parts were evidently to be doubled, at least, for no less than seven names of singers are published, and amongst them we find such principal favourites as Mrs. Mountain, Mrs. Martyr and Incledon. Again, when Mrs. Pope has her benefit at Covent Garden, in May, 1800 (on which occasion the lady is announced as appearing, for the first time, as Imogen), we are promised in the second act the celebrated glee of "Hark! hark! the lark at Heaven's gate sings." Curiously enough there are two solo settings of Cloten's "Morning Song," by German musicians. One of these settings is by Curschman, and the other by Franz Schubert. They are both published in London, with English and German words. Schubert's composition is particularised by Mrs. Jameson, in her paper upon Miss Adelaide Kemble, as being amongst the songs which were admirably performed by that vocalist. It often appeared to me very singular that I had never met with any composition to the "Morning Song" by an Englishman, except the above-mentioned one by Dr. Cooke. However, within these few years, I have seen two settings, both as solos, by Englishmen. One was the composition of Mr. Thomas Chilcot, and would date somewhere about the middle of the last century. It is in the key of G, and as I thought, at least looked pleasing, for I had no opportunity of testing it experimentally. The second was the work of Theodore Aylward, and was in two movements; the first an andante, and the next commencing at the words "With every thing that pretty is," marked as " Spiritoso." This piece of music was apparently composed for the theatre, being described as sung by Mrs. Vincent in 'Cymbeline.'" Its date would be about 1770. It is in the key of Eb, and requires a somewhat extensive and flexible voice for its execution, ranging as it does from Bb below the line to Ab above it. It would not be without a certain effect if given by a competent voice and in a spirited style. Act IV. Scene 2. The Dirge in Cymbeline. GUIDERIUS and १ ARVIRAGUS, with IMOGEN. SONG. "GUIDERIUS. Fear no more the heat o' the sun, Nor the furious winter's rages; Thou thy worldly task hast done, Home art gone, and ta'en thy wages: As chimney-sweepers, come to dust. Care no more to clothe and eat; To thee the reed is as the oak: GUIDERIUS. No exorciser harm thee! ARVIRAGUS. Nor no witchcraft charm thee! GUIDERIUS. Ghost unlaid forbear thee! ARVIRAGUS. Nothing ill come near thee! Mr. Warren has given a list of Dr. Boyce's works remaining in manuscript, and amongst these works is set down "The Dirge in Cymbeline.'" This list is in Mr. Warren's "Life of Dr. Boyce," in an edition, of the Doctor's Cathedral Music. In a note the editor does, however, tell us that he believes this dirge to be in print. For an anonymous (?) setting of the dirge see also Mr. Caulfield's Collection. It is set as a solo in G major, beginning largo. Then it becomes an andante at the words "No exorciser harm thee," and returns to the largo movement at the words "Quiet consummation have." I have also cursorily seen a setting by Dr. Arne, said to have been "sung by Mr. Lowe." From a remark by Mr. Linley, I think it likely that this particular setting may have been seen by him; if so, it covers only a portion of Shakespeare's poem. Dr. Nares had also set a portion of the dirge as a trio for equal voices, between Guiderius, Arviragus and Belarius. This I learn from Mr. Linley, who in his work has inserted Dr. Nares's composition, of which he thinks very highly, only adding to it himself in order, as he observes, "to supply the omission" made by Dr. Nares. HAMLET, PRINCE OF DENMARK. Act II. Scene 2. A Room in the Castle. The KING, QUEEN, and POLONIUS. "POLONIUS. I have a daughter; have, whilst she is mine; QUEEN. Who, in her duty and obedience, mark! Hath given me this; now gather, and surmise. To the celestial, and my soul's idol, the most beautified Ophelia, That's an ill phrase, a vile phrase; beautified is a vile phrase; but you shall hear. 'These. In her excellent white bosom, these.' Came this from Hamlet to her ? POLONIUS. Good madam, stay awhile; I will be faithful; 'Doubt thou, the stars are fire; Doubt, that the sun doth move : Doubt truth to be a liar ; But never doubt, I love.'" [Reads. H Hamlet's letter to Ophelia has not been overlooked by the musical composers, as the following enumeration will most fully testify. The earliest setting I as yet know is to be found in a collection of vocal compositions by William Tindal, marked as "Opera 5," and the date of which I should place as about 1786 (?) Here we have a solo setting of Hamlet's letter, apparently for a tenor voice, with an accompaniment for flute, violin and violoncello. A second verse is added to the original one, which second verse has not the same music as the first; consequently the composition is not finished to Shakespeare's words. Mr. R. J. Stevens, the well-known glee composer, in a collection of ten songs, indicated as being "Opera 2," has set the letter in solo form, with the accompaniment of two flutes, two violins and a bass. The melody of this setting has been harmonised by Mr. Stevens himself, who has made it an unaccompanied glee for four voices. Somewhere about the year 1800 (?) appears a solo setting by Mr. James Fisin. In this instance a second verse is added, but it is used musically only for a middle movement. Shakespeare's words are set as an affettuoso; the added verse is an andante, and then the original words are repeated as a close, after the fashion of the old da capo. Another solo setting will be found in a volume of compositions by Mr. Charles Dignum, a well-known tenor singer of the last age. In this case, also, there is an additional verse, the words written by Dr. Moore. There is a piece of music which I think ought to be noted here, although it is certainly in a somewhat peculiar case, since we cannot truly call it a setting of Hamlet's Letter as given to us by Shakespeare. The title describes it very well as "Hamlet's Letter to Ophelia," versified. In this undertaking the superscription and postscript of Hamlet's letter, as well as the letter itself, have been wrought up by the versifier, and the whole of his or her ingenious compound runs thus: "Doubt (O most beautified), that the stars are fire, Doubt (my soul's idol), that the sun doth move, But, sweet Ophelia, never doubt I love. These lines may shelter in thy snowy breast." The music to this was the composition of Michael Kelly, who composes it for, and dedicates it to, Miss Abrams, a lady well known in the upper-class musical world of seventy years since. The date I conclude to be near about the year 1800. Mr. William Russell, the composer of an oratorio entitled "Job," produced about the year 1806 a setting of Hamlet's letter, which setting he appropriately dedicated to Mr. John Philip Kemble. This composition is, as it appears to me at least, very careful and elaborate. The voice part is introduced by sixteen bars of symphony, and only the four lines of the original poetry are used, but they are much repeated and wrought upon in the style of an opera song. This setting would certainly be very suitable for a good tenor voice. There is also another setting of the letter, which I should conceive to be intended for a tenor voice, and which may be dated about the year 1814. This was the composition of Dr. Joseph Kemp, and was one of several " Musical Illustrations of Shakespeare" by the Doctor. It has accompaniments for the violoncello and pianoforte. To about the year 1820 we may assign a setting of the letter in the duet form for equal voices and with a pianoforte accompaniment. This commences and also terminates with the original verse, while three other verses are added as a centre to the piece. |