“Proceedings of Societies. Royal Institution.” (The New Monthly Magazine)

Performer Name:

Accolti; Brandolino; Corilla; d’Aquila; Filefo; Gianni; Leoniceno; Lusciano; Marone; Metastasio; Mollo; Perfetti; Sgricci; Staël; Taddei

Performance Venue:

 

Performance Date:

 

Author:

 

Date Written:

 

Language:

English

Publication Title:

The New Monthly Magazine

Article Title:

Proceedings of Societies. Royal Institution.

Page Numbers:

36: 161-162

Additional Info:

 

Publisher:

Henry Colburn

Place of Publication:

London

Date Published:

1832

Text:

[161] The lecture on improvisation, delivered at the Royal Institution by the Marquis Moscati, created so strong a sensation, that, says the Literary Gazette, we were anxious to procure an extended report of it. But as our friend, the learned and accomplished lecturer, delivered his discourse without notes, we are sorry to say that we can afford but a meagre statement of what made so powerful an impression upon an auditory of some seven hundred persons, including about two hundred ladies. Well aware of the extraordinary gifts and talents of the Marquis, we can only hope that our disappointment in this instance may be, to a certain degree, compensated by his being induced to continue his brilliant labours in the same theatre of high literary and intellectual resort. The following notes were taken by an able auditor:—

After having given a philosophical definition of poetry, the lecturer declared that extemporaneous poetry is nothing but a divine mania, arising from irritation of the nervous system, and from over-excitement of the brain. He then introduced a great variety of the most renowned improvisatori of all ages, and of many different nations. The Hebrews were first mentioned, and David and Judith were described as truly inspired poets; and specimens of their extemporaneous poems were quoted in the Hebrew language. Next came the Phœnicians; and Marbat was cited as their best improvisatore. The Carthaginian improvisatori were afterwards commented upon. With Virgil the lecturer praised Iopas, who sung extemporaneous poetry at the banquet which Dido gave to Æneas. Hannibal also had with him at Cyma an improvisatore, called Hamicar, who died in that city. The renowned Carthaginian traveller, Hanno, was accompanied into the interior of Africa by Satubal, who was accustomed to sing extemporaneous poems for the amusement of the company. The Egyptians were also endowed with the gift of improvisation; and the lecturer pointed out Berytas, the poet of Cleopatra. Several Greek improvisatori were also introduced; and after having spoken of Homer, Orpheus, Corinna, Sappho, and Musæus, the Marquis, by quotations from Strabo, proved that there existed a Thyrsian academy, where only improvisatori were admitted. Several Arcadians, and especially Thyrsis and Corydon, were much commended. From Greece he passed to Rome, and with Dionysius of Halicarnassus quoted an extemporaneous poet who lived under Romulus. He then alluded to Archias, who has been celebrated by Cicero. Quintus Rennius Fannius was also cited as a renowned Roman improvisatore, and the testimony of Suetonius was produced: lastly, a young Roman was mentioned, as having been publicly crowned under Trajan, for his extraordinary genius in extemporaneous poetry. From the Germans he selected the Minnesingers and Leibesingers, as their best improvisatori. The Provençal Troubadours, the French Trouverers, and the Spanish improvisatori, were also described. The lecturer did not show great admiration for French poetry. He introduced Lord Byron, as an English Improvisatore; and cited some lines from an extemporaneous poem, which the English bard composed in the Campo-Santo of Pisa, in his presence. In speaking of Italy, he seemed animated with feelings of grief, and divided the improvisatori of his unhappy country into two classes, the educated and the uneducated. Of the latter he mentioned three, of whom he gave several specimens; and in analysing a stanza of a Neapolitan lazzarone, he caused general merriment, and was universally applauded. The lecturer then widely described the most celebrated educated improvisatori: these were Serafino dell' Aquila, Bernardino Accolti, Brandolino, Giammaria Filelfo, Niccola Leoniceno, Andrea Marone, Bernardino Perfetti, Corilla Olympica, Metastasio, Don Caspare Mollo, Duke of Lusciano, Gianni, Sgricci, and Taddei. He stated that Madame de Staël had taken the principle character of her "Corinne" from Corilla; and that Oswald of Corinne was the late Duke of Gloucester. He went on to demonstrate, from Latin passages, physiological observations, and historical facts, that the improvisatori when singing are under the powerful influence of a spiritual mania. Having, lastly, given an explanation of the art of improvisation, he demanded rhymes for a sonnet. These were given from Petrach; on which he first composed a sonnet on Naples, and then another on Love: both the subjects were proposed by the audience. The lecturer offered to sing an extemporaneous poem, accompanied by music, but it was in vain that he appealed to the gentlemen for the accompaniment. A kind lady, however, descended from the gallery, and having taken the tune on which he was to sing, a subject was demanded; and Music was given as the theme, and sung. We subjoin a copy of the verses.

	ODE ON MUSIC
	Delle sfere l' eterna armonia, 
	    Che nel giro de' lor movimenti
	    Fan con dolci graditi concenti
		L'alto empireo ognor risuonar, 

   [162] Della Musica sveglia l' idea, 
	    E la strana concordia c' attesta, 
	    Che col basso il soprano n' innesta,
		E produce il soave cantar. 

	Il volatile stuol, che s' annida
	    Ne' giardin, nelle selve, ne' mouti,
	    Se alla Musica ancor tu confronti, 
		Trovi esempio di grato piacer. 
	Filomela, che narra dolente
	    Con dolcissima voce il suo amore,
	    Gi risveglia un diletto nel core, 
		Che ci fa del suo canto goder. 

	Quando l'uomo è dal duolo depresso, 
	    Puo la Musica torgli la noja,
	    E destargli nel seno la gioja,
		Anche in mezzo al più crudo dolor.
	Deh! mirate il soldato, che corre
	    Spensierato al periglio, alla morte, 
	    Sol la Musica il rende più forte,
		E lo sprona nel bellico ardor.

	Colla Musica vince l' amante
	    La durezza di quella ch' adora, 
	    Colla Musica il Nume s' onora, 
		Colla Musica onorasi il re; 
	Colla Musica in petto s' accende
	    Del poeta quell vivido ardore
	    Che lo fa improvisar nel furore, 
		E lo rende maggiore di se. 

	Ma la Musica invano cercai
	    Fra la dotta gentile udienza,
	    Ch' ascoltommi con grande pazienza,
		E d' applausi mi rese l' onor. 
	Se non fosse per questa donzella
	    Che dengo d' ajutarmi nel canto, 
	    Io per certo perduto avrei il vanto
		Di spiegarvi de' vati il valor. 

The next subject proposed was Poland, and the lecturer, in singing of that unfortunate country, took a very elevated tone: his words, his actions, and his voice, seemed extremely agitated. At the end, universal applause was accorded; and a venerable Polish gentlemen, with his eyes in tears, twice embraced the poet before the company, and expressed his admiration. The entire scene is such as is rarely witnesses with our calm temperament, and in our phlegmatic climate.

Notes:

Collected by:

CB