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BEGINNING
RUST PROGRAMMING

INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xix

CHAPTER 1 Game of Life: The Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

CHAPTER 2 Extended Life. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
CHAPTER 3 Building a Library. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
CHAPTER 4 Hangman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
CHAPTER 5 In Concurrence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
CHAPTER 6 Clients and Servers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
CHAPTER 7 Client-Side Applications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
CHAPTER 8 Going Relational. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
CHAPTER 9 No(SQL) Going. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
CHAPTER 10 Web Communications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
CHAPTER 11 Web Server. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
CHAPTER 12 Getting to the System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
CHAPTER 13 Device Programming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
CHAPTER 14 Collecting Stuff. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
CHAPTER 15 Odds and Sods. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

INDEX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
 BEGINNING

Rust® Programming
 BEGINNING

Rust® Programming

Ric Messier
Beginning Rust® Programming

Copyright © 2021 by John Wiley & Sons, Inc., Indianapolis, Indiana

Published simultaneously in Canada

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ABOUT THE AUTHOR

RIC MESSIER is an author, consultant, and educator who holds CCSP, GCIH, GSEC, CEH, and CISSP
certifications and has published several books on information security and digital forensics. With dec-
ades of experience in information technology and information security, Ric has held the varied roles
of programmer, system administrator, network engineer, security engineering manager, VoIP engineer,
consultant, and professor. He is currently a Principal Consultant with FireEye Mandiant.
ABOUT THE TECHNICAL EDITOR

JESSICA ROCCHIO has been in the information technology industry for over a decade and is currently
an incident response consultant at Mandiant. Over the last few years, she has worked with various
programming languages. She has spent most of her career in incident response, forensics, intelligence,
insider threats, and vulnerability management. Jessica has worked on a wide range of incidents,
including espionage, cybercrime, fraud, data theft, and insider threats.
ACKNOWLEDGMENTS

Without my tech editor, Jessica, and my project editor, Kim, I might not have made it through this
book, so many thanks to them!
CONTENTS

INTRODUCTION xix

CHAPTER 1: GAME OF LIFE: THE BASICS 1

Game of Life: The Program 2

Starting with Cargo 4
Putting the Pieces Together 5
Bringing In External Functionality 5
Namespaces 6
Generating the Game Grid 7
Dissecting Main 8
Defining Functions 8
Defining Variables 9
Datatypes 11
Arrays 12
Control Structures 14
Looking at More Function Functions 16
Returning Values 16
Passing Parameters 18
Scope 21
Compiling Programs 22
Summary 24
Exercises 25
Additional Resources 25
CHAPTER 2: EXTENDED LIFE 27

Understanding Ownership 28
Extending Life 30
Adding Modules 32
Working with Command-Line Arguments 34
Option Types 36
Reading from Files 39
Extracting Values 41
Populating from the Vector 42
Outputting to the Terminal 43
Using Colors 44
Printing Generations 44
Discovering Diverse Content Through
Random Scribd Documents
 Mehul’s overture is a great favourite in French theatres, and not
devoid of something like dramatic effect, but as a piano-forte duet,
as drawing-room music, it is very jejune indeed.

If Beethoven had never written but in the style of the Archduke’s

march, his name would not have been heard beyond the confines of
day-schools or Margate libraries. This is an easy, common-place
affair; but, perhaps, quite good enough for the triumphs of the
illustrious Rudolph, whoever he may be. What is meant by ‘König
Stephan’ we pretend not to guess. Our King Stephen thought his
unmentionables too expensive at a crown: we hold that his
namesake’s march is much dearer at half the sum. We will not,
however, imitate the son of the conqueror, and call the vendor by
foul names.

M. Diabelli’s ‘Delight’—(what can be meant by so nonsensical a

title?)—is, if we may judge from No. 4, to make babies play in duo.
These very little pieces keep the hands in one position, being limited
to the compass of five notes: so far they may answer a good
purpose, and they are not disagreeable.

VOCAL.
1. DUET, ‘Now like a Monarch,’ composed by A. DE BEAUPLAN.
(Chappell.)
2. BALLAD, ‘The Kiss on the Lips we love,’ the Words by J. IMLAH,
Esq., the Melody by Mrs. P. MILLARD. (Norwich, Woodward.)
3. Mignon’s Song, or ‘A foreign Sky above,’ by the Author of
MUSICAL ILLUSTRATIONS OF THE WAVERLEY NOVELS. (Novello.)
4. The Sea Rover, the Poetry by J. S. FOSTER, Esq., the Music by the
CHEVALIER SIGISMUND NEUKOMM.
5. A Parting Song, the Poetry by Mrs. HEMANS, the Music by the
CHEV. NEUKOMM. (Cramer and Co.)
 6. SONG, ‘So we’ll go no more a roving,’ written by LORD BYRON,
composed by JOHN LODGE, Esq. (Chappell.)
7. CHANSONNETTE, ‘Were a Wizard to say unto me,’ written and
composed by J. AUGUSTINE WADE, Esq. (Chappell.)
8. AIR, ‘I will think of thee,’ composed by HENRY R. BISHOP.
(Chappell.)
9. BALLAD, ‘She grew on Earth a summer Flower,’ composed by JOHN
DANIEL. (Edinburgh, Wood and Co.)
10. BALLAD, ‘He came to her with gentle Words,’ written by Miss
RENNIE, composed by T. S. RAY. (Goulding and Co.)
11. BALLAD, ‘My Rose,’ the Poetry by Mrs. CHARLES GREVILLE, composed
by BIANCHI TAYLOR. (Collard and Co.)
12. SONG, ‘I met him in the lonely Dell,’ written by G. VANDERHOFF,
Esq., composed by B. HIME. (Collard and Co.)

