The Violin Part 14

FRANCIS HACKWOOD, whose convivial and entertaining qualities a.s.sisted his professional talent, in procuring for him the notice and support of the most influential among the patrons of music, was born in 1734. He attained some distinction among violin-performers; but the play of his wit and humour seems to have outlasted that of his instrument, in the impression produced-and no wonder, considering how much farther _wit_ can be transmitted, than _sound_. It is one of the anecdotes related of this artist, that, at the conclusion of an Evening Concert given by Lord Hampden to a large a.s.semblage of rank and fashion, when the performers had been taxed to exert themselves till a most unreasonable hour in the morning, his Lordship addressed to him the question, "Hackwood, will you stay and _sup_ with us?"-and that the answer was, "No, my Lord, I can't; for I think (taking out his watch) my wife must be waiting _breakfast_ for me."-In another anecdote, Hackwood figures as the _cause_ of a jest, which is the next good thing to being its utterer. He was intimate with the late Sir C--r W--e, a Lincolnshire Baronet of large fortune, who, when not laid up by the gout, was a man of three-bottle capacity. At a gentlemen's party given by this free votary of the grape, Hackwood, who had some pressing business to transact early in the ensuing day, and had heard the clock strike one, arose to depart. "Where are you going so soon?" inquired Sir C--r. "Home, Sir," replied Hackwood; "it has struck one."-"_One!_" exclaimed the Baronet; "pooh, pooh! Sit down, sit down!

What's _one_, among _so many_?"-Parke, the oboist, who gives this story, spoils the close of it by a bottle of Hollands gin, which he makes the two interlocutors to have drunk out between them, on the stairs, _pour prendre conge_. The gin lends no genuine spirit to the anecdote, and had better have been omitted by the narrator, who, besides, was probably in error as to its existence at all in the case. The man who, flushed with generous wine, has succeeded in saying a tolerably good thing, may fairly be considered as too _happy_, to be in any need of such extra stimulus as half a bottle of gin. Potation of _that_ character is the resource of the _dull_. Parke has alluded generally, in no liberal temper, to the eccentricities of this professor, whose disposition he has mistaken, when attributing _meanness_ to it. This charge he founds particularly on the fact of Hackwood's having once shouldered his own violoncello (for he played that instrument also) on his way home from Apsley-House, to save expense of coach or porter, though he was himself attired "in an elegant suit of blue silk and silver." Those who knew him better, could have furnished his detractor with a fairer reason for the proceeding in question, by suggesting that it arose from that anxious care for the safety of his instrument, which many a performer is well known to entertain, and which, in the instance of the individual now under notice, prevailed to such an extent as even to form one of his eccentricities. So far, indeed, from being of an illiberal spirit, he was a considerable loser by the too ready advance of money to the necessitous.

Hackwood lived till 1821, and was for some years _father_ (as the term goes) of the Royal Society of Musicians.

It may be incidentally mentioned that a great benefit to our English performers on bow-stirred instruments in general, was produced by ABEL'S residence here for about a quarter of a century. That fine musician and performer, the pupil and friend of Sebastian Bach, though he handled an instrument (the _viol-da-gamba_) of a species which was not in common use, and was even about to be completely laid aside, became nevertheless the model, in adagio-playing, of all our young professors on bowed instruments, who, taught by his discretion, taste, and pathetic manner of _expressing a few notes_, became more sparing of notes in a _cantabile_, and less inclined to attempt such flourishes as have no higher purpose than to display mechanical readiness. The wonders achieved by Abel in the extraction of tone from an instrument which, albeit possessed of some sweetness, was radically so crude and nasal, as the viol-da-gamba (that remnant of the old "chest of viols"), are something truly memorable among the triumphs of art. The Robert Lindley of our own day and country, transcendant in the quality of tone which he could elicit, stands a minor marvel, as compared in this sense with Abel,-_his_ instrument being one that is naturally so much more grateful and practicable.

