istic air of any particular country (although partly taken from a Sicilian melody), but conveys a sentiment and association * common to every people, and therefore instantly caught and appreciated by every pensive mind.

From what has been said upon this part of the subject, few persons I am inclined to believe who have attended to the impressions made upon their minds by the variety of music they may have heard during their time, will be disposed to give the úncultivated Hindu credit for a more superior system of music than can be found in civilized Europe. As a further proof that this fancied superiority does not exist, let us for a moment examine their scales and melodies, which cannot be better done than by extracting from a very full and accurate notice of the "Gramas, or Musical Scales of the Hindus," by J. D. Paterson, Esq. a few words sufficient in my mind to confirm the opinion I have formed.

"According to Plato, the Egyptians were restricted by their laws to certain fixed melodies, which they were not permitted to alter. There appears to have been some such idea of restriction amongst the Ancient Hindus, by the confinement of their music to thirty-six melodies-viz. the six ragas and thirty raginas. The forty-eight putras are melodies which seem to have been intro. duced in after times, when the discipline alluded to by Platot had begun to be relaxed. But the Indian ragas and raginas are fixed

* The effect of association is sometimes extremely ludicrous as well as affecting. The following anecdote is related of Dr. Jenney, a friend of Dean Swift's "Robert Gardner, a coppersmith, had taken a house directly opposite to his mansion, where he plied his trade with such incessant industry, and commenced his hammering operations so early in the morning and continued them so late at night, that the almost endless noise deprived the doctor of his rest. In vain did he remonstrate with his neighbour, and entreat him to discontinue his nocturnal operations. Gardner, a proud, independent, and somewhat surly tradesman, not only hammered on but added another hour to his daily labours. At last, after having endured this evil for two months, Dr. Jenney agreed to give his tormentor twenty guineas on condition that he should leave the premises on the next term day, which happened to be the first of May. Gardner agreed, and took a house at another part of the town, to which he punctually removed at the appointed time. In the interim three months more had elapsed, and Dr. Jenney was not only reconciled by habit to the noises which he had so much abhorred at first, but he became unable to sleep when his ear was deprived and disappointed of the accustomed sounds, and he was therefore under the necessity of paying another coppersmith for working in the premises which Gardner had deserted."

+ On Legislation, Dialogue 2d.

respectively to particular seasons of the year, and times of the night or day. This is a circumstance particularly deserving remark, as it is probably peculiar to the Hindu music. It is likely that these melodies were in former times appropriated to the service of different deities-in such case the ragas and raginas would derive their application to particular times and seasons, from the times and seasons allotted by the Hindu ritual for the performance of the services to which they were respectively appropriated; this appears probable, but whatever might have been the original cause of this apparent singularity, it has become so completely engrafted on the ideas of music among the natives of India, that they cannot at this day divest their minds of the prejudice. The Musselmans have universally adopted it, and a performer who should sing a raga out of its appropriate season, or an hour sooner or later than the time appointed, would be considered as an ignorant pretender to the character of a musician." These restrictions, which remind us of the fate of Timotheus, are characteristic of the systems of ancient times, and would be most likely to exist among the Hindus, when they were even found in various ways to be engrafted upon the systems of the Greek and Egyptian music;* but that the Hindus should, down to the present day, continue their restrictions, argues but little for the pretended superiority of their system. How often has it been urged, that any the least restraint upon genius or talent must oppress and weigh it down. Now if there was among the musicians of India any one gifted with superior talent in his art, he could never hope to display it to advantage; for he must never sing or play any air in the day time, appropriated by the nature of its subject to the night, nor must he descant upon the beauties of nature or the attributes of his favorite deity whenever he feels disposed, but must confine himself strictly to the times and seasons appointed by law. This may do very well in a country such as Hindostan, where, notwithstanding the favourable accounts received of the amazing improvement of some of the superior natives, the general classes are evidently yet in a state of

* Even the noble art of painting was not free from these absurd restrictions. "In Egypt, that great fountain of ancient polity, not only the art of music in its enlarged sense, but even that of painting, was fixed and made unalterable by law." (See Dr. Brown's Dissertation, p. 100; also Dr. Burney on Egyptian Music, vol. 1, p. 190.-Ilistory.

comparative uncivilization, and pertinaciously retain the highest veneration for ancient customs, especially those connected with their religion, but it never could obtain amongst an enlightened people, who require in the principles and practice of any art something nearer allied to common sense than these ancient restrictions allow.

