Chapter II: Front Matter (2)

Lulli married the daughter of Lambert, the celebrated musician and singing master of his time, who lived till the year 1720. Having composed a _Te Deum_ for the king’s recovery, after a dangerous illness, in 1687, during the performance, at the Church of the Feuillans, in the animation of beating time, and difficulty in keeping the band together, by striking his foot, instead of the floor, with his cane, he occasioned a contusion, that, from a bad habit of body, brought on a mortification, which was soon pronounced to be incurable. Every expedient that was tried, in order to stop the progress of the malady, being ineffectual, he was informed of his situation. His confessor refusing to give him absolution, unless he would burn the opera of _Achilles and Polixene_, which he was composing for the stage; he consented; and this new music was committed to the flames. A few days after, being a little better, one of the young princes of Vendome went to see him. “Why, Baptiste,” says he, “have you been such a fool as to burn your new opera, to humour a gloomy priest?” ‘Hush, hush!’ says Lulli, ‘I have another copy of it.’ However, a few days after, he was not only obliged to submit to the will of his confessor, but of Death himself, who terminated his existence, March the 22d, 1687, at fifty-four years of age.

MADAME LE MAUPIN.

This celebrated lady seems to have been the most extraordinary personage of all the _siren troup_, instructed by Lulli. She was equally fond of both sexes, fought and loved like a man, and resisted and fell like a woman. Her adventures are of a very romantic kind. Married to a young husband, who was soon obliged to absent himself from her, to enter on an office he had obtained in Provence, she ran away with a fencing-master, of whom she learned the small sword, and became an excellent fencer, which was afterwards a useful qualification to her, on several occasions. The lovers first retreated, from persecution, to Marseilles; but necessity soon obliged them to solicit employment there, at the Opera; and as both had, by nature, good voices, they were received without difficulty. But soon after this, she was seized with a passion for a young person of her own sex, whom she seduced, but the object of her whimsical affection, being pursued by her friends and taken, was thrown into a convent at Avignon, where Maupin soon followed her; and having presented herself as a novice, obtained admission. Some time after, she set fire to the convent, and, availing herself of the confusion she had occasioned, carried off her favourite. But, being pursued and taken, she was condemned to the flames for contumacy: a sentence, however, which was not executed, as the young _Marseillaise_ was found, and restored to her friends. She then went to Paris, and made her first appearance on the Opera stage in 1695, when she performed the part of Pallas, in _Cadmus_, with the greatest success. The applause was so violent, that she was obliged, in her car, to take off her casque to salute and thank the public, which redoubled their marks of approbation. From that time, her success was uninterrupted. Dumeni, the singer, having affronted her, she put on men’s clothes, watched for him in the _Place des Victoires_, and insisted on his drawing his sword, and fighting her, which he refusing, she caned him, and took from him his watch and snuff-box. Next day, Dumeni having boasted at the Opera-house, that he had defended himself against three men, who attempted to rob him, she related the whole story, and produced his watch and snuff-box, in proof of her having caned him for his cowardice. Thevenard was nearly treated in the same manner, and had no other way of escaping her chastisement, than by publicly asking her pardon, after hiding himself at the _Palais Royal_, during three weeks. At a ball, given by Monsieur, the brother of Louis XIV. she again put on man’s clothes, and having behaved impertinently to a lady, three of her friends, supposing her to be a man, called her out. She might easily have avoided the combat, by discovering her sex, but she instantly drew, and killed them all three. Afterwards, returning very coolly to the ball, she told the story to Monsieur, who obtained her pardon. After other adventures, she went to Brussels, and there became the mistress of the Elector of Bavaria. This prince, quitting her for the Countess of Arcos, sent her by the count, the husband of that lady, a purse of 40,000 livres, with an order to quit Brussels. This extraordinary heroine threw the purse at the count’s head, telling him it was a recompense worthy of such a scoundrel and—— as himself. After this, she returned to the Opera stage, which she quitted in 1705. Being at length seized with a fit of devotion, she recalled her husband, who had remained in Provence, and passed with him the last years of her life, in a very pious manner, dying in 1707, at the age of thirty-four.

ARCHANGELO CORELLI.

That this celebrated composer was a man of humour and pleasantry may be inferred from the following story, related by Walther, in his account of Nicholas Adam Strunck, violinist to Ernestus Augustus, Elector of Hanover. This person being at Rome, upon his arrival, made it his business to see Corelli: upon their first interview, Strunck gave him to understand that he was a musician. “What is your instrument?” asked Corelli. “I can play,” answered Strunck, “upon the harpsichord, and a little on the violin; and should esteem myself extremely happy, might I hear your performance on this latter instrument, on which, I am informed, you excel,” Corelli very politely condescended to this request of a stranger. He played a solo, Strunck accompanied him on the harpsichord, and afterwards played a foccata, with which Corelli was so much taken, that he laid down his instrument to admire him. When Strunck had done at the harpsichord, he took up the violin, and began to touch it in a very careless manner; upon which Corelli remarked, that he had a good bow-hand, and wanted nothing but practice to become a master of the instrument. At this instant, Strunck put the violin out of tune; and, applying it to its place, played on it with such dexterity, attempering the dissonances occasioned by the mistuning of the instrument with such amazing skill and dexterity, that Corelli cried out, in broken German, “I am called _Arcangelo_, a name that, in the language of my country, signifies an _Archangel_; but let me tell you, that _you_, Sir, are an _arch-devil_.”