RICHARD CUDMORE, a native of Chichester, was born in 1787. His success began with his juvenile days, for he performed a solo in public when only nine years old; and at eleven, with still higher ambition, he played a concerto at Chichester, composed by himself! Such a thing is of course only marvellous with reference to the means which it is possible for a child to possess: accordingly, on these occasions, there is always "a liberal discount allowed"-the indulgent auditor forming his estimate on the Horatian plan of "contentus parvo." At twelve years of age, young Cudmore attained the provincial triumph of leading the band at the Chichester Theatre-played a concerto for the comic actor, Suett, at his benefit-and performed a _violino primo_ part amongst the "older strengths" of the Italian Opera-band in London. In the mean time he was introduced to Salomon, and had the advantage of some training from that noted Master. After the subsequent enjoyment of some years of country fame, Cudmore changed the scene of his operations to London, and, giving scope to the versatility of his talent, became a pupil of Woelfl's on the pianoforte, and, in the sequel, a public performer on that instrument also.-A striking proof of his musical ability is shewn in an anecdote recorded of him. On one occasion a performance took place at Rowland Hill's Chapel, in Blackfriars Road, for which Salomon had rehea.r.s.ed, in conjunction with Dr. Crotch and Jacobs. Salomon, however, being unexpectedly subpnaed on a trial, requested Cudmore to become his subst.i.tute at the chapel, when he performed the music at sight, before from two to three thousand persons.-Another extraordinary instance of his skill in sight-playing, or what the French call _l'execution a livre ouvert_, was given in a private concert at Mr. C.

Nicholson's, where he executed at sight a new and difficult ma.n.u.script concerto, which was accidentally brought thither.

At Liverpool, where he occasionally conducted the public concerts, he once performed a concerto on the violin by Rode; one on the piano by Kalkbrenner; and a third, by Cervetto, on the violoncello! At a later period, he became leader of the band at the establishment called the Manchester Amateur Concert.

G. F. PINTO, grandson of the performer of that name already noticed (whose ardent temperament he seems to have inherited, with no countervailing discretion), affords a remarkable instance of premature musical genius. He studied the violin under Salomon and Viotti, and, at fifteen years of age, had attained such accomplishment on that instrument, that he could lead an orchestra, in the performance of the symphonies of Haydn, with no very discernible inferiority to Salomon. He became also a proficient on the pianoforte, and evinced good knowledge of counterpoint, in several vocal publications of merit and originality, which he sent forth when about the age of seventeen. The syren voice of Pleasure, however, lured this promising genius to his destruction.

Possessed of a fine person, and a mischievous store of vanity, he became a martyr to dissipation about the year 1808, before he had completed his twenty-first year.

THOMAS LINLEY (Junior), eldest son of the vocal composer of that name, was born at Bath, in 1756, and displayed, at a very early age, extraordinary powers on the violin-performing a concerto in public when but eight years old. To qualify him more effectually for a musical career, through a due acquaintance with theory, his father placed him under the able tuition of Dr. Boyce; after which he was sent to Florence, chiefly to prosecute the study of his favourite instrument, under the eye of Nardini. Through the kind agency of the Italian violinist, Linley acquired the advantageous friendship of Mozart, then a youth of about his own age. On his return from his studies on the continent, young Linley repaired to Bath, to lead his father's concerts and oratorios, which he did with such precision and animation as to gain high credit. His manner of performing the concertos of Handel and Geminiani was also much admired; nor did he fail to exhibit marks of opening excellence as a composer, in his own solos and concertos, occasionally introduced, as well as in several vocal dramatic productions, which evinced considerable imagination and spirit. The brilliant professional hopes founded on these achievements were destined, however, to be suddenly darkened: for the object of them met with an untimely death in the year 1778, by the upsetting of a pleasure-boat.

