Neither pleasure, however, nor literary pursuits, led young Burney to neglect the cultivation of his musical talents. The mask of Alfred was by no means his sole juvenile composition: he set to music the principal airs in the English burletta called Robin Hood, which was most flatteringly received at the theatre; and he composed the whole of the music of the pantomime of Queen Mab.
He observed at this time the strictest incognito concerning all these productions, though no motive for it is found amongst his papers; nor does there remain any recollective explanation.
With regard to Queen Mab, it excited peculiar remark, from the extraordinary success of that diverting pantomime; for when the uncertainties of the representation were over, there was every stimulus to avowal that could urge a young author to come forward; not with adventurous boldness, nor yet with trembling timidity, but with the frank delight of unequivocal success.
Queen Mab had a run which, to that time, had never been equalled, save by the opening of
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the Beggar’s Opera; and which has not since been surpassed, save by the representation of the Duenna.
Its music, pleasing and natural, was soon so popular, that it was taught to all young ladies, set to all barrel organs, and played at all familiar music parties. It aimed not at Italian refinement, nor at German science; but its sprightly melody, and utter freedom from vulgarity, made its way even with John Bull, who, while following the hairbreadth agility of Harlequin, the skittish coquetries of Columbine, and the merry dole of the disasters of the Clown and Pantaloon, found himself insensibly caught, and unconsciously beguiled into ameliorated musical taste.
In the present day, when English singers sometimes rise to the Italian opera, and when Italian singers............