The Duet, No. 1, possesses just that kind of silly prettiness which
probably will sell it.

No. 2 is a very pleasing, easy melody, well accompanied.

No. 3 exhibits all the independence, the originality, and feeling,

which are so conspicuous in this Lady’s ‘Illustrations.’ The words are
Goethe’s, but we conjecture that the composer intends them to
apply to the expatriated Poles, whose miseries have excited her
strongest sympathy. There is all the enthusiasm of genius in this, but
no want of method. We do not, however, see why the whole should
not have been written in three-crotchet time.

No. 4 is a very spirited air, with a well-judged accompaniment,

but it will inevitably be compared with the author’s ‘Sea,’ and thereby
suffer, for the task would be no easy one to produce any thing at all
equal to that brilliant composition. Let the present be judged by its
own merits, and it will be generally approved. It is short, not difficult
to sing, and suited to a tenor or a soprano voice.

No. 5 is, in fact, a ballad of four stanzas, the melody short, but
repeated. It is gentle and elegant, rather à la Haydn, and would be
easy, but for a double sharp or two, at which singers who
accompany themselves are apt to start. Let us, however, recommend
them not to be dismayed; the song is full of feeling, and will repay
their trouble.

No. 6 is a very sweet melody, in the rondeau style, with an

agreeable Scottish tinge, and accompanied in a lighter manner than
is usual with Mr. Lodge; though there are glimpses of harmony here
and them that show his inclination, which, however, he has not
indulged to any great extent, but has afforded every possible facility
to both singer and accompanist.

The words of No. 7 ought to sell the song. The reasons why a
young maiden should not agree to be metamorphosed into a star, a
flower, or a fish, are quite cogent and reasonable. The air is light, as
it should be, and very simple.

No. 8 shows a strong effort to produce new harmonic effects: the

modulation in the very first two bars from C to A flat is rather
sudden, and somewhat startling—e. g.
 LISTEN
but anything is better than triteness. The air is free and agreeable,
with an accompaniment in the guitar manner. We cannot, however,
add that the words go quite smoothly and well to the melody.

The composer of No. 9 writes with much feeling, and his air is
pleasing and appropriate, but he has injudiciously separated some of
the words, and not very accurately accented others.

No. 10 certainly does not rise above mediocrity, either in music or

words.

No. 11 is correct and graceful, rather than striking or new.

On No. 12 we really can bestow no praise, however qualified; the

words and music are nearly on a par with the lithographed vignette,
but of the three, the music is least obnoxious to criticism.

HARP.
1. Air de Ballet, as a BRILLIANT RONDO, the subject from MEYERBEER’s
Robert le Diable, arranged by THEODORE LABARRE. No. 2.
(Chappell.)
2. Ditto No. 3.
3. Ditto No. 4.

THE first of the above is the Pas de Cinq, the second the Valse
des Démons, and the third the Chœur Dansé, from the opera now
performing in all parts of Europe, though certainly with variable
success. But the pieces selected by M. Labarre are universally
admired, whatever may be, according to different tastes, thought of
the work in its entire state. These are all arranged with a view to
general use; all unnecessary difficulty, therefore, is avoided, but not
at the expense of the author’s intended effects, which are as
carefully preserved as the means afforded by a single instrument
render possible.

HARP AND PIANO-FORTE.

SIX WALTZES, composed by HUMMEL, arranged by N. C. BOCHSA.
(Chappell.)
THESE are the well-known waltzes, Op. 91, written by Hummel for
the piano-forte only, and now converted, with considerable address,
into very effective, yet perfectly easy duets for the two drawing-
room instruments.
 MADRIGAL SOCIETY.
THE anniversary of this society, on Thursday the 21st of February,
proved, past all doubt, that the taste for the species of music
cultivated by its members is anything but on the decline. A more
brilliant meeting has not for many years been known, as the
subjoined list of music performed, of members present, and of
visitors, will amply testify; and it was by all agreed, that the various
compositions were never heard to greater advantage.
There are cycles in music as well as in other heavenly things; the
madrigal is come round again, and probably will, in two or three
years, again disappear, except to the present society, who have
never lost sight of it, and to whom (as also, indeed, to the Ancient
Concerts) we are perhaps indebted, for having preserved it from
final occultation. We shall not be surprised soon to find it visible in
our most fashionable drawing-rooms, and to hear that the revived
taste for it in this country has drawn the attention of our continental
neighbours to a kind of harmony which those who profess any
knowledge of the art, either from study, or merely listening to and
enjoying it, cannot but admire.
After the cloth was removed, and the youthful choristers of the
King’s Chapel and St. Paul’s Cathedral were admitted, the following
madrigals were performed, nearly all present taking a part:—
 Voices. Composers.
All creatures now are merry-minded 5 J. BENNET.
Arise, awake 5 THOS. MORLEY.
Basti fin qui le pene 10 LUCA MARENZIO.
Cynthia, thy song and chanting 5 GIOV. CROCE.
Dainty fine sweet Nymph 5 THOS. MORLEY.
Fire, fire, my heart 5 THOS. MORLEY.
I will sing of thy power 5 DR. M. GREENE.
Kyrie eleison 5 CLARI.
Lo! where with flow’ry head 5 THOS. MORLEY.
Lord, for thy tender mercy’s sake 4 R. FARRANT.
Lady, your eye my love enforc’d 5 THOS. WEELKES.
Miserere mei 4 J. P. PALESTRINA.
Now, O now, I needs must part 4 J. DOWLAND.
Oft have I vow’d 5 J. WILBYE.
Sweet honey-sucking bees 5 J. WILBYE.
Fal lal la (The Waits) 4 J. SAVILLE.

