happiness. It is universally esteemed the finest part of The Creation; and, according to my ideas, the reason is, that Haydn here returns to the empire of the passions, and that his subject was one of the greatest felicities of which the heart of man is susceptible.

The third part of The Creation, is the shortest. It is a beautiful translation of the most pleasing part of Milton's poem. Haydn paints the transports of the first and most innocent of attachments, the tender converse of the first pair, and their pure and dreadless gratitude towards the infinite goodness which created them, and which seems to have created for them all nature. The most ardent joy breathes in every bar of the allegro. There is also apparent in this part, a devotion of a more ordinary kind, mingled with terror.

Lastly, a chorus, partly fugued, and partly ideal, terminates this astonishing production with the same fire and majesty with which it commenced.*

* As our author has only spoken generally, of the third part of this oratorio, we are tempted to continue the de

Haydn had a singular advantage in the composition of the vocal part. He had at

scription to the end. The air, which represents the creation of man, is esteemed the chef d'œuvre of the piece. Cherubini has copied the subject into his ode on the death of Haydn. The chorus," Achieved is the glorious work,” is a fugue of great strength and power, ingeniously accompanied by the orchestra. The sinfonia which opens "the fair morn" of creation, is performed by a celestial band of flutes and horns, aided by the soft pizzicato of the stringed instruments. This exquisite harmony ascends to the heavenly vaults with the praises of the blissful pair, and is joined by a choir of angels, chanting "for ever blessed be his power."

The distant effect of the responsive choir gives us an idea of space and amplitude, which nothing but soft music can produce. It is like that misty atmosphere, which artists, in painting, introduce for the same purpose in their designs. The duetto" Graceful Consort," in our opinion, is the most exquisite composition in the work. It is full of tenderness and affection.

The "dew-dropping morn" is introduced by an inspiring strain from the French horn, which breathes the freshness of that "sweet hour of prime." The chorus commences with the unfortunate word "sing," which would be better rendered, "PRAISE the Lord, ye voices all"

The voices, heard amidst this clash of sounds, have a rich and noble effect. The fugue which follows is strong and masterly. In the alleluia part, the principal voices appear, in solo, with singular beauty, and form a fine contrast to the masses of sound, struck out by the orchestra.

The

his disposal for the soprano, one of the finest female voices then existing, that of Mademoiselle Gherard.

This music requires to be executed with grace, correctness, and expression. The least ornament would entirely change the character of the style. A Crivelli is absolutely necessary; the graces of Tachinardi would here be out of place.

The last word of the piece is also unfortunate, "His praise shall last for aye," and would be better rendered, "His praise shall last for evermore."

The short concussions which terminate this divine Oratorio, leave the mind of the auditor lost in sacred awe at the sublimity of the work which Genius has dared to plan and to execute.

G.

LETTER XIX.

MY FRIEND,

·Salzburg, June 2, 1809.

I RETURN to our subject. The Creation met with rapid success: all the papers of Germany gave an account of the astonishing effect which it had produced at Vienna; and the score, which was printed in a few weeks afterwards, enabled the amateurs throughout Europe to form a judgment of it. The rapid sale which it experienced added a few hundred louis to the author's little fortune. The publisher had placed German and English words under the music: they were translated into Swedish, French, Spanish, Bohemian, and Italian. The French version is pompously dull, as any one may experience at the Conservatoire de la rue Bergère. The author, however, is not chargeable with the little effect

produced by The Creation the first time it was executed at Paris. A few minutes before the performance began at the Operahouse, the infernal machine of the 3d Nivose exploded in the rue St. Nicaise.

There are two Italian translations. The first, which is ridiculous, has been printed under the Paris score. The other was superintended by Haydn and the baron Von Swieten, and, though the best, has only been printed under the small score for the piano, published by Artaria. The author, M. Carpani, is a man of talent, and moreover an excellent connoisseur in music. It was executed under the direction of himself and Haydn, at the house of one of those rare men who are wanting to the splendour of France; I mean, the Prince Lobkowitz, who employs an illustrious life, and an immense fortune, in enjoying and protecting the arts.

Observe, that it is impossible to judge of this music, which is all harmony, unless that harmony be complete. A dozen singers or instruments collected round a pianoforte, let them be as good as they may,