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LA BELLE ASSEMBLÉE;
Blessings of a happy Marriage .................. 32 can I be?
English Opera.- Account of the Performers ib.
French Comedians at the Argyle Rooms ib.
Little Red Riding Hood
Theatre de la Gaite.-Of The Little Beggar
LA BELLE ASSEMBLÉE;
For JULY, 1818.
Pew and Improved Series.
BIOGRAPHICAL SKETCHES OF ILLUSTRIOUS AND
Number One Hundred and Twelve.
MISS CLARA FISHER.
This very young lady, whose extra seventeen nights to crowded houses.ordinary talents may justly be deemed | On the 8th of March, 1818, she appeared wonderful at her early state of infancy, is in the pantomime of Gulliver, at Coventthe fourth daughter of Mr. Fisher, a re Garden, in the character of Richard III. spectable auctioneer; and was born on the and where she performed it before the 14th of July, 1811. Nature endowed her Prince Regent and a numerous list of per. with an uncommon share of intellect; and sons of distinction. Mr Elliston engaged such was her nicety of ear to music, in her for a few nights at Birmingham, where wbich she took great delight, that soon she was received with the warmest ap. after she could walk she would learn any | plause; her success has been equal at Worair with the truest correctness, after hearing cester, Bath, and Bristol. We are credibly it played only once or twice on the piano- informed that she means this summer to forte. Her parents were not frequenters || visit Brighton, Margate, Southampton, of the Theatre, therefore her dramatic ta- || Weymouth, and the principal wateringlents are the more extraordinary: That | places, previous to her engagements at powerful attraction, Miss O'Neill, induced, | Dublin, Edinburgh, Liverpool, &c. however, Mr. Fisher and his family to visit Our readers caunot but recollect the Covent-Garden, when that lady appeared well-merited encomiums bestowed on this in the character of Jane Shore; and the charming and interesting child in the daily little Clara, on her return home, evinced prints, after her performing in Lilliput and the impression made on her miud by the | Gulliver. Enchained by surprise and adperformance: she retired into a corner of | miration, the lash fell from the hand of the apartment, and went through, in dumb criticism, and all, unanimously, bestowed shew, all she had witnessed ; she was ihen the meed of well-earned praise. under four years of age, and her aptness to
Two elder sisters of the interesting Clara, imitate all she saw continued several are very promising young actresses, and months.
perform counter characters to the lovely Mr. D. Corri, the celebrated composer,
infant. They are constantly noticed by proposed to bring out a drama altered from the higher classes of society, and invited to Garrick's Lilliput: to Miss Clara was the most fashionable parties, where their assigned the character of Lord Flimnap; juvenile talents, devoid of all conceit or and on the 10th of December, 1817, she'' presumption, though they must b conmade her first debut before a London scious of their excellence, ensure them the audience, where she met with the most most flattering reception. flattering reception, and the piece ran for
HISTORY OF MUSIC.
A BRIEF HISTORY OF MUSIC,
FROM THE BEST
(Continued from Vol XVII. page 245.)
If we peruse attentively the ancient in that of Provence. Les Grandes Chrohistorians and poets of France, we shall find niques de France inform us, that Thibaut, that their military songs were of the high- || at the age of thirty-five, having conceived est antiquity. In these they celebrated a violent and hopeless passion for Queen the heroic and martial deeds of their great | Blanche, was advised to apply bimself to commanders; and they were sung in cho music and poetry. He did so; and prorus by a whole army when going out to duced the most beautiful songs and meloattack an enemy; which custom they pro. dies ever heard. It is the opinion of the bably derived from their German ancestors. French antiquaries, that the tunes of the Charlemagne was particularly fond of these ancient MSS. of the songs of this Prince warlike songs, and like our own Alfred, were originally set by himself. collected them and learned them by heart. The fourteenth century seems the era It was customary at that time to have a when music in parts, moving in different Herald Minstrel, chosen on account of the melodies, came first in favour. In the prestrength and clearness of his voice, which ceding age we can find no music of more not only qualified him for animating the than two parts, in counterpoint of note soldiers to battle, but also for making pro- | against note. clamations of the public ceremonies ; he
From the close connexion of the arts to was also accustomed to sing metrical songs each other, we cannot trace the progressive at public festivals. The famous song of improvement of music in Italy, without Roland, continued in favour among the first speaking of its language. Its sweetFrench soldiers as late as the battle of ness and facility of utterance render it cerPoictiers, in the time of John of France. tainly more favourable to singing than any
In the time of Philip de Valois, between other language. The sweet eloquence of the years 1228 and 1250, the French had in the Tuscan dialect renders it superior to use more than thirty musical instruments; all others for expressing words set to muthe form of the greatest part of which is sic; and the lyric verses of Italy were long unknown to the present age. Among known to be superior to every other kind them, however, are the following well- of poetry. known instruments of modern times flutes, Though the French wrote verses in their harps, hautbois, bassoons, trumpets, small own dialect much sooner than the Italians, kettle-drums carried by a boy and beaten yet their language was brought to no perby a man, cymbals, tambour de basque, two | fection till the close of the century before long speaking trumpets, two large hand- | last, but the writings of the Italians even bells, guitars, bagpipes of various kinds, a of the fourteenth century, are regarded as dulcimer, a rielle (or as it is vulgarly called perfect models, both as to diction and cona hurdy-gurdy), and regals, or what we struction : and, indeed, in that century all call portable organs.
the nations of Europe began to cultivate In regard to the French vocal music, the the art of poetry; but none were so sweet poets made a particular line of an old song and tasteful on this head as the Italians, the refrain, or burthen to the new. The In the History of Malaspina we find mensongs of Thibaut, King of Navarre, are tioned a chorus of women singing through placed at the head of those that have been the streets, accompanied with cymbals, preserved in the French language, as those drums, flutes, viols, &c. in the year 1208, of Guillaume IX. Duke of Aquitaine, are when Prince Conrad was marching against