Among the members present were, Messrs. W. Linley,

(Chairman), W. Hawes (Music Director), C. Baumer, T. Pinto
(Stewards), J. P. Street (Librarian), Tho. Oliphant (Secretary), E.
Bates, R. Taylor, J. Capel, J. T. Cooper, J. Barwise, Sir A. Barnard,
K.C.B., Rev. J. Hall, J. P. Salomons, E. Fitzwilliam, J. N. Macleod, Lord
Saltoun, J. Calkin, C. Hancock, H. Hancock. C. Comerford, J. Dillon,
G. Cooper, W. Taylor, Tho. Gladstone, M.P., E. Taylor.
The non-professional visiters were, Duke of Argyle, Admiral
Taylor, Sir R. Simeon, Hon. A. Macdonald, Dr. Penrose, Messrs.
Boldero, Gray, Nyren, Seviers, (2.) Hall, Spyring, Cox, Bond,
M’Donald, Bedford, Campbell, Mozer, Rich, Pears, Bates, jun.,
Luttrell, Barnard, Spencer, S. Cartwright, Street, jun., S. J. Arnold, H.
Surman, H. Sanford, J. Silver.
The professional visiters included Messrs. Vaughan, Sale,
Spencer, Leete, Blackbourne, Horncastle, Ella, Horsley, Hawkins,
Walmisley, C. Evans, C. Taylor, Howell, James Elliott, Goss, Goulden,
Jolley.
 EXTRACTS FROM THE DIARY OF A
DILETTANTE.
[Resumed from page 64.]

Feb. 28th. Tait’s Magazine for this month has the following remark
concerning the concerts at Edinburgh:—‘Mrs. Wood has shown on
how much the human voice, and Mr. Boschsa how little the harp, can
do to entrance the soul in musical delight.’ This is sensible criticism,
in no far as it extends to the singing and playing of the individuals
named: but the harp, when in the hands of those who best know
how to use it—who seek not to astonish by what is called execution,
which is only another name for murder, but study its pathetic and
romantic character, and attempt nothing out of this—is an
instrument that, in some shape or other, has charmed in all ages,
and will continue to be admired wherever a taste for music is at all
cultivated. Those among as who remember having heard Mad.
Krumpholtz, and, more especially, the Vicomte de Marin, well know
what the harp can do when properly touched.

March 7th. The King’s band of musicians was an imitation of the

band of Louis XIV. In Evelyn’s Diary, dated 21st of December, 1662,
is the following account of its first performance. This able and
honest statesman and excellent naturalist possessed a fine taste for
the arts, in which he took very considerable interest. He evidently
felt very indignant at the musical innovation made by the heartless
Charles, whose education was finished in the profligate French court,
and thus expresses himself:—
‘One of his Majesty’s chaplains preached at the King’s Chapel,
after which, instead of the ancient, grave, and solemn wind music
accompanying the organ, was introduced a concert of twenty-four
violins between every pause, after the French fantastical light way,
better suiting a tavern or a play-house, than a church. This was the
first time of change, and now we no more heard the cornet which
gave life to the organ, that instrument quite left off, in which the
English were so skilful. I dined at Mr. Povey’s, where I talked with
Cromer, a great musician.’

—This morning Mr. Guynemer gave—(literally gave, for profit was

not his object)—a ‘Matinée Musicale’ at the Opera Concert Room,
chiefly for the purpose of performing some selections from a Mass
recently composed by him. He, of course, had a very full audience,
among whom were the most distinguished amateurs and professors
at present in London. The Mass, or at least such of it as was
introduced, possesses considerable claims to notice; and if it does
not show much fancy, much original conception, proves the author
to be a man of knowledge and taste. His band was select, and led by
Messrs. Spagnoletti and Mori; himself and Mr. Novello acting as
conductors.

