The National Register.
London, England, 1815-06-18 00:00:00

VINE ls.

metieciti his stint ,Nation, Re.
neral so contrary to the habits of studious men, is the
less trifling here, as one of. the greatest writers had the tame
peculiarity. It is well known that Buffon, before he gave
tray to his meditations, or took up his pen, dressed himself
as elegantly as if he had on the same day to appear at cs.urt,
or in some public astembly. After having described the per-
sonal habits of our excellent artist, we must proceed to the
description of his works: though this part of the undertaking
of M. Bombet, as he vety justly observes, requires rather a
piano-forte than a pen. Let us see, however, how successfully
he has used common language, to express a language of
sounds, and that influence, frequently undefinable, which
music gains over our organisation. "The allegros of Haydn's
symphonies are generally lively and full of tire, and mostly
commence with a short, clear, and simple exercise, which by
degrees, and by a composition replete with genius, is repeat-
edby various instruments, until it acquires a mixed Style of
sublimity and gaiety.
"These serious strains may be compared to the deep shades
of Rembrandt or Guerchino, which gave such wonderful ef-
fect to the lighter parts of their paintings.
4. The author appears to conduct you, in the midst oft
ahysies, but a continued pleasure obliges you to follow him:
in his eccentric course. The description which 1 have just.
given, appears to 'be common to his prestos and his rondos.
"'There is more variety irrhis andantes and his •adagios : in
these the sublime style shines in all its majesty. The musical
_ _

phrases or ideas are unfolded in a grand and striking manner;
ell their members are clear and distinct ; each of them has a
marked character. It is the style of Buffon, when his ideas
were most luxuriant. More energy than softness is reqtdired
.to execute the Adagios of. Haydn mile masterly manner. They
have rather the porportions of a Juno than a Venus. More
serious than pretty ; they breathe a tranquil and energetic
dignity, and are sometimes tinctured with a little German
heaviness.

lu the Andante, the dignified style occasionally gives
way to a moderate .gaiety; sometimes the author suddenly
yields to the force and abundance of his ideas. This extrava-
gance, this excess of-animated vigour, exhilarates and hurries
on the whole composition, but excludes neither passion.nor,
sentiment.

" His minuets are the pure emanations of genius ; so rich
in• harmony and ideas, and possess such an accumulation of
beauties in so small a space, as would have been sufficient,
with a man of less talent for the production of a sonata. It
is in this sense that Mozart.said of our comic operas:---that
every man in health should be able t• compose an opera of
that kind every day before breakfast. The second parts of
Ilaydn's minuets are generally comic, and possess the most
admirable originality.
" The music of this great master generally evinces the
most romantic imagination; in vain do we look fur the elegant
simplicity of Racine—it is rather the wildness of Ariosto or
Shakespeare, and this is what has prevented me from compre-
hending the cause of his success in France. Very few people
are aware, that this inimitable composer has produced several
operas in different styles, which it is unpleasant to confess are
scarcely above mediocrity. It was Mozart alone; Mozart, who
was carried off at the age of 33, who had studied and excel-
led in every known variety, from the simple ballad and
waltz to the lyric tragedy and sacred music."
M. Bombet has devoted a part of his memoir to this wor-
thy friend of Hadyn, and this part is far from being the least
interesting; and, although we may think his opinions a little
bold. still he has written as a sincere amateur, that is to say,
with fire and sensibility.

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