a Composer, and his merit (as admitted even by that fearful tribunal, the members of his own profession) is too well known to require any eulogium from us. An attentive consideration of the work has confirmed us in the favourable impression which the copious Table of Contents, and the modest and unassuming Preface, had left upon our minds; and the judicious remarks on the effect produced by an impressive delivery of the words, appear to us highly deserving of attention. Mr Nathan has the peculiar advantage of communicating his instructions under an agreeable form; his book, while it improves, amuses, and induces us to subscribe to the opinion of Horace, that it is often allowable ridentem dicere verum.' The amusing anecdotes and historical relations with which it abounds, give an agreeable character to the work, and render it highly interesting, even to those who are unacquainted with music; while the important instructions and excellent observations contained in its pages, make it doubly valuable to the youthful professional student, or the amateur.". The Sun, May 24, 1823. "On the 10th of September, we extracted several musical anecdotes, from Mr. Nathan's entertaining and ingenious Essay on the History and Theory of Music.' ****** from the same source, will, we doubt not, be acceptable to our readers."--New Times, October 28, 1823. "MUSIC.---The well-known author of the Hebrew Melodies,' Mr. 1. Nathan, has just published a very scientific, and, in our opinion, highlyvaluable work, entitled 'An Essay on the History and Theory of Music, and on the Qualities, Capabilities, and Management of the Human Voice.' The Volume abounds with interesting matter, in exemplification of the various subjects on which it treats; but as we wish rather to call the attention of the musical world to the work itself, than to injure it by giving a solitary extract or two, we shall merely observe, that his observations are often novel, always judicious, and frequently as entertaining as they are instructive. In short, Mr. Nathan appears to be completely master of the task he has undertaken, and there are few amateurs, or even professors, we venture to affirm, but what may glean from his Essay some valuable hints."---Bells Life in London, May 18, 1823. See also Revue Encyclopedique, 156, October 1823. LATELY PUBlished, the FOLLOWING SONGS, DUETS, GLEES, ETC. From the Operatic Comedy of Sweethearts and Wives. MISS LOVE .... Why are you wandering?..sung by MADAME VESTRIS, 15th Edit. Overture .............. s. d. 20 0 1 6 6 MR. LISTON, 4th Edition From the Comic Opera of the Alcaid. } 20 MADAME VETRIS & MISSPATON 2 0 From the Ellustrious Stranger. In the vigils of night......sung by MRS. GEESIN 222322 0 0 Love and Folly ....... Liston's Funeral Dirge for his Interment at Drury Lane Theatre.. 2 0 Marches, Chorusses, &c. &. THE POETRY BY LORD BYRON. Flute This Rose to calm my Brother's cares, 8th Edition. ....... ...... Yes. Love indeed is light from Heaven The Melody from Athens, The fair Haidee, [presented by LORD BYRON ..... The kiss, dear maid, thy lip has left, 7th Edition.. Think not thou art what thou appearest When we two parted, 5th Edition ......... ........ .... ...... .............. 20 2 0 2 0 2 6 ] 8th Edition 20 2 0 2 0 2 6 2 0 2 Scarce had the purple gleam of day. ..Sung by MR. KEAN in the Oh, say not, sweet Bard! that thy numbers are over[Accompaniment] 20 20 1 6 1 6 ... ........ ... ......... ....... Come, kiss me, said Colin Then waltz with me, Love ..... Skippity, whippity, nippity, hop! The Soldier's farewell ....... What a lover should be. Sung by MADAME VEstris.... Why are you wandering here, I pray? arranged with variations for the Piano Forte... |