10th. A weekly paper, in whose well-delivered musical opinions I

generally concur, has attacked in rather strong language the first
Ancient Concert of this season, and in pretty plain terms accused the
directors of imitating the new Vocal Concert, by the introduction of
madrigals. Surely the writer has not carefully looked over the books
of the Ancient Concert, or made himself acquainted with the fact
that, at its very first institution, nearly sixty years ago, madrigals
were among its most important features, and have, more or less
often, continued to be performed up to the present time. I myself
heard two of them last season, though not present at more than
three or four of the concerts. The efforts made by the Madrigal
Society during late years have slowly, but surely, drawn attention to
this fine species of music, and the Vocal Concert happily seized the
moment for bringing it before a larger and more mixed audience,
and certainly in a very inviting form; but let not the Ancient Concert,
the finest school in Europe for the music of the great old masters,
and which has preserved the best models from being trampled into
dust—which has stood for years as the bulwark against the whims of
fashion, and steadily resisted the greedy appetite for whatever is
new, however contemptible—let not this be abused as the servile
imitator of an infant establishment which has only re-produced
compositions that have been heard by three generations at a concert
to which—though often mismanaged, and too frequently a sufferer
from prejudice—our country is so much indebted for its musical
taste, and on which, I am persuaded, the preservation of good
music in England yet so mainly depends.

16th. We are certainly to be honoured by another visit from

Signor Paganini after Easter, as I last year predicted; though the
French papers, and of course the English, stated positively, that he
had resolved to appear in public no more, but had ‘determined to
retire and enjoy otium cum dignitate.’ It was to me a matter of
certainty, demonstrable upon moral principles, that while any thing is
to be got in this country, the hero of one string will be drawn to our
shores by metallic attraction. Of his continued success, however, I
have my doubts; the fit was on the decline last season; our senses
are beginning to return: but if reason should not influence us, the
state of the country will. It is really ‘too bad’ to be lavishing
thousands, tens of thousands, upon a foreigner, who is more
admired for his tricks than for his real excellences, while many of our
best performers—some of whom are more than his equal in the
legitimate use of the instrument—are neglected, and suffering from
want of protection.
 20th. Every letter from Italy, coming from any source to be relied
on, concurs in stating, that music is at the lowest ebb in that
country: from the northern to the southern extremity, from Milan to
Naples, nothing new is brought forward but the vilest trash, and
even Rossini is no longer the idol. This, however, ought not to excite
surprise, considering how unmercifully he has been hacked. It seems
that, after Easter, we are to have thrust down our throats,—or rather
crammed into our ears—Bellini’s Norma, and also Beatrice Tenda,
both, it is said, the feeblest of modern weaknesses, the first
especially, which all but Italians agree in admitting to be the veriest
rubbish that ever disgraced the lyric stage. We are also to have the
Montecchi e Capuletti of the same composer, which I can, from my
own knowledge, say, is as wretched stuff as any that our Italian
theatre has produced during the last five or six years. I cannot say
more.
 FOREIGN MUSICAL REPORT.
VIENNA.
THE Josephstadt Theatre, under its very able direction, ever anxious
to delight the public with novelties, has produced Bellini’s Die
Capulets und die Montagues, which, however, was but indifferently
received, notwithstanding the laudable exertions of the singers.
Rossini’s Semiramis, also, has lately afforded evidence of the
industry and efficiency of the company of this theatre. M. Pock, as
Assur, excited enthusiasm in his audience, and Demlle. Kratky as
Arsaz, and Mad. Zimmer as Semiramis, were overwhelmed with
applause; in fact, all the singers received ample testimony of the
delight which they afforded, and the whole representation could not
but have given satisfaction to the most severe critic.
On the 4th January, a new operetta by Caché, Das
Küchenregiment (the Kitchen Government), was produced at the
Hofoperntheater. M. Caché himself played the principal character
(Vatel), and was twice called forward.

BERLIN.
Königstadt Theater. A romantic comic opera in three acts, called Des
Adlers Horst (the Eagle’s Eyry), composed by Kapellmeister Gläser,
was produced here on the 29th December. The music is lively and
melodic, bearing, however, at times, perhaps, too close a
resemblance to the Freyschütz. The parts were allotted to Demlles.
Hälmel, Felsenheim, and Franchetti, and MM. Holzmiller, Greiner,
Fischer, and Beckmann. On the 4th January, Dlle. Schneider, the
daughter of Kapellmeister Schneider, having previously sung at her
father’s concert, appeared for the first time on the Berlin boards, as
Rosina in the Barbier von Sevilla, and was very successful.
At the Opernhaus, Robert der Teufel has again been brought
forward; and on the 20th January, Figaro was given with a very
strong cast of characters: Mad. Pirscher as the Countess, Demlle.
Grünbaum the Page, Mad. Seidler Susanna, M. Hammermeister the
Count, and M. Devrient as Figaro; it was in every respect a most
excellent representation of the opera.
M. Felix Mendelssohn has given his second and third concerts, in
aid of the fund for the widows of the members of the orchestra,
which proved very attractive. The musical soirées of the Brothers
Ganz have commenced; those of M. Möser are going on successfully.

MUNICH.
M. Spitzeder, who made his debut here on the 30th September, and
was incapacitated from appearing afterwards by illness, died on the
14th December. Mad. Spitzeder has appeared as Myrrha, as Ninetta
in Die Diebische Elster (La Gazza Ladra), Zerlina in Fra Diavolo, and
various other characters with her usual success.