_Sir John Hawkins’s History of Music._

HENRY PURCELL, ESQ.

Mr. Purcell received his professional education in the school of a choir; it is therefore not very surprising, that the bent of his studies was towards church music. Services he seemed to neglect, and to addict himself to the composition of anthems, a kind of music which, in his time, the church stood greatly in need of.

The anthem, “_They that go down to the sea in ships_,” was composed by him, on the following extraordinary occasion.

“King Charles II. had given orders for building a yatch, which, as soon as it was finished, he named the Fubbs, in honour of the Duchess of Portsmouth; who, we may suppose, was, in her person, rather full and plump. Soon after the vessel was launched, the king made a party, to sail in his yatch down the river, and round the Kentish coast: and, to keep up the mirth and good humour of the company, Mr. Gostling, was requested to be of the number. They had got as far as the North Foreland, when a violent storm arose, in which the King and the Duke of York were necessitated, in order to preserve the vessel, to hand the sails, and work like common seamen; by good providence, however, they escaped to land: but the distress they had been in, made such an impression on the mind of Mr. Gostling as could never be effaced. Struck with a just sense of the deliverance, and the horror of the scene which he had lately viewed, upon his return to London, he selected from the Psalms those passages which declare the wonders and terrors of the deep, and gave them to Mr. Purcell, to compose as an anthem, which he did; adapting it so peculiarly to the compass of Mr. Gostling’s voice, which was a deep bass, that hardly any person but himself was then, or has since, been able to sing it: but the king did not live to hear it performed. This Anthem is taken from the 107th Psalm, the first two verses of the Anthem are the 23d and 24th of the Psalm. “They that go down to the sea in ships, and occupy business in great waters. These men see the works of the Lord, and his wonders in the deep.”

Among the Letters of Tom Brown, from the Dead to the Living, is one from Dr. Blow, to Mr. Purcell, in which it is humourously observed, that persons of their profession are subject to an equal attraction of the church and the play-house; and are, therefore, in a situation resembling that of Mahomet, which is said to be suspended between heaven and earth. This remark of Brown was truly applicable to Purcell; and it is more than probable, his particular situation gave occasion to it, for he was scarcely known to the world, before he became, in the exercise of his profession, so equally divided between both, the church and the theatre, that neither the church, the tragic, nor the comic Muse, could call him her own.

THE QUEEN OF SWEDEN.

In the extracts from the Duchess of Orlean’s Letters, we find, that Queen Christina, of Sweden, (who was as peculiar in her night dress, as in almost every thing else, and who, instead of a night-cap, made use of an uncouth linen wrapper,) having spent a restless day in bed, ordered a band of Italian musicians, from the opera, to approach near to her curtains, which were close drawn, and strive to amuse her. After some time, the voice of one of the performers striking her with singular pleasure, she suddenly thrust her homely, stern, ill-dressed head from behind the curtains, exclaiming loudly, “_Mort Diable! comme il chante bien!_” (Death and the Devil! how well he sings!) The poor Italians, not used to such rough applause, from a figure so hideous, were unable to proceed, from the terror which they felt, and the whole concert was at a stand for several minutes.

THE ORIGIN OF CHANTING IN CATHEDRALS.

St. Austin, who was originally a monk at Rome, and was sent about the year 596, by Gregory I. at the head of forty other monks, to convert the English to Christianity, was the first who introduced chanting in the Divine Service, which is still continued in our cathedrals. His desire was to induce converts; and he strove, not only by argument, to effect his object, but by every other laudable means he could devise; hence he endeavoured, as much as possible, to render the Divine Service interesting, as well as instructive. This practice of chanting, or singing, made rapid increases. Our Saxon forefathers were so enthusiastically fond of it, that one continued strain was kept up night and day, by a succession of priests; even their penances could be redeemed by the singing of a certain number of Psalms, or by a frequent repetition of the Lord’s Prayer. He was very successful in his endeavours, and, among others, King Ethelbert himself became a convert. St. Austin resided principally at _Durovernum_, (Canterbury,) and died May 26, 607.

ORIGIN OF THE CELEBRATED OX MINUET, BY SIGNOR HAYDN.

Haydn saw with surprise a butcher call upon him one day, who being as sensible to the charms of his works as any other person, said freely to him, “Sir, I know you are both good and obliging, therefore I address myself to you with full confidence;—you excel in all kinds of composition; you are the first of composers: but I am particularly fond of your minuets. I stand in need of one, that is pretty, and quite new, for my daughter’s wedding, which is to take place in a few days, and I cannot address myself better than to the famous Haydn.”—Haydn, always full of kindness, smiled at this new homage, and promised it to him on the following day. The amateur returned at the appointed time, and received with joyful gratitude the precious gift. Shortly after, the sound of instruments struck Haydn’s ear.—He listened, and thought he recollected his new minuet. He went to his window, from whence he saw a superb Ox, with gilded horns, adorned with festoons and garlands, and surrounded by an ambulating orchestra, stopping under his balcony. Haydn was roused from his reverie by the butcher, who made his appearance in his apartment, and again expressed his sentiments of admiration, and concluded his speech, by saying, “Dear Sir, I thought that a butcher could not express his gratitude for so beautiful a minuet better than by offering you the finest Ox in his possession.”—Haydn refused—the butcher entreated, till at length Haydn, affected at the butcher’s frank generosity, accepted the present, and from that moment the minuet was known throughout Vienna by the name of the Ox Minuet, and has lately been introduced as a musical curiosity in England.