THOMAS COOKE-who is there, having open ears, that does not know something of the versatile and ingenious Tom Cooke?-was born in Dublin, and was ready with his violin, at the age of seven, to play a concerto in public. Expert with hand, tongue, and pen, he has performed _three times three_ successive solos, on as many different instruments, in one night, for his benefit-and, in moments of composure, has _written_ for all of them. At a very early age, he became director and leader of the music at the Theatre Royal, Dublin; from which condition he suddenly transformed himself into that of a singer, and enjoyed a success of several seasons at the English Opera-House, in London, as vocalist and composer. His next course of exertion was at Drury Lane, as singer, and afterwards as musical director, leader, and composer, in which latter triple capacity he pursued a long and steady career. The violin was eminently useful in his hands, if it cannot be said to have been, in the highest degree, brilliant.

"Tom Cooke," observed a chronicler, some time since, in one of the magazines, "is certainly the most facetious of fiddlers, and is the only person at present connected with theatres, who smacks of the olden days of quips and cranks. Some of his conundrums are most amusing absurdities." After a.s.signing to him, by a somewhat venturesome decision, the authorship of the receipt for getting a _vial-in_ at a chemist's[58], the same writer gave two other specimens of Cooke's powers of jest, as thus:-

Once, whilst rehearsing a song, Braham said to Cooke, who was leading, "I drop my voice there, at night"-intimating that he wished the accompaniment to be more _piano_. "_You_ drop your voice, do you?" said Cooke; "I should like to be by, and pick it up."

During the run of the Tragedy of Manfred, he remarked, "How Denvil keeps _sober_ through the play, I can't think; for he is _calling for spirits_, from the first scene to the last!"

Some few years have now elapsed, since this well-remembered professor was borne to that spot where-instead of the achievements of talent, or the humours of character-a few meagre words, and a date or two, comprise usually _all_ that is told to the stray pedestrian, or the pa.s.sing wind!

NICHOLAS MORI, who, in certain respects, is ent.i.tled to rank high among English Violinists, was born in London, in 1796. The instrument that became the medium of his success in maturer years, was the object of his regard even in infancy-for, at three years of age, he was clutching a contracted specimen of it in his little grasp, and receiving some initiatory hints from Barthelemon. At eight, prepared and advertised as a prodigy, he was publicly playing that Professor's difficult concerto, styled "The Emperor." A few years later, his aspiring hand was conspicuous at the Concerts given by Mr. Heaviside, the Surgeon. To add the solid to the showy, the aid of Viotti (then almost a seceder from the profession) was wisely invoked; and nearly six years of his valuable guidance were obtained. Meanwhile, the active youth, still boyishly habited in jacket and frill, was careering through an engagement in the Opera orchestra. There, at the age of twenty, he became leader of the Ballet, on the retirement of Venus, which post he held until, in 1834, he succeeded to that of the silvery Spagnoletti.

The _Philharmonic Concerts_, which commenced in 1813, had opened a new field for the display of high talent in almost every department of the musical art. The interest and advancement of Mori, in that quarter, were zealously undertaken by Viotti; and he became one of the Directors of the Society, for several seasons. In 1819, he married the widow of Mr.

Lavenu-an alliance which made him the successor to a lucrative business.

Another native Establishment, inst.i.tuted in his time, afforded further opportunity for the indefatigable exertions of Mori. The _Royal Academy of Music_ received him within its walls, as one of its princ.i.p.al teachers of the violin. Among his pupils there, were Oury, Patey, Richards, Musgrove, and his own younger son, Nicholas. The success of his Concert-speculations, meanwhile, was attested by the overflowing audiences they constantly drew together; but such a result was not accomplished without great attendant labour and anxiety. His Cla.s.sical Chamber-Concerts, commenced in 1836, in sequence to those of Blagrove's party, kept his name still prominent before the public until his death, which took place on the 14th June, 1839.

Few professional men have possessed equal influence in our musical circles, with that which was attained by this distinguished artist; and few have succeeded in acquiring so large a share of public patronage.