PRAGUE.
Das Fräulein am See (La Donna del Lago) has been given here for
the benefit of Demlle. Emmering, who personated Malcolm. On this
occasion Demlle. Lutzer made her first appearance in the part of
Helene. Her voice, the higher and middle notes of which are very
sweet, is rather weak for so large a theatre; but by regular and well-
directed practice, it will no doubt soon acquire greater strength. M.
Podhorsky was Roderich, M. Strataky Douglas.
 VENICE.
The opera Eufemio di Messina, by Maestro Persiani, has been
performed here at the Fenico, but not with the success it obtained at
the fair of Padua. All the efforts of the singers, Dell Serre soprano,
La Carobbi contralto, Curioni tenor, and Crespi bass, could not save
it. The music, that of the second act especially, was throughout
considered monotonous and tiresome.
Recci’s Chiara di Rosenberg is at this time playing in six towns in
Italy, and is everywhere received with enthusiasm.(!)

PARIS.
For a long time it has been evident to every one who has the
slightest taste or feeling for music, that the downfall of this art in
Italy is complete; but nothing, perhaps, could give so just an idea of
the state of absolute degradation into which the Italian taste has
fallen, as the popularity which an opera called Chiara di Rosenberg,
which was played lately at the Théâtre Italien, has obtained and still
enjoys in that country. At all times, even when the Italian school was
in the height of its vigour and splendour, bad operas were written,
but they were received as they deserved, and the hisses of the
public consigned them to their merited fate. At the present time this
is no longer the case; the production of a boy makes a furore on its
first production, is twice revived with plaudits at Milan, and is now
playing everywhere. What does all this indicate, but that nothing
better is to be hoped for from a country where the public taste has
fallen so low?
An ill-constructed overture, made up of incoherent phrases
clumsily put together, followed by an introduction still more flat and
feeble, cast a cold chill over the audience; however they waited with
very laudable patience for some piece that might interest them, but
in vain; the same mediocrity reigned throughout. A trio for three
basses, which had been much talked about, was looked for with
great expectation, but turned out just as bad as the rest. The
success of this trio, in Italy, arises from one of the characters using a
broad provincial dialect, which is changed according to the city in
which the piece is performed; in Naples it is the Neapolitan, in
Venice the Venetian, in Milan the Milanese, and so on: this makes
the audiences laugh there, but in a foreign country the comic effect
is wholly lost, and there is nothing in the music to compensate for it.
The most supportable pieces in the opera are a chorus and duet
between Tamburini and Santini. There is not in the whole opera one
phrase of melody that has either novelty or any other merit; the
harmony is flat and incorrect; the rhythm totally devoid of character,
and eternally broken in upon; and to close all, the instrumentation is
that of a school-boy who had not even the good sense to study the
scores of his contemporaries.
Tired of singing such stuff, Tamburini introduced an air from the
Inganno Felice of Rossini, and never did a base voice give so
splendid a specimen of ease, taste, and execution; the audience,
without considering the fatigue of the singer, encored it; Tamburini
repeated it with more spirit than at first, and then the audience took
their hats and left the rest of Chiara di Rosenberg to be performed
to empty benches.
 THE DRAMA.
KING’s THEATRE.
ON Tuesday, the 26th of February, Madame SCHIASETTI was introduced
to the public for the first time in this country, as Malcolm, in ROSSINI’s
Donna del Lago. This lady is an old stager. Many years ago she sang
in Paris, and there again very recently, but with doubtful success. In
the interim she appeared at Dresden, but how she was received
there we cannot tell. Her voice is a mezzo-soprano, which she
wishes to force down to the contralto compass, but betrays her
natural scale in spite of all her efforts. Her high notes are hard and
unmusical, and she is not always pure in intonation. In form, Mad.
SCHIASETTI rather inclines to the masculine, and shows more muscular
than vocal strength. The opera was got up in a manner that almost
defies description; parts left out, others put in, transpositions,
interpolations, and, in short, nearly every thing that able
management would have forbidden was witnessed; except the
character of Roderick Dhu, which DONZELLI performed à merveille.
Mad. BOCCABADATI has appeared in Matilde di Shabran, one of
ROSSINI’s least interesting operas; and the papers, most of them,
have been as lavish in their praise of her as if her powers were of
the most unrivalled kind. She undoubtedly improved after her debut,
which was a very unfavourable one, and exhibited talents superior to
those which were displayed on her first appearance. But she can
only rank as a prima donna in second-rate theatres. As a seconda, or
as an occasional substitute for the first, Mad. B. may be rendered
exceedingly useful and agreeable.
 On the 23d, MOZART’s Nozze di Figaro made some change in the
performances, which till then had been all ROSSINI, and not the best
of ROSSINI. The part of the Countess was given to Mad. BOCCABADATI,
and Mad. SCHIASETTI took that of Susanna! Mdlle. NINA SONTAG
personating Cherubino. To the first of these the music was perfectly
strange, but, like a stranger, she did not give it welcome: however,
she got through it better than we expected. Poor Susanna has
seldom had so inadequate a representative; and Mdlle. NINA made a
page that ought not to have excited any doubts in the mind of
Almaviva. This part, by-the-by, was transposed for DONZELLI, as was
much for Mad. SCHIASETTI; and, altogether, our history of this attempt
at reviving a work of MOZART cannot be rendered favourable.
We now quit the Italian stage, and cast our view to the