MUSICAL BATTLE.

On Monday evening, June 2, 1783, one of the most extraordinary attempts to prove the power of music, that ever yet has been made in this kingdom, was exhibited, in the style, and under the title of a concert, at the Assembly room, King Street, St. James’s, Westminster.

The idea was that of representing the martial music, din, and horrors of an embattled army, so that the tones of the different instruments should cause the ear to believe a reality of the action, whilst the eye was convinced of the inimitable deception.

The entertainment commenced with a grand overture, composed for two orchestras, and divided into _allegro_, _andante_, and _presto_ parts, as a prologue to the battle.

The call to arms followed; and several random cannon and musket shots, interchanged between the two orchestras, were so distinctly imitated in music, that we were led to imagine the actual presence of the bursting powder, and the real noise of the whistling ball. These gradually increased, as the armies were supposed to near their distance, until an _allegro moderato_ gave the thunder of the artillery, the regular fire of the platoons, the press from one army on the redoubt of the other, the final attack upon the first line with musketry, and then carrying the redoubt by storm. Here followed a representation of a tempest, attended with thunder and lightning, which afforded a temporary rest to the two orchestran armies.

A recitative, with accompaniments, expressed a council of war, after which the signal was given for the cavalry of the conquering army to attack; then, a most perfect and harmonious imitation of the galloping and trotting of the horses, the discharge of the carbines and pistols, and the clashing of swords, followed.

Here the supposition of a defeat gave further scope to the inventive faculties of the designer, and proved the executive powers of the band to imitate the total rout of the conquered army, the sound of the retreat, the signal to pursue, with the bustle, noise, and clamour, naturally attending, until the victorious troops beat a halt, in consequence of the brave resistance of that division, which covered the retreat of the vanquished army.

The straggling shots in the pursuit conveyed a most beautiful harmony in the corresponding music from one orchestra to the other; which, with the plaintive tones of the wounded, and the lamentations of the expiring soldier, so naturally expressed, had a most powerful effect on the auditors.

The whole concluded with a lively and spirited allegory, three times repeated by the victors, in which was introduced a _feu de joye_, imitating artillery and musketry.

The invention, we understand, is due to Mr. Kloeffler, a professor of music, and musical director to the reigning Prince Bentheim, Steinfurth, &c., and the bands were under the direction of Messrs. Cramer and Solomon.

There were upwards of three hundred persons present, mostly of the first rank, among whom were the foreign ambassadors. The company expressed the highest satisfaction, and retired perfectly delighted with their evening’s entertainment.

THE MEDICINAL EFFECTS OF MUSIC.

The medicinal effects attributed to music are so numerous, and some of them so well authenticated, that to reject them totally would be to deny credibility to many respectable historians, philosophers, and physicians. Martinus Capella assures us, that fevers were removed by song, and that Asclepiades cured deafness by the sound of the trumpet. Plutarch says, that Thetales, the Cretan, delivered the Lacedemonians from the pestilence, by the sweetness of his lyre. Many of the Ancients speak of music as a receipt for every kind of malady. M. Buretti, an eminent physician, who made the music of the ancients his particular study, thinks it not only possible, but even probable, that music, by repeated strokes and vibrations given to the nerves, fibres, and animal spirits, may sometimes alleviate the sufferings of epileptics and lunatics, and even overcome the most violent paroxysms of those disorders.—Buretti is by no means singular in his opinion, for many modern philosophers and physicians, as well as ancient poets and historians, have declared that they had no doubt, but that music has the power, not only of influencing the mind, but of affecting the nervous system, in such a manner, as will, in certain diseases, proceed by slow degrees, from giving temporary relief, to effecting a perfect cure. In the Memoirs of the Academy of Sciences, for 1707, and the following year, are recorded many accounts of diseases, which, having obstinately resisted all the remedies prescribed by the most able of the faculty, at last submitted to the powerful impression of harmony. M. de Marian, in the Memoirs of the same academy, speaking of the medicinal powers of music, says, that it is from the mechanical involuntary connection between the organs of hearing and the consonances excited in the outward air, joined to the rapid communication of the vibrations of these organs, to the whole nervous system, that we owe the cure of spasmodic disorders, and of fevers, attended with a delirium and convulsions, of which the Memoirs give many examples. Dr. Bianchina, professor of physic at Udina, who has searched numerous ancient authors, and collected all the passages relative to the medicinal application of music by Asclepiades, says, that it was considered by the Egyptians, Grecians, and Romans, as a remedy both in acute and chronical disorders; and he adds, that he himself had seen it applied, in several cases, with great effect.

ODE TO MUSIC,

BY THE LATE DR. WHARTON.

Queen of ev’ry moving measure,
Sweetest source of purest pleasure,
Music; why thy pow’rs employ,
Only for the sons of joy?
Only for the smiling guests,
At natal or at nuptial feasts;

Rather thy lenient numbers pour
On those whom secret griefs devour;
Bid be still the throbbing hearts
Of those, whom death or absence parts;
And, with some softly whisper’d air,
Oh! smooth the brow of dumb despair.

THE MUSICAL PRODIGY.

In the public prints for February, 1807, appeared the following account of an infant musician.