Your's, truly,

F. W. H.

IN

MR. PHILLIPS.

our first volume we have spoken so much at length upon the subject of base singing, that we find almost all we have to say generally, in the introduction of our notice of this young professor who has risen rapidly into estimation, is there* exhausted. Since that article was written, no new base singer has risen to the place Mr. Phillips has attained. We speak this without disparagement to Mr. Bellamy, who has supported his supremacy with the respectability that has always attached to his name. With a voice formed after the manner of Bartleman's, with a style formed and closely formed upon the same model-an excellent and sound musician, polished in his manners and exemplary in his conduct, Mr. Bellamy has enjoyed the first place at the Antient Concerts and Provincial Meetings ever since Mr. Bartleman was precluded by his long and severe indisposition from the exercise of his great abilities. Yet it can hardly be said that Mr. Bellamy ever took any strong hold on the public regard. The reason clearly appears to have been, that he studied the execution and copied too closely the manner of a master whose fundamental doctrines were wrong.t Experience has proved that peculiar errors, however they may be counterbalanced by peculiar excellences in the individual, will taint the manner of the followers of that individual, and that no

"Preliminary Remarks on Base Singing."-See Musical Magazine and Review-Vol. 1, page 315.

+ See vol 1, page 328 et seq.

school can be founded except upon just principles. There never was so popular or so affecting a base as Mr. Bartleman, but his theory of the equalization of tone was wrong-radically, decidedly wrong-and the more we see and know of the matter the more satisfied we become that the Italian theory and practice are right.*

It is no less curious that English base singing has remained perfectly stationary during the seven years that have elapsed since our dissertation was written. Not a single base song (Mr. Horsley's Tempest excepted) has appeared that has lasted for an hour.t In the mean while the vis comica of the Italian buffo, the rapidity of the enuntiation, and the catching qualities of the melodies and accompaniments of such airs have given him a pre-eminence‡ in concerts, even at the Lent Oratorios and Provincial Meetings, and which has completely distanced, so far as the public pleasure is concerned, the English base. He still has his place it is true, because sacred performances cannot be held together without him. But since the days of Bartleman he is no longer pre-eminent, no longer sought-to say that he is tolerated perhaps would convey the most appropriate meaning.

The appearance of Mr. Phillips has certainly excited a little more sensation, or to qualify our terms, a little more of satisfaction and of hope. He has been introduced this year at the Antient Concert, where he has thriven marvellously, and we conceive mainly upon the associated recollection of Bartleman. Not

* The circumstance we have noticed in our account of the York meeting corroborates this truth very plainly. No singer was heard so perfectly through the vast space of the Minster as Madame Caradori Allan. Yet Miss Stephens, Miss Wilkinson, and we believe Miss Travis, have much more volume than Madame C. A. The reason then of the tone travelling so far is to be sought in the fact, that it is purer, namely less free from the mouth, the throat, and the lips, than the voices of the other singers named. It is also certainly much

thinner.

+ Dr. Carnaby's "Man can thy doom," if our recollection serves us, preceded this date. We may here take occasion to notice that the Doctor has lately published new editions of his beautiful little cantata Peace and of all his other songs. We have often wondered and indeed regretted that an anthor who has proved how good a judgment and what fine feeling he possesses in these airs should have so long abstained from publishing. We have been lately told that reasons existed in some early engagements with respect to his writings that are now removed, and we still hope to see the fruits of so long a repose.

Is not this in some measure owing to the admirable humour and extrordinary power of articulation possessed by Signor De Beguis? We think it is.

that Phillips resembles Bartleman in the least. Bartleman was long the favourite of the concert, and nothing has been a more just ground of lamentation than his loss to that orchestra. It is something therefore to entertain a hope at last that his place may in a degree at least be filled-it is more that there should be novelty as well as merit in his probable successor. This is just what the directors and subscribers have felt in respect to Mr. Phillips-and without intending to depreciate in the least his good qualities, which we highly esteem, we nevertheless conceive that these causes have contributed not a little to his exaltation. "There is a tide in the affairs of men"-Mr. P. has taken it at the flood, and it will lead to fortune, used with the good sense, modesty, and discretion, with which there is every appearance of his using this flow of prosperity.

Mr. Phillips was the pupil (originally) of Mr. Broadhurst. His first efforts were directed to the theatre, and he was also engaged at public dinners, we believe, though in this last way he appeared but seldom. He has subsequently, we believe, been taught by Sir George Smart. His voice presents rather a curious anomaly in description, for it can neither be called base nor barytone, heavy nor light, though it partakes of all these several properties in its tone and compass. Its volume is considerable, but by no means vast, and we conceive it is alike his interest and his inclination to cultivate finish and sweetness rather than grandeur or power, so far as tone is concerned in the production of these effects. It is in fact a genuine English voice, by which we mean a voice that demonstrates very little of artificial formation, and though sound and good, so far as it goes, there is not enough of supereminent quality to lead one to suppose that nature intended the possessor for a great singer. We can hardly pay Mr. Phillips a higher compliment than is conveyed in this true description of his natural endowments in respect to organ, for it proves how much must have been accomplished by means purely intellectual to have raised him to the place he now occupies. His intonation is creditably correct, and this is the more worthy remark, because Italian base singers are, it appears to us, often very slovenly and careless in this essential particular.

It is then to the elocutory parts of his singing that Mr. Phillips is principally indebted for his rank. Plain and simple, but per