GERMAN OPERA.
which commenced at this house on Thursday, March 14th, with Der
Freischütz, thus cast:—
Max M. BINDER.
Caspar M. BLUME.
Cuno M. KOCKERT.
Kilian M. EHLERS.
Agatha Mad. PIRCHER.
Annchen Mdlle. NINA SONTAG.
No one of these must be ranked as a first-rate singer, but all are
tolerably respectable. Mad. PIRCHER seems to find it necessary to
strain her voice, which is not strong, which sometimes renders her
intonation rather faulty. She, however, sings with feeling, and
appears to understand what she is about. Madlle. NINA SONTAG is just
what she was,—inanimate, both in singing and acting, and
inoffensive, unless great frigidity and slowness can offend.
M. BINDER is the best of the party; he wants little of being a very
good tenor. He was suffered to introduce a song, not one by Weber,
for which the management is more censurable than the singer. We
believe that it was one by that prince of modern composers, Pacini!
M. BLUME, with a good base voice, is a respectable actor.
M. HUMMEL is the conductor of this corps; but, seated at the
piano-forte, he appears to greater advantage than when flourishing
the baton. His times of the Freischütz were all quicker than those of
the composer, as he gave them at Covent Garden. Which of the two
is most likely to be right, we leave our readers to determine. The
choruses went off extremely well; but in other respects the German
Opera this season is much inferior to that of last; nevertheless, M.
LAPORTE’s terms of admission are increased. He has, however, already
found out that one hundred at seven shillings are not quite so
profitable as five hundred at a crown; yet the prices are not reduced.
Up to the present moment the speculation has proved a very losing
one, and we do not hear of any new opera being in readiness.

DRURY LANE THEATRE.

A new ballet-opera, a term quite new to our stage, was brought
out at this house on the 16th ult., entitled The Maid of Cashmere,
made up from La Bayadère Amoureuse, SCRIBE’s very popular piece;
the music by AUBER.
The principal characters are—
Brama Mr. WOOD.
Olifour, the Grand Judge Mr. SEGUIN.
Leila Miss BETTS.
Zelica Mdlle. DUVERNAY.
Fatima Mdlle. AUGUSTA.
The story may be told in the following words:—Brama assumes
mortality, and is under the necessity of enduring all the evils incident
to the change, until he can find a young female who perfectly and
purely loves him. Having been present at the preparations for
executing an innocent man, he sets the intended victim free,
therefore is proscribed by the authorities, and takes refuge in the
city of Cashmere. He wanders about as The Unknown, while a price
is set on his head by the Grand Vizier. He conceals himself near the
palace of Olifour, and there remains while some dancing peasants,
called Bayadères, exhibit before the grand judge, who falls
desperately in love with Zelica, the Maid of Cashmere; but she
rejects him, and shows a decided preference for The Unknown, who
imprudently comes forward. Soon afterwards he is discovered, and is
about to be seized, when Zelica purchases his liberty by consenting
to give her hand to the old judge. Presents she rejects, but consents
to ride in a palanquin sent for her conveyance; and naturally
enough, for The Unknown had slipped into it, and, lying at the
bottom, is effectually hidden. We next find the pair in the hut of the
Bayadère, where she makes her love for Brama pretty obvious. To
try the strength and truth of her attachment, he makes Zelica
jealous, by paying undue attention first to a singing Bayadère, Leila,
and subsequently to another dancing Bayadère, Fatima. She is of
course very uneasy, and before long her truth is put to the test, for
the judge and his troops enter in search of The Unknown, who
escapes through a trap-door into a cellar,—a very undignified exit for
a god, by the way. As The Unknown is not to be found, the guards
seize Zelica, and, raising a pile in her own cottage, proceed to
perform the inconvenient ceremony of burning her. She patiently
awaits her doom,—the flames are fast approaching her—when
Brama is seen rising behind her, restored to his divine state. He
exalts the Bayadère into the clouds, and the scene suddenly changes
to the celestial abode of the God. Thus ends the Opera-ballet, or
Ballet-opera.
The strength of this is all in the ballet; the music is light and
frothy, with the exception of a pretty good trio near the end of the
first act. Indeed, as dancing would clearly be the attractive part of
this piece, M. AUBER was fully justified in not wasting much force on
it, and acted prudently in writing nothing of a solid kind, and in
trusting wholly to a pleasing gaiety of style.
 Don Juan continues to fill the house in every part: nay it draws
persons into the public boxes, who, on any other occasion, would
have been shocked at a proposal to visit the theatre without the
consolation of a more private and exclusive retreat.

COVENT GARDEN THEATRE.

