| Citation |
NM.783.064
11 Oct 1783:21, 22 (1150)
By the late arrival of Captain Truxon, at Philadelphia, and
Capt. Barnwel, at New-York, from London, we have received
the following intelligence, viz. . . .
London, June 9.
On Monday evening last, one of the most extraordinary
attempts to prove the power of music, that ever yet has been
made in this Kingdom, was exhibited, in the style, and under
the title of a concert, at the assembly room, St. James's.
The idea was that of representing the martial music, din,
and horrors of an embattled army, so as that the tones of
the different instruments should cause the ear to believe a
reality of the action, whilst the eye was convinced of the
inimitable deception.
The entertainment commenced with a grand overture,
composed for two orchestras, and divided into allegro,
andante, and presto parts, as a prologue to the battle.
The call to arms following; and several random cannon and
musket shots interchanged between the two orchestras, were
so distinctly imitated in music, that we were led to imagine
the actual presence of the bursting powder, the real noise
of the whistling ball. These gradually encreased, as the
armies were supposed to near their distance, until an
allegro moderato gave the thunder of the artillery, the
regular fireing of the platoons, the press from one army on
the redoubt of the other, the final attack upon the first
line with musquetry, and then carrying the redoubt by storm.
Here followed a representation of a tempest attended with
thunder and lightning, which offered a temporary rest to the
two orchestran armies.
A recitative with accompaniments expressed a council of
war. After which the signal was given for the cavalry of
the conquering army to attack; then a most perfect and
harmonious imitation of the galloping and trotting of the
horses, the discharge of the carbines and pistols, and the
clashing of swords followed.
Here the supposition of defeat gave further scope to the
inventive faculties of the designer, and proved the
executive powers of the band to imitate the total rout of
the conquered army, the sound of the retreat, the signal to
pursue, with the bustle, noise, and clamour naturally
attending, until the victorious troops beat an halt in
consequence of the brave resistance of that division which
covered the retreat of the vanquished army.
The straggling shots in the pursuit conveyed a most
beautiful harmony in the corresponding music from one
orchestra to the other; which, with the plaintive tones of
the wounded, and the lamentations of the expiring soldier,
so naturally expressed, had a most powerful effect on the
auditors.
The whole concluded with a lively and spirited allegory,
three times repeated by the victors, in which was introduced
a feu de joye, imitating artillery and musquetry.
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