The Sun.
London, England, 1845-03-28 00:00:00

411.
HER MAJESTY'S '
THEATRE.
The history of Felicien David is a perfect romance.
Born in a French provincia itown, he in very early
life exhibited symptoms of musical genius, and be-
came a chorister. Removing to Paris, he made music
his profession, but could barely earn a livelihood by
drudging in the lowest ranks of the musical world. Of
an enthusiastic temperament, he joined the St. Simon-
ians, became the intimate friend and associate of Pere
Enfantin, and with him undertook a journey to Egypt
for the purpose of endeavouring to convert the Ma-
hommedan nations of Africa to the creed of St.
Simeon. While he was in Egypt, a caravan was
about to set off for Mecca; David joined it, and per-
formed the pilgrimage across the desert to the Holy
City. While traversing the vast wilderness, his mind
became thoroughly imbued with the spirit of the
place, and in the desert he composed that sublime
symphony and ode which has secured to him his
name and his fame. Returning to Paris, David in vain
endeavoured to get an orchestra to undertake the per-
formance of his symphony. It was the work of an
unknown man, and, therefore, rejected. At length,
one night in last December, M. Leon Pillet, as a
last desperate attempt to retrieve the fortunes of the
Academie Royal de Musique, consented to produce
David's symphony. It was a novelty, and if it at-
tracted, it would be sure to pay—if it failed, the ex-
pense of getting it up would not be much.
That morning Felicien David took the score of
his symphony to the music publisher, who
refused him two hundred francs for the copyright.
It was produced—it succeeded, and the next morning
Felicien David became famous. The musical pub.
lisher, who the day before had refused to give 2001
francs for the copyright, offered 50,000 and was
refused. The poor, unknown, friendless musician,
became the patronised, the feted, the great man ;
and Filicien David has become the honour of his
country, the pride of the musical world.
On reading the notices given by the French
critics of this work, we were inclined to make
vast allowances for exaggeration. It was produced
at this theatre last night, and, we are bound to con-
fess that, in this instance at least, the French have
been guilty of no hyperbolical exaggerations. It is
one of the most sublime compositions that was ever
created by human genius. Since the days of Handel
there has been nothing like it for sublimity, for crea-
tive power, for descriptive beauty, for depth of thought.
It is the work of a genius, and of a genius of the
highest order—of a genius which has been tutored in
the school of adversity, and has not been permitted
to indulge in vagaries, but be compelled to learn—
and learn thoroughly—the rules of art. Not only
does David possess a creative genius of the very
highest order, but he is also the most accomplished
musician of his day. His instrumentation throughout
is perfect, and he plays upon the orchestra as though
it were one vast instrument, which he had com-
pletely under his command. But this perfec-
tion of musical knowledge is a mere minor
advantage which he possesses in common
with scores of other equally accomplished musicians;
but, in point of originality, of genius, of creative
power, Felicien David stands alone. If Handel is the
Milton, David is the Byron of music, and, like Byron,
it is from the East that he has drawn his inspiration.
The ode opens with two strophes, which are de-
claimed with an orchestral accompaniment. This
accompaniment at once arrests the attention for its
originality and its descriptive power. Never was the
idea of vastness and solitude more magnificently con-
veyed than it is by this opening passage of the ode.
Then follows the grand chorus—the song of the De-
sert, the glorification of Allah !—perhaps the most
sublime composition that ever was heard. The idea
itself is sublimity. The Desert itself, image of the
eternity and of the immensity of its Creator, bursts
forth into glorification of the Deity. It is more like
an inspired composition of one of the Hebrew pro-
phets of old, than any efforts of any merely human
creature. This is followed by a description of the
appearance of a caravan in the distance ; and a mag-
nificent fugue introduces the chorus of the caravan, a
beautifully expressive composition. Then comes the
Desert Tempest—the awful simeom's blast—the calm
returns—the caravan resumes its march. The chorus
of the caravan in its march, which concludes the first
part of the symphony, is beautifully expressive. The
sound is an echo to the sense throughout. The second
parts opens with a hymn to the evening star, which
was beautifully given by Moriani, and then follows
a magnificent chorus, the Liberty of the Desert.
Then comes "La Reverie du Soir," perhaps
the most exquisite morceau in the symphony.
Calm, smooth, and touching, of an almost voluptuous
character, the music of this exquisite air admirably
expresses the luxury of night in the warm and sunny
climes of the south. It was deliciously sung by
Moriani, and rapturously encored. This concluded
the second part. The third part opens with a de-
scription of sunrise—the appearance of the sun in the
horizon, his gradual increase of splendour, until at
length he bursts forth and awakes the world,
was admirably expressed by a crescendo movement
of very original character, gradually increasing in
intensity. This movement was applauded enthusias-
tically, and encored. The caravan resumes its march,
and gradually disappears in the distance. This was
also beautifully expressed, and the symphony closes
with a repetition of the song of the Desert, in praise
of Allahl We have thus given a slight sketch of
this most wonderful composition. It is the work of
a genius sublime, magnificent, and tender.
It is impossible to hear it without being
struck with awe and admiration ; but in order tho-
roughly to appreciate its beauties—in order properly
to understand the vastness of the genius of the mighty
master who has produced it, the Desert should be
heard, not twice, but a dozen times. It was preceded
by a fragment of a symphony in E flat—a Melodie
imitative a Grand Orchestre—a song, Les Hirondelles,
beautifully given by Moriani, and encored—a Melodie
Orientale a Grand Orchestre—a very quaint song,
Le Chibouque, sung with great effect by Corelli—
fragment from " Les Quatre Saisons," entitled,
Soirée du Printemps. All these are composed by
Felicien David. They are good, but there is nothing
particularly striking about them—nothing but what
a merelely talented musician might have produced.
But the Desert is original—is a creation; and the
earth holds not the man who could have created such
a composition, except Felicien David. The house
was very well attended, and a more attentive audience
we never saw assembled within the walls of her
Majesty's Theatre. Every musician of eminence in
town was present, and the attendance of the dilettanti
was excessively numerous.