THE dramatic oratorio, contrary to expectation, has been
eminently successful. After the first night it improved very much in
representation, and still more so in the audiences. It has drawn
crowds ever since.
On the 23rd of last month, an opera, altered from the French,
under the name of The Coiners, or the Soldier’s Oath, the music by
AUBER, was produced here; but we were at Drury Lane on that
evening, and have not since had an opportunity of seeing this new
production; on which we shall report next month, should the piece
survive, which, according to what we hear, is somewhat doubtful.
 THE MUSIC OF THE PRESENT
NUMBER.
THE Vicomte de Villeblanche, one of the ancient noblesse of France,
was a distinguished amateur. His mother, a great proficient in music,
instructed him very early on the piano-forte, and he having sought
refuge in this kingdom during the most troublesome period of the
French revolution, took lessons of J. B. Cramer. When Buonaparte
proclaimed an amnesty, the Vicomte returned to his native country,
entered into the army, accompanied Napoleon in his expedition to
Russia, and is supposed to have perished in the retreat, he never
having been heard of since that disastrous event. Of his skill in
music the movement in the present Number bears full testimony; it
is the only composition by him that we ever met with or heard of; it
appeared many years ago, (in a musical magazine which had no
circulation,) and may be said to be an unknown production. That it is
in the manner of Beethoven will be apparent to all, and that it is a
very elegant imitation of a master then little known out of Germany,
must also be admitted: we are glad to have been enabled to rescue
a composition of so much merit either from oblivion, or from being
hereafter claimed by some one having no title to it.

The March is arranged from a Notturno by Spohr.

The Saraband and Gigue of Corelli are familiarly known to the

frequenters of the Ancient Concerts, and to all—we fear they are few
in number—who are well read in classical music. We have adapted
them from the original score, and endeavoured to render the violin
passages not only practicable, but easy for keyed-instruments. The
Sarabanda was a slow Spanish dance. The Giga speaks for itself. For
an account of the composer, we refer the reader to one of our early
volumes.

The Canzonet, ‘Forget me not,’ has always been ascribed to

Mozart, though not noticed by him in his memoranda, and not
included in any edition of his works. It certainly bears his impress,
and, whether justly or not attributed to that great master, is
undoubtedly worthy of his genius. We have cut out from the
symphony some bars which we strongly suspect to have been an
interpolation. The author of the English words seems to be quite
unknown, and it will be no injury to him to let him remain incognito.
As far, however, as the prevailing sentiment is concerned, the poetry
admirably suits the music.

The name of Prati is perfectly new to this country. He was Maître

de Chapelle to the Elector Palatine, and born in 1736. He visited
Paris, St. Petersburg, Florence, &c., in all which cities he produced
operas. In the latter city he brought out his Ifigenia, which met with
prodigious success; and at Munich, in 1785, his Armida abandonnata
first was heard, which procured him his valuable appointment under
the Elector. He died at Ferrara in 1788. The gay and beautiful aria by
him, which we now publish, is from Reichardt’s Musikalisches
Kunstmagazin, for 1791.

A taste for the Madrigal happily seems to be reviving. It is a kind

of composition which possesses some of the best qualities of the
fugue, but rejects all its formality and restraint. John Bennet
published his Madrigals for four voices in 1599, and contributed
much to a curious theoretical work by Ravenscroft, printed in 1614,
and now lying before us, in the preface to which he is thus
mentioned;—a ‘partner in this work is Maister John Bennet, a
gentleman admirable for all kinds of composures, either in art, or
ayre, simple or mixt, of what nature soever.’ Nothing beyond this is
known of him, or it certainly would have been discovered by
Hawkins, an indefatigable antiquary, and a zealous promoter of
ancient music. The present madrigal is from Warren’s Monthly
Collection, a work now exceedingly scarce. We have changed the
alto and tenor clefs into the treble and base, and added an
accompaniment, for the first time, it is our belief.

The very pretty Canzonet of Morley is from a set printed in 1599.

One of these appeared in the Harmonicon containing his memoir; to
which the reader is referred for further information concerning this
celebrated theorist and composer.
 MAY, 1833.

MEMOIR OF METASTASIO.
THE name of the great dramatic poet, whose memoir we are
about to sketch is so connected with the history of music, that it
cannot be thought out of place in the biographical department of our
work. We might almost plead his having been a musician as well as
poet, were it necessary; but no excuse can be required for mixing
with the lives of professors that of a genius to whose productions—
which have called forth the talents of the greatest composers—the
art itself is so much indebted.

PIETRO TRAPASSI was born at Rome on the 6th of January, 1698.