“Miss Randles, who astonishes the world with her wonderful performance on the piano-forte, was born at Wrexham, in Denbeighshire, North Wales, in August, 1799. Her father (an organist, and the celebrated lyrist, mentioned by Miss Seward, in her beautiful poem, called Llangollen Vale,) was deprived of his sight by the smallpox, at the age of three years. When Miss Randles was but sixteen months old, she discovered her wonderful talents, by going to the piano-forte, and instinctively playing, “God save the King” and the “Blue Bells of Scotland;” her father was astonished, and endeavoured, by signs, (for she could not yet speak,) to make her repeat the tunes, which she did. He then sung another simple air, “Charley o’er the water,” which her ear caught, and she played it instantly. Mr. Randles then put her left hand upon the corresponding bass note, and, as well as he could make her understand, told her that she should strike that note, while she played the melody with her right hand; she found this grateful to her ear, and, in a short time, played a great many little tunes; and, at the age of two years, could tell the name of any note on the instrument, when it was struck, though she was in another room. Her father, of course, was very proud of his little Cecilian, and composed several variations to favourite airs, which she no sooner heard than played, with both hands, correctly. She continued to improve daily; and, in June, 1803, had the honour of performing under the patronage of his Royal Highness the Prince of Wales, before their Majesties, and all the royal family. His Majesty made her a present of a hundred guineas. She performed at Cumberland Gardens, and there were about five hundred of the first people of rank and distinction in the kingdom present, who were no less astonished than delighted, at her truly great execution and expression. In 1805, she was taught her notes, and, in a very short time, could play several of Pleyel’s, Desseck’s, and Clementi’s Sonatas in a surprising manner.

“Towards the latter end of 1805, she and her father took a tour through the north of England, and received the greatest encouragement and applause. Fearing that her health might suffer from too much fatigue, Mr. Randles returned home, and, in September last, set off towards Buxton, &c. Since that time, this fascinating infant has performed at most of the principal places in the kingdom; and has passed, with additional honour and fame, the criticism of Bath, where she has been performing with universal applause, accompanied by her father on the harp, and her uncle, Mr. Parry, who plays duets and trios, on flageolets, which altogether form a truly novel and interesting little band. They are now on their way to the west of England, where they intend giving concerts.

Miss Randles now plays the most scientific compositions, at sight, and sings delightfully. The only motive her father has, in taking her about, is to procure the means to give her the best education. She is to appear once more in the metropolis under illustrious patronage. Her age is now seven years and six months.”

_Taunton, February 9, 1807._

MASTER WILLIAM CROTCH, THE MUSICAL PHENOMENON.

This very extraordinary child, who now (in June 1779,) daily attracts the notice and attention not only of persons of the first distinction, but of all lovers of natural genius, is the son of Michael and Isabella Crotch: he was born at Norwich, on the 5th of July 1775. His father being an ingenious carpenter, built an organ for his own amusement; and it was owing to this incidental circumstance that the musical talents of his little son William were discovered so early: they might have lain dormant for years, if Mrs. Lullman, who teaches music at Norwich with great reputation, and was intimately acquainted with his parents, had not played upon this organ, and accompanied it with her voice before the child.

One evening in particular, about the beginning of August 1777, he sat in his mother’s lap while Mrs. Lullman played and sung a considerable time. After that lady was gone, the child cried, and was remarkably fractious: his mother attributed it to a pin, or some inward pain; she undressed him, and endeavoured to find out the cause, but in vain: however, as she was carrying him to bed, she passed near the organ, and he stretched out his little hands towards it: upon which Mrs. Crotch set him down to the keys, and he instantly struck them, seemingly in great ecstasy: he played a few minutes; but imagining it to be only the humour of an infant, she paid no regard to his manner of touching the instrument, and he was soon put to bed, to all appearance perfectly satisfied.

The next morning, after breakfast, while Mrs. Crotch was gone to market, his father, willing to indulge his own curiosity, put the child to the organ, and was astonished to hear him play great part of the tunes of _God save the King_, and _Let Ambition fire thy Mind_. The first Mr. Crotch had attempted several times in the child’s hearing, but was not perfect in it. The last, Mrs. Lullman had performed in his presence. Upon his mother’s return, this surprising event being related to her, she could hardly credit it: but _Billy_ did not keep her long in suspence, and Mrs. Crotch communicating the intelligence to their friends, she was advised to let him play according to his own fancy, whenever he expressed a desire for it.

He was now two years and three weeks old, and, from this time, all persons who had any taste for music, and all the performers in Norwich, resorted to the house: he played almost every day, and acquired more tunes; and, in the midst of performing them, would strike out little airs of his own in harmony; for it is remarkable, that he never plays discord, neither will he bear it in others, without expressing disgust.

He performed before full assemblies at different places and at sundry times, at Norwich, till the beginning of November, when he was carried, by his mother, to Cambridge, where he played on all the College and church organs, to the astonishment of the gentlemen of the University.

About the middle of December, he arrived in London, but no public exhibition was made of his performance, till they had been heard by their Majesties, to whom he and his mother were presented, by Lady Hertford, at the Queen’s Palace, on the 7th of February, when he played on the organ in the presence of their Majesties and the Royal Family, who were graciously pleased to express their approbation.

On the 13th of the same month they waited on their Royal Highnesses, the Duke and Duchess of Gloucester, and performed to their entire satisfaction. On the 26th he played on the organ of the chapel royal of St. James’s, after morning service was over, their Majesties being present.

From this time he has continued playing every day, between the hours of one and three, in public, at Mrs. Hart’s, milliner, in Piccadilly, opposite Dover Street.

