and that in a song which requires an unusual stress of voice. So negligent was Handel in his accompaniments, that we find in the same work, that he has directed the first and second violins, as well as the violas, to play in octaves with the bass; betraying a poverty of style and invention much below the merit of the air. That devotion which the Italians have ever shown for melody, has led them to be sparing in their accompaniments, thinking they had a tendency to hide more than adorn; but since the Germans have introduced the wind instruments with such great skill and delicacy, this department of art has become highly interesting, and has received an animation never contemplated by the early musicians. For models of excellence, we may refer to Haydn's Creation, and his Seasons, in which not less than twenty distinct instruments accompany the single voice, and that without incommoding it. As a striking proof of the progress of art, we may compare the German score of the Messiah with the original, in which we trace how the genius of Mozart has embellished that magnificent work with an accompaniment that is obedient, yet often bold and independent. 'The first and most important rule of the accom'panist is, to remember that he does not lead, but accompanies; that he is not to shine and predominate, but to assist and support the principal part.'* • Harmonicon. On the piano-forte, great force as well as delicacy of touch is requisite, to adapt the performance to every shade of passion which the singer would express. A bold stroke from the bow of Dragonetti has roused a feeling in the performer, that has enabled him to conquer the greatest difficulties, and the same hand could as readily subdue the sounds into Lydian softness and delight. Singers have an aversion to a full accompaniment, conceiving the instruments to divert the attention from the voice, and overpower it. To obviate this, as has been before remarked, they often deliver but one copy to each part of the stringed instruments, thinking they shall remedy the evil, but by the reduction, they only expose themselves the more to the fury of the loud instruments. No injury can possibly arise from increasing the number of stringed instruments, as they always have a pianissimo at command; whereas, few persons can be found, that can so effectually subdue the ferocity of the wind instruments, as not to incommode the voice. We have noticed, in page 342, the extraordinary effects produced in Westminster Abbey by the powerful band engaged in the celebrated commemoration there in 1791. 274 CHAPTER XXXIII. THE BASSOON. * THE fagotto, or bassoon, is of the same genus as the oboe, and forms the natural bass to that instrument. It probably was first introduced into this country by Handel, as it does not appear to take a part in any composition prior to the publication of Tamerlane, in 1720. In his oratorios, the bassoon is generally used as a mere helper; and rarely appears as a principal, when it joins the oboe in replying to the stringed instruments. These alternate changes from the violins and basses, to the wind instruments, were the first attempts at orchestral effects. Of all the tones in the orchestra, none excite us more powerfully than those of the wind instruments. Their language is peculiar; and we listen to them almost as sentient beings. The clarionet and picolo express with enthusiasm a lively joy, and the trumpet, the transports of glory; but the bassoon is never prominent in these bursts of passion-it has no natural gaiety; its pensive note is adapted to strains of woe and complaint. Mozart was the first to recognize its melancholy disposition. In the Requiem, he has mingled it with the wailing moan of So named by the Italians, as when taken to pieces and bound together, it resembles a fagot, or bundle of sticks. the corno de bassetto,* which casts a mournful shade over that sublime composition. The bassoon has a range of three octaves, the lowest note of which descends to double B flat, and is the finest note in the orchestra for volume and the rich curtle of its sound. Haydn has used it in the Creation with admirable expression, to represent the footstep of the elephant, in the passage, By heavy beasts the ground is trod. Our countryman, Dr. Boyce, was strongly impressed with the mild and balmy effect of the upper tones; and has applied these 'notes that breathe,' to express the following words with peculiar richness and felicity: Softly rise, O southern breeze, And kindly fan the blooming trees! That sweets from every part may flow. Rossini, with great ingenuity, often blends the sound of two instruments together, with a novelty so striking, that at first it is impossible to tell from what source they are derived. He will join the highest notes of the bassoon, with the lowest of the oboe, forming a compound altogether new. These agreeable conjunctions are continually occurring, and perhaps there is none more delightful, than when he mingles the notes of the bassoon with the horns. This instrument, after having been a drudge in the orchestra for fifty years, is now raised from * An instrument not yet introduced into our orchestra. a menial station, to become a principal; and by the moderns, is now made one of the most eloquent and interesting instruments in the band. CHAPTER XXXIV. DRUMS. THE timpano, or kettle-drum, does not appear to have been introduced into our orchestras, till after the battle of Dettingen, 1743. Amongst the spoils of war, was a pair of brass drums taken at that battle, which Handel employed in his grand Te Deum, composed and performed in honor of the victory. This splendid composition opens with a symphony of considerable length, written purposely to show the warlike tones of these instruments. The strain consists of only two notes, D and A, which are simultaneously struck by the whole band, and have an imposing effect. Probably these instruments were never used in this country before the performance at Leicester, in 1774, when they not only attracted public attention by their great novelty, but also from the circumstance of their being beaten by the Earl of Sandwich. This nobleman, in conjunction with Mr. Cradock, of Gumley, convened at Leicester, in this year, the first grand assemblage of musicians that ever took place in |