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MUSICAL AND LITERARY MISCELLANY.
29
BEETHOVEN'S BATTLE SYMPHONY.
If grandeur of effect, originality of invention, and
energetic passages, are to be considered as neces-
sary constituents of that musical compound — an
instrumental piece; it is not probable that any other
piece of the same length can vie with this specimen
of what a man of genius, and only a man of real
genius, can accomplish when he is determined. In
the midst of all the seeming confusion which the
title of this piece would lead us to expect in the per
lormance of it, there is one passage trifling in itself,
but which, from the way it is introduced, shews the
muster-hand as fully as the most elaborate Sym-
phony could possibly do. I allude to the air of
Malbrook, which is at the beginning of the sin-
t'oiiia, understood as the national march played by
the French army in advancing, but as the horrid
" confusion worse confounded'' proceeds gradually
to accumulate, we are morally certain that they are
giving way, they fall in numbers under the British
army, the whole band are dispersed, and only one
Jifer is heard attempting to keep up the fast fleeting
valour of his countrymen by playing Malbrook, but
the fatigue he has undergone, and the parching
thirst he endures, obliges him to play it in the mi-
nor key— sorrowfully, instead of the joyful march
played by his comrades before the battle. It may
be considered fanciful, but 1 really think there is
as true and genuine a touch of nature in this pas-
sage as can be found even in tiie dramatic writ-
ings ofthe " Bard of Amn."— Quarterly Musical lie-
vieiu, 1821.
THE MIGHTY CONQUEROR,
GLEE FOR FOUR VOICES.
ALTO.
1st TENOR.
2d TENOR.
BASS.
AUegro con spirito.
S. VVebbe.
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