Master William Crotch is now three years and nine months old: is a lively, active child, has a pleasing countenance, rather handsome, having fine blue eyes and flaxen hair. A large organ is placed about the centre of the room, against the wainscot: it is raised upon a stage about two feet from the floor, and a semicircular iron rod is fixed so as to secure him in his seat, and separates him from the company. An arm chair is placed upon this stage, and in it a common, very small matted chair, which his mother fastens behind with a handkerchief to the other, that he may not fall out, for he is wanton and full of tricks, in the short intervals from playing. A book is placed before him, as if it was a music book, and strangers in a distant part of the room may mistake it for such; but it is no more than a magazine, or some other pamphlet, with an engraved frontispiece: this, he looks at, and amuses himself with the figures in the plate, while he is playing any tune, or striking into his own harmony. In short he laughers, prattles, and looks about at the company, at the same time keeping his little hands employed on the keys, and playing with so much unconcern, that you would be tempted to think he did not know what he was doing.

He appears to be fondest of solemn tunes, and church music, particularly the 104th Psalm. As soon as he has finished a regular tune, or part of a tune, or played some little fancy notes of his own, he stops, and has the pranks of a wanton boy: some of the company then generally give him a cake, an apple, or an orange, to induce him to play again; but it is nine to one, if he plays the tune you desire, unless you touch the pride of his little heart, by telling him he has forget such a tune, or he cannot play it: this seldom fails of producing the effect, and he is sure to play it with additional spirit.

After playing more than an hour, he desired to be taken down, and to have a piece of chalk. He then entertained himself, and the company, with drawing the outlines of a grotesque head on the floor: his mother said it resembled an old grenadier he had seen in the park that morning. He seems to have strong imitative powers; and, as every trivial incident of such a child ought to be noticed, the following instance of an apt idea, uncommon to his age, is mentioned, as it struck the writer.

A lady gave him a remarkable large orange: after looking at it a moment, with admiration, “Ah! (says he,) this is a double orange.” Some have reported that he is humoursome: it is true, he will not always continue playing on in a regular manner during the time allotted for company to see him; nor can it be expected, he is not of an age to be reasoned with, and humanity forbids compulsion: it is, in fact, rather surprising that he can be brought to play everyday, without growing tired, and disappointing the company.

We forgot to observe, that if any person plays a tune he never heard, with the right hand on his organ, he will put a bass to it with his left hand. He will also name every note that is struck on an organ, or any other instrument, and always knows if any person plays out of tune.

_Literary Miscellany, for June, 1779._

ACCOUNT OF MADEMOISELLE THERESA PARADIS, OF VIENNA, THE CELEBRATED
BLIND PERFORMER ON THE PIANO-FORTE.

The following account of this wonderful woman appeared in one of the periodical papers for March, 1785.

“This young person, equally distinguished by her talents and misfortunes, is the daughter of M. Paradis, secretary to his Imperial Majesty, in the Bohemian department, and god-daughter to the Empress Queen.

“At the age of two years and eight months, she was suddenly deprived of sight, by a paralytic stroke, or palsy in the optic nerves.

“At seven years old, she began to listen with great attention to the music she had heard in the church, which suggested to her parents, the idea of having her taught to play on the piano-forte, and soon after to sing. In three or four years time, she was able to accompany herself on the organ, in the _Stabat Mater_ of Pergolesi, of which she sung the first _soprano_, or upper part, in the church of St. Augustin, at Vienna, in the presence of the Empress Queen; who was so touched with her performance and misfortune, that she settled a pension on her for life.

“After learning of several masters at Vienna, she pursued her musical studies under the care of Kozeluch, who has composed many admirable lessons and concertos, on purpose for her use, which she plays with the utmost neatness and expression.

“At the age of thirteen, she was placed under the care of the celebrated empyric, Dr. Mesmer, who undertook to cure every species of disease by Animal Magnetism. He called her disorder a perfect _gutta serena_, and pretended, after she had been placed in his house, as a boarder, for several months, that she was perfectly cured; yet, refusing to let her parents take her away, or even visit her, after some time; till, by the advice of the Barons Stoerk and Wenzel, Dr. Ingenhous, Professor Barth, the celebrated anatomist, and by the express order of her late Imperial Majesty, she was taken out of his hands by force; when it was found, that she could see no more than when she was first admitted as Mesmer’s patient. However, he had the diabolical malignity to assert, that she could see very well, and only pretended blindness, to preserve the pension granted to her by the Empress Queen; and, since the decease of this princess, the pension of Madame Paradis has been withdrawn, indiscriminately with all other pensions granted by her Imperial Majesty.

“Last year Madame Paradis quitted Vienna, in order to travel, accompanied by her mother, who treats her with extreme tenderness, and is a very amiable and interesting character. After visiting the principal courts and cities of Germany, where her talents and misfortunes procured her great attention and patronage, she arrived at Paris early last summer, and remained there five or six months; and likewise received every possible mark of approbation and regard in that capital, both for her musical abilities and innocent and engaging disposition.

“When she arrived in England, the beginning of this winter, she brought letters from persons of the first rank to her Majesty, the Prince of Wales, the Imperial Minister, Count Kaganeck, Lord Stormont, and other powerful patrons, as well as to the principal musical professors in London. Messrs. Cramer, Abel, Solomon, and other eminent German musicians, have interested themselves very much in her welfare; not only as their country-woman bereaved of sight, but as an admirable performer.”