Yet, favourite of the public as he was, from first to last, it must be regretfully added that he failed to secure the cordial sympathy of his professional brethren, to whom his irritability of temper, and _brusquerie_ of manner, rendered his official government no halcyon reign. For all that was thus unpleasant, however, a cause was discovered, that left his real character untouched. Physical disturbance, existing and acc.u.mulating for some length of time, before his sudden decease, had impaired the functions of the brain, and unsettled the moral impulses. With such ground for acquittal of the agent, offence was at once forgotten, and sympathy alone entertained.

As to the too eager pursuit of pecuniary advantage, which has been sometimes charged upon this artist, it may not be quite so easy to award entire absolution. It is very possible, however, that what seemed the love of money, was really the love of family, urging to provident collection. Should this plea be deemed inconclusive, there would still remain much excuse for the individual, in a certain bias, or tendency, that is notoriously far too prevalent among us. I mean that inveterate habit of referring all things to the _commercial principle_, which, causing the musical art, in this country, to be regarded mainly as an object of _gain_-is bitterly unfavourable to the growth of a kindly feeling among its members (each of whom too often learns to consider his neighbour as a rival to be repressed, rather than a friend to be a.s.sisted)-and wears down the enthusiasm for high art, by a vexatiously incessant attrition with common arithmetic.

"Non bene conveniunt, nec in una sede morantur, _Plutus et Euterpe_!"

In Germany, on the contrary, where art is loved chiefly for itself, and where moderate desires attend its exercise, the social feeling among musical men-a thing delightful to witness-is as beneficial in its influence on the character of the individual professor, as in its effect on the general interests of the art. The same remark applies, in a lesser degree, to the credit of the musical profession in France. It is not too much to hope that the now obviously increasing diffusion of musical taste and intelligence among ourselves, will bring, as its ultimate consequences, a diminished care for emolument, and a closer fraternal feeling among our artists.

To advert more minutely to Mori's powers as a Violinist-since he was not great in _all_ the requisites, it follows that he can scarcely be regarded as an artist of the very highest order. That mechanical command over the executive difficulties of the instrument, for which he was so remarkable, and which enabled him, when yet a boy, to delight the lovers of the surprising-was his chief merit-"the pith and marrow of his attribute." The tuition he received from Viotti, that most vigorous of Violinists, was of great importance in directing and maturing his great manual capacity; but, though he derived from him, and from his own a.s.siduous study, a full, free tone, a dashing execution, and the most accurate neatness,-his temperament, somewhat hard and ungenial, seems to have been too little in accordance with Viotti's, to admit of his fully acquiring _all_ the advantages which that great preceptor was fitted to impart. He caught most felicitously the art of triumphing over difficult pa.s.sages-the perfection of mere fiddling-but he had not the soul

"To s.n.a.t.c.h a grace _beyond_ the reach of _art_-"

to awaken, through the magic of expression, those deeper sensibilities in which music finds the truest source of its empire. Mori's playing, with its powers and its deficiencies, was admirably suited to the apprehension and desires of a fashionable audience. It was showy, but not profound; striking, but not moving; full of artificial neatness, with little of natural grace. His hand wrought to more purpose than his mind. He was (before the malady that finally subdued him) a man of rigid nerve, and had all the advantages that confidence could bestow,-and these, especially in solo playing, are far from inconsiderable-but then, for want of the sensitiveness pertaining to a more delicate organization, he lost the finest part of what _might_ have been accomplished. He has occupied a very marked place amongst English instrumentalists; but, for the reasons here alleged, the impression he produced seems not likely to prove of a very durable character, so as to secure to him any considerable future importance in musical annals. As a composer for his instrument, he possessed very slender pretensions. His performance itself, admirable as it was in some points, sufficiently shewed why he could not hope to distinguish himself in composition. The few manifestations he made in that way have given no cause for regretting his general habit of trusting to the works of others, for the musical ideas which he had to convey[59].

