countries, and Scotland, perhaps, is the only district in the world that retains an artless melody. The bards, troubadours, and minstrels, were the welcome guests of kings and princes, who showered upon them the greatest favors; and as they wandered from court to court, they sowed the seeds of science, and spread a musical taste. Prior to this, songs could have been little better than the mere tones of the voice, expressing the sensations of the heart, often springing more from melancholy feelings than those of joy. With shepherds, and persons of rural life, either ' in the valley or by the hill side,' they have always proved a source of pleasure in whiling away time, or in conveying tender sentiments to those whom we love. The Scotch, not having mingled with the musicians of the Continent, have preserved the ancient character of their music more entire than any other country: the pathetic effects of it may be ascribed to the use of the minor key, the only key known to the Greeks and Romans, from whom these primitive airs have no doubt descended. On the introduction of accompaniment, the voice surrendered its predilection for the minor key; and the major, so natural to the joyous instruments, disputed its ascendency. Melody, however, has been much improved by the alternate use of these keys, and none more so than that of the Scotch. As specimens of touching simplicity, we refer to the 86, 92, 100, and 130. pages The national songs of Europe are but few. France has her 'Charmante Gabrielle;' Spain, 'Les folies d'Espagne;' and Venice her boat-songs: from the latter the Italians have caught that flowing ease which marks the beauty of their melody. The most ancient of our English songs are of a grave cast, and commonly written in the key of G minor. At page 318 we have a specimen of this style, which, at times, may still be heard among the common people. If we can set up any claim to originality, it is in our glees and anthems. Dr. Percy, in his learned Essay on the Ancient Minstrels, informs us, that a class of these persons were called Glee-men, who, no doubt, were the first who performed vocal music in parts. The earliest pieces of this kind upon record are by our madrigal writers, and were probably founded upon the taste of the Italian school. Compositions for the church were not set to English words until the time of Tallis, since which, the anthem has been brought to the highest state of perfection by our countrymen Croft, Green, and Boyce. The choicest pieces of these authors are to be found in the third volume of Sacred Melodies-these will remain for centuries the ornaments of the English church.* It was not till about the year 1770, that glees became the taste in England, and formed a prominent part in the * Dr. Croft, see pages 289, 330, 343, and 565, private concerts of the nobility. At this time the celebrated violinist, Giardini, arrived in this country. Being on a visit to Lord Sandwich, at Hinchingbrook, he felt so annoyed by the incessant round of glee singing, that he pettishly said, 'If dat be de moosic for de English, he compose de glees.' On being encouraged by Lord Sandwich, he produced the next day, at dinner, the following convivial trio. To add to the spirit of the piece, each singer having filled his glass, when he came to the holding note BAW, applied it to his mouth, as if he were drinking, receiving the animated bravos of his companions. My friend, Mr. Cradock, who was present, informed me, that the interesting Miss Ray always assisted at these musical parties.* About this period, the art of glee-writing was much en * This gentleman had been with Lord Sandwich to Cambridge, to vote for the professor of chemistry, and on returning, met with Major Reynolds, who introduced to him a brother officer, Captain Hackman, upon which his Lordship insisted on their alighting to partake of a family dinner. The party consisted of Miss Ray, a lady with her, and the four gentlemen. In the evening, his Lordship being fatigued, retired early. Cards were introduced, and Captain Hackman requested only to look on. This fatal interview led to the deepest tragedy; the intermediate scenes of which, are only to be found in that extraordinary book, entitled Love and Madness. Hackman lingered in the neighborhood of Hinchingbrook while the idol of his fancy continued there, and soon afterwards followed her to town. At her instance he relinquished the army for the church, in the hope of marrying her. Too sensible of her charms, and peculiar situation, on the night she was at Covent Garden Theatre, he planted himself at the door of the Bedford Coffee House, and shot her through the heart, as she was handed into her carriage by a gentleman of the Admiralty. H |