She has been at Windsor, to present her letters to the Queen, and has had the honour of playing there to their Majesties, who were extremely satisfied with her performance; and treated her with that condescension and kindness, which all those who are so happy as to be admitted into the presence of our gracious sovereigns, in moments of domestic privacy experience, even when less entitled to it, by merit and misfortunes, than Madame Paradis. Her Majesty was not only graciously pleased to promise to patronize and hear her frequently again, in the course of the winter, but to afford her all the protection in her power: as did his Royal Highness the Prince of Wales, to whom she has since performed, at a grand concert at Carlton-house, to the entire satisfaction and wonder of all who heard her.

Besides her musical talents, which are indisputable, for neatness, precision, and expression, particularly in the great variety of admirable pieces she executes of her master’s, Kozeluch, Mademoiselle Paradis has been extremely well educated, and is very ingenious and accomplished: as she is able, almost as quick as if she could write, to express her thoughts on paper, with printing types. She understands geography by means of maps, prepared for her use, in which she can find and point out any province or remarkable city in the world; and is likewise able, by means of tables, formed in the manner of draught boards, to calculate with ease and rapidity any sums, or numbers, in the first five rules of arithmetic. She is likewise said to distinguish many colours and coins by the touch: plays at cards, when prepared for her, by private marks, unknown to the company; and, in her musical studies, her memory and quickness are wonderful; as she learns, in general, the most difficult pieces for keyed instruments, however full and complicated the parts, by hearing them played only on a violin: and, since her arrival in this kingdom, she has been enabled, in this manner, to learn to perform some of Handel’s most elaborate and difficult organ fugues and movements, in his first book of lessons, as well as his Coronation Anthem, and more popular compositions.

THE LEGEND OF ST. CECILIA.

As this celebrated patroness of music has given rise to some of the most beautiful poetic productions in our language, the Legend of the said lady, not being generally known, the following particulars of her life and martyrdom, it is presumed, will prove highly acceptable to our readers.

“St. Cecilia, among Christians, is esteemed the patroness of music: for the reasons whereof, we must refer to her history, as delivered by the notaries of the Roman church, and from them transcribed into the Golden Legend, and other books of the like kind. The story says, that she was a Roman lady, born of noble parents, about the year 225; that, notwithstanding she had been converted to Christianity, her parents married her to a young Roman nobleman, named Valerianus, a Pagan, who, going to bed to her on the wedding night, (_as the custom is, says the book_) was given to understand by his spouse, that she was nightly visited by an angel, and that he must forbear to approach her, otherwise the angel would destroy him. Valerianus, somewhat troubled at these words, desired that he might see his rival, the angel; but his spouse told him that was impossible, unless he would be baptised, and become a Christian, which he consented to. After which, returning to his wife, he found her in her closet, at prayer; and by her side, in the shape of a beautiful young man, the angel clothed with brightness. After some conversation with the angel, Valerianus told him, that he had a brother, named Tiburtius, whom he greatly wished to see a partaker of the grace, which he himself had received: the angel told him, that his desire was granted, and that shortly they should be both crowned with martyrdom. Upon this the angel vanished, but soon after showed himself as good as his word. Tiburtius was converted, and both he and his brother Valerianus were beheaded. Cecilia was offered her life, upon condition, that she would sacrifice to the deities of the Romans, but she refused; upon which, she was thrown into a cauldron of boiling water, and scalded to death: though others say, she was stifled in a dry bath, i. e. an inclosure from whence the air was excluded, having a slow fire underneath it; which kind of death was sometimes inflicted, among the Romans, upon women of quality who were criminals.

“Upon the spot where her house stood, is a church, said to have been built by Pope Urban I. who administered baptism to her husband and his brother; it is the church of St. Cecilia, in Trastevere. Within is a most curious painting of the saint, as also a most stately monument, with a cumbent statue of her, with her face downwards.

“St. Cecilia is usually painted playing either on the organ, or on the harp, singing as Chaucer relates, thus,

“And whiles that the organs made melodie,
To God alone thus in her heart sung she,
O Lorde my soul, and eke my bodie gie
Unwemmed, lest I confounded be[2].”

[2] See the second Nonne’s Tale, in Chaucer; the Golden Legend, printed by Caxton; and the Lives of Saints, by Peter Ribadeneyra, a priest of the Society of Jesus, printed at St. Omers, in 1699.

“Besides this account, there is a tradition of St. Cecilia, that she excelled in music, and that the angel, who was thus enamoured of her, was drawn down from the celestial mansions, by the charms of her melody: this has been deemed authority sufficient for making her the patroness of music and musicians.

“The lovers of music, residing in this metropolis, had a solemn annual meeting, at Stationers’ Hall, on the 22d day of November, being the anniversary of the martyrdom of St. Cecilia, from the rebuilding of that edifice after the fire of London. These performances, being intended to celebrate the memory of the tutelar saint and patroness of music, had every possible advantage that the times afforded, to recommend them. Not only the most eminent masters in the science contributed their performance, but the gentlemen of the King’s Chapel, and of the choirs of St. Paul’s and Westminster, lent their assistance, and the festival was announced in the London Gazette.

“For the celebration of this solemnity, Purcell composed his _Te Deum_ and _Jubilate_; and Dr. Blow also composed a musical entertainment for the same anniversary, the following year.