Mr. LODER, of Bath, long prominent among provincials, and not unknown in the metropolis, was justly esteemed for his knowledge of the orchestra, and his utility as an able leader.

Mr. HENRY GATTIE, welcomed in his youthful days as a charming solo-player, in which capacity he ran for a time a pretty close race with Mori, has since contented himself, for the most part, with the less ambitious employment of orchestral playing; but his finished taste, and true musical feeling, ensured him a very favourable attention, when, on the memorable occasion of the experiment at Quartett performances (to be presently referred to), he took the Second Violin part among the confraternity at the Hanover Square Rooms.

ANTONIO JAMES OURY was born in London, in the year 1800. His father, a native of Nice, of n.o.ble descent, left home to follow the early campaigns of the then General Buonaparte-was taken prisoner by the English, and lodged near Southampton, at which place he married, in 1799, the daughter of a Mr. Hughes, not unknown in literary circles-and then followed the joint profession of musician and dancing-master, possessing, at the same time, great natural capacity for several branches of the fine arts.

The subject of our present sketch, at the age of three years, commenced his infantine attentions to the violin, under the tuition of his own father, and of the father of our talented composer, George Macfarren. In 1812, young Oury became the pupil of three eminent professors-Mori, Spagnoletti, and Kiesewetter. In 1820, he heard Spohr for the first time: as a result of the impression then received, his perseverance became so great, that, for the s.p.a.ce of seven months, he practised no less than fourteen hours a-day! In the same year, he went to Paris, to study under those magnates of the modern French School of the Violin-Baillot, Kreutzer, and Lafont. From each of these masters (and without the knowledge of the others) our young artist managed to take two lessons a week, for several successive winters, at the same time studying composition under Monsieur Fetis. He then made his _debut_ at the London Philharmonic Society, at the Concert given for the widow and family of his late master, Kiesewetter. He also became a member of the "Ancient Concerts," Philharmonic, and Opera orchestras, and joint leader with Francois Cramer, at the Birmingham, York, Leicester, and Derby Musical Festivals-and also made several operatic tours in Ireland and elsewhere.

In 1826, Oury was engaged as Leader of the Ballet, Sub-Leader of the Opera, and Solo-Violin, at the King's Theatre; and, as successor of Mori and Lacy, he held this tripart.i.te post for five years-displaying, whensoever the occasion permitted, the graces of a light and free execution.

In 1831, Mr. Oury married the distinguished pianiste, Mad??? Belleville, whose father had also been an officer of Napoleon's, and was afterwards French Tutor to the Princesses of Bavaria. His first trip with Madame Oury was to Liverpool, as Leader of De Begnis' Italian Opera, where they gave, conjointly with Paganini, a grand Concert at the Theatre Royal, in behalf of the local poor. In 1832, they left England for Hamburgh, Berlin, St. Petersburgh, and Moscow, giving (in all) twenty-three Concerts, during a residence of two years, in Russia, and returning (after playing at the Imperial Court) to Berlin. They next visited Leipzig, Dresden, Prague, and Vienna-making a brilliant sojourn of two years in the Austrian capital. Mr. Oury visited Pesth and Buda, alone and gave seven Concerts, with great success and profit; played in presence of the Imperial Court, at the Bourge Theatre, Vienna, and returned to Munich. Again (accompanied by Madame Oury) he gave Concerts in all the princ.i.p.al towns of the Rhine, till they arrived in Holland, where Madame Oury was attacked by a serious illness, which interrupted a number of professional engagements. After a successful tour, however, to all the chief towns of Holland, they returned to Dusseldorf, on the occasion of the first performance of Mendelssohn's Oratorio of "Paulus."

At Aix-la-Chapelle, they gave Concerts in conjunction with their friends Malibran and De Beriot-visited Belgium-played at the Court-and then resided two years in Paris, with Paganini, at the _Neotherme_. During this period, Mr. Oury entered the orchestra of "Les Italiens" (then performing at the _Odeon_), and made himself conversant with the operas of Donizetti, under the author's own conducting. Subsequently, he returned to England, after an absence of nine years.