THE WILL OF SIR THOMAS
FOWELL BUXTON, BART.
Probate of the will of Sir Thomas Fowell :Buxton,
late of Northrepps, in the county of Norfolk, Bart., and
of the firm of Truman, Hanbury, Buxton, and Co.,
brewers, Brick-lane, Spitalfields, in the county of Mid-
dlesex, was granted on the 25th instant to Sir Ed-
ward North Buxton, Bart., and Thomas Fowell
Buxton, Esq., the sons, two of the executors, a power
being reserved to Dame Hannah Buxton, widow, the re-
lict, and Andrew Johnston, Esq., the son-in-law, the
other executors, to prove hereafter. The personal estate
sworn under 250,0001. The will is of great length, and
dated 17th of October, 1844; witnessed by John Gurney
Hoare, of Lombard-street, and Esther Neave Lincoln,
of Northrepps Hall. Sir Thomas died on the 19th Fe-
bruary last. lie leaves his manuscripts and papers to
his son Edward and daughter Priscilla, either to publish
or destroy, or to be kept by his survivor, in compliance
with the wishes of his deceased sister Sarah Buxton,
from whom he has recently derived an addition
to his property. Leaves to his son Edward his
guns and sporting implements, and the selection of two
horses. Bequeaths to his wife the carriages, horses, and
the whole of the forniture, and directs 1,0001. to be paid
to her within one month, and 3,0001. at the end of twelve
months. The establishments to be kept up for six
months after his decease. Bequeaths to his daughter
Priscilla Johnson a legacy of 2,0001., and a further sum
of 5,0001. from his share in the brewery ; and to his
daughter, Richenda Buxton, the sum of 9,0001.; leaves
one-third of his share in the brewery to his wife for her
life ; appoints his son Charles to succeed to one-
third of his share in the brewery, and leaves certain
other portions to his family; the remainder of his share
and interest in the brewery he leaves to his son and
partner, Edward ; leaves the whole of his plate to his
wife for her life, and, at her decease, to be distributed as
follows :—the plate presented to him by his late consti-
tuents at Weymouth, and by his brothers, sisters, nephews,
nieces, and all other relations, he gives to his son Edward;
the plate presented to him by the young people at Wey-
mouth, he gives to his son in-law, Andrew Johnston ;
the plate presented to him from the Directors and
members of the Alliance Assurance Company, he
gives to his sons, Thomas Fowell, and Charles.
Other specific articles of plate lie leaves to his dagghters.
He gives his college prize books to his son Edward and
his children. Devises his freehold and leasehold estates
at Bunton and Fellbrigg, in the county of Norfolk, to
his son Edward North Buxton. Devises his freehold,
copyhold, and leasehold estates in Trimington, Side-
strand, Southrepps, Girningham, and in all other towns,
parishes, or places, in or near the county of Norfolk,
to his sons Thomas Fowell Buxton, and Charles Bux-
ton. Directs the Bellfield estate to be sold, and with
the share in the partnership of the brewery and the re-
sidue of his personal estate, to be held in trust, to pay
thereout 3,0001. a year to his wife for her life. Appoints
his son, now Sir Edward North Buxton, his residuary
legatee.

NEW PIER, GRAVESEND.—This work is now
finished, and was on Monday morning thrown open to
the public. The engineer is Mr. Redman.
On Tuesday night, between eleven and twelve
o'clock, some alarm was occasioned at Kingstom-bottom
by a horse and gig coming down to the Robin Hood gate
without any perFon. The horse was secured, and some
men immediately proceeded up the road towards London
in search of the party or parties who were in the vehicle.
About half a mile from the gate two gentlemen were
found lying in the road in an insensible state, and very
much cut and bruised. They were immediately con-
veyed to the Robin Hood public-house, and a medical
gentleman was called in, who in a short time restored
the gentlemen to a state of consciousness. One of them
Was recognised as a medical practitioner of Clapham.