“The Legend of St. Cecilia has given frequent occasion to painters and sculptors to exercise their genius in representations of her playing on the organ, and sometimes on the harp. Raphael has painted her singing, with a regal in her hands; and Dominichino and Mignard singing and playing on the harp. And, in the vault under the choir of St. Paul’s Cathedral, against one of the middle columns, on the south side, is a fine white marble monument, for Miss Wren, the daughter of Sir Christopher Wren, wherein the young lady is represented, on a _bass relief_, the work of Bird, in the character of St. Cecilia, playing on the organ, a boy angel sustaining her book, under which is the following inscription:

“Here lies the body of Mrs. Jane Wren, only daughter of Sir Christopher Wren, Knight, by Dame Jane, his wife, daughter of William Lord Fitz-William, Baron of Lifford, in the Kingdom of Ireland. Ob. 29th Dec. 1702, ætat. 26.”

_From Sir John Hawkins._

CLINIAS, THE PYTHAGOREAN.

“This philosopher was a person very different, both in his life and manners, from other men. If it chanced at any time that he was inflamed with anger, he would take his harp, play upon, and sing to it; saying, as often as he was asked the cause of his so doing, ‘That by this means he found himself reduced to the temper of his former mildness.’”

_Treasury of Ancient and Modern Times._

THE SPARTAN POET TYRTŒUS.

Tyrtœus, the Spartan poet, having first rehearsed his verses, and afterwards made them to be sung with flutes, well tuned together, he so stirred and inflamed the courage of the soldiers thereby, that, whereas, they had before been overcome in divers conflicts, being then transported with the fury of the Muses, they remained conquerors, and cut in pieces the whole army of the Messinians.

THE RAGE OF THE EMPEROR THEODOSIUS SUBDUED BY MUSIC.

At such time as the tyrant Eugenius raised that perilous war in the East, and that money grew short with the Emperor Theodosius, he determined to raise subsidies, and to gather, from all parts, more than before he had ever done: the citizens of Antioch bore this exaction with so ill a will, that, after they had uttered many outrageous words against the Emperor, they pulled down his statues, and those also of the Empress, his wife. A while after, when the heat of their fury was past, they began to repent themselves of their folly, and considered into what danger they had cast themselves and their city. Then did they curse their rashness, confess their fault, implore the goodness of God, and that with tears, “That it would please him to calm the Emperor’s heart.” These supplications and prayers were solemnly sung with sorrowful tunes, and lamenting voices. Their bishop, Flavianus, employed himself valiantly, in this needful time, in behalf of the city, made a journey to Theodosius, and did his utmost to appease him: but finding himself rejected, and knowing that the Emperor was devising some grievous punishment; and, on the other side, not having the boldness to speak again, and yet much troubled in his thoughts because of his people, there came this device into his head. At such time as the Emperor sat at meat, certain young boys were wont to sing musically unto him. Flavianus wrought so, that he obtained of those that had the charge of the boys, that they would suffer them to sing the supplications and prayers of the city of Antioch. Theodosius, listening to that grave music, was so moved with it, and so touched with compassion, that having the cup in his hand, he, with his warm tears, watered the wine that was in it, and forgetting all his conceived displeasure against the Antiochians, freely pardoned them and their city.

THE BISHOP OF ORLEANS RESTORED FROM PRISON BY MUSIC.

The sons of Ludovicus I. then Emperor, had conspired against him, and amongst divers of the bishops that were confederate with them, was Theodulphus, Bishop of Orleans, whom the Emperor clapped up in prison in Anjou. In this place, the Emperor kept his Easter, and was present at the procession on Palm Sunday, in imitation and honour of Christ’s entrance into Jerusalem. All the pomp was passing by the place where Theodolphus was under restraint; the Bishop, in sight of that solemnity, had prepared a most elegant hymn in honour of that procession; and, as the Emperor passed by, opening his casement, with a clear and musical voice he sung it, so as to be heard of the multitude that passed by: the Emperor enquired, “What voice that was, and who that sung?” It was told him, “The captive Bishop of Orleans.” The Emperor diligently attending both the purport of the verses and the sweetness of the voice, was therewith so delighted, that he restored the prisoner forthwith to his liberty.

A WOMAN PREVENTED FROM STARVING HERSELF TO DEATH, BY MUSIC.

Among the many anecdotes related of persons whose lives have been preserved by music, is the following.

“A woman, being attacked for several months with the vapours, and confined to her apartment, had resolved to starve herself to death. She was, however, prevailed on, but not without difficulty, to see a representation of the _Servo Padrona_ (a musical piece so called.) At the conclusion of which she found herself almost cured; and, renouncing her melancholy resolution, was entirely restored to health by a few more representations of the same kind.”

REMARKABLE EFFECTS OF A SWISS AIR.

There is a celebrated air in Switzerland, called, _Rans des Vaches_, which had such an extraordinary effect on the Swiss troops in the French service, that they always fell into a deep melancholy when they heard it. Louis XIV. therefore forbade it ever to be played in France, under the pain of a severe penalty.

We are told also of a Scotch air (_Lochaber no more_) which had a similar effect on the natives of Scotland.

THE DENMARK MUSICIAN.

There was a musician, formerly in Denmark, that so excelled in the art of music, that he used to boast, that he could, with his performance, set his hearers beside themselves, or make them merry, pensive, or furious, as he pleased. This he performed upon trial at the command of Ericus II. surnamed the Good, King of Denmark.

WONDERFUL POWER OF MUSIC ON MADAME DE LA MARCH.