His family, though at the time of his birth reduced to the straits of
indigence, had for many years enjoyed, as opulent citizens, the
freedom of the town of Assisi, the immunities of which were
confined to thirty of the inhabitants only. But the times became
altered, and Felice, the father of our bard, unable to procure a
subsistence in his native place, enlisted into the ranks of the
regiment of Corsi, and shortly afterwards married Francesca Galasti
of Bologna. At the fulfilment of his service as a soldier, Felice found
himself possessed of a small pittance which he had gained, while in
garrison, by devoting his leisure hours to the laborious task of an
amanuensis. With this he entered into partnership with a shopkeeper
at Rome, in the petty trade called in Italy L’Arte bianca, or
pastrycook. Succeeding tolerably in this undertaking, he was now
enabled to place his two eldest sons, Leopoldo and the subject of
this memoir, at a small grammar school, where the latter soon
displayed that talent and enthusiasm for poetry, which so eminently
distinguished his after life. ‘Before he was yet ten years old,’ says his
biographer Dr. Burney, ‘he had the power of making verses
extempore on any subject, and it was no unusual sight to see his
father’s porch surrounded in the evening, after school hours, by
admiring groups listening to the poesy of a child. During one of
these tuneful fits, when Pietro was in his happiest mood, the
celebrated lawyer and critic, Gravina, happened to pass by his
father’s door, and was no less struck with the youth of the poet, than
with the softness, yet brilliancy of his verse, the smoothness of his
measure, and the sprightliness of his wit, which he employed, all’
improvvista, upon the people and objects that surrounded him.
Drawing near, Gravina expressed his admiration, and offered him
some money; the firm but polite refusal of his donation increased his
admiration for the little bard, and he instantly formed the resolution
of adopting him as his son. Pleased with this idea, he instantly
solicited the consent of his parents; and as there was nothing
humiliating, nothing unkind, in his proposal, Felice gladly complied.
The next morning Pietro was consigned to the care and patronage of
Gravina, who changed his name to Metastasio, as Μεταστασις
(mutatio) seemed at once to include his family appellation and his
situation as an adopted child.
And now having changed his name, Gravina applied himself to
the more difficult task of altering, or at least improving, the bias of
Metastasio’s mind. For this purpose he destined him to the study of
the law as a profession, wishing rather that he should become an
orator than a poet. This at first may appear strange; but Gravina
well knew that, although the meed of praise may be the poet’s,
wealth and affluence are still strangers to his door, and that, in
Rome, riches are only to be acquired by the followers of the church
and law.
Although Metastasio’s time was principally employed in the dry
study of edicts and decrees, he was encouraged by his patron in the
perusal of the best models of the ancient poets; and, at the early
age of fourteen, we find him producing his tragedy of Giustino,—
really an astonishing work for so mere a boy. After the appearance
of this drama, written completely in the Grecian style, Gravina
appears not only to have allowed, but even to have encouraged, his
pupil’s adoration of the Muse; and when Metastasio was eighteen
years old, we find Gravina accompanying him to Naples, for the
express purpose of singing with the most celebrated improvvisatori
of the day. No sooner had he appeared than he became a universal
favourite. Nothing was heard of but the graces and dignity of his
elocution, the inspiration of his expressive countenance, and the
delightful harmony of his verse, which his hearers carried away in
their memory like the dying cadence of a thrilling melody. Still with
his poetical pursuits did he continue to study the law; and, to secure
an opening into the only other road to preferment, entered into one
of the minor orders of priesthood.
Two years after his arrival at Naples he had the misfortune to
lose his patron, who died in 1718, in the fifty-fourth year of his age,
leaving behind him a character more celebrated for his great
classical learning, than for his poetry, upon which however he most
prided himself; but the protection which he afforded to Metastasio
does more honour to his memory than all the productions of his own
pen. It has been a generally received opinion, that, however deeply
his loss was deplored by our poet, the death of Gravina was a great
benefit to his future fame, for it is supposed that, had he lived, his
advice would have cramped his pupil’s ideas, disposed to all the
pathos and beauty of passion and nature, with the rules and
imitations of the Greek drama. Certain it is, however, that Metastasio
mourned over his patron as a son; nor was his gratitude at all
diminished, when by Gravina’s will, signed in 1718, he found himself
sole master of all his property, consisting of 15,000 crowns, a superb
library, and a small estate in the kingdom of Naples. The generosity
of our poet’s disposition, however, soon ran through this possession;
and two years after Gravina’s death, all that remained to him was an
inconsiderable landed estate. Finding it, therefore, necessary to
court some other genius than the Muse, he placed himself under the
care of Paglietti, a man described as made up wholly of law, a bitter
enemy to poetry, one who hated the sound of rhyme, and the very
sight of a poet, and who was mercilessly intolerant of the slightest
deviation from worldly prudence. For one year Metastasio applied
himself with so much diligence to the labours imposed upon him by
Paglietti, that he appears to have disappointed his suspicions, and
even to have gained his confidence; but at the end of that time, we
find him again sacrificing to the Muse his contract with the law. First
appeared an Epithalamium, written at the request of the Countess of
Althau, who likewise prevailed upon him to write the drama
Endymion.
Under the patronage of the Viceroy of Naples, appeared Gli Orti
Esperidi, (the Gardens of the Hesperides.) The drama was written
during the hours devoted by Paglietti to the poet’s rest, and under
the express promise that it should be kept a profound secret from
the inexorable lawyer. His next drama was Angelica, of which the
plot is taken from Ariosto. The Gardens of the Hesperides, which
was played at Naples, was universally admired, and by none more
than by the Signora M. Benti Bulgarini, better known by her prima-
donna name of the Romanini. She was the first singer of her day,
and played the part of Venus in that opera; and so delighted was
she with its beauty, that she rested not until she had obtained an
introduction to the author. On seeing him, the Romanini expressed
at once her admiration and esteem, and warmly pressed him to
renounce at once the dry study of the law, take up his abode under
her husband’s roof, and devote his whole time, his whole energies,
to the delights of friendship and the inspiration of the Muse. Adoring
as he did, devoted as he was to poesy, who could at once resist the
enthusiastic bent of his own mind, the seducing praise of flattering
beauty?—certainly not Metastasio. Short was the struggle in his
mind between Paglietti and the Romanini: willingly he accepted the
offer, and from this time the courts of law were forgotten by him in
the plaudits of the theatre.