In 1846 and 47, again visiting Italy, Mr. Oury and his accomplished partner gave Concerts at Rome, Naples, Venice and Milan, and returned to England in 1848. Mr. Oury next accepted the post of Leader of the Seconds, on the notable occasion of Mr. Balfe's forming a new orchestra (to meet the opposition of the Royal Italian Opera), at Covent Garden.

Before taking leave of the subject of this notice, a few particulars remain to be added. Mr. Oury, with his accomplished wife, has composed a number of brilliant Drawing-Room Duetts Concertante, for piano and violin, which have procured their _entree_ to most of the musical saloons and Courts of Europe. Mr. Oury has had no scanty share of honours bestowed on him-such as the being appointed one of the Professors at the Royal Academy of Music in London, at the time of its foundation-a member of several Continental Philharmonic Societies-and an honorary member of the Academy and Congregation of St. Cecilia, at Rome.

By these distinctions, it is sufficiently denoted that he has secured to himself a reputation through a large part of musical Europe.

It has been said, that a sense of injustice during the encounter with professional jealousies in the home field of exertion, first drove this clever artist to take a wider range, and visit continental cities. If so, he has no reason to regret the event, having abundantly "seen the world," and gathered of its laurels to any reasonable heart's content.

Among the professional pupils whom Mr. Oury has had the honour of aiding in their early practice, may be mentioned the well-known composers, George Macfarren and Sterndale Bennett, and (of amateurs) that distinguished dilettante and cla.s.sical violinist, the present Earl Falmouth.

JOSEPH HAYDON BOURNE DANDO, well-ent.i.tled to honourable mention among English violin-players, was born at Somers Town, in the year 1806. At an early age he had developed a taste for music, and, under the guidance of his uncle, Signor Brandi, attained to considerable facility of execution on his instrument.

In 1819, he was placed under the tuition of Mori with whom he continued his studies (off and on) for about seven years, although no great cordiality appears to have been established between them. They were, in fact, of essentially different temperaments. After some years of practical training, during which he had mastered most of the difficulties written as _concertos_ and _studies_ for the violin-finding the influence, as well as the disposition, of his master, opposed to the display of his acquirements in what may be termed musical gymnastics, our young artist wisely (and, for the advancement of musical taste in this country, fortunately) turned his genius and talents to useful account, in studying and ill.u.s.trating the higher order of beauties contained in those charming works which had been written, by some of the great masters in composition, for "chamber-performance;"

more especially the _quartetts_ of Haydn, Mozart, Beethoven, Spohr, &c.

Although opportunities for exhibiting his proficiency, as a solo-player, were restricted, they could not be entirely suppressed. Enough has transpired to warrant us in the conclusion, that, with a fair field, Mr.

Dando might, in that branch of his art, at the present day, have stood second to none. As a _quartett-player_, he has achieved a reputation which places him in the front rank of contemporary violinists.

Any notice of Mr. Dando's professional career, which should pretend to throw a light on his progress and present position as an artist, must necessarily include much that properly belongs to a history of the rise and progress of Quartett-performances in England. It is to him, probably, that we are indebted, not only for the first public introduction of the Quartett in London, but also, in a great degree, for our present familiar acquaintance with those elegant works, which have of late years so largely contributed to the increase of our musical enjoyment. A license may therefore be reasonably solicited for diverging into matter which, under other circ.u.mstances, might appear foreign to the purpose of a mere biographical sketch. It is presumed, however, that no apology will be required for crossing the strict boundary line, by stating some of the following particulars; seeing that they, in reality, are quite _apropos_ of the general design of this work, and come with propriety under the present section of it.