Madame de la March, a young lady of beauty and virtue, (near to Garet,) upon report of her husband’s inconstancy, fell into such a fury, that, on the sudden, she would throw herself into the fire, or out at the window, or into a fish-pond, near her house, out of which she had been twice rescued: but was afterwards more diligently watched. The physicians attended her to no purpose, notwithstanding all their endeavours; but a Capuchin passing that way to crave alms, and hearing what had befallen her, advised that some skilful and experienced performer on the lute should be sent for, and continue to play by her, day and night, as occasion might require. This was accordingly done, and, in less than three months, the violent passion forsook her, and she remained, ever after, sound both in body and mind.

A RHODIAN MUSICIAN’S REPLY TO APOLLONIUS.

When Apollonius was inquisitive of Canus, a Rhodian musician, “What he could do with his instrument?” He told him, ‘that he could make a melancholy man merry, and him that was merry, much merrier than he was before: a lover more enamoured, and a religious man more devout, and more attentive to the worship of the gods.

EXTRAORDINARY EFFECTS OF MUSIC ON SNAKES AND SERPENTS.

In the month of July, 1791, (says an eminent historian,) we were travelling in Upper Canada, with several families of savages, belonging to the nation of the Onontagues. One day, when we had halted in a spacious plain on the bank of the river Genesse, a rattlesnake entered our encampment.— Among us was a Canadian who could play on the flute, and who, to divert us, advanced against the serpent with his new species of weapon. On the approach of his enemy, the haughty reptile curls himself into a spiral line, flattens his head, inflates his cheeks, contracts his lips, displays his envenomed fangs, and his bloody throat: his double tongue glows like two flames of fire; his eyes are burning coals: his body, swollen with rage, rises and falls like the bellows of a forge: his dilated skin assumes a dull and scaly appearance: and his tail, whence proceeds the death-denouncing sound, vibrates with such rapidity as to resemble a light vapour.

The Canadian now begins to play upon his flute; the serpent starts with surprise, and draws back his head. In proportion as he is struck with the magic effect, his eyes lose their fierceness, the oscillations of his tail become slower, and the sound which it emits grows weaker, and gradually dies away. Less perpendicular upon their spiral line, the rings of the charmed serpent are, by degrees, expanded, and sink, one after another, upon the ground in concentric circles. The shades of azure, green, white, and gold, recover their brilliancy on his quivering skin; and slightly turning his head, he remains motionless, in the attitude of attention and pleasure.

At this moment, the Canadian advanced a few steps, producing, with his flute, sweet and simple notes. The reptile, inclining his variegated neck, opens a passage with his head, through the high grass, and begins to creep after the musician; stopping when he stops, and beginning to follow him again as soon as he moves forward. In this manner he was led out of our camp, attended by a great number of spectators, both savages and Europeans, who could scarcely believe their eyes when they witnessed this wonderful effect of harmony. The assembly unanimously decreed, that the serpent which had so highly entertained them, should be permitted to escape.

_M. de Chateaubriand._

THE DANCING SNAKES.

The dancing snakes are carried in baskets throughout Indostan, and procure a maintenance for a set of people, who play a few simple notes on the flute: with which these snakes seem much delighted, and keep time by a graceful motion of the head, erecting about half their length from the ground, and following the music with gentle curves, like the undulating lines of a swan’s neck. It is a well attested fact, that when a house is infested with these snakes, and some others of the coluber genus, which destroy poultry and small domestic animals, as also by the larger serpents of the boa tribe, the musicians are sent for; who, by playing on a flageolet, find out their hiding places, and charm them to destruction: for no sooner do the snakes hear the music, than they come softly from their retreat, and are easily taken. It is imagined, that these musical snakes were known in Palestine, from the Psalmist comparing the “ungodly to the deaf adder, which stoppeth her ears, and refuseth to hear the voice of the charmer, charm he never so wisely.”

When the music ceases, the snakes appear motionless, but, if not immediately covered up in the basket, the spectators are liable to fatal accidents.

_M. de Chateaubriand._

CURIOUS CONTEST ABOUT THE ERECTION OF THE CELEBRATED ORGAN IN THE
TEMPLE CHURCH, LONDON.

After the Restoration, the number of workmen in England being found too few to answer the demand for organs, it was thought expedient to make offers of encouragement for foreigners to come and settle here; these brought over from Germany Mr. Bernard Schmidt and—— Harris; the former of these, for his excellence in his art, and the following particulars respecting him, deserves to live in the remembrance of all such as are friends to it.

Bernard Schmidt, or, as we pronounce the name, Smith, was a native of Germany, but of what city or province is not known. He brought with him two nephews, the one named Gerrard, the other Bernard; and to distinguish him from these, the elder had the appellation of Father Smith. Immediately upon their arrival, Smith was employed to build an organ for the Royal Chapel, at Whitehall; but, as it was built in great haste, it did not answer the expectations of those who were judges of his abilities. He had been but a few months here, before Harris arrived from France, bringing with him a son, named Renatas, who had been brought up in the business of organ making under him; they met with but little encouragement, for Dallans and Smith had all the business of the kingdom: but upon the decease of Dallans, in 1672, a competition arose between these two foreigners, which was attended with some remarkable circumstances. The elder Harris was in no degree a match for Smith; but his son, Renatus, was a young man of ingenuity and spirit, and succeeded so well in his endeavours to rival Smith, that, at length, he got the better of him.