From his youth upwards, Mr. Dando's society appears to have been courted, and his talents appreciated, by most of the amateurs of music in that part of our metropolis designated as the City, where more intimately he was known, owing to early introduction; and where his agreeable manners, added to his professional merits, contributed to the formation of some lasting friendships, as well as valuable connexions.

Of these gentlemen, some were well skilled in the performance of the favourite works of the great quartett writers; and a larger number were qualified to form an accurate estimate of their merits. The charm of Mr.

Dando's style, as a quartett-player, had in due time (about the year 1834-5) rendered the fact apparent to his friends, that the choice works of those masters, which were the delight of the initiated, still remained "a sealed book," not only to the general public, but even to the ordinary _habitue_ of the concert-room; and it was thought that they only required a fair introduction, to secure to them that favour in public, which they so largely attracted in those private musical circles where they were familiarly known. Accordingly, in the year 1835, a subscription was opened amongst the amateurs-Mr. Dando's more immediate admirers-for the purpose of submitting some of these works to more open notice. An occasion of distress was selected as an excuse for an evening's public performance of quartetts, trios, &c. the profits of which were to be presented to a worthy individual who had fallen into pecuniary difficulties, and was about to quit our sh.o.r.es, to better his fortunes in America. A party was formed, with Mr. Dando at its head, and the First (as far as we have been able to ascertain) Public Quartett Concert in this country, was given on the 23rd September, 1835, at the Horn Tavern, Doctors'-Commons. This presentation was the commencement of an epoch in the musical history of this country. On the occasion, the amateurs mastered in force, and brought their friends, to support the two-fold object they had espoused. The evening pa.s.sed away in raptures.

A second public trial was immediately undertaken, and announced for the 12th October, in the same year; and then a third (on the 26th October), each, in succession, proving more widely attractive than its predecessors. So unequivocal was the success of these experiments on public taste, and such was the _furore_ excited in the musical world by them, that from these performances may be dated the _establishment_ of Quartett Concerts in this country.

As might be expected, the first blow so effectively struck, led, by its own impulse, to a regular series, which followed at rapid intervals (first at the same rooms, and afterwards at the London Tavern), between the 13th January, 1836, and the 31st January, 1838, two consecutive seasons.

In the mean time, an early spark had fired the train, and the idea extended to the west end of the town, where a company of talented professors combined to set on foot a sequence of similar attractions; and four had been quickly announced under the t.i.tle of "Concerti da Camera," at the Hanover Square Rooms, for the 7th and 21st of November, 5th and 19th of December, 1835. At the fourth of these meetings, Mr.

Dando was engaged to play the princ.i.p.al _viola_ part in Spohr's Third Double Quartett. The effect of his performance of the part was notable; inasmuch as it led to an immediate invitation from Messrs. H. G.

Blagrove and Lucas (the princ.i.p.al Violin and Violoncello on that occasion) to join _them_ in the formation of a select party, for the more perfect study and presentation of Quartetts and other chamber instrumental compositions, which, by this time, were beginning to attract universal attention. Mr. Dando acceded to the proposition, and enrolled himself as the tenor-player of a party which was completed by the subsequent adhesion of Mr. Henry Gattie, as second violinist. The party, thus const.i.tuted, brought before the public the first of their "Quartett Concerts" at the Hanover Square Rooms, on the evening of the 17th March, 1836, with a completeness of effect in the _ensemble_, that threw all prior performances of their kind into the shade.

Under the impression produced by an audience of these interesting confederates, was penned the piece of panegyric that here-under asks the indulgent attention of such of my readers as are tolerant of verse:-

Happy the man of taste that's led Hither, to have his cravings fed!

He who this dainty circle nears, Takes in _ambrosia_ at the ears, Through a new sense, revives a fable, And finds a feast that needs no table!

When thus _as one_ are met these _four_, What treat can Music yield us more?

Ye birds, that haunt by night or day grove, Yield, yield in _dulcetry_ to _Blagrove_!

Say, is he not, while warbling now, Well worthy of